Currently, do you think there is a visual trend towards pure forms and intense colors?
Absolutely. We are long past the limits of primary and secondary colors. Screens and the digital world have given us the opportunity to use many more colors, something that was previously unthinkable. For example, I stay away from any flat color: I'm much more interested into what happens between flat colors, such as the shade obtained between red and orange, rather than the color red or orange themselves. I also believe that social networks have allowed people to copy any palette without thinking about the colors per se -they wave a magic wand and pick the color they've just seen without giving it any meaning. Obviously, I too have taken colors from other artists; but you have to know how to use them and make them personal. What I do is closer to the surreal, that's why my colors tend to be more intense. As for the forms, I'm not sure what you mean by "pure"... But if you are referring to that recent wave of artists who make 3D architecture illustrations with dreamlike spaces, that 95% of the time are so similar among them you can't even tell who their artist is, then yes. They always use very polished and pure forms and I suppose Instagram is the one who set the course, in this case. I am curious to see what will happen in the future.
Your style is particularly influenced by it, due to the geometric shapes and the use of color, but it is generally applied to real landscapes and buildings. What is the synthesis process that transfers reality into such polished format?
I use several synthesis processes. I'd say three... With the first one, I start from a facade or the floor of a building, I leave aside the artistic vein and take on the illustrator's one, trying to be faithful to what I see, respecting the work of the architect and the building, while giving my touch in regard of detail, shading and, finally, color. Then there are commissions and real buildings. Here I usually express my artistic part more, thinking about what and how I want to represent it -I distort the perspective, add elements that I wish existed, change the colors. You can't tell what is real and what is not, but you can always recognize the building I represent. Finally, there are my own inventions. In some cases, they are spaces and places that I wished existed. In other cases, the places are so transformed that perhaps the only thing I kept about them was the perspective. The latter is a process in which I feel more and more comfortable. After a lot of practice, of course, but it's where I feel an artist the most.
Where does this interest for architecture and, in general, for the graphic representation of space come from?
I would say that, since childhood, spaces, rooms and buildings have always drawn my attention. Maybe not so much the buildings, but the spaces. I also believe that the architecture workshop I did during tech high school, left a mark in me.
Your series on some of the most recognized clubs in the world has become somewhat famous. How did you come up with the idea?
It all started with the illustration of Barraca, that I gifted to my mother for the first time. From there, we saw the potential it could have. To this day though, I'm still fascinated by the aftermath it had, the fact that the series continues to sell and, above all, that it reaches such disparate places all over the world.
