Can you tell me a little bit about you?
I’m from Bilbao (Spain). My artistic training was initially self-taught, although I later did my university studies in Fine Arts at the University of the Basque Country.
When did you first discover art, or realize you wanted to make it yourself?
In my case, the interest for art has been coming progressively, as a teenager I started with urban art, and little by little my perception has changed while I went deeper into the possibilities and depth of art. There was a time when my perception of art and its transcendence changed completely, when I discovered its potential to influence my state of mind, art is a tool that helps me to process experiences at the cathartic level.
What do you like most about working where you do?
I like to work alone, without contact with the outside, to feel that my study is my space of introversion, that is the most important thing and what I have most taken into account when I have been changing my studies.
What ideas are you exploring in your practice?
I could speak at the iconographic level of my work now, mention that I have replaced the human figure with plant elements, that I am interested in the visual tension, the drama generated by the contrast and the clash between the order (planes of color, geometry … ) And the chaos (pictorial accidents, organic forms …) But I would say that my work is essentially a self-portrait. I work in an intimate way always from the introversion, for that reason, I consider all my work a kind of live self-portrait
What is your process like?
I usually work without any reference or sketch, I seek to explore improvisation, since I consider that not being subject to a reference to help work in a more fresh and visceral way. With respect to the execution time of the works, it is impossible for me to calculate it, actually.
Is there any subject or theme you’ve been particularly interested in lately?
I have always been interested in the representation of the human figure, but from its more subjective than anatomical approach.
Do you have a day job or other work that you split your time between?
Fortunately, I can dedicate myself entirely to painting.
What is your studio like?
My studio is a simple, open space, and as a witness that is of my creative process is full of marks derived from this work. I like that the use has left an imprint on it, in fact, when I changed my studio I did not feel comfortable until I spent some time and made it my own.
Do you have any routines or rituals in the studio that get you into the mode or mindset to make your work?
I do not have any special routine, I spend a lot of time observing the works that I have in process, maybe the only thing necessary as a routine can be music, it is essential for me to evade and concentrate.
How significant has attending art school been on your practice?
My time in the faculty gave me an open-minded artistic level, I think I learned a lot there, although I have always considered myself more self-taught.
What do you find most daunting, challenging, or frustrating about pursuing art?
The creative process itself has frustrating and other very satisfying moments, working from improvisation and viscerality there is a very high factor of error and surprise.
How would you define “success” in art?
Difficult question, I suppose we should separate success at the commercial or recognition level and personal success. The first is necessary to access the second, which is the one that transforms and satisfies.
What is the most exciting thing you’ve done or accomplished so far, related to your work?
I would say that there are two moments that mark my still short artistic career. My first solo exhibition in my hometown, and the day that Yusaku Maezawa personally contacted me to be interested in my work for his art foundation.