ALL EYES ON
>>> Joan Pañell Fernández de Liencres <<<
Dear Joan,
It is a pleasure to welcome you as an interview partner and get the chance to find out more about you, your artistic practice and philosophy. So let’s directly jump in with some deep questions:
WHAT DOES ART MEAN TO YOU?
J: Art means everything to me. It’s the act of creating something out of nothing, which is something beautiful. The process of creation is wonderful, and I believe the artwork itself is greater than the artist. Art can convey things that words cannot, and it’s something universal that everyone can relate to. It’s a deeply personal experience.
WHAT IS YOUR PERSONAL DEFINITION OF IT?
J: For me, art is an act of pure expression—a way to channel my inner world and emotions onto a surface. It’s a bridge between the personal and the universal, where I can explore my own experiences while creating something that resonates with others. Art, in my view, is not just about the final piece; it’s about the journey of creation itself, the exploration, the mistakes, and the breakthroughs. It’s a process of discovery and connection, both with myself and with the world around me. Art is the freedom to be vulnerable, to reveal what words cannot, and to allow others to find their own meaning in it.
Before we go on, show us what you are currently working on:
J: This is my latest piece.
Tittle: R6 / Medium: Mixed technique on paper / Size: 59.4×42 cm / Year: 2024
Let’s talk about your artistic practice. You are an autodidact and teach yourself.
WHAT WAS THE BIGGEST CHALLENGE TO LEARN?
J: My biggest challenge was overcoming the fear of making mistakes. Once I realized that mistakes are part of the creative process, I wasn’t held back or limited in my work. You have to make mistakes to learn, and it’s not something you should try to avoid. I feel an artist’s journey is long, and it should be taken step by step.
WHICH STRATEGIES DO YOU USE TO PROGRESS?
J: My strategy for progress is simple: create, create, and create. I try to paint as much as possible. By continuously working, my work evolves and refines itself on its own.
In your biography, you say that you are using bright colors, dynamic brushstrokes and abstract forms to convey deep emotions and personal experiences.
WHAT KIND OF EXPERIENCES ARE THESE?
J: These experiences are moments in my life when I’ve felt strong emotions. I’m inspired by times when things weren’t going well, and I felt like I hit rock bottom, as well as moments of joy when I felt on top of the world. Each personal experience made me feel a certain way, and I try to use that energy to propel the painting on the canvas, creating something beautiful and unique for the viewer. I’ve had a rough past, and I find painting therapeutic because as I express myself on the canvas, I feel my wounds are healed.
SITUATIONS OF EVERYDAY-LIFE OR PRIVATE MOMENTS OF DEEP EMOTION AND SELF-REFLECTION?
J: Private moments of deep emotion and self-reflection. These moments made me who I am. Abstract painting is a journey of self-discovery.
IS THERE FOR EXAMPLE A SPECIFIC COLOR THAT REPRESENTS A SPECIFIC EMOTION? OR A BRUSHSTROKE THAT SKETCHES AN ATMOSPHERE?
J: In my abstract painting, color and brushstroke are emotional languages. Deep blues evoke introspection, while fiery reds convey passion and urgency. Bold, sweeping strokes suggest movement and power, while delicate lines speak of fragility. Layered textures symbolize memory and complexity, inviting personal interpretation. Every mark is a visceral expression, creating space for connection and meaning.
WHAT DO YOU WANT TO TRIGGER IN THE RECIPIENT?
J: I seek to trigger introspection and emotional resonance in the recipient. My work is a dialogue of color, form, and texture—inviting viewers to explore their inner landscapes. I aim to awaken memories, evoke emotions, and spark personal interpretations. Each piece is an open question rather than a statement, encouraging contemplation and connection on a deeply individual level.
WHICH OF YOUR ARTWORKS HAS THE GREATEST EMOTIONAL CONNECTION OR SYMBOLIC VALUE FOR YOU? Why? What is the context?
J: One of my most emotionally significant works is a large canvas titled Tic Tac Toe. It emerged during a time of personal introspection and change. While painting it, I felt like a little kid again, and it marked a turning point in my artistic career. I used to do figurative painting, but shortly after this piece, I shifted to abstract expressionism. I enjoy painting abstract works more because I feel they’re a purer form of art and expression.
J: Title: Tic Tac Toe / Medium: Oil on canvas / Size: 300×120 cm / Year: 2023
In your biography, you say that Cy Twombly had a big influence on you. For those who don’t know him. Cy Twombly was one of the most important representatives of abstract expressionism. He was american artist and working as a painter, photographer and object artist. As part of his expressionist paintings, he liked to reproduce historical sequences and tell its stories due to an artwork series.
DO YOU ALSO TELL STORIES? WHICH ONES?
J: Yes, I tell stories, though mine are more emotional than historical. While Cy Twombly drew from mythology and history, I explore personal narratives and universal human experiences. My work reflects themes of memory, transformation, and the passage of time. Through abstract forms, layered textures, and intuitive marks, I create visual stories that resonate on an emotional level, inviting viewers to connect through their own interpretations and memories.
WHAT IS THE SPECIAL THING ABOUT CY TWOMBLY THAT TRIGGERS YOU?
J: What fascinates me about Cy Twombly is his ability to merge raw emotion with intellectual depth. His gestural marks feel instinctive, yet carry layers of meaning—historical, poetic, and personal. I’m particularly drawn to how he transforms writing into visual art, blurring the line between text and image. His work has an almost primal energy, where every scribble and smear feels charged with memory and story. This fusion of spontaneity and symbolism inspires me to embrace imperfection and let intuition guide my creative process.
Let’s talk about being an artist…
IS THERE A PORTRAIT OF YOURSELF?
J: This is a portrait of me in my studio in Barcelona. It’s part of a series of studio photos taken by my photographer friend, Diego Martinez Chacon. At the time, I was sharing a space in an industrial unit with other fellow artists. The paintings in the background emphasize the importance of the work.
WHAT ARE YOUR NEXT GOALS AS AN ARTIST?
J: My next goals as an artist are to push the boundaries of my creative process and deepen the emotional resonance of my work. I aim to explore larger-scale installations that immerse viewers in a multi-sensory experience. Additionally, I want to exhibit internationally, connecting with diverse audiences while staying true to my evolving artistic voice. Ultimately, my goal is to create art that sparks introspection and leaves a lasting emotional imprint. I also aim to work with art galleries to promote my work.
HOW DO YOU GET INTO YOUR CREATIVE FLOW?
J: I get into my creative flow through a mix of routine and spontaneity. Sketching freely or making intuitive marks on a blank canvas helps break initial resistance. Once I’m immersed, I let intuition take over, allowing the process itself to guide me. It’s about balancing intention with letting go.
WHAT IS YOUR IMPULSE / INSPIRATION FOR CREATING A NEW PIECE OF ART?
J: Creating art is a part of me—it’s not just an option, but a necessity.
DOES YOUR CREATIVE CREATION PROCESS ALWAYS FOLLOW A CONSTANT STRATEGY or IS IT ALWAYS DIFFERENT?
J: My creative process is fluid rather than fixed. While I have certain rituals, like preparing my workspace or starting with intuitive marks, each piece unfolds differently. Sometimes the process is deliberate and structured; other times, it’s spontaneous and driven by emotion. I let the artwork guide me, embracing unpredictability as part of the creative journey.
WHAT DO YOU LOVE / HATE ABOUT BEING AN ARTIST IN OUR CURRENT TIMES?
J: What I love about being an artist today is the limitless access to inspiration, global connection, and the ability to share my work instantly. The digital age allows for creative collaboration across cultures and disciplines.
What I find challenging is the pressure for constant visibility and the fast-paced art market, which can dilute deeper creative exploration. Balancing authenticity with the demands of a digital-driven world is both a struggle and an opportunity.
ANY ADVICE FOR ALL THE ARTISTS OUT THERE?
J: Stay true to your vision and trust your creative process. Embrace experimentation, and don’t fear failure—it’s where growth happens. Create consistently, even when inspiration feels distant. Most importantly, make art for yourself first; authenticity will resonate with others.
So, now it is about you! Q&A in QUICK AND DIRTY
YOUR FAVORITE PENCIL
J: Regular standard pencil.
YOUR FAVORITE COLOR
J: Yellow.
YOUR FAVORITE CANVAS
J: My favorite canvas is the regular, sturdy cotton canvas—the bigger, the better
PERSONALITIES THAT WERE INFLUENCING YOU THE MOST (artists, musicians, writers, philosophers, private idols…)
J: Cy Twombly and Joan Mitchell.
AN ARTIST, YOU WOULD LIKE TO HAVE A BEER WITH
J: Jean-Michel Basquiat.
IF YOU COULD CHOOSE AN EXHIBITION TOPIC (and space) – WHICH ONE WOULD IT BE?
J: The topic would be “The Fluidity of Time.” The space would be large, open, with natural light flooding through.
Dear Joan, thank you so much for sharing your insights. Your Art Beat wishes you all the best and keeps excited about your future activities.
FIND OUT MORE about Joan, his artwork and upcoming activities:
Website: www.joanpfart.com
Instagram: joanpanell_art
Susanne Britz has focused on photographs, pigment prints, and installations of everyday objects. The working process behind these works is exciting and is based on each other, so Susanne Britz runs through different phases during her creative process: it probably starts with an idea, then a spatial installation follows. Here she uses everyday objects from the household, sports equipment, tools from the studio or children’s toys. Once the installation is finished, she takes a photo of this work. Afterward, the photo gets digitally overdrawn.
I like the strong colors and the general idea behind this artwork. It’ s funny to see all the things and to realize what you can do with everyday objects.
#stayhome
What do I see immediately? Two people wearing different textiles and always several of them. The textiles look like old towels, shirts, tablecloths or window curtains. In both pictures, the faces are covered. In my opinion, this gives the photographs anonymity and something mysterious.
I take a look at the titles of the photographs. They are called “Strangers 1” and “Strangers 2”. The exhibition has the title “transformer” and the gallery manager Eva Hübner tells me that the textiles are garments. Clothes that were once worn by the artist’s mother and grandmother. Several generations are thus connected, quite inconspicuously. Thus the photos express the following for me: Even if some of them are no longer with us, we still carry them with us throughout our lives. They are a part of us.
I’m in the house Schwarzenberg visiting the Neurotitan Gallery. First of all, I walk through the first large room to get into another, a little smaller one. In front of me, there are three overhead projectors. On top of them, white objects that at this point I can’t quite make out yet. I walk closer to the installation. Many small pieces of paper are spread on the floor. I stand directly in front of them and realize that different sentences are written on them. Questions, answers, quotations – it reminds me of a dialogue.
In the performance, the objects are also meant to become actors, a game with perspectives takes place: am I looking at the objects? Are the objects looking at me? Since overhead projectors were used in the Neurotitan Gallery for the first time (normally the objects were always at the eye level of the viewer), I have the feeling of “looking down from above” – which makes me feel more superior.