Miguel Sopena is an artist and photographer originally from Valencia, Spain, but now based in Croydon, South London. He decided to change direction and become an artist as he was finishing his doctorate in theoretical physics at Sussex University in Southern England. Miguel went on to complete a part-time Fine Art Foundation BTEC at City College Brighton and Hove and a Portraiture diploma at the Heatherley School of Fine Art in London. A highly experimental artist, Miguel combines his ongoing interest in figuration with a developing abstract language in which he explores themes of memory, emotion, and the passage of time. Colour, composition, and the material properties of the painting medium itself are key to Miguel’s painting process.
Self-taught or art school?
I did go to art school but I chose not to go down the BA/MA route. I come from a very different field (Physics), and as I was finishing my PhD at Sussex University in Southern England I enrolled on a part-time Art and Design Foundation BTEC at what was then Brighton City College (now Greater Brighton Metropolitan College). I then completed a 2-year Portraiture diploma at the Heatherley School of Fine Art in London, which specialises in traditional figurative painting. It would be great to do a Fine Art MA at some point in the future but for now, it remains an aspiration.
If you could own one work of art what would it be?
Hard question! I think I would be torn between a Rembrandt self-portrait and one of Kandinsky’s Compositions.
How would you describe your style?
Up until now, my work has been highly experimental. As mentioned, I come from a figurative background centred around portraiture and the human figure, and I still love figurative art. However, soon after I left school in 2015 I started developing an abstract side to my practice, and that’s what I’m currently concentrating on. So what is my abstract style like…? I would say that my main focus is on colour and composition. Also, I soon became attracted to the material qualities of painting itself and so I started working with oil paint with a very heavy body and heavy textures, which I achieve by adding oil impasto medium and materials such as marble dust to the paint. I’m still working in this way even though this language, like the rest of my production, is evolving. Because of my interest in composition, much of my abstract work has a strong geometric slant. The use of colour is another side of things that I think about a lot, and this can range from completely monochrome pieces to highly colourful ones- It’s all in the balance! As mentioned, experimentation is a key component of my practice and I believe trying new approaches and processes adds depth to my work so I guess this is how it will continue to be.
Can you tell us about your artistic process?
I’d say my process is a mixture of planning and improvisation. I work a lot on my sketchbooks, playing with ideas and compositions that I think might work for a finished piece. I also keep a studio journal to help me reflect on my process as I go along and to record any ideas that may be valuable in the future. As I start work on a piece, though, it’s important to be open to what the process brings along and to allow myself the freedom to improvise and experiment. I often stare at a painting for a long time before I decide what to do next. It sounds silly, but often the hardest part is to decide when the painting is complete and leave it alone rather than keep fiddling with it. It’s easy to lose perspective after working on a painting for some time, which is why I like working on a number of pieces at the same time, often in different sizes and formats.
Is narrative important within your work?
I wouldn’t say that narrative (in the sense of telling a story) has been central to my work so far, but, that said, I often start out with an idea or an image, a feeling, or even a working title, that inspires a piece somehow and helps me get going. This translates sometimes into a larger body of work like my ongoing Dénia series of paintings, which are based on childhood and adolescence memories of time spent by the sea with my family in Eastern Spain, many years ago. At other times, though, I start working on a piece based purely on ideas about composition, materials and colour.
Who are your favourite artists and why?
Too many to count I suppose. I am attracted to artists with a strong individual voice. I think my art, at the bottom, is about the expression of emotion so I look for that in other artists too. I have mentioned Kandinsky and another classic is of course Paul Klee. I love Danish painter Asger Jorn’s free and bold work and recently I really enjoyed Frank Bowling’s show at Tate Modern and Vivian Suter’s at Camden Arts Centre. Another modern classic for me is of course Robert Rauschenberg. I am always very keen on learning about new artists (past and present) and visit as many museums and exhibitions as I can.
What or who inspires your art?
Well… Speaking about my abstract art, I would say that, as mentioned, it’s definitely not about narrative, but it can be about personal material like memory and emotion. The paradox of abstraction is that a lot of emotion can be conveyed through non-representational means, even if the how remains a mystery. Kandinsky famously reflected on this and spoke about the ‘inner need’ that moves the artist to produce work that, on its face, might seem ugly or hard to comprehend. I guess the compulsion to keep searching is ultimately what drives me.
Where’s your studio and what’s it like?
I am very lucky to have my studio at Turf Projects, an arts organisation located in Croydon, in South London. It’s a lovely community of people with a very active programme of exhibitions, community outreach and more. My studio is in the basement, with no natural light, which enhances the feeling that I’m stepping into another world when I’m working down there. My aim is to paint bigger so I’m beginning to have a space problem!
Do you have any studio rituals?
I recently heard someone say that the most important studio ritual is showing up, which I totally agree with. That said, I tend to deal with admin in the morning so I can concentrate on my creative work in the studio in the afternoon and I usually pick up a cup of coffee and/or something to eat on the way. When I get there, I change into my painting clothes and put music or a podcast on while I look at the work currently in progress (or recently completed) to get my creative juices flowing. I usually feel a bit tentative when I start working, then, if I’m lucky, I feel a bit more sure-footed.
The end of the working session entails cleaning up dirty brushes which is no one’s favourite job.
What are you working on currently?
Currently, I am developing abstract ideas in a variety of formats that arose over the last few months and are a comparative break with older work. As mentioned, one of my current goals is to work bigger and I’m currently beginning to paint on unstretched canvas. I tend to post new production to my Instagram feed, which is a good place to keep up to speed with what I have been doing lately.
Where can we buy your art?
A lot of my work is available for purchase on Degree Art and Saatchi Art, the well-known online platforms (there is different work on each one, so make sure you check out my profile on both!). As mentioned, please also check my website and Instagram feed for recent and older work and contact me directly for any enquiries!
