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Creatively Meaningful: Driftnote


Omar Rivero
Multidisciplinary Artist

Honest art is a process of vulnerability. Multihyphenate artist Driftnote (Omar Rivero) is hardly known for doing one thing or being in one place. Originally from Venezuela, Driftnote spent many years drifting through different cities in Canada before landing in Toronto (for now). He's known for his interactive sound instalments which have been featured at the AGO and the Canadian Museum of Nature. From filmmaking to three-dimensional visual art, there is nothing static about his work.  He opens up about just that in this debut Creatively Meaningful interview.


 Collision of Two Bodies

Collision of Two Bodies

You’re invisible if you don’t speak.

Did you parents support your artististic tendencies growing up?
My parents never supported my art. (laughs) To this day they have no idea what I do. I was very shy in high school and somewhat isolated. I would just go home for lunch and play guitar. Each day has just taken me to where I am now.

Let’s talk about the name Drifnote. Where did that persona emerge from?
It’s just a musical note and a written note. Something that drifts is constantly in motion and that’s kind of like my work now. I don’t remain static. I also give myself a lot of space so I can move around and explore. I’m guided by the process. I might render something and then maybe the light or the colour might make me think of something else then I’ll change the piece.

 Your Willful Disregard

Your Willful Disregard

Am I contributing anything or am I being redundant?

Your art encopasses not only music, but so many other mediums including virtual reality. So, how do you describe what you do?
How much time do you have? To sum it up, I am a multidisciplinary or multimedia artist. I started with music, so I went to school for music and started with jazz. Through music I got into computers by making music on computers, which led to putting on shows then learning about lights, projections, and video. Most recently, my art is autobiographical. I’m trying to document my experiences, so that someone like my daughter can look through my work when she’s 30 and get a sense of what I was thinking about or understand my opinions. That’s really important to me in my work.

I’ve seen you react differently to each medium you work in. You’re most open in sharing your visual work but hesitant when it comes to music. Can you talk about that.
It’s really vulnerable  to share your art work. You don’t really know who’s reading it or how it’s being read. You’re putting a huge part of yourself out there and you know that people are going to critique it.

Is vulnerability necessary for truly creative and meaningful work?
Definitely. It’s really personal. I’m not trying to make pretty things for the sake of aesthetics. As an artist, you know some of the history of the people who have come before you and the people who are making art currently. So, that’s terrifying, because you have the weight of history on you. I feel responsible. Am I contributing anything or am I being redundant? I think of art as a dialogue and wanting to be able to contribute to the conversation.

 Economy of the Body

Economy of the Body


What’s been your most personal project to date?
The first thing that comes to mind is the film that I made recently, which is called Carrying Place. It’s about the indigenous history of the Humber River. It ties in with colonization. I had to ask myself how my story ties into colonization and what is the relationship with Indigenous people here in Ontario. What I came to conclude was that these stories are happening simultaneously even though I am from a completely different part of the world, Venezuela. I think that’s a reference for me, but I’m also not in the position to speak for other people’s experiences, obviously. What I ended up acknowledging is that if I take on someone else’s story, then I should carry it instead of tell it. Carrying is different than telling. 

Some artists get a little embarrassed when they look back on their past work — it’s like experiencing an art hangover. Do you ever feel the same way?
Yeah. All the time. Sometimes I don’t look at something for a while. If I write a song, I won’t listen to it for years. That’s why I release projects under different personas. When I was making music, I had about five different names that I used. It also allowed me to not be tied to a brand per se. What I’m doing right now is Driftnote which has more to do with visual art, but that could change.

What motivates you to keep putting yourself out there?
You’re invisible if you don’t speak.

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