Ongoing: Master’s Degree in Ethnomusicology – Faculdade de Ciências Sociais e Humanas, Universidade Nova, Portugal
2014: General Music Studies (World Music Composition Styles / Music Cognition / Music Theory 201) – Specialist Certificate – Berkleemusic (online), Berklee College of Music, Boston, USA
2013: ProTools Specialist – Specialist Certificate – Berkleemusic (online), Berklee College of Music, Boston, USA
1998 -2000: Indian Tabla in the Dehli Gharana with Misha Masud – New York, USA
1998: Vocal Studies with Marie Alphonse (Zap Mamma)– New York, USA
1998: West-African Percussion– Certificate of Attendance – Drummer’s Collective, New York, USA
1995: Graphic Arts & Design – Certificate – Val do Rio, Oeiras, Portugal
1994-1995: 1st level of Jazz School – Hot Clube, Lisbon, Portugal
Hi! My name is Guillermo de Llera Blanes and I am a conceptual artist. For the last 20 years I have chosen sound as my main source and channel of expression, but my background is rooted in the visual arts, and my childhood steeped in the written word. To me they are all one and the same.
Working the following jobs has taught me to compose and to edify; to conceive with a personalized notion of function, form and content. I have worked as a programmer, a formula builder, a restorer and conservator, a musician, a painter, a writer, a music producer, an animator and video editor, a reviser, a translator, a busker, a studio musician, a live and radio DJ and a selector, a builder, a graphic designer, a web designer, an importer, a music teacher, a composer, and hopefully soon, an ethnomusicologist.
Ultimately I seek to experience artistic expression in as many shapes and forms as possible, and because of that tendency, my track-sheet is somewhat dispersed and touches many different areas. It has always been my goal to shape-shift and to learn by experiencing as many different modes as possible, defining only what ‘felt’ real to me as a defining character worth keeping and repeating. But that is my prerogative…
Where are the boundaries that confine my identity as an artist?
Perhaps in only one matter I concede the possibility of being trapped in a single way of being; it is in the need to create characters with different personalities with which to express different angles of the same issues, often contrasting and seldom in total accordance with one another. Who and how I am as an everyday person is irrelevant, and only the deepest, innermost, inevitable parts of my makeup seep through to my art, which I consider independent from my daily personality. The pieces are made by the personality I have chosen to embody for that particular series, so that they may be colored by it, and be different from me. This gives me the freedom to choose new things when I am bored with the old, the ability to give birth and kill, and most of all, the benefit of ‘feeling’ things I normally would not feel.
Why do I choose this way of working? Because I consider that the cult of personality is all-corrupting, and would rather avoid becoming the product. Even if the above were to happen in the future, I would in the very least find my freedom within the intricate and vast arrays of expression, by channeling any personality I deemed fit at the moment. And because these personalities are separate entities to me, I see the potential to unite them under familiar groups, or contrasting forces in my work.