Javier Ruiz : Navigating the Intersections of Culture and Creativity in Contemporary Art

“Between the roars of the night and the murmurs of the new day” a solo show to see before february 17th at Plan X Gallery.

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Can you tell us about your artistic background and journey leading

up to your collaboration with Plan X Gallery?

It could be said that my training has been completely random. It is true that I have received painting classes or that I have higher education in something related to the arts or drawing, but the reality is that everything comes from the search and love for this and that I have done it in a completely autonomous and self-taught way.

On the other hand, and as for my previous career, except for the last three years, it is full of ups and downs. I have tried, I have fallen, I have got up, fallen again and got up again until I found my way.

What inspires you the most in your artwork, and how does this inspiration translate into your pieces?

On a conscious level, I am inspired by almost anything : a conversation, something that is happening around me, even if I am completely unaware of it, images, readings... Everything is susceptible. But at another stage, at an unconscious level, I recognize that each project is marked by my mood and emotional state of mind at the moment when it is gestated. My work is agitated and shaken in that duality, between life and death.

And that describes me perfectly in terms of my way of seeing life. I am a happy and content person with what I have, live and how I live it, but I also have a certainly pessimistic view of existence.

Could you walk us through your

creative process, from

conceptualizing an idea to bringing

it to life on canvas?

In a first step, everything comes from a never-ending search, that is, I am open to everything. The windows from which I nourish or feed visually are social networks.

I make a lot of screenshots of random things that attract me for different reasons and that, later, I revise, change or transform. This is, of course, a form of "appropriationism", but in subsequent steps, I move away from the previous images to create something completely new, visually and conceptually.

In this way, there are four steps in my creative process: collecting written images/ideas; transforming them into my own ideas from hand drawings; making a photographic montage; and, as a last step, taking the final image to the canvas.

Plan X Gallery is known for promoting contemporary and diverse art. How does your unique artistic style contribute to this vision, and what message or story do you hope to convey through your work?

In my opinion, one of the reasons why I consider that the relationship with Plan X is working so well is that we complement each other very well. As a figurative painter of classical dyes, with what this can mean in contemporary art, it puts me in a place, not only of full visibility but also of firm bet before a public, a priori, quite reluctant, sometimes, with this kind of painting. As for my part, I believe that I help to diversify and nourish their artists' stage, widening their field of vision and that of their collectors. In short, shoulder to shoulder, we support each other perfectly.

What are some challenges or obstacles you have faced as an artist, and how have you overcome them?

I believe that this is intimately linked to the problems that we have as human beings living in society and also in solitude. I have suffered problems with fear, self-esteem, precarious economy or something as earthly or banal as not having space to work. I have overcome them in different ways, depending on the problem, vital moment and context, but as a common point to all of them is that they have always been previous steps to achieve something that I was or I am irremediably doomed to do.

How do you see the relationship between an artist and their

representation in a gallery like Plan X ? How has this partnership helped

further your artistic career?

I firmly believe that there has to be a relationship that transcends the professional. It has to flow on a human level, both galleries and artists depend on a multitude of external factors and when I work with someone, I need to think that I can trust the people I have by my side.

Obviously I'm not necessarily talking about close ties of friendship, but I am talking about affinity and personal chemistry. Specifically with the Plan X family there has been a total match, especially since the moment we got to know each other personally. This kind of feelings and perspectives are, I believe, the ones that really make you grow.

Can you share any upcoming exhibitions or projects you are currently working on ?

The next major project will be a "solo show" in Sydney, Australia, with Piermargt Gallery, in which I am already working very excited because I am in a good pictorial moment, being a great opportunity to open horizons with a spectacular gallery, which is doing things really well in the international scene.

Are there any specific artists or art movements that have had a significant influence on your artistic development ? How do you incorporate these influences into your own work ?

There are definitely artists to whom I always come back but for pure enjoyment and taste for their work. Certainly everything nourishes, whether we want it or not, but I don't think of them when I work. I think it would be untrue to give you specific names.

How do you approach the balance between artistic expression and

commercial success ? Do you find it challenging to navigate this aspect

of being an artist ?

From the most absolute unconcern. When I was younger I did have a certain desperation to be or achieve this or that.

Now, simply, I work from the absolute love for what I do, with enough self-confidence to know that if things don't work out in the market, I have enough tools to get ahead.

Lastly, what are your aspirations and hopes for the future of your artistic career ?

My professional aspiration is to live fully from what I do, to live from creation. I always say it, I do it, I make an effort and I work like someone who wants to eat the world but with the peace of mind of not having to achieve it.