Manolo Roman | Issue Ten Interview

Manolo Roman was born Manuel Bartolome Gomez Roman in 1967 in Granada, Spain. He showed an early interest in art and started to draw and paint at an early age. During his formative years, he self-studied art in Granada, before mov- ing to Madrid in 1987, where he lived for 4 years. The capital of Spain, with its great museums and thriving art scene, offered an inspirational and innovative environment for the artist. During this period Manolo Roman focused his studies on the great masters of the Renaissance in order to build a solid formal foundation based on traditional technique and representation. His first large can- vases were a product of this academic approach, but while they were intended as tributes to the great masters, these works already incorporated elements of the expressionistic style that would later define the artist’s work.

What prompted you to participate in our art for advent project?

What prompted me to take part in this project was the original and amusing idea of creating a new and different artwork everyday over 24 days.

What art do you most identify with? any specific influences or research areas?

I identify and consider myself to be influenced by both the American Abstract Expressionism and the European painting movements of the middle and end of 20th century.

How did you find the art for advent project? What was your routine for making?

I found Art for Advent while surfing the Internet and I am glad I did. In regards to the routine for making, I aimed to create a new sketch everyday by trying not to be biased by the sketches of the previous days and by avoiding any foregone idea.

Are there any upcoming exhibitions or projects in the works?

Currently, I have no other concrete projects. How- ever, I intend to keep working in the mastering of different colour and form techniques while await- ing whatever the destiny has to bring.

Is there something you couldn’t live without in your studio? What is your most essential tool?

There is one thing I could not live without while working in my studio. That thing is music. Music is an essential element of my artwork’s creation pro- cess. The reason is that music conveys my mood and helps me to work more inspired. Finally, the tools I believe to be most fundamental and primary when working are, without hesitation, my eyes and fingers. For me, it’s essential to touch the paintings and see the colours.

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