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A Vocation Born in Mediterranean Light

Originally from El Prat, near Barcelona, Cristina BanBan has emerged as one of the most distinctive voices in contemporary painting. Her relationship with art began early and instinctively. Her parents enrolled her in art school at the age of five — a defining gesture.

“I always knew I wanted to do something with drawing and painting,” she recalls.

Since childhood, a sketchbook and pencils have never left her side. This intimate connection to drawing is rooted in a traditional education centered on observing reality. Very early, she learned to copy, to understand light, to master color, watercolor, and acrylics, and eventually to draw from life. This rigorous discipline forged both her vision and her precision.

Between Popular Culture and Pictorial Heritage

Cristina BanBan’s early influences reflect the hybridity of her generation. While Picasso was her first artistic shock — “Picasso was my first influence” — she also acknowledges the profound impact of popular visual culture: Japanese anime series such as Dragon Ball, Sailor Moon, and Doraemon fed her teenage imagination.
This dual belonging — between high art and popular culture — still flows through her work today, where the monumentality of the body meets an almost graphic expressiveness.

From Barcelona to London: The Search for Artistic Identity

Graduating in 2010 from the University of Fine Arts of Barcelona, which she describes as “very conservative,” Cristina BanBan decided to move to London, where she lived for seven years.

“I felt very lost, and the way I spent my free time was mostly drawing,” she explains.

There, she developed — almost self-taught — a personal visual language blending sensuality, strength, and humor. From 2016 onwards, painting became her main medium of expression.

The Call of New York: A Defining Turning Point

In 2019, a residency in New York transformed her trajectory. Invited by a gallery, she discovered a new source of energy:

“I had so much fun. It was so exciting, and I felt it brought me back to life.”

The New York experience became foundational — offering her the freedom and experimentation that pushed her practice toward looser, more gestural forms.

While the female body remains central to her work, Cristina BanBan now treats it as a vessel for emotion rather than representation. Around 2022, she began to explore distortion, tension, and fragmentation. She cites Willem de Kooning, Joan Mitchell, Paula Rego, and Lucian Freud among her references, as well as Joaquín Sorolla, whose mastery of light and gesture she deeply admires.

Evolving Style: From the Body to Composition

While the female body remains central to her work, Cristina BanBan now treats it as a vessel for emotion rather than representation. Around 2022, she began to explore distortion, tension, and fragmentation. She cites Willem de Kooning, Joan Mitchell, Paula Rego, and Lucian Freud among her references, as well as Joaquín Sorolla, whose mastery of light and gesture she deeply admires.

Her creative process is grounded in drawing — “Drawing is a very calm, meditative state for me” — but her approach to painting is driven by energy and impulse. Without preparatory sketches, she advances instinctively, “breaking” canvases that fail to work and immediately starting anew.

“Lorquianas”: An Homage to Federico García Lorca

Presented at Galerie Perrotin in Paris, Lorquianas marks a major milestone in BanBan’s career. Inspired by Federico García Lorca, the celebrated Spanish poet and playwright, Cristina BanBan reinterprets his world through a series of powerful and lyrical works.

Invited to work at the Centro Federico García Lorca in Granada, she delved into the poet’s archives, drawings, and photographs. From this dialogue emerged ten large-scale paintings and several drawings intertwining symbols, architecture, and feminine figures.
The paintings evoke Lorca’s tragic heroines — Yerma, La Casa de Bernarda Alba — as well as his dreamlike characters: clowns, sailors, Pierrots.

“The meaning of the exhibition is to give life to Lorca’s legacy in a different context here in Paris,” she explains.

The Female Body as a Territory of Emotion

In Lorquianas, Cristina BanBan chose, for the first time, to dress her figures. Clothing becomes a narrative tool, a bearer of symbols. Yet painting the female body remains her central thread:

“As a woman painting women, my gaze is inevitably different.”

Her canvases convey the emotional power of the body — its vulnerability and strength — far removed from any erotic intention.
Lorquianas thus stands as a pictorial meditation on femininity, memory, and poetry. Between figuration and abstraction, between Spain and America, Cristina BanBan transforms painting into a sensitive language — a space where the body becomes metaphor and color becomes emotion.

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Renowned British painter Glenn Brown has redefined the boundaries of contemporary art by merging Surrealism, Photorealism, and historical references into a unique visual language. Born in 1966 in a small mining village in northern England, Brown grew up surrounded by literature and music rather than visual arts. His work is celebrated for its meticulous detail, complex appropriations, and evocative distortions that invite viewers to question the meaning of art and originality.

The Early Foundations of Creativity

Brown’s formative years were marked by a love of books and music, fostered by his parents in rural Norfolk. He recalls his unexpected introduction to visual art through pop music:

“My first introduction to Henri Fantin-Latour’s paintings was by an album cover designed by Peter Saville for New Order.”

Programs from the Open University further expanded his education in art and film, giving him a rich cultural foundation before he ever set foot in an art college.

At art school, Brown’s education varied from academic life drawing to modernist theories of color and abstraction. He was influenced by the German and American art movements of the 1980s, including Gerhard Richter and Sigmar Polke, both of whom shaped his approach to the “death of painting.” As Brown explains:

“You build upon tradition, you play with it, and you break it whenever you want to.”

Painting in a Mediated World

Brown’s career has been deeply influenced by the concept of appropriation, drawing inspiration from artists like Sherrie Levine and Salvador Dalí. He reflects on the process of reinterpreting images:

“I loved Sherrie Levine’s photographs… where you become dizzy because you don’t know what to look at.”

This fascination led to his unique practice of creating “paintings of paintings,” using mediated images as his subject. His work bridges the gap between Photorealism and Surrealism, as seen in his pieces based on Dalí and science fiction illustrator Chris Foss. Brown notes:

“The idea of making photorealist paintings of photorealist paintings… seemed so mind-numbingly boring that I couldn’t bear to do it.”

Instead, he introduces distortions and layers that amplify fantasy and escapism.

A Dialogue Between Paintings – In the Altogether

For his exhibition In the Altogether, presented at Galerie Max Hetzler in Paris, Brown created a series of interconnected works over two years. He explains:

“Nothing was finished, but all the paintings were started, and they were all talking to each other.”

The paintings feature vibrant colors, dynamic contrasts, and intricate glazing techniques that add depth and complexity. For instance, Brown uses Indian yellow—a pigment derived from ox urine—to create unique tones:

“You apply this yellow over the top of a blue, and it turns this very peculiar green.”

One standout piece, The Untitled, is based on an Albrecht Dürer drawing. Brown manipulates the figure to blur gender distinctions, explaining:

“In my mind, it’s both Christ and Mary at the same time.”

The work includes a blank rectangle at the bottom, inviting viewers to title the piece themselves, an interactive gesture that encourages personal interpretation.

Humor, Depth, and the Role of Titles

Brown’s use of humor is central to his work, influenced by the deadpan wit of Marcel Duchamp. Titles like Dirty Little Seahorses and When the Satellite Sings are meant to provoke both laughter and deeper reflection. He describes the importance of titles:

“The title of a work is like adding an invisible color to the painting.”

Through this playful yet intellectual approach, Brown invites viewers to engage with his art on multiple levels, finding meaning and amusement in equal measure.

Glenn Brown’s Artistic Vision

With In the Altogether, Glenn Brown continues to push the boundaries of painting by combining meticulous technique with rich cultural references. His work reimagines the history of art while challenging viewers to question their perceptions. Whether through surreal landscapes or appropriated brushstrokes, Brown’s paintings create a dialogue between the past and present, offering a thought-provoking and playful exploration of humanity and creativity.

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David Reed is a prominent American contemporary painter known for his abstract works that emphasize color, movement, and light. With a distinct approach that blends traditional techniques with modern influences, his paintings often evoke a cinematic quality, mixing expressionist brushwork with a digital sensibility. In this interview, Reed discusses his artistic journey, from his early influences to his latest exhibition, Whirlpool.

Early Influences and Path to Art

Reed’s early life in San Diego, California, was shaped by modernist architecture, thanks to his uncle, architect John August Reed. This influence, combined with family members involved in art, created a foundation that would eventually lead Reed to pursue painting. He reflects on how McLaughlin’s minimalist work, often dismissed by others, piqued his curiosity and shaped his approach to space and composition.

The Impact of the New York Studio School and Milton Resnick

While studying at the New York Studio School, Reed encountered Milton Resnick, who challenged him to view paintings as a whole rather than focusing on isolated parts. Resnick’s unconventional advice helped Reed develop a more integrated approach to painting.

Color, Emotion, and Freedom in Painting

One of the defining features of Reed’s work is his use of color to evoke emotion. For Reed, color serves as an opening, offering an unarticulated yet powerful emotional resonance. He believes color in painting can liberate the viewer, creating personal connections that transcend commercial uses of color in media.

“Painting can fight back against [advertising] by using color in a way that’s free, that lets people experience in a different way and frees them up rather than trying to control them.”

Whirlpool: The Endless Possibilities of Painting

In Whirlpool, Reed seeks to create paintings that feel open-ended, inspired by an Edgar Allan Poe story about a whirlpool with simultaneous inward and outward motion. This dynamic interaction, where paintings pull viewers in before pushing them out, captures the essence of Reed’s recent work.

“I want these forms to be open… to think that the painting can open up sideways, above and below, and maybe be repeated in certain ways.”

Homage to Barnett Newman and the Use of Stencils

Reed’s experimentation with stencils has given him new freedom in manipulating color and form. In his homage to Barnett Newman, Reed uses red, yellow, and blue to invoke Newman’s abstract yet culturally resonant approach. This piece reflects Reed’s respect for Newman’s ability to blend intellectual depth with popular culture, a quality Reed aspires to in his own work.

“I think of that painting as an homage to Barnett Newman… he was so intellectual, but still so involved with pop culture.”

Conclusion: The Emotional Journey of Painting

David Reed’s dedication to exploring the emotional and visual language of color and form has cemented his place in contemporary art. His work continues to offer viewers a unique, open-ended engagement, revealing the transformative potential of painting in a world where color is often commercially driven. Reed’s exhibition Whirlpool serves as a testament to his belief in the enduring relevance of painting as an expressive medium.

Watch David Reed’s full interview to learn more about his journey and philosophy.

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Tony Cragg, one of the most influential sculptors of our time, has consistently redefined the boundaries of contemporary sculpture. Born in 1949 in Liverpool, Cragg’s work explores the dynamic interaction between materials, shapes, and meanings. Over the course of his five-decade career, his innovative approach has garnered international acclaim, including the prestigious Turner Prize.

In this exclusive interview, Cragg dives into his early influences, his fascination with science and geology, and how these elements have shaped his artistic vision.

Early Influences: From Geology to Art

His early exposure to geology provided Cragg with a foundation for manipulating physical materials in his art. He saw sculpture as a way to communicate deeper truths about the natural and man-made worlds.

“I’ve always been fascinated by the way the Earth forms and changes materials over time,” Cragg explains. “This understanding became crucial when I transitioned to sculpture, where I could experiment with form and push the physical limits of materials.”

The Power of Material: A Key Theme in Cragg’s Work

Cragg’s work is renowned for its use of diverse materials. Over the years, he has incorporated bronze, steel, wood, and even glass into his sculptures. Each material presents its own set of challenges, but Cragg sees these as opportunities for innovation rather than obstacles.

“Every material speaks differently,” Cragg says. “You don’t just impose a form onto a material; you need to have a dialogue with it. That’s what creates the tension, the life, in a sculpture.”

This approach is evident in his famous series “Early Forms” and “Rational Being,” where forms seem to grow organically, twisting and morphing in ways that challenge the viewer’s perception of materiality.

Science, Emotion, and the Meaning of Sculpture

Cragg often emphasizes the intellectual and emotional impact that sculpture can have. He sees sculpture not just as an artistic form but as a medium through which to explore the interaction between human perception and physical reality.

“Sculpture is about making sense of the world, not just visually, but emotionally and intellectually,” Cragg reflects. “I want my works to resonate on many levels, to provoke thought, and to challenge the way people see the world around them.”

His interest in science also plays a significant role in his process. Cragg explains that his scientific understanding of materials and forces allows him to manipulate them in new and innovative ways. In many ways, his work bridges the gap between art and science, creating sculptures that are both visually compelling and thought-provoking.

New Sculptures

Cragg’s latest exhibition, “New Sculptures,” demonstrates his continued evolution as an artist. In this new body of work, Cragg returns to his roots of experimenting with form, focusing on the interaction between man-made materials and the natural world.

“The new works are very much about form and the energy of shapes,” he says. “I’m still exploring how different materials can convey different emotions and ideas, but I’m also thinking more about how my sculptures interact with space and their surroundings.”

The exhibition showcases Cragg’s ongoing curiosity and willingness to push boundaries, proving that even after decades in the field, his creative spirit remains vibrant and undiminished.

Sculpture in Modern Culture: Cragg’s Broader Reflections

Beyond his personal practice, Cragg also reflects on the role of sculpture in modern culture. He believes that sculpture can offer insights into how the material world shapes our emotional and intellectual experiences.

“In modern society, we are constantly surrounded by objects and materials, but we often overlook how deeply they affect us. Sculpture makes us pause and think about those relationships,” Cragg notes.

For him, sculpture serves as a bridge between the material and the intangible, providing viewers with a new way of understanding the world around them.

Conclusion: Tony Cragg’s Enduring Influence on Contemporary Sculpture

Tony Cragg’s contributions to contemporary sculpture have left an indelible mark on the art world. His innovative use of materials, combined with his intellectual approach to form and meaning, continues to challenge and inspire viewers around the globe.

“All an artist is doing is taking the time and the reflection to see what forms can mean anything.”

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In this conversation, artist Katharina Grosse is interviewed about her career and artistic influences. She discusses her upbringing in a working-class area, which exposed her to art, music, and cultural experiences. Grosse’s affinity for color and her early inspirations, such as Manet and Matisse, are discussed, as well as her experiences in nature and their impact on her perspective and sense of scale. A pivotal moment in Grosse’s career is highlighted when she painted the Green Corner in Bern, which marked a release into a freer way of working in space.

The interview also delves into Grosse’s realization that color is her core medium. She reflects on her decision to use a spray gun, which allowed her to work on uneven surfaces and move more freely in space. Grosse discusses her tactile approach to her artwork, contrasting earlier works where she embedded leaves with her current practice of not physically touching her work with the spray gun. The interview concludes with Grosse reflecting on the independence of painting from its surroundings and the fascination of combining color with functional spaces or objects.

Overall, this conversation highlights Grosse’s journey as an artist and the pivotal moments and influences that have shaped her career. It explores her fascination with color and her exploration of different techniques and approaches to painting. Grosse’s emphasis on the physicality of her artwork and its relationship to space is also discussed. The interview provides insights into Grosse’s artistic process and her ongoing exploration of the possibilities of painting.