Juxtapoz Art and Culture-Spring_2019

JAVIER CALLEJA JUXTAPOZ.COM 109

avigating the perplexing

world of fine art, armed with

nothing but sincerity and

sparkling creativity, a series of

odd circumstances, random

introductions and unexpected events paved the

path for Javier Calleja’s talent to get exposure. he

story of his career and success shows modern

world connectivity and the ways distant cultures

follow and learn from each other. Although he

was showing at galleries around Spain, the work

seemed to need some sort of validation from afar

to be fully recognized.

When Calleja got a chance to exhibit his work in

Asia in 2017, he decided to try something slightly

different. Combining a playful approach in

creating installations and relatable, light-hearted

imagery instantly won the hearts of the local art

aficionados, turning his Hong Kong debut into a

sabbatical from the rest of the art world to absorb

the full potential and irresistible charm of his

creations. Unrestrained by techniques, mediums,

formats or scale, he began exploring this new

territory, riding the fast lane into art stardom,

on track with some of the most desired and

collectible artists of our time.

We caught up with Javier Calleja at his Malaga,

Spain studio just ahead of a successful Tokyo solo

debut with Nanzuka Underground last year, and

looked back at his journey through, discussing his

practice, influences, and emblematic big-eyed kids

in our conversation.

Sasha Bogojev: I noticed you rarely explain your

works and the ideas behind them. Why do you

maintain that silence?

Javier Calleja: I don't like to explain the work

because I think that my works are open to the

observer. So I want them to finish the painting.

To start and finish. I can talk about technique,

why the big eyes, why this, why that; but you

need to have your own idea or emotion about the

painting. Also, if I think too much about my work,

then there could be a moment when I know what

I'm doing. And when I know what I'm doing is the

right moment to stop doing it.

Was it like this from the start?

It was difficult for me when I was a student in

the 1990s because all the big artists were really

intellectual. Every artwork had to have a thousand

words behind it, very conceptual. So, if you want

to do that, you have to have a big explanation, and

for me, that was really hard to do. I wondered,

"Why do I have to explain everything?" But that

was the art world then, and the big artists of that

era, they were always writing, always thinking,

always planning, talking about the work. So

I needed to find something that I don't need to

explain. There is something behind my work,

but I don’t like to explain it. I prefer that the

viewers are the one to finish that.

Yeah, for me they feel quite simple, which gives

the audience a lot of room to have opinions,

because the simpler you make it, the more open

to explanations. If it is done very precisely and

detailed, then that's that. Is simplicity your

intention?

Yes. I like simple things. Simple, but not easy.

I always say that I like to find a magic moment.

Now, I want to do something to show you what

I mean. [Javier does a very effective disappearing

coin trick with his hands] It's a joke. It's not true.

But, for a few seconds, or just one second, your

brain says, "Oh, the magic." The next moment

your brain says, "Hey, there must be a logical

explanation.” But for those few seconds, it's magic.

So, with art, I like this moment when the people

arrive, see something and say, "Wow." This is

why I like these new characters. I think there is

something really important in their eyes, and it’s

with only two drops, white color, and the shadows.

So you get the sensation of real. But the T-shirt,

background, and atmosphere are all very stupid

and simple. So when your eyes notice the eyes in

the painting, the brain feels like the whole image

is real. They are very important to people. So your

brain is looking at something real but your eyes

are looking at something not real, and I think

there is some kind of magic in such a moment.

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Above: Installation view of Fake is the Future, Barlach Halle K, Hamburg, Germany, 2018