Why have you decided to change your career? How did you start as an artist?
I think the key for me was that I never stopped drawing since I am a child. As an adult, when I would come back home from my architecture job I was not checking out architecture magazines and news, I was drawing and reading.
As I got more and more emotionally detached from my job, it became more and more clear that what I wanted to do with my time was a draw and that worrying about the details of some special doors or discussing for hours about the best floor tiles for a project was not what I was interested in.
Somehow the shift came at a special moment: I started practising ashtanga yoga daily very early in the mornings before going to work. This daily routine of waking up at 5:45, riding the bike across Berlin, still dark, to the yoga studio and practising in silence before going to work helped me see clearly what I wanted and gave me the courage to make a change. I stopped working as an architect and centred myself on illustrating my own projects, looking for clients, and entering competitions... it worked out. I am much happier now.
What is your favourite artistic medium? What do you use more often and do you know why you choose it?
Watercolour for the uncontrollable aspect of the water and the focus it requires. And pencil for the immediacy of it, I find the connection of the brain to the hand with the pencil is very direct. I can think well in pencil, maybe this comes from my architecture times.
How do you come up with ideas for your illustrations? Do you work on a certain topic or social issue?
Most of my ideas come from just observing the world with a mindset of curiosity and admiration. If you walk around and look closely you will see we humans are all very strange and very particular, same with the things. All these orange trashcans in Berlin, or the mailboxes, bicycles! and nature... it is all quite weird and impressive I find. As for the topics, I have worked a lot on drawing women, on portraying a different image of women that differs from the dominating and harmful convention. I am also interested in certain subcultures of resistance, for instance, I made a comic about the Chinatown and the Paral-lel avenue of Barcelona during the 1950s and 60s. In times of the dictatorship, this area became an epicentre of the LGTBI scene with numerous theatres and cabarets, semi-clandestine environments that opened a crack of light in the heavy darkness of the Franco regime. Naked dances and transvestite shows were mixed with humour and musical numbers. Catalan was sometimes spoken on stage despite the ban on that language. That area of the city was mostly frequented by poor workers, prostitutes and artists, but with the growing popularity of these places, the rich bourgeoisie also ventured there after spending the evening at the Liceu Opera, attracted by the shows that broke the censorship and the taboo.