Richard García. Courtesy of the artist.

ARTE & PALABRA. CONVERSATIONS WITH CARLOS DEL AMOR

In Richard García's work there is something that captures the viewer's gaze. Whether it's the colour, the recognisable but undefined landscape, or the real but seemingly imaginary creatures that inhabit that landscape, I can't say. There are many layers to lose oneself in in each of his works, and in each one there is something underlying the previous one, as if it had been left there for us to follow the trail of a creative process in which meticulous study and chance seem to follow parallel paths, knowing that somewhere along the way they will meet.

A brushstroke creates a new territory, perhaps covering something that has already been done, but which would otherwise have no identity of its own, and this new territory, delineated by colour, illuminates a new path, a new layer, a new perspective. Richard's street origins are evident, his works have the restless pulse of someone who is moved by the spark of an idea which will be followed by a new one, and aspiration to the end of a work that can be infinite because there are infinite details we can dwell on.

Of course, he gives importance to the dream, and in the end the dream is just that, a superimposition of real layers that in the end form an impossible world. To contradict myself, it is not an impossible world because the artist has made it visible and therefore real. Painted, but real and ready for us to pass through without knowing where it will lead us.

Reclaiming nature. Acrylic, oil, wax and spray on board. 2023.

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

It is often said that to define oneself is to limit oneself, so I don't like to do it. But if I had to, I would describe myself as a passionate, disciplined and dedicated person, and above all a perfectionist.

What is left of the boy who began painting on the walls of the streets?

Everything about graffiti remains, except the anonymity. At high school I made some friends who were involved in the world of graffiti and they shared their experiences and adrenaline filled anecdotes with me, and all of this gave me the desire to try street painting. It came very naturally, the learning process was self-taught, from other colleagues, from urban artists that I had as references. I didn't even have established artists in the history of art as references. It was a beginning that had a profound effect on my development, because it was thanks to them that I decided to study Fine Arts and train as an artist.

In terms of the way I work or paint, I still use the sprays, strokes and gestures typical of graffiti, except that they have been transferred to other supports, such as a wooden board, a canvas or many others. But it is true that in my work I continue to make references to elements that I find in the street and that refer to graffiti, such as writers' signatures, stickers or registers typical of urban art. Let's say it was something I identified with in my early days and that is still present in my work today.

Blue summer. Acrylic, oil, wax and spray on board. 2023.

Whenever you talk about your work, the word dream appears. In your paintings all the elements are recognizable but they form an unreal reality. How do you capture, paint a dream?

Actually my creative process is very intuitive, unconscious. I don't really know where it will take me. It is precisely this element of surprise, of the unexpected, of what emerges, that makes my work special, or what I consider to be special, and what emerges from it. In a way, I start from the reality in which I move and I collect moments through photography to later generate a new image through a strategy of digital sketches, where I give myself the freedom to transform it based on my imagination, my desires and my dreams. After all, who doesn't dream, wish, fantasize? It's not so much what I paint as how the viewer wants to interpret my work.

In dreams, everything is superimposed, the images run over each other, and this can be seen in your paintings. It's as if one layer isn't enough, you need several superimposed layers to get to the bottom of what you want to say. When you paint the first one, do you know where you will end up?

It is true that my painting has a transformative power of accumulation of layers as well as thoughts. It all begins as a constant dance between the controlled and the uncontrolled. Through the plastic possibilities offered by the materials I work with, I leave a lot of room from the beginning for chance and coincidence to generate a thousand stimuli which, through the superimposition of layers, will gradually mutate from the more abstract language of painting to a more figurative or recognisable language. I see it as a constant dialogue between what painting offers you in an almost magical way as a discovery and the choices you make in the process to arrive at the final work. That's why there's something magical about painting that takes you to places you never expected.

It is best to wake up without an alarm. Acrylic, oil, wax and spray on board. 2023.

Maybe it's just intuition, but your work reminded me of Richard Estes' paintings, probably because of the use of reflections. Here's a question in the form of a play on words: How difficult is it to reflect a reflection in a work of art? And in that reflection we can be ourselves or a reality that would not exist if it were not reflected.

Yes, it is true that we both use the concept of reflection in our work, but I think in very different ways. In the case of Richard Estes, I think he uses photography to approach reflection in a more faithful, objective or literal way. It is this aesthetic of photorealism, of hyperrealism, that interests him. In his painting, each part of the image is focused on equally or with equal importance. In my case, I am interested in the sensations created by the reflection itself. When I observe how light hits a glass, a distorted reality is created, where the different spaces overlap, creating a fantasy world that can be imagined. Similarly, where figuration and abstraction are in constant dialogue, something similar happens in my painting.

I'm also very interested in the very plasticity of painting, the way it is done. How each part of the painting is resolved and how the different languages that emerge in the process itself coexist. There is something that is important to me, and that is the reading that the painting itself has, from the first layers and how they emerge in a more intuitive way, or where the accident has a great weight, to the last layers that are more gestural or more closed with more matter, more figuration. But in reality it's not so much whether it's easy or difficult, it's more the process itself and everything that happens during it that leads me to an unreal reality, to create an optical illusion.

Green was the silence. Acrylic, oil, wax and spray on board. 2023.

Your work takes me to the urban, and yet there are "green" elements, nature, in all of them. The city is becoming more gray and less green, is this an attempt to immortalize spaces that are on the verge of extinction?

I was born in a city where everything has grown and changed, just as I have, and this has influenced my identity or who I am today. In this process of walking in search of stimuli to bring to painting, reflections, experiences, concerns arise that will inevitably be reflected in my work as an extension of myself. It is in this process of walking that I realize how modern life has increasingly distanced nature from our lives. Therefore I create contemporary scenarios in which wild animals - outside their natural habitat - appear to make us reflect on the importance of our origin: nature.

Where do you think your painting is going?

I really don't know. I don't want to think about it directly. Where the painting and the process itself wants to take me. It's the surprise factor and all the magic that painting has, that you can't control, that feeds me so much and I hope to evolve and continue to do it with the same joy, passion and enthusiasm.

Contemporary art has ceased to be an exclusive territory reserved for elites and has become an increasingly democratic and accessible space. In the context of fairs such as Art Madrid, which in 2026 brings together more than 200 artists from five continents, a new generation of collectors is emerging—one that challenges the traditional codes of the art market. But how do you make the leap from admirer to collector? What do you need to know before acquiring your first artwork?

The image of the art collector has historically been associated with great fortunes, multimillion-euro auctions, and inaccessible masterpieces. However, this perception is changing radically. Today’s contemporary art market offers a wide range of proposals that suit virtually any budget, from works by emerging artists to limited editions by established creators. .

At Art Madrid, for example, galleries presenting young talents coexist with those representing artists with consolidated careers. This diversity allows first-time buyers to find meaningful works without needing unlimited capital. What matters is not how much you invest, but why you do it, and how that piece resonates with your life, your space, and your concerns.

Experience in the art world shows that a collection is not defined by the monetary value of the works it contains, but by the coherence and strength of the narrative they build together. Understanding this frees emerging collectors from the pressure to succeed according to investment logic and encourages them to rely on their own aesthetic judgment and the emotional connection they establish with the works.

HOW TO START A COLLECTION

Define Your Orientation: Passion vs. Investment

Before acquiring your first work, it is essential to ask yourself what you are looking for in collecting. There are two main approaches which, although they can coexist, lead down different paths:

Collecting driven by passion is guided by emotional connection, aesthetic pleasure, and the desire to live surrounded by works that speak to you. This approach is more intuitive and personal and, paradoxically, often proves to be more successful economically in the long term because it is rooted in genuine conviction.

Collecting as an investment requires more technical knowledge of the market, monitoring trends, understanding artists’ and galleries’ trajectories, and having a strategic vision. Although art has proven to be an interesting alternative investment—especially in times of economic uncertainty—it requires patience and a tolerance for risk.

Most successful collectors combine both dimensions: they buy what moves them, while also developing a critical eye to identify works with potential for appreciation. The key is not to be driven solely by market opportunism, because art that does not move you is unlikely to hold your interest when trends change.

EDUCATE YOURSELF BEFORE BUYING

Knowledge is your best tool. Before acquiring works, take time to:

Visit exhibitions regularly. Not only in commercial galleries, but also in museums, independent spaces, and art centers. This will help you develop your own aesthetic criteria and understand which proposals truly resonate with you.

Research artists. Read about their careers, influences, and creative processes. In the digital age, most artists are present on social media, where they share daily work, sketches, and reflections. This transparency makes it easier to connect more deeply with their practice.

Understand the market. Observe prices in different galleries, learn what factors influence valuation (artist’s career, technique, dimensions, limited edition versus unique piece), and become familiar with how galleries and fairs operate.

Talk to gallerists. Gallerists are essential allies. Their job is not only to sell, but to educate, connect, and build long-term relationships. A good gallerist will guide you toward works that match your interests and accompany you in the development of your collection.

EVALUATING A WORK: BEYOND “I LIKE IT”

When a work captures your attention, it is important to go beyond the initial emotional impression and ask yourself some key questions:

Coherence in the Artist’s Trajectory

Is this work part of a sustained line of research, or is it an isolated experiment? Artists with coherent proposals over time tend to have greater projection. Look for a logical evolution in their work, participation in relevant exhibitions, awards or grants, and representation by established galleries.

This does not mean you should reject the work of very young or highly experimental artists. On the contrary, some of the greatest successes in collecting come from early support of emerging talents. However, such a bet should be based on informed intuition, not mere novelty.

Technical and Conceptual Quality

Contemporary art has greatly expanded the boundaries of what we consider “technique,” incorporating everything from installation to digital art. Nevertheless, each discipline has its own standards of excellence. A painting should demonstrate mastery of color, composition, and material; a sculpture, an understanding of space and materials; a photograph, control of light and framing; a conceptual work, rigor in the development of the idea.

Beyond technique, ask yourself: What is this work saying? Does it offer an original perspective on something that interests me? Is there conceptual depth, or is it purely decorative? There are no absolute right answers, but asking these questions will help you make more conscious decisions.

Suitability for the Space

A practical but fundamental consideration: where will this work live? Art needs room to breathe, appropriate light, and a context that enhances it. A monumental work can feel overwhelming in a small apartment, while an intimate piece may get lost in a large space. Many galleries offer virtual visualization services or even temporary loans so you can experience the work in your space before committing.

Practical Aspects of Collecting

When you acquire a work, you should receive:

Certificate of authenticity: A document signed by the artist or gallery that certifies the authorship of the piece, its dimensions, technique, year of creation, and, in the case of editions, its number within the edition.

Invoice: Legally required and essential for proving ownership and purchase value, particularly relevant for insurance and potential resale.

Conservation information: Each technique and material requires specific care. Ask how the work should be preserved (light, humidity, temperature conditions) and whether it needs periodic maintenance.

Insurance and Protection: Even if your collection is just beginning, it is advisable to take out specific insurance for artworks. Most home insurance policies do not adequately cover this type of asset. There are specialized policies that protect against theft, accidental damage, fire, and other risks, with reasonable premiums for modest collections.

In addition to insurance, consider basic conservation measures: avoid hanging works in areas with excessive humidity, direct sunlight, or sudden temperature changes. For works on paper (photographs, prints, drawings), framing with UV-protective glass and acid-free matting is essential.

Legal and Tax Advice

In Spain, artworks have a specific tax treatment. The applicable VAT rate is 21%, although there are exemptions in certain cases. If your collection grows and you eventually decide to sell pieces, you will need to consider the tax implications of capital gains. For larger collections, it can be useful to consult advisors specialized in artistic heritage, who can guide you on tax benefits (donations to museums, long-term loans), inheritance planning, and asset protection structures.

Building Relationships Within the Art Ecosystem

Collecting is not a solitary activity, but a deeply social one. Some tips for integrating into the community:

Attend openings and events. Exhibition openings are opportunities to meet artists, other collectors, critics, and curators. Don’t be afraid to ask questions or express genuine interest.

Join collectors’ associations. Many cities have organized groups that arrange studio visits, talks with experts, and trips to international fairs. These spaces facilitate learning and networking.

Support artists directly. Buying from studios or through independent platforms can be a way to acquire works at more accessible prices while establishing a direct relationship with the creator.

Be loyal to your galleries. If a gallery has advised you well and you feel comfortable with its program, maintain the relationship long-term. Gallerists tend to reserve the best pieces or opportunities for their regular collectors.

Value Beyond Price

Finally, it is important to remember that the true value of collecting goes beyond economics. Living with art transforms everyday spaces into places of reflection and beauty. A work on your wall is a daily reminder of an emotion, an idea, a vision of the world that once moved you enough to want to live with it.

Collecting is also a way of actively participating in the cultural ecosystem. When you buy the work of an emerging artist, you help them continue creating. When you support an independent gallery, you help sustain spaces of experimentation. When you lend your works for an exhibition or eventually donate them to a public institution, you contribute to the collective heritage

At fairs like Art Madrid, where proposals from different generations, geographies, and artistic languages coexist, you have the opportunity to explore, compare, and discover. There is no rush. Collecting is a long-term journey in which each acquisition is a chapter in a personal story you are building. The key is to begin with curiosity, humility, and the certainty that art, more than a luxury, is a necessity that profoundly enriches life.