Alba Fabre was interested in art from a very young age and was even a tattoo artist for a while. However, she ended up studying social education, which she left to enter the world of art and mural painting. She studied drawing and painting at Barcelona Academy of Art, where she currently works as a teacher. She develops her personal work in urban art, together with other artists, in her studio in Barcelona. Her work is characterised by a figurative style, sometimes close to impressionism. Her works are interested in the analysis of the language and concepts of classical art, reproduced in a painting in which strength and colour are at the centre of attention. It is also possible to see the influence of psychology and social themes in his work.
With Rebobinart and the City Council of l’Hospitalet de Llobregat she has inaugurated a large-format mural work, inspired by a vertical garden, located in Peñíscola street, in the Can Serra neighbourhood.
What is your personal relationship with classical art? Does it influence your artistic projects?
I studied at a school that focused entirely on classical art, drawing and painting technique. I have always had a great interest in classical art and in fact it is the basis of my knowledge. In some way, you can see this influence in all my projects, both in the choice of colours and in the brush strokes. I think this influence is evident in my murals; it comes from a transition from painting on canvas to painting on walls, adapting my style to the new medium.
How has your perception of urban art evolved from your first works until now?
My perception of urban art has undergone a remarkable evolution. Initially, I felt that street art was limited compared to more traditional forms of art such as canvas painting or museum exhibitions. Over time, I have noticed a gradual shift: a wider range of images and styles have begun to be accepted in public spaces.
At the same time, I have delved deeper into the context and reasons why some themes in urban art are still not well received (not that I agree). As much as I would like to see works in public space that explore themes as deeply and explicitly as those found in museums, I understand the reasons.
I also think that since I started doing murals not so long ago, about 5 years, I haven’t lived with other times when graffiti was more present, but now I notice that there is a very good vibe between the two guilds: they respect each other. This coexistence not only enriches the artistic results, but also creates a space for the creation of interesting points of view that are neither pure graffiti nor pure art unrelated to the history of street art.
Is there any aspect of your work that you consider breaks with the traditional conventions of urban art?
Perhaps, although it is unintentional and is being done by a number of artists of my generation, it is this painting of more of a tableau that has not been seen as much in the urban art world and is increasingly being seen. This style is not new, but it is gradually gaining ground. The impression I get from my work is one of surprise at a result that tends to be more painterly and less related to graffiti or traditional urban art illustration.
What is your experience as a teacher like? Does this daily conversation influence your artwork?
Yes. I am a teacher during the winter season, when I have less mural work to do. It is clear that this experience influences my work. Sometimes the conversations with the students lead me to new ideas or perspectives, sometimes they make me think about how to approach my own ideas or how to tackle new challenges. It is a kind of dialogue. But it is also true that I value the moments of disconnection, when I can put my mind in silence and see which ideas are valid for me and which are not so valid.
Do you have some key ideas that you always repeat to your students? What are they?
Yes, in terms of making a living from art or urban art. I think it is important to understand that, over and above talent, it is necessary to have initiative and to actively seek out opportunities and projects. Many of my students have great talent and skills, but if they don’t move, they won’t be able to make a living from it. I try to demystify the idea of the bohemian artist, they have to be practical and proactive and look for opportunities. After all, they can’t just go into a shop and buy a wall.
Have you encountered any problems during the creation of any of your murals?
One of the first murals I did was in Gandia. It was a couple of girls resting in a garden and kissing. I came from the world of canvas painting, where, fortunately, what you paint is more accepted and there are usually no problems about the type of couple or what they are wearing. Halfway through the creation, the neighbours asked me to stop the project because they were uncomfortable with the depiction of two women. They suggested that I replace one of the women with a man. At that moment I realised the power that murals can have, because they are visible to everyone outside, without having to go to a museum or pay an entrance fee. So I think there is a responsibility with what we paint and the themes we choose. Luckily, after some discussion, I was able to finish the mural according to my original concept. This experience had quite an impact on me because I came from a different artistic world and didn’t know the specific complications of painting in public space.
If you could transform any place in the world with one of your works, where would you choose and why?
I would choose a rural setting in need of improvement. I would prefer to avoid places that already have a natural or architectural charm, as I would want to preserve them as they are. Instead, I would be interested in intervening in a place with a poor architectural design or one that has suffered from bad development, so that I could contribute to improving its aesthetics and functionality. The contrast of a painting in a rural setting can have great visual strength without compromising the existing architecture, which I prefer to leave intact if it is already beautiful.
If you could work with any artist, who would it be?
I would choose to work with those with whom I have a personal and artistic affinity. If I did it with someone I admire a lot, the result might not be as good. I prefer to work with artists like Elisa Capdevila, with whom I have already shared projects and had a lot of fun, or Slim Safont, with whom I have a good relationship. I am also fascinated by the idea of working with Pabli Stein and other muralists of the same generation in Spain, because there is a great connection and a very positive atmosphere between us.
What personal and professional goals do you hope to achieve with your future projects?
I would really like to continue travelling, to get to know new places and countries, how they understand urban art (I think every country understands it differently) and to work on projects where, above all, the creativity or the intention of the artist is respected over what the city councils, the government or the people expect to be done in the public space. Maybe to only work on projects where the art is the priority and the more urbanistic part is maybe left aside.
What has been the most striking reaction you have received from a spectator to one of your works?
Above all, I appreciate or am very impressed by the people who come many days during the process when I am making a mural, who may not live in the same town or city, and who come every day or every two days to see how the work is going. It surprises me a lot because it gives me the feeling that they really appreciate what I’m doing.
As a concrete case, in a mural I did in Asturias, in Oviedo, about Sidros y Comedies, at the end of the mural people came dressed in traditional clothes, they did a little performance and they brought me cider. The end of the mural was very beautiful and impressive.
