Art Madrid'23 presents the section of interviews conducted by the art critic and curator Alfonso de la Torre in which he discovers, in greater depth, the artistic universe of the eight most outstanding creators of the following Art Madrid edition. The section, which presents the artists from private conversations and with its own content, will be included in a common theme around the figure of the artist and their practices in the national art market.

Starting on January 13, we will enjoy two weekly interviews that can be read in full on the Art Madrid website or viewed on video on the fair's Instagram channel.

About Alfonso de la Torre:

Alfonso de la Torre (Madrid, 1960) theoretician and art critic. Specialist in contemporary Spanish art. He has curated more than a hundred exhibitions; He has published essays and poetry and taught courses at various universities and institutions: MNCARS, Museum of Teruel, University of the Andes, Menéndez y Pelayo International University, University of Córdoba, University of Granada, University of Castilla-La Mancha, UIMP, UNIA, Nebrija University or the University of La Sorbonne. He belongs to the International Association of Art Critics (AICA).

Alfonso de la Torre, photo by Carlos Schwartz ©

Perceval Graells, (Elche, 1983) (Alba Cabrera Gallery) seeks, through her works, to provoke a personal reflection in viewers about how we face the process of overcoming pain throughout our history; turning that pain into a space of peace and calm where we can recreate ourselves and reflect. In the work of Martínez Cánovas (Murcia, 1980) (Inéditad) we will find, through a surreal and symbolic imaginary, a direct connection with the philosophical thought of antiquity in philosophers who, like Aristotle, argued that death is the most terrible of all things and that fearing this and other truths is even fair and noble. The works of Cristina Gamón, (Valencia, 1987) (Shiras Galería) are distinguished by a visual freshness that the artist manages to achieve through a complex technique of unreal images, capable of transporting us to the oceanic abysses in which our mere presence is astonished before the magnitude of the color.

The works of Nicolás Lisardo (Las Palmas de Gran Canaria, 1978) (Manuel Ojeda Gallery) aim to assess existential limits, adding a metaphysical tonality to those eroded facades of the city. It is an anti-picturesque scenario, which has the firm intention of moving us to the perception of the idea (eidos forme).

Isabela Puga's (Caracas, 1997) (BAT Alberto Cornejo Gallery) interest in architecture and urbanism make these disciplines a substantial part of her creative process, from which she drinks and adopts, especially her own geometric style. - pictorial. Starting from opposites: the shine of gold and the darkness of black, the artist questions and investigates essential elements such as depth, color, light, and space in her works. She intends to foster the relationship between subject-object and space. The paintings by Francisco Mayor Maestre, (Madrid, 1990) (Aurora Vigil-Escalera Gallery) flood the set with color, excessive vegetation, and impossible planes that break the figuration of the work. Outstanding in his conception of shared spatiality are curtains, awnings, laundry, and air conditioning units... In an investigation of the freedom of painting, the exploration of spaces, and the claim of individuality. The plastic works that Pedro Peña Gil (Jaén, 1978) (Metro Gallery) has carried out in recent years, constitute a return to the attitude of those explorers who wanted to extract the light qualities. Although, in his case, adding the element that best presents him: color. The experimentation of these works, like the first photographers, leads him to take the images of the world as a metaphor for the anonymous Petri dishes. Mario Soria (Barcelona, 1966) (Gallery N2) is a profound connoisseur of the western pictorial tradition and its techniques, and he uses them to subvert them with his particular sense of humor. His works mix American pop art and the European tradition he calls “interstellar pop surrealism.”

The circle as critical device and the marker as contemporary catalyst

POSCA, the Japanese brand of water-based paint markers, has established itself since the 1980s as a central instrument within contemporary artistic practices associated with urban art, illustration, graphic design, and interdisciplinary experimentation. Its opaque, highly pigmented, fast-drying formula—compatible with surfaces as diverse as paper, wood, metal, glass, and textiles—has enabled a technical expansion that extends beyond the traditional studio, engaging public space, objects, and installation practices alike.

In this context, POSCA operates as more than a working tool; it functions as a material infrastructure for contemporary creation. It is a technical device that enables immediacy of gesture without sacrificing chromatic density or formal precision. Its versatility has contributed to the democratization of languages historically associated with painting, fostering a more horizontal circulation between professional and amateur practices.

This expanded dimension of the medium finds a particularly compelling conceptual framework in The Rolling Collection, a traveling exhibition curated by ADDA Gallery. The project proposes a collective investigation of the circular format, understood not merely as a formal container but as a symbolic structure and a field of spatial tension.

Historically, the circle has operated as a figure of totality, continuity, and return. Within the framework of The Rolling Collection, the circular format shifts away from its classical symbolic charge toward an experimental dimension, becoming a support that challenges the hegemonic rectangular frontality of the Western pictorial tradition. The absence of angles demands a reconsideration of composition, balance, and directional flow.

Rather than functioning as a simple formal constraint, this condition generates a specific economy of visual decisions. The curved edge intensifies the relationship between center and periphery, dissolves internal hierarchies, and activates both centrifugal and centripetal dynamics. The resulting body of work interrogates the very processes through which images are constructed.

Following its 2025 tour through Barcelona, Ibiza, Paris, London, and Tokyo, a selection of the exhibition is presented at Art Madrid, reinforcing its international scope and its adaptability to diverse cultural contexts. The proposal for Art Madrid’26 brings together artists whose practices unfold at the intersection of urban art, contemporary illustration, and hybrid methodologies: Honet, Yu Maeda, Nicolas Villamizar, Fafi, Yoshi, and Cachetejack.

While their visual languages vary—ranging from graphic and narrative approaches to chromatic explorations charged with gestural intensity—the curatorial framework establishes a shared axis: a free, experimental, and distinctly color-driven attitude. In this sense, color functions as a conceptual structure that articulates the works while simultaneously connecting them to the specific materiality of POSCA.

The marker’s inherent chromatic vibrancy engages in dialogue with the formal assertiveness of the circle, generating surfaces in which saturation and contrast take center stage. The tool thus becomes embedded within the exhibition discourse, operating as a coherent extension of the participating artists’ aesthetic vocabularies.

One of the project’s most significant dimensions is the active incorporation of the public. Within the exhibition space—activated by POSCA during Art Madrid’26—visitors will be invited to intervene on circular supports installed on the wall using POSCA markers, thereby symbolically integrating themselves into The Rolling Collection during its presentation in Madrid.

This strategy introduces a relational dimension that destabilizes the notion of the closed artwork. Authorship becomes decentralized, and the exhibition space transforms into a dynamic surface for the accumulation of gestures. From a theoretical standpoint, the project may be understood as aligning with participatory practices that, without compromising formal coherence, open the artistic dispositif to contingency and multiplicity.

The selection of POSCA as the instrument for this collective intervention is deliberate. Its ease of use, line control, and compatibility with multiple surfaces ensure an accessible experience without diminishing the visual potency of the outcome. In this way, the marker operates as a mediator between professional practice and spontaneous experimentation, dissolving technical hierarchies.

The title itself, The Rolling Collection, suggests a collection in motion—unfixed to a single space or definitive configuration. Its itinerant nature, combined with the incorporation of local interventions, transforms the project into an organism in continuous evolution. Within this framework, POSCA positions itself as a material catalyst for a transnational creative community. Long associated with urban scenes and emerging practices, the brand reinforces its identity as an ally of open, experimental, and collaborative processes.

POSCA x The Rolling Collection should not be understood merely as a collaboration between a company and a curatorial initiative; rather, it constitutes a strategic convergence of tool, discourse, and community. The project proposes a reflection on format, the global circulation of contemporary art, and the expansion of authorship, while POSCA provides the technical infrastructure that makes both individual works and collective experience possible.