I was born in Madrid in 1960 and over the course of my life I've done all sorts of studies and jobs, all of them very different and with nothing to do with one another, but I think I've always had a creative, artistic way of looking at everything I've done, even when it wasn't art or painting. I believe an artist is one in himself, doing any activity, at any moment and in any circumstance. That's why I describe myself as multidisciplinary and many-sided, because in art, as in life, there's time to try out and combine plenty of things. Among other things, I've worked as an industrial designer, a teacher, a basketball coach, a physiotherapist and, of course, at painting. They were opportunities and circumstances that life put in my way and they've brought me a lot of satisfaction, but underneath there's a strange common denominator, which is how to interpret your own life. I have my own view of what's around me and of the world, and I express it in every painting. Although sometimes interpreting it is up to each viewer. On that note, I should say that people who know me personally don't always see my artwork and me as one and the same.
When and why did you start painting?
Well, I started painting at 17, encouraged by an uncle who painted and who gave me an easel. You couldn't turn down a compliment like that, and I've kept up my artistic activity ever since, with ups and downs. Earlier on, at school, I always stood out in a subject we were taught called "artistic drawing" and "technical drawing", and I personally loved it. I think I had very good teachers back then and they knew how to instil in me not just knowledge but also a taste for drawing and for spending part of my free time copying the wonderful drawings in the comics of the day.
How do you think a gallery and its artists should help each other?
By spreading art, selling it and making it accessible to everyone. Art should be a widely consumed good, it isn't a luxury. And both gallerists and artists have a right to make a living from their work and to be recognised as something valuable in society's access to culture. Although I should say that right now we'd have to consider an update, or even a full overhaul, of the way an artist's artwork reaches the public. The new ways we relate to each other on social media and the ever sharper globalisation of information make me think it's all becoming obsolete. We have to think about new strategies and new ways for the gallery to be a valid, effective instrument for selling art.
What advice would you give to artists who are starting to show their artwork?
Courage, and drop the hang-ups. You mustn't be afraid of criticism or of rejection. You have to be consistent and show your work openly and honestly. I believe in consistency and perseverance as the only way to reach specific goals in this complicated, complex world. Fortunately it's getting easier and less risky to step into the ring, though the odd tumble is unavoidable.
How did you sell your first artwork? Is there one you feel a stronger connection with?
It took me a while to see myself as a professional artist, but the interest and the comments of some friends encouraged me to start selling my work, and they were my first buyers. Then came the exhibitions, the galleries and the online sales.
I don't have a particular favourite artwork, though some have been turning points in my style. I think my evolution is very fast, sometimes I even feel it's dizzying, and I can clearly see the changes between my periods. Key ones in that evolution were Mujer y chelo, El autor ante la encrucijada and Otoño, where you can clearly see the shifts in style and in the way I approach the work. And the curious thing is that there isn't that much difference in time between them, but there is in style, technique, subject matter and composition.
What is art to you? What part does it play in your life?
It's my creative side and my connection with the subconscious, unknown part of me. I understand art as the need to interpret the reality I live in. In my case I use visual means. Right now I feel it's my daily task, my routine, one I do gladly and which has no timetable and no days off, because it doesn't tire me.
What are your sources of inspiration? Do you identify with any other artist?
I don't have sources of inspiration, more like obsessions or ideas. Within abstraction I try to start from a concept or an idea that develops as the artwork moves along. Right now I don't have references from other artists, but I've been through plenty of influences from other painters. I try to see everything, both in exhibitions and online, which often distorts things but does spark the interest to go and see them in person.
In your creative process, do you have any habit, practice or quirk that's peculiar or curious?
I don't think so, maybe observation, or contemplation rather, because I spend a lot of time watching how the artwork is coming along. The truth is I'm getting more practical and less obsessive. I feel freer and more confident about breaking any established rule with my work, and I like that feeling.
Have you had an exhibition recently, what can you tell us? Do you have any new project in mind?
I'm very lazy when it comes to exhibiting, though it's really necessary to do it now and then. I almost prefer a group show and leaving longer gaps between solo exhibitions. I have something in mind that I hope won't be too far off, but I'd rather not talk about it in case it falls through.
Could you recommend us:
An artist: Matisse.
An artwork: Nighthawks by Edward Hopper.
A book: Life Is a Dream by Pedro Calderón de la Barca.
A film: Vertigo.
Thank you very much.
We invite you to visit Florez de Uria's gallery and the review on Artelista.
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