Art is a language that transcends boundaries, a dialogue between the creator and the observer. In this interview, we delve into the creative world of Fernando Gaspar, a self-taught artist whose journey from drawing and watercolors to exploring complex themes of identity, belonging, and abstraction is as dynamic as it is profound. Gaspar's work resonates universally, reflecting both personal evolution and a deep engagement with the world around him. Through his thoughtful responses, we gain insight into his artistic process, his challenges and triumphs as a self-taught artist, and the global experiences that shape his vision.
1. Your artistic journey began with drawings and watercolors.
How has your creative process evolved since your early days, and which techniques do you prefer to use now?
The evolution of my creative process has been progressive but deeply transformative. Having started canonically with drawing, I devoted over a decade exclusively to watercolor. With a growing desire and curiosity to explore new mediums, scales, and supports, I focused extensively on composition and texture, introducing new challenges to my practice and developing a deeper understanding of the role of art and my place as an artist. Today, I work primarily with textured paints like acrylic or oil on diverse surfaces such as linen canvas or wood. However, even when I return to watercolor or drawing, I approach them as a different artist, guided by new parameters and with a broader perspective on the entire process and its implications.
2. You are a self-taught artist.
What challenges and advantages have you encountered on this path, and how has it influenced your artistic expression?
The challenges of this path, which was partly a circumstantial decision, were numerous and carried various implications. While I had the advantage of taking full control over the learning method and the pace at which I progressed, I had to face the reality of doing it alone, missing out on the benefits of shared experiences, techniques, and validated knowledge. On the other hand, acquiring knowledge through self-driven research and continuous hands-on experimentation fosters a profound understanding of the processes, not just the outcomes. It also develops skills, resilience, attention to detail, and independence, qualities I believe are crucial for strong performance.
3. Your work often explores themes of identity and belonging.
Could you elaborate on how these themes are reflected in your creations and what messages you aim to convey to the viewer?
In recent years, I was deeply involved in a series titled Separated Land, where I explored the significance of the concept of territory in its multiple dimensions—ranging from the most intimate to the most collective. Naturally, identity and belonging became part of the discussion, as well as the implications these themes have on our lives and societies. I examined how these ideas are at the root of both historical and contemporary conflicts and wars. In this body of work, different rhythms and color dynamics coexist within the same piece: large chaotic, gestural, and highly physical strokes are juxtaposed with more mathematical and cerebral “structures.” Leaden, burnt backgrounds give rise to vibrant patches of color, creating a tension between the two. As the titles of the various series in my work suggest, the theme that consistently emerges as a central focus is “place.” Whether in its physical, poetic, or philosophical sense, everything revolves around this concept—seen from the inside out or the outside in, felt, inhabited, empty, conquered, rebuilt, or imagined.
4. You have participated in numerous exhibitions across Europe, Asia, and North America. How have these international experiences shaped your art, and what cultural influences can be seen in your work?
I am undoubtedly influenced by what could be considered a contemporary and international artistic grammar, shaped by the encounters and experiences I have in the destinations you mention. This process of influence is unavoidable, unconscious, and not entirely deliberate. Perhaps for this reason, my painting is not unmistakably identifiable with a genetic trace of the Southern Atlantic Europe, where I am from. My sources of inspiration are not exclusively local, and I truly believe that the themes I explore are universal, addressing concerns relevant not only to me but to all of humanity.
5. Your artistic style has transitioned from figurative to abstract forms over the years.
What inspired this shift, and how does it reflect your personal and artistic development?
Throughout my figurative phase, a progressive simplification of forms became evident, to the point where, by the end, much of each painting had become almost abstract. This shift was largely influenced by my growing interest in the works of post-war expressionist artists and some contemporaries. The exhibitions and museums I sought out and visited reflected this trend, as did the books I read, which explored these movements. I felt that this language better encompassed what I aimed to express and explore. Additionally, I believe abstraction could be the natural result of a continuous process of seeking synthesis and meaning—a pursuit of an inclusive, complete and universal language; but I firmly believe that figuration is not the ultimate antithesis of abstraction. The two can coexist within a unified language, conceptually complementing one another. The act of creation itself is, inherently, an act of abstraction.
Through his transformative journey, Fernando Gaspar reveals that art is not merely about the medium or the technique but about the persistent exploration of self, place, and the universal connections that bind us. His reflections underscore the power of resilience, curiosity, and the courage to embrace change. As we step away from this conversation, we are left with a deeper appreciation for the artistry that dares to confront complexity and the enduring relevance of themes that touch the core of human existence.
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