Oriol Angrill

Intuition and beauty

Oriol Angrill is one of the most sublime artists on today’s art scene. Although what he wanted to be as a child was Spiderman.

Was there any period of your childhood that made you lean towards the world of art? Yes, and it’s related to the death of my grandfather, whom I remember with a great deal of love and affection. I had just started to go to painting lessons, and a few days beforehand I gave him the first oil painting I had painted. They left it in the lounge, leaning against a wall. It stayed there over my grandfather’s final days, until the day he passed. My father, a pure empiricist, says that right before my mother showed up with the bad news, the picture fell to the ground, landing face up. That coincidence, and the idea that it wasn’t entirely a coincidence, gave me a boost in my desire to become an artist. I have always believed in these things and generated my own convictions. 

Where did your love of art, of creativity start? I like the fact that you separate the two concepts in the question. My passion does not really lie in art, and much less in the market created on the basis of it. Actually, all that generates rejection in me, as I consider it to be in opposition to inspiration. It’s true that what I exhibit is art, or we are calling it that until we know how to distinguish it better. But art is basically a result of creativity. That’s where it all starts. I don’t think there was a specific starting point that I can remember. Creativity arises from a need to fill an intellectual void, a boredom perhaps, who knows, with imagination and fantasy we can create anything, link contradictory ideas with infinite variables. I have always liked considering things, looking for other alternatives to what people are used to. Doing what shouldn’t be done and trying myself. I’m not someone who conforms easily, I like to follow my intuition until achieving some results that are worth sharing.

Is the island a place of inspiration for you, or would you have done the same anywhere else in the world? I don’t believe Mallorca has any direct influence on my work, but rather on my attitude. The island is beautiful if you visit it, but if you live on it, as well as being beautiful, it’s your home, it captivates you in all senses, the good ones and the bad ones. I believe you have to learn to live on Mallorca, it’s very easy to settle into that “I’ll go tomorrow” or “we’ll be in touch,” on account of and thanks to a permanent availability of everything and everyone at any time. You you have it and you don’t appreciate it until you come back from a trip. Which is why I try to go away from time to time, to refresh myself.

Women usually appear in your works – is that for any particular reason? It has a dual purpose. I believe the face and body expression are a direct, clear language, which transmits a mood, just as a mountain or a sunset are. For me, it is a way of connecting with the emotions, whilst words can sometimes confuse us.

And on the other hand, there is the purely academic and aesthetic issue, for the visual composition. It doesn’t have any gender connotations, let alone sexual ones. The two purposes must fit together perfectly. My intention is to transmit peace and majesty with the work.

What method do you follow when creating? It varies a lot. I usually write notes with my mobile or by hand, depending on where I am, so as not to forget things. But often I don’t go over them again because I already have something else in hand and they accumulate. It usually takes me a long time to consider a work as completed, the idea has to mature in my head slowly. After some time in repose, if it’s still good, I do some sketches and look for reference images. If I can’t find those images, I set up a photo session to get what I am looking for. The subsequent process is the most satisfactory one, when I transfer it all onto paper, making it something real.

What part of the art world do you like the most, and what do you like the least? The art world is full of charlatans and bloodsuckers who take advantage of the economic bubble that has developed as a result of the doubts and absurd prices people come to pay. For me, it’s no more than a circus of idiots. When the masterpieces ran dry, the wheel had to be fed with a different kind of art. And what better than a urinal or bullshit that doesn’t depend on the hand of an artist, but a factory. Unfortunately, this market has taken ownership of the key word – art -, degenerating it to the point of evoking shame. But it isn’t all bad news – there are infinite artists, and above all many, many investors, great brands, companies and collectors of all types, who don’t need a justification to buy art, they just like it, it seduces them and they allow themselves to be guided by their emotions when they see an artist and his or her work. There is nothing to fear, the investment is generated little by little. Everything else is inflation.

What goals have you set yourself for the near future? At the moment, to carry on doing what I am doing. And when I have more time, to set up a community of local artists to promote “zero kilometre” art. I’m thinking of organising some meetings to draw to life without any kind of obligation. Simply for the love of art, and in the long term, making these meetings virtual.

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