Nacho Zubelzu. Courtesy of the artist.

ARTE & PALABRA. CONVERSATIONS WITH CARLOS DEL AMOR

Nacho Zubelzu (Reinosa, 1966) is an artist who, from his Valle de Campoo in Cantabria, decided one day to travel the world with this valley in his backpack, and that it was nature that surprised him and entered into all his work.

Artists who love nature should remember that it is extremely changeable, even more so when you are a nomad and you have to respect it because there is only one. This respect and this interaction with the environment make Zubelzu's work subtle, deep, virtuous and emotional, because the earth is an emotion, but to get excited you have to live it. He lives it with the greatest respect and commitment, he lives it so much that he often makes the transhumance with the shepherds of Extremadura and Andalusia, who take the cattle in search of that second spring that I wish we humans could also live.

When we move, we leave our traces, whether we want to or not. The important thing is to be aware of this trace, which will be inherited by those who do not yet know it.

We are in the presence of an artist whose first commandment is balance, whose second is observation, and whose third is curiosity; and who, by means of drawing, sculpture, photography, or performance, tries to change the way of seeing of those of us who move too fast to understand that there is only one world, from which we seem to be moving further and further away.

From the Resistances series. Snail. Pen and ink on paper. 2023.

If you had to define yourself in one sentence, how would you define yourself?

I would define myself as a nomadic artist who moves back and forth. I think I am a creative, a lover of nature, which I then transform, like a shaman, in my travels. I want to bring art closer to life, to our roots, to the universe. In short, I see myself as a mediator between man and the earth.

My second question is probably related to the first, because I don't know if I should introduce you as a painter, a sculptor, a performer or even as a surveyor and shepherd. Help me.

As you say, I had already summarized it in the first question, but I consider myself a man of rebirth, like those shepherds of the simple life that I have known, who always find solutions to survive with the minimum resources. A shepherd once told me that all you need to go on living is a spoon and a knife. And indeed, I don't like to pigeonhole myself into one particular discipline. I like to embrace them all. I feel very comfortable using different resources or tools to create, to excite, to make people feel, and to try to reach the viewer, which is ultimately the great challenge. For all this I use different artistic disciplines and I think that the world is a huge palette full of resources, ideas, materials. My job is to select, organize and decontextualize them in order to find the key, the solution, in short, the work. To do this, I will use the discipline and the tool that best suits the moment and the place, be it carving, painting, drawing, audio-visual media, or even my own body. So, Carlos, how do you define me or what do you call me, as the other one said, "don't call me Dolores, call me Lola".

Travel, movement, observation, places and traditions are elements that are reflected in your work, right?

PYes, that's true. Observation has been the key to many of my projects. Since my childhood and adolescence, I have spent many hours in the countryside, waiting, observing the rural environment, the animals, and their behavior. I was very passionate about migration, both of birds and mammals. I think that's where the journey and the interest in this activity, in transhumance, came from. It's a point of origin that fascinates me, and that's when I concentrate all my artistic potential to reflect on this particular subject. I have experienced transhumance in the first person. I have participated in several transhumances throughout the peninsula, from Andalusia to Teruel, from Extremadura to the Cantabrian Mountains, from Albarracín to Sagunto, well, countless transhumances. And in these journeys I have shared and lived with shepherds and cattle for many months. I was able to nourish myself and absorb all this essence, this impressive aesthetics. It is an intense way of life, in full contact with nature, with the environment itself. And I was able to collect and reflect all these experiences in the series called Trashumancias. It was, and still is, a great work of simplification and search, to achieve above all the expression of the bucolic, the simple, the beautiful movement of large herds, sometimes thousands of animals, sliding, moving in unison on slopes, mountains and ravines. I am really very happy with the result of this project and I am still working on it. As with transhumance, I try to reflect on each culture, each civilization I come into contact with. I absorb their philosophy, myths and legends, which I then have to simplify and apply to my own artistic work. I always say that life is an accumulation of experiences and circumstances, and that the journey itself encompasses all of them. Maybe it is because life is a great journey.

The skin of the mountains. Cut paper on canvas. 2020.

There are artists who flee the place of their birth and are always searching, but you seem to be always searching through your travels, but from a specific place that transcends everything, which is the place where you were born. How important are your origins to what we see?

Well, I think everything is in my origins. Curiously enough, I was born in a car before arriving at the hospital in Santander, in Valdecilla, and I have always said that my love of traveling began there, in a two-horse cart. In my childhood memory are implanted: the memories, the senses, the environment, the experiences that emerge and I, as an artist, I have to be always attentive to be able to use them in the artistic process. I have been particularly influenced by the territory, by the rural environment of my grandparents, by nature, by the countryside, in short, by all the mountains of the Campoo Valley in particular, which is the territory that surrounds me here in Cantabria. I have also been influenced by the climatic conditions, often harsh, such as cold or snow, with regular snowfalls, sometimes one meter, one and a half meters, since I was a child. For this reason, I think I often use the color white, always looking for its shades and brightness; and also the ephemeral movement that they make and that is never repeated in the accumulations of ice and snow; very evident in works such as La piel de las montañas or Cristales de hielo. I also drew a lot of wood intuitively. I was fascinated by the aging process, how the gray colors that the wood takes on age. Also the burnt wood that I saw in the fireplaces and kitchens in the villages. Obviously, in addition to the aesthetic conception of the environment in which one was born and lived, this environment conditions the use or not of some or other materials. In my case, everything that surrounded me, leaves, bones, skins, hair, petals, any non-artistic element, I used it, I studied it, I took it out of context to then create my pieces. I think that's also where I got my interest in the ephemeral, like nature itself, all its cycles, its seasons. I think that's how I got into Land Art, using nature, the natural environment and the territory as a support for a lot of my pieces. And also using, starting to use the performance, my own body in the pieces. Sometimes more conceptual and defensive pieces in defense of the environment that I have always wanted to preserve, which is the one that surrounds me.

Aligustre 2. Detail. Leatherette and wool on PVC. Golden thread. 2021.

Curiosity drives your work, and curiosity drives you to keep exploring. This process of always trying to move forward, not staying in comfortable places, must also be exhausting?

Of course I am always trying to move forward, to discover and investigate. It is a constant in my life to connect objects and places in different cultural contexts and also in different countries. For example, I can sew Chinese paper with Peruvian llama wool or sow my body in the Atacama Desert. Or gilding in the Kintsugi project, where I made a “manyatta Masai” in Kenya. And my work is also very handmade. I always want the artist's hand to intervene, as do the artisans in those atavistic cultures that I have known in Africa, South America or Asia, and that have always captured me with the ancestral power that they have. So the work I do is always meticulous, patient, forming series, repetitive elements, often superimposed. What I want to represent in itself is the order that exists here in nature, which comes from the wing of a butterfly, the wing of a bird, or even in botany. The way can be by cutting, sewing, drawing with a pencil or forming. The result always tends to be balanced compositions that seek the aesthetic perfection that nature has, but it is very difficult to get there. I think that when you are in that moment of struggle, of difficulty, of uncertainty, that is when you really develop the activity, intuition appears and... wham! the key appears, the spark, I say, the solution to the work. It is necessary to be "on the wire" many times, not to be accommodated, so that the ideas, the resources, the decisions appear. On the other hand, I think that routine completely kills creativity, or at least relaxes it. And yes, Carlos, I can tell you that it is quite exhausting, this permanent restlessness, curiosity, searching, but then the satisfaction and the joy, the pleasure of this creation, you will know it too, far exceeds all the effort.

Vegetable tangle. Pen and ink on paper. 2020.

What fits into your universe?

In my universe there is room for a lot, there is room for almost everything. There is room for sincerity, both in the person and in the work. There is also room in my universe for "the three T's" that I say and that I consider fundamental to creation, which are Trabajo, Tiempo y Talento (work, time, and talent). There is room for tolerance, respect, humor, there is room for children. And of course, what always fits for me is lying down, spending the night in the country, looking up at a sky full of stars, listening to the song of the tawny owl in the mountains of the country. That always fits.

And what doesn't?

Well, there is no place for fanaticism, envy, mediocrity, routine; in other words, there is no place for the opposite of what fits. And of course it does not fit, and we have to fight for it, a planet full of plastic, of pollution, that does not breathe and that this year has risen one and a half degrees of average temperature. Unfortunately, in my travels, I have been able to verify that plastic has reached every unexpected corner of the world. Just like football, isn't it? Even to the most inaccessible places. I have seen it in the Amazon, in the Himalayas, in the Masai Mara, in the Mekong Delta. That's what doesn't fit into my universe.

Where do you think your art will go?

Well, I think my art is going, and if it is not, I will try to make it go, where I can continue to enjoy it and where people can enjoy it and be moved by it. I also want my art, within my responsibility as an artist, to serve in some way to improve the human condition, as well as to alert and denounce the worrying social and environmental situation we have on this planet. Within these premises, I will continue to develop artistic processes already initiated, in which I see a lot of potential and in which I have great illusions. For example, Adorando, a project in which I will gold parts, objects, broken or degraded places of the planet, based on the Japanese Kintsugi project. Of course, I will also follow with the same enthusiasm the Trashumancias series in its different versions and formats. It is the project I feel most comfortable with, and I believe it gathers and develops my whole surrounding universe. As well as the performances, and I will continue to do so with Sembrándome, which I carry out in different parts of the world to draw attention to the need to preserve the humanities, the arts, literature, poetry, so that they are not so much absorbed by science and technology, especially today with the worrying advance of artificial intelligence. At the same time, I continue to develop the Deucalionic Pirra project, in which I hide various anthropomorphic lead figures underground and place them in different parts of the planet. Through the Metro Gallery, which has bet on the project, collectors are responsible for retrieving what I call "clay seeds", which contain the coordinates and information about where the figure is. I think it is a different way of acquiring a work of art and, in this way, involving the buyer in part of the creative process, in the completion of the work. There is a great adventurous, playful, childish, archaeological and even anthropological component to the process. I am also very involved and very excited. In short, through my art I want to continue to leave traces of tolerance, respect, and if possible, though difficult, peace around the world.

Painting, in its most classical sense, has traditionally been considered a representative medium of human creativity, defined by the support, pigments, and figure. However, contemporary art has pushed this concept toward a radical redefinition. What was once a two-dimensional surface limited to visual representation has transformed into a multisensory experience involving space, time, and interaction. In this context, expanded painting emerges as a field of experimentation that invites us to reconsider the boundaries between disciplines and traditional forms of art-making.

In its origins, painting was conceived as an act of representation; a visual medium whose primary function was to capture reality through images. From the Renaissance to Impressionism, artists developed techniques and approaches aimed at increasingly accurate depictions of nature, the human body, and light.

Paco Díaz. TDE Carne y Piedra. Oil on paper glued to wood. 50 x 50 cm. 2024.

The history of painting was marked by an obsession with perspective, proportion, and harmony. However, as we move into the 20th century, avant-garde movements began to challenge these conventions. Cubism, Surrealism, and Abstraction introduced new ways of conceiving the pictorial act, which was no longer confined to imitating reality but aspired to deconstruct and reconfigure it. This break from visual tradition was merely the beginning of a series of transformations that would lead painting into previously unexplored territories.

Expanded painting, a term coined to describe this evolution, refers to the broadening of the medium’s possibilities in both materiality and context. Experimentation with new supports, the fusion of media, and the dissolution of boundaries between painting, sculpture, architecture, and performance are some of the most prominent aspects of this trend. Instead of being confined to canvas or panel, contemporary artists have incorporated materials such as wood, plastic, metal, glass, and even digital elements.

Alexander Grahovsky. The Unbreakable Will of the Spirit. Oil, spray paint, and colored pencils on canvas. 46 x 61 cm. 2024.

The flat surface has given way to a broader, more three-dimensional concept of space, where painting inhabits not only the support but also the surrounding space, inviting direct interaction from the viewer. Many of these breakthroughs can be seen in the works of artists who use heavy and textured materials to endow their two-dimensional pieces with a sculptural quality. The notion of painting as an object has disappeared in favor of a spatial experience encompassing both the visible and the conceptual.

Luis Miguel Rico. Untitled from the Sand Series. Oil on linen. 140 x 100 cm. 2024.

In this same vein of boundary expansion is Luis Miguel Rico, who, through a series of material explorations combining pigments, fabrics, and textures, addresses the relationship between color and space, seeking a balance between the emotional and the formal. His work focuses on transforming the traditional canvas, inviting viewers to reconsider the potential of painting as a three-dimensional expressive medium.

Jan Schüler. Dresden Die Elbe Bei Wachwitz. Oil on linen. 70 x 90 cm. 2024.

Jan Schüler, on the other hand, acts as a bridge between classical and contemporary painting. His introspective approach, where portraits and landscapes transcend mere visual representation, highlights the viewer’s interaction with the work. Through direct gazes that meet the viewer’s eyes, the characters in his portraits challenge the traditional conception of painting as a passive medium, inviting emotional and personal reflection.

César Goce. Liquid Shadows. Oil on wood. 58 x 42 cm. 2023.

César Goce, blending graffiti influences with traditional painting, brings expanded painting into his own dimension by integrating urban art with academic techniques. His approach aligns with the dissolution of disciplinary boundaries, incorporating graffiti, a contemporary medium, within a studio format that could be considered traditional. This reflects the process of expanded painting, where contemporary artists blur the lines of mediums to create a hybrid experience.

The expansion of the pictorial medium pertains not only to the choice of materials but also to the redefinition of what we understand as "painting." In this context, painting is no longer limited to representing the real or visible but becomes a field for exploring the invisible, the subjective, and the emotional. Instead of working within a single perspective or defined style, contemporary artists operate with multiple languages, where process and creative action become essential elements of the work. Spontaneity, error, improvisation, and the deconstruction of gesture have been integrated into pictorial practice, generating works that invite not only contemplation but also active reflection on the nature of art.

Federico Uribe. Still Life. Bullet casings. 65 x 75 cm. 2020.

Federico Uribe, through his assemblages of everyday objects, offers a radically different vision of expanded painting. While he does not adhere directly to traditional painting, his use of unconventional materials such as bullet casings and pieces of colored pencils creates a point of contact between painting, sculpture, and nature. Uribe’s reinterpretation of common objects relates to the expansion of painting beyond the canvas, suggesting a new way of thinking about the medium and its function.

The use of unconventional supports and the incorporation of performative elements are also fundamental aspects of expanded painting. By moving painting out of its traditional space, artists invite the viewer to engage more actively and participate in the work.

The advent of digital technologies has provided artists with a new palette of possibilities. Painting, understood as an action or process, can now simultaneously involve both digital and traditional creation, demonstrating that painting need not be bound to a single medium. This digital integration not only expands the painter’s tools but also raises questions about the very essence of art: must painting retain its physical and material character to remain painting, or can it transcend into the virtual and ephemeral without losing its essence?

CHOU Ching-Hui. A Promised Land: The Planet of Angels No.9. Inkjet print. 148 x 290.8 cm. 2023.

Chou Ching-Hui’s photographic approach also aligns with the idea of expanding the boundaries of traditional art. His transition from photojournalism to artistic photography shows how the photographic medium can interact with pictorial works, creating a new way of experiencing and reflecting on reality. Ching-Hui’s transformation of the real into the conceptual in his projects is a clear manifestation of expanded painting, now integrating other visual disciplines.

In this sense, expanded painting is defined not only by technical or material innovation but by a more philosophical approach to art. By eliminating the barriers between disciplines and expanding the boundaries of the medium, contemporary artists challenge our conceptions of art’s role in society. Painting, rather than being a closed and static process, becomes an open practice, in constant dialogue with its environment and its audience. Painting is no longer just a transcription of reality but an active intervention in it.

Alexander Grahovsky. If Only You Were as Prickly as a Thistle. Oil, spray paint, and colored pencils on canvas. 33 x 41 cm. 2024.

In the case of Alexander Grahovsky, his surrealist pictorial treatment merges the classical with the contemporary, combining figurative elements with the dreamlike. His work invites continual reflection on what lies beyond the surface, dissolving the boundaries of representation in an approach that resonates with the concept of expanded painting.

Tiffany Alfonseca. The Barbie You Can’t Buy in Stores. 183 x 152 cm. Acrylic, pencils, glitter, and rhinestones on canvas. 2023.

Meanwhile, Tiffany Alfonseca transcends the traditional sense of painting as well. Her vibrant portraits not only depict Afro-diasporic communities but also provoke reflection on themes of race, identity, and representation. Through her work, painting becomes a vehicle for amplifying historically silenced voices, transforming the pictorial act into a social and political intervention that invites viewers to experience more than just the visual.

Paco Díaz. RIBERA. Oil on paper glued to wood. 50 x 50 cm. 2024.

Paco Díaz, with his conceptual and reflective work, emphasizes the relationship between viewer and artwork, creating space for reflection on the personal, collective, and political. By focusing on the everyday, he invites us to reconsider life’s simplest elements through painting imbued with emotion and meaning. His compositions play with nostalgia and memory, creating works that are both a tribute to the commonplace and an exploration of the self.

Iyán Castaño. Circular Currents. Experimental graphics on canvas. 130 x 100 cm. 2024.

Iyán Castaño demonstrates how painting adapts to the contemporary era, where printmaking techniques, direct landscape intervention, and the exploration of social and personal themes offer a broad field for artistic reflection. By working with the changing conditions of the sea, he integrates nature into his work in a way that blurs the lines between painting and environmental intervention.

Antonio Ovejero. The Tomato Can. Oil and acrylic on board. 50 x 35 cm. 2024.

Antonio Ovejero’s unique fusion of kitsch and popular elements challenges traditional conceptions of painting. His work explores tensions between the banal and the artistic, creating a space where kitsch acquires aesthetic and critical relevance. Ovejero prompts viewers to question the relationship between art and popular culture, reflecting on nostalgia, consumerism, and the aesthetics of the everyday.

Paco Dalmau. A Borderline of Gules. Mixed media on canvas over board. 36 x 36 cm. 2024.

Paco Dalmau, on the other hand, delves into the relationship between color and form in contemporary painting. His work is characterized by a profound exploration of these elements, where structure and composition become vehicles of communication. Dalmau deconstructs traditional painting, leading viewers to a sensory experience where color and form are perceived not only visually but also emotionally, expanding the medium’s boundaries toward greater viewer interaction.

Painting has ceased to be a medium confined to visual representation and has become a discipline in constant expansion. By questioning what we understand as pictorial art, expanded painting not only broadens the boundaries of its discipline but also invites deeper reflection on the role of art in understanding the world. In conclusion, contemporary painting has evolved into a space of unprecedented creative freedom. Expanded painting redefines the boundaries between disciplines, materials, and meanings, inviting both artists and viewers to participate in an active reflection on the nature of art and its relationship with society. Far from being a closed discipline, painting today presents itself as an open field, in constant dialogue with the present and its infinite possibilities.