Matías Tolchinsky
1.-Describe your working method, which elements are essentials? it's rigid or organic?

Risking being from the beginning a little too rigid, I don’t think both terms are oppose each other. Although I’m sure nobody would prefer to describe his method as rigid rather than organic, the problem being that today everything ends up being organic, and concepts such as rigidity go to hell. Isn’t a palm tree, an oak, rigid? I guess my reaction to this comes from the fact that I work with words, more precisely what I like to do is to explore and dig these mountains formations produced by words and meanings cast aside, and try to do something beautiful with all this crap. That is very green, of course, very ecological isn’t it?

2.-Which part of the creative process is the most difficult for you?

From the very beginning, what would be wandering and collecting all the material and information I use to write and certainly anything that has to do with the setting, for instance getting out of bed in the morning and prepare breakfast, is what I do with more happiness. I am very methodic when it comes to just surfing the wave. In opposition, anything that is or sounds terminal, the idea of a fulfillment, not to talk about publishing a book, is something I struggle with the most, is what I have more difficulties with. I kind of see it as the point when rigidity becomes sterile.

3.-What do you do to keep refreshing creativity on your working process?

I surf the wave, of course! I try to float.

4.-How do you organize your work in mid and long term?

I have these different scenarios I try to make up. I want  my book to be like a planet, with it’s deserts, jungles, oceans, etc. So I seek for materials, mainly words, and begin to arrange them to build each one of these landscapes. Now, it’s a long way from the moment I find a particle somewhere in the outer space to the point when I finally set it somewhere in a page. Usually I’m happy enough if I’m able to bring it to the right orbit. First you fish the fish, then you cook it. In spanish you even have two different words for those two. Are you aware that the brain is surrounded by a barrier that protects him from the many different substances moving around? So for example if you have a lack of serotonin, it’s not like you can just get a serotonin shot, it wouldn’t make it trough. The path is indirect, you see? more surrepticious. So if there is anything I could say about my creative process, is that to me is crucial to raise and foster a barrier like that one to prevent my writing from becoming infected with any shit. That’s why art in general, and specially language-made art, seems so vulnerable to me. Easily brainful, hardly skulless, do you think I could say that?

5.-How do you manage the variables of money and time in your creative process?

No, I honestly don’t manage a thing. I put all my time and money I have into it, although I barely have incomes at all and luckily don’t need too much money. Being light is important to me, you know? Austerity makes me thrive. I need to have space so I can eat and incorporate words!

6.-Do you use softwares or specific programs for your work?

Microsoft Word and Google Chrome, is that specific enough?

7.-How is your perfect work environment?

I need silence and light a lot. I need a good table and a good place to sit. Normally I need shade, though I must admit that sometimes being exposed to the sun rays, especially when mixed with some pot or coffee have put me into very creative, very thrilling states. I don’t know. Definitively I like to be in peace, probably alone but not to the extreme of isolation, otherwise I become too scared to write. Isn’t that weird?

8.-Is leisure an important thing in your creative process? Why?

No, it’s not. I don’t make a difference between my work and the rest of my life, I don’t disconnect or unplug myself to talk about leisure. If I’m watching a movie, or reading – whatever it is, I cannot avoid being attentive, ready to catch something. It might be a nightmare, though, sometimes I wish I could avoid establishing relationships in between things. Develop other manners of listening, maybe. But I am very primitive, a man of one line, if you want.

9.-Invent a name for your working process.

Lithic reduction. I didn’t invent it, of course. I found it, as everything.

10.-Draw or choose an image or shape that can represent your work method.


I like to think of myself as a wind or a river that just pushes and flows or blows over these rocks that words are to me, so I become a force of erosion to them, giving them shape just by wearing them away. I am very clumsy, you know? Every time I find a rhythm or a movement I enjoy I fuck it up, so the more distance I keep between my work and my own hands the better. The approach has to be subtle. It’s been very hard to get to learn and accept this condition.