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rAI
shestruç, 200
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eScAle
ers: play
You only work on paper and never on canvas. How did your
PA
-
erring small details to
technique develop and what are your ‘must haves’ when
hnique I developed were transf
Nationality: Spanish
working?
Lives and works: Barcelona, S
.raiescale.info / raiescale.blogspot.com
re there many opportuni
, and
What brought me to the tecery funny process, but you never getting
x-
fter that, I started playing with the
Website(s): www

has-

ing with solvents and paper magazines, transf
bigger composed images. V
k
You live and work in Barcelona. A
further than that blurry thing… A
ties for artists in Spain?
ink-half-
The Spanish educational system has been in deep crisis since ever-
removed-magazine-pages left around. And so I discovered the e
his would be like being able to
h is:
art schools are still ‘the dead zones’ I knew when I was a student. In
treme pleasure of painting over reversed or partial images, and c
addition, cultural politics and strategies are not especially clever in Spain.
ing shades and transforming them, to give sense or get them bac
hnique procedure, whic -
Money is spent in gigantic projects, always far from basic art needs.
to what they insinuated they were. (T
There are lots of gal eries, but there is a great gap between emerging
mold and adjust cloud shapes when seeing forms in them).
hen I work on them with sol
hen
and established art circuits. Art market is very conservative, and col
oredom and distance.
So, after a while I came to my actual tec
lectors are rare and conservative too. Despite that ‘non-easy’ situation,
Gluing printed papers (magazines, posters, collages…most times as
-
some individuals, foundations and col ectives are developing fresh lines
a nonsense style) on a hard surface. T
of work, and public and media are getting interested again in what’s
vents (from water to xylene) to move or remove ink, and then rebuild,
happening in the art scene after many years of b
modify or reconstruct them with acryl, inks, oils or pencils. W

hniques to
ragging it, it must be with the right gesture and strength to get to the
fter the erasing moment, very physical, comes
xpect-
In your portraits it looks as if you are showing the different

first shapes and lights (this would correspond to the standard start

layers of people. I know this is just my interpretation, so
ing drawing part). A
can you tell a little more about your portraits and what it is
olics are so powerful,
xtra work from adapting my palette and tec

the normal construction process of a painting.

kground just in case I can use them
you are portraying?
ace symb
I also get the e
Human face is the first thing we learn to read and recognize, and every
xpressive vehicle.
- whatever is behind, and have to be aware of keeping alive une
-
non-human thing, living or not, is humanizable by just adding a face
ed elements in the printed bac
, ha ha!
symbol where the head is or should be. F
later, as I never plan my layers.
-
easy and universal that I use them as main e
rancis Bacon, I should say
I take my models from internet or magazine pictures, but I take them as
Who are your favorite artists of the moment?

dáñez and the surreal
.
a starting point only and let them develop with my help, but never with
Velázquez, Goya and F
-
out knowing where it will all end. Because of my working style, there are
I love some works of Anthony Micallef, Adam Neate, and other paint

always, showing behind the paintwork, printed text transparencies (more
. So, when paint
h work
erly ‘street art’ artists.

than brand references), inconsistent photo bits, casual tiles or simple
In Spain I love the portrait work of Santiago Y
remains left of what was behind, that end up being essential parts in
hen successfully done, that gives to my portraits that
ks and suggestions
istic worlds of my friends Sergio Mora and Mike Swaney
the final portrait. W
strange sensation of layered, uneasy and blurred reality
xplore all plastic, narrative and emotional limits of eac
xpected painters’ twists, tric
xpect at first.
ing, I try to e
by using any kind of une
that question what viewer would e
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glorious couples

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la serpenta canta, 2007
skull2, 2007
when ever you call me, 2008
beach terrorist, 2008
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