ARTCOLLECTORNEWS: What inspired you to become a studio artist?
Art came to my life in a natural way, I started painting and going to art classes at the age of 7 years old, at the time it served as an expression and an scape for me, I realised that this was my passion and that I really wanted to dedicate my life to the arts, I worked in different creative jobs to be able to learn different techniques that I could incorporate in my work, I also started traveling living in different countries and this expanded my inspiration and ideas for new works.
ARTCOLLECTORNEWS: How has your background shaped your artistic practice?
I was born in Ceuta, Spain, is a very multicultural place because is part of Spain but geographically it is on the North part of the African continent, I grew up seeing a big mix of cultures and since I was a kid, I took so much inspiration from my surroundings, later as a young adult I started traveling to Asia, more countries in Europe and the USA, living in different parts of the world have had a huge influence on my work, culture and society have always been at the core of my artistic practice.
ARTCOLLECTORNEWS: Describe your process of creating a new artwork from concept to completion.
When I start the idea for an artwork, I usually think of the message I want to transmit to the viewer first, then according to the concept, I choose the materials that would deliver the concept in the best way and this is why I work with diverse materials.
Throughout the creative process, I start with writing about the concept and then I continue with sketching my ideas of the work and think of the materials that would work best to transmit my message and the last step is to start working on the piece.
ARTCOLLECTORNEWS: Are there any particular artists or movements that have greatly influenced your work? In what way?
I’m deeply influenced by the movement “Arte Povera” which was a movement that was developed in Italy during the 1960’s it is a form of conceptual art using elements that up until that time weren't used on artworks, I’m influenced by this movement because with materials such as neon, mirror and advertisements from the street, the artist of this conceptual movement were able to send deep and strong messages to the viewers, I was also really intrigued by the use of this materials for artistic expressions. From this movement my biggest inspiration are Michelangelo Pistoletto and Mario Merz. Mimmo Rotella and his works, also inspired me into discovering materials like advertisement paper and other different techniques.
My goal has always been to leave a message for the viewer and to connect with them.
ARTCOLLECTORNEWS: How do you select your themes? What inspires you?
The inspiration for my works comes from the daily life, from what surrounds me and the experiences I encounter, traveling is a big a part of my inspiration, getting to explore different and unknown places and connecting with cultures, all the information that comes to my eyes everyday is valuable for me, observing society is a fundamental part and above all, the small details, the things that make you see everything from a different perspective.
ARTCOLLECTORNEWS: Can you tell us about your decade long project/collection Blindness?
For the passed 15 years I have been working on my Blindness collection, which explores through the appropriation of advertisement imagery of seemingly perfect symbols of a standard of beauty in contemporary society, and deconstruct this seemingly perfect image to create a contrast between consumption and technology.
Throughout the years Blindness, has evolved in regards to the concept and the materials I used, at this stage of the15 years of Blindness collection, it concerns the appropriation of light, the struggle and contraposition of natural and artificial light, and the visual definition of the complex characteristics of light, natural light oscillates in a dance of death with artificial light, it pursues the immortalisation of changing natural light, depicting a light metamorphosis throughout the day, the ephemeral of fleeting moments and beauty. This works create a complex and multi-layered compositions with a pronounced balance within the textures, contrasts, and compositional constructions.
ARTCOLLECTORNEWS: I know you are quite diverse with materials as well as art forms. What is your favourite medium to work with? Please tell us a bit about how the medium influences or supports the ideas behind your work?
When I start the idea for an artwork, I usually think of the message I want to transmit to the viewer first, then according to the concept, I choose the materials that would deliver the concept in the best way and that is why I work with diverse materials.
ARTCOLLECTORNEWS: What has been the most rewarding part of your career as a studio artist?
Throughout my artistic practice my goal has always been to leave a message for the viewer and to connect with them, to impact them and leave them with an idea or a question. Museum exhibitions are really rewarding because throughout history museums have been the safeguard of human history and in a Museum you can really connect with a society in a deeper level, I also think educational programs are really rewarding, my work has been included in programs for adults and for children as well, connecting with the younger generation is special for me.
Conceptual Poetry, is the foundation of my exploration of using language as the material and transforming the appropriation of advertising and light into the appropriation of language.
ARTCOLLECTORNEWS: Tell us a bit about your exhibitions. Any highlights? How has your experience been exhibiting at Museums?
From the moment I started working as an artist I always wanted the achievement of having my works in a Museum and to be a part of Art History, one of my exhibition highlights was my first Museum exhibition, which was at The Seoul Museum in the spring of 2019, being there and connecting with the viewers, was really special to me, seeing the way my artworks connect with their culture and to see the expressions of the viewers once they see my works. Another exhibition highlight for me was my first solo show in Japan, which was at Maki Gallery in Tokyo in the fall on 2019, this was my introduction to Japan and and it was the beginning to more projects there with one of the most important galleries in Japan.
Also another highlight has been my first Public installation “Alma - A room without walls ” presented in Ulsan, Korea at a public space in the spring of 2020 , is an installation that encapsulates Blindness Concept into a transcendental physical space, composed of mirrors and light that is simultaneously ethereal and unsettling.
This room breaks through architectural barriers. As the concepts of both light and infinity in their purest forms are nearly impossible to comprehend, these mirrored walls create a limited depiction of infinity. Inviting the viewer to step into a room I have conceptually removed the walls, replacing them with unlimited light and space. The room is a physical representation of broken metaphysical barriers that fill our minds with banal and insignificant thoughts, keeping us trapped, and un- able to realise the potential that exists beyond.
This piece not only tests the concept of perception but inspires self-reflection. Blindness Alma allows viewers to interact with the work, become a part of the art, and discover a pure reality without artificial barriers.
The transcendental problem of light is that it is merely a reflection, so the ultimate goal for the viewer is not to focus on the glowing neon light; rather, the participant is encouraged to search within for some- thing more profound beyond those lights, to question societal views of self-worth and perspective.
ARTCOLLECTORNEWS: What themes or topics are you currently exploring with your artwork? Tell us about your latest body of work, what exciting new projects are you working on?
I’m currently working on my new body of work titled Conceptual Poetry, which I will present in Art Central in March 2023.
For the passed 15 years I have been working on my Blindness collection, which explores throughout the appropriation of advertisement imagery of seemingly perfect symbols of a standard of beauty in contemporary society, and deconstruct this seemingly perfect image to create a contrast between consumption and technology.
This new body of work, creates a bridge between my conceptual work, that has last been seen in 2015 in the exhibition “War, Consumption and Other Human Hobbies”, and the vision of my work in the present time, Simplifying all the elements that I have been exploring and analysing, adding a more personal message, with writings and archives that I have been collecting throughout the years that are also the fundaments of my artistic expression.
For years I questioned how I could simplify my work, and instead bring forward the hidden messages that were behind the bold images. I also analysed how I could visually deconstruct all the information overload and the visual pollution that surrounds us. In a world where media acquires relevance and our lives are dominated by social media.
Conceptual Poetry, is the foundation of my exploration of using language as the material and transforming the appropriation of advertising and light into the appropriation of language. To whom words and language belong to? Each of us owns the interpretation and the means by which we relate to them. However, in reality, are we the owners of those moments, or is language a part of the manipulation? When we see a word, what do we feel? What do we think of it? Does that moment transport us somewhere? And does our perception change when the word is larger or smaller or changes colour or shape?
In conceptual poetry I propose a search from simplicity and irony, creating a door for the viewer to connect with themselves using verbal codes, proposing a dialogue with themselves through questions about issues of our socio-cultural environment such as politics, stereotypes, power and society of consumerism.
In these new bodies of work, there is a fine line where traditional materials such as paint, wood, clay, and paper are the support of language and words are the connectors between them, an open book without a cover where the viewer organises the words freely to create their own story through mirrors, pieces of clay that fall from the sky or words that appear in the works impulsed by air.
The most important is to listen to yourself and to what you genuinely feel in your heart, quiet all the outside noise.
ARTCOLLECTORNEWS: How do you go about marketing and promoting your artwork? How important do you think that is?
I have always done my marketing in a natural way, I have stayed up to date with the new platforms and tools as an added window of expression to connect with the viewers. I don't necessarily have a set strategy, I use marketing tools as another window of expression.
ARTCOLLECTORNEWS: Finally, what advice would you give to aspiring studio artists?
I would like to say to artist that the most important is to listen to yourself and to what you genuinely feel in your heart, quiet all the outside noise, prevent it from confusing you and think of art as a ideology, analyse what really connects with you and what you would like to gift to the world.