Interview with Ernest Compta
It is said that the face is the mirror of the soul. I am interested in the face of the soul. Or the infinite possibilities that painting can reflect, in my case, turned into that mirror.
Music is important in my creative process because it helps me to stop thinking. I forget everything and start painting. In this way, reason or self-criticism stop bothering me and I can concentrate only on what the painting asks of me. I don't listen only to a certain style of music or a particular artist. I like jazz and electronic music. Painting with music accompanies me and makes the creative process less solitary.
The intention of my works is that the viewer travels inward and connects, through the painting, with some emotion or feeling that he or she has experienced in his or her life.
Exhibiting in different places has meant a lot to me: that my painting can connect with very different people, but with something in common, intimate and at the same time universal.
Ernest Compta Llinàs
Your Catalan roots and the cultural vibrancy of Barcelona seem integral to your artistic identity. How do these cultural influences manifest in your work, particularly in your approach to facial portraits? Can you share a specific piece where your heritage played a crucial role in its conception and execution, and how it resonated with both local and international audiences?
The culture of my city and my country undoubtedly provides me with a rich and complex visual language, but it is the human condition, in all its diversity and complexity, that really inspires me.
Barcelona is a cosmopolitan city, where people of very different origins live together. This diversity is reflected in my portraits, where I seek to represent the universality of emotions in difference. The connection with the public is fundamental for me. I like my works to make an impact and also to generate emotions, reflections, to act as bridges between people.
Over the years, you have transitioned through various styles and formats. What have been the most significant challenges and breakthroughs you’ve encountered during this artistic evolution? How have these experiences shaped your current methodology and thematic focus on facial portraits, and can you provide an example of a piece that represents this journey?
My artistic evolution is a process of discovery and continuous learning. Over the years, I have developed a methodology that allows me to express my ideas in a personal and authentic way. My current focus is on exploring the psychology of the face and seeking a deeper connection with the viewer.
Over time, I have experimented with different styles and formats, always looking for new ways to express my ideas and emotions through portraiture. Using different materials has allowed me to find those that best suit my artistic vision and each work.
Your artwork emphasizes social and emotional diversity through facial features. How do you select the subjects for your portraits, and what particular aspects of their faces do you focus on to convey their complex emotional states? Can you describe your process in creating a portrait that captures the essence of the subject’s emotional and social narrative?
It is not about real people, I am not inspired by specific individuals. When I am faced with creating a (fictional) portrait, my creative process is enriched with a new dimension. Not being limited by the physical characteristics of a real person, I have the freedom to explore a wide range of possibilities.
Even if the character I start from is invented, I seek to convey authentic and universal emotions. Sadness, joy, anger, fear... these are feelings that we all know and can recognise through a series of traits.
I like to delve into feelings common to the human species such as loneliness, identity or hope. Sometimes my paintings are a reflection of my own concerns and fears, sometimes they are the result of my imagination.
I believe that the ability of a portrait to move and connect with the viewer lies in the authenticity of the lines, in the truth of the emotion conveyed, regardless of whether the source is real or imaginary. A successful portrait invites the viewer to reflect on his or her own life and to find resonances shared with the person depicted.
Being influenced by abstraction and expressionism, how do you integrate these artistic movements with your unique vision and style? Can you elaborate on a particular piece where the balance between these influences and your personal artistic identity is particularly evident, and what message or feeling you aimed to convey through this balance?
I take elements of reality, be they shapes, colours or emotions, and simplify, exaggerate or distort them to create compositions that go beyond literal representation. I use abstract elements to express emotions in a more universal and profound way. With the distortion of shapes and the use of intense colours, I can convey anguish, joy or any other emotion without losing its strength.
The world of emotions and feelings is often complex and contradictory. We often experience inner conflicts that make us feel disoriented and lost.
Having exhibited your work in diverse cultural contexts like New York, Milan, and Cali, how do you perceive the reception of your work varies across these different audiences? What have you learned from these international experiences about the universal aspects of your art versus those that are more culturally specific? Can you share an anecdote that highlights these observations?
Basic emotions such as love, pain, joy and sadness are universal. They are easily recognised and shared by people of all cultures. My artworks, by exploring these emotions with a focus on the human face, have an impact on people from different backgrounds.
Each culture has its own history, roots, traditions, and its own ways of interpreting art. For example, some cultures pay more attention to symbols and hidden meanings, while others place more value on individual expression and originality.
You have received numerous awards and been featured in prestigious magazines. How do these recognitions influence your creative process and your interaction with the broader art community? Do they affect the themes or styles you choose to explore, and how do you balance maintaining your artistic integrity with the expectations that come with such recognition?
Awards have been a catalyst in my artistic career, I am grateful for them because they are an endorsement of the work I have done, but they do not define my identity as a painter. My goal remains to create work that is authentic and meaningful, and that can connect with people.
Your artist statement mentions a focus on expressing social and emotional diversity. How do you see your work contributing to contemporary social dialogues? Are there specific social issues or themes you aim to highlight through your portraits, and how do you ensure that your work remains both personally meaningful and socially relevant?
By connecting with the emotions of the people I portray, I hope to bring about greater empathy between human beings. I think that the identification of universal feelings generates, or can generate, currents of solidarity. The lack of context in my works facilitates this identification
Looking towards the future, what new directions or projects do you envision for your art? Are there new themes, styles, or mediums you are eager to explore, and what motivates these future artistic endeavors? Can you discuss any upcoming projects or ideas that excite you and how you plan to integrate your past experiences and current inspirations into these future works?
My most exciting project at the moment is to participate in the art fair in Istanbul (IAAF) from 13 to 17 November. I hope to be able to travel there and thus have the opportunity to get to know the city. Actually, painting every day is what gives me the most satisfaction.
