If you hold the belief that the artist, by definition, lacks structure, discipline, or business sense, you really need to know Sebastian Errazuriz. Raised by a stoic kindergarten teacher mother as one of four boys, the high testosterone level in his home was contrasted by a massive appreciation for creativity. His art professor father, a man who would be moved to tears when conducting imaginary orchestras, created the arts program that children in Santiago, Chile learn from age 5 to 18. As his guinea pig, Sebastian’s childhood was marked by the kind of rigorous training in the arts that is usually reserved for star athletes or aspiring concert pianists.
Before he was 30, Sebastian became the second living South American artist to have his work auctioned within a Sotheby's sale of Important Twentieth Century Design. He is recognized for public art installations around the world, from Chile’s national stadium to New York’s Times Square, works that aim to arouse new perspectives and conversations about society’s relationship with technology, immigrant labor, or religious extremism.
During our conversation, Sebastian reflected on speaking art as a first language, why the art world compels its superstars to lie, how his creative process sometimes reminds him of other climaxes, and why you should never ask, and always offer.
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