Trained in Fine Arts at the University of the Basque Country, the Bradford Art College in England and the University of Barcelona, ​​Kepa Garraza (Berango, Vizcaya, 1979) began his exhibition career in 2004. From that time, he received various scholarships and awards.

Kepa Garraza's work reflects on the nature of the images we consume daily. For this reason, his work questions official discourses and calls into question the processes of institutional legitimation. The proposed reflection drinks from his interest in the construction processes of the historical narrative. In this way, Kepa invites the viewer to question the information obtained from the official media. His reinterpretation of reality is always ambiguous and confusing, full of subtleties and grey areas that invite the viewer to rethink the historical account and the chronicle of reality.

Kepa Garraza

Interview:

What inspires you when creating?

Mainly I am inspired by current events of the reality in which we live. Basically, our daily life. The detailed observation of the facts and circumstances that most influence us in our daily lives. Above all, I am interested in reflecting on them and elaborating a rereading of reality.

What are you working on recently?

I am now working on a series of quite different works because the creation process has an essential digital component—something new in my creative process. Being concise and concrete, it is about creating elements of public sculpture (monuments) that do not exist from scratch and making a kind of assemblage in which I substitute monuments of diligent politicians, monarchs and revolutionaries from all over the world for these pieces of fiction, for these drills.

Kepa Garraza

Charlemagne, 2017

Pastel sobre papel

140 x 100cm

Tell us about your creative process.

My creative process is quite orderly, and I think it's a true reflection of myself. I imagine, like everyone else, it is always based on (or begins) with the concretion of an idea that is generated and matures little by little inside the head. Gradually it takes shape until it becomes something definite. Until I have that reasonably clear idea in my head, even with a very concrete image of the final works, I don't start the creation process per se. It is a very detailed process where the following phases are very established, and I rarely skip them. I have been working like this for many years, and I imagine it is a matter of economy of effort and comfort.

Are you participating for the first time in the fair? What do you expect from Art Madrid?

I have participated in the fair before. The truth is that it has always had a very positive result for me. With which, I hope that this year the result will be repeated and it will be a great fair if the health situation allows it.

Kepa Garraza

Calígula, 2021

Carbón comprimido sobre papel

100 x 75cm

Tell us about Kepa Garraza, the imaginary artist, your alter ego born in 1957.

Kepa Garraza of fiction is an alter ego born very close to my father's dates. He is a Kepa who becomes an excellent star in the art world, being quite young, in the early '80s, and ends up having a meteoric career that makes him a superstar. The life of this Kepa Garraza is narrated in a series of paintings that function as a kind of fictional biography where he is seen accompanied by illustrious personalities of the last 40 years, but none of his works are ever seen.

Is art for you a tool to criticize the art system itself?

Yes, in a way, but not only the art system but the entire sociopolitical reality. Bearing in mind that art is still a very faithful reflection of the world we live in, all my work has a component of social criticism. Or well, you want to invite thinking about certain concepts related to the economy, politics, history and social reorganization. Art, of course, falls within that objective.

It is true that perhaps a few years ago, my language and my works spoke more of the world of art, and now I deal with more general topics. But in the background, all the series and those interests are interrelated. They all arise from my obsessions and things that interest me.

Kepa Garraza

Isabel II, 2021

Carbón comprimido sobre papel

100 x 75cm

Kepa Garraza participa en Art Madrid con la galería de Barcelona Víctor Lope Arte Contemporáneo, junto a los artistas: Carsten Beck, Dirk Salz, Jacinto Moros, Jo Hummuel, Mario Dilitz, Max Gärtner y Patrick Grijalvo.

The work of Cedric Le Corf (Bühl, Germany, 1985) is situated in a territory of friction, where the archaic impulse of the sacred coexists with a critical sensibility characteristic of contemporary times. His practice is grounded in an anthropological understanding of the origin of art as a foundational gesture: the trace, the mark, the need to inscribe life in the face of the awareness of death.

The artist establishes a complex dialogue with the Spanish Baroque tradition, not through stylistic mimicry, but through the emotional and material intensity that permeates that aesthetic. The theatricality of light, the embodiment of tragedy, and the hybridity of the spiritual and the carnal are translated in his work into a formal exploration, where underlying geometry and embedded matter generate perceptual tension.

In Le Corf’s practice, the threshold between abstraction and figuration is not an opposition but a site of displacement. Spatial construction and color function as emotional tools that destabilize the familiar. An open methodology permeates this process, in which planning coexists with a deliberate loss of control. This allows the work to emerge as a space of silence, withdrawal, and return, where the artist confronts his own interiority.

The Fall. 2025. Oil on canvas.195 × 150 cm.

In your work, a tension can be perceived between devotion and dissidence. How do you negotiate the boundary between the sacred and the profane?

In my work, I feel the need to return to rock art, to the images I carry with me. From the moment prehistoric humans became aware of death, they felt the need to leave a trace—marking a red hand on the cave wall using a stencil, a symbol of vital blood. Paleolithic man, a hunter-gatherer, experienced a mystical feeling in the presence of the animal—a form of spiritual magic and rituals linked to creation. In this way, the cave becomes sacred through the abstract representation of death and life, procreation, the Venus figures… Thus, art is born. In my interpretation, art is sacred by essence, because it reveals humankind as a creator.

Between Dog and Wolf II. 2025. Oil on canvas. 97 × 70 cm.

Traces of the Spanish Baroque tradition can be seen in your work. What do you find in it that remains contemporary today?

Yes, elements of the Spanish Baroque tradition are present in my work. In the history of art, for example, I think of Arab-Andalusian mosaics, in which I find a geometry of forms that feels profoundly contemporary. In Spanish Baroque painting and sculpture, one recurring theme is tragedy: death and the sacred are intensely embodied, whether in religious or profane subjects, in artists such as Zurbarán, Ribera, El Greco, and also Velázquez. I am thinking, for example, of the remarkable equestrian painting of Isabel of France, with its geometry and nuanced portrait that illuminates the painting.

When I think about sculpture, the marvelous polychrome sculptures of Alonso Cano, Juan de Juni, or Pedro de Mena come to mind—works in which green eyes are inlaid, along with ivory teeth, horn fingernails, and eyelashes made of hair. All of this has undoubtedly influenced my sculptural practice, both in its morphological and equestrian dimensions. Personally, in my work I inlay porcelain elements into carved or painted wood.

Between Dog and Wolf I. 2025. Oil on canvas. 97 × 70 cm.

What interests you about that threshold between the recognizable and the abstract?

For me, any representation in painting or sculpture is abstract. What imposes itself is the architectural construction of space, its secret geometry, and the emotion produced by color. It is, in a way, a displacement of the real in order to reach that sensation.

The Anatomical Angel. 2013. Ash wood and porcelain. 90 × 15 × 160 cm.

Your work seems to move between silence, abandonment, and return. What draws you toward these intermediate spaces?

I believe it is by renouncing the imitation of external truth, by refusing to copy it, that I reach truth—whether in painting or in sculpture. It is as if I were looking at myself within my own subject in order to better discover my secret, perhaps.

Justa. 2019. Polychrome oak wood. 240 × 190 × 140 cm.

To what extent do you plan your work, and how much space do you leave for the unexpected—or even for mistakes?

It is true that, on occasions, I completely forget the main idea behind my painting and sculpture. Although I begin a work with very clear ideas—preliminary drawings and sketches, preparatory engravings, and a well-defined intention—I realize that, sometimes, that initial idea gets lost. It is not an accident. In some cases, it has to do with technical difficulties, but nowadays I also accept starting from a very specific idea and, when faced with sculpture, wood, or ceramics, having to work in a different way. I accept that.