Martin Valcarcel Ruiz

You are both an architect and a self-taught painter. How did these two creative paths begin to intersect in your life?

Although both disciplines are creative, painting appeals to me because it allows me to find absolute freedom, a connection with a metaphysical plane, an independence free from the parameters, calculations, and variables that are necessary in architecture; therefore, painting allows me to find a creative process without restrictions.

Architecture requires precision, while painting often allows more emotional freedom. How do you balance these two approaches in your work?

Both disciplines share a common thread in their compositional spirit: the pursuit of creating something new makes their paths closely intertwined. My academic background provides me with the vision and the perfect tools to find harmony with painting, a practice that is deeply intimate and personal.

Sustainability plays an important role in your practice. How did you first decide to work with reused cardboard and layered textures?

Yes, sustainability and environmental protection should concern everyone—from governments to individuals. It can start with something as simple as recycling, which I learned about during my master’s degree in environmental management. A few years ago, I noticed my students finishing their university term and throwing their models into the trash. I realized that this material, which essentially comes from trees, was being wasted. Repurposing it seemed like an interesting challenge—to see what new things could be created from it.

When you create a piece, do you start with a clear visual idea, or does the painting evolve more intuitively during the process?

It is an intuitive process, just a general idea from which everything flows. The forms may be organic, evoking the call of nature, or of a more artificial kind.

Some of your paintings seem to “come alive” – full of movement and mysterious figures. Do you see stories or characters emerging while you paint?

Yes, absolutely, the stories and protagonists are important and necessary in a work; it’s about finding the door that brings them to life and defines them. The story can sometimes be imperceptible to the eyes, but it’s there if you choose to look at what is hidden.

You mentioned that nature “guides you” in your creative process. Can you describe a moment when this connection felt especially strong?

When i work with layered textures, their undulating and ascending forms allow me to find that connection with nature by visualizing landscapes imbued with their own numen. There, the clues begin to appear, opening the door to the creative stage.

Looking ahead, how do you see your artistic journey evolving? Are there new concepts or materials you would like to explore?

I will definitely continue with cardboard works, but I also have another style that is more architectural; I like exploring geometric abstraction. There I use mixed techniques, I do the volumetric drawing, paint it, and then apply photographic filters to achieve a more science fiction-like atmosphere.