Jana A. Abril: “I have always thought that Barcelona lacks color”

For several months now, if you walk through the Sant Antoni neighborhood in Barcelona, it's very likely that you'll come face to face with the new work of illustrator Jana A. Abril. A mural that is part of the NNShutters project and covers the shutter at number 49 on Sepúlveda street. For Jana, it represents “a space of color that invades your gaze for a few seconds as you pass by”. A very personal work, because Jana “draws to express herself and listens to keep moving forward”. Her inspiration comes from the need to listen to her inner voice and play with it, shaping it into lines, spots, and colors. Her scenes depict everyday life, her experiences through everything that surrounds and moves her.

• Dinos, Jana, how did you come to feel your calling towards art?

Wow! I think I've felt since I was very young that I had to do this. As I've grown and seen the choices before me, art has always been at the forefront. Even in elementary school, art class (that's what we called it) was my favorite subject. For many years, I attended private lessons in the studio of a painter I admire and, in part, it was with her that I realized I wanted to dedicate myself to art. Throughout my education, I've been told many things about this decision, I've often faced teachers, friends, and acquaintances who tell me that I'm going to live poorly, that it's a bad decision. It's also true that many people support me and trust in my talent and encourage me to keep trying what you love most in this world. My family and friends have always supported me a lot. My answer has always been emphatic; it's what I know how to do, it's what I'm good at, it's what I like, and I want to dedicate myself to it professionally.

• According to your resume, you expanded your education in Northern Ireland. Is it necessary to go abroad to grow and improve as an artist?

Yes, absolutely. I used to be very afraid of stepping out of my comfort zone, leaving everything behind to go to a place where you know nothing and no one. I think it's the best thing I've done in a long time. It has helped me grow as a person and, therefore, it has helped me grow as an artist. I've seen new settings, new customs, a new culture, new products, new colors. This has undoubtedly enriched my artistic sensitivity.

• How would you define your style?

Difficult question. I've always struggled to define what I do and how I do it. Since I started, I've been evolving and have gone through different styles, always maintaining my essence. I would say it's a style that comes from within, intimate, delicate, and sensitive. It can work well for children's and young adult illustration, especially in its sweetest form. At the same time, I often work just in black and white, with strong marks or strokes that give a lot of power to the works. It tends to be figurative and narrative, although lately, I've been leaning more towards abstract art. I think it's also subject to the technique I use. Recently I've been working with engraving and printing techniques. And although I always try to let the technique limit me as little as possible, sometimes I adapt to it and the style can change. This happens often, as I don't work the same way with a pencil or paints as I do with a digital tablet.

• What drives you to draw?

The need to do it. It's my way of expressing myself, in which I feel best. I would say that it is generally an inner impulse and that it often happens without me realizing it. Sometimes it is also triggered by external factors, such as a photograph, a phrase, a poem... For me, drawing has always been a way to express how I see things with a line, a mark, a color, whether they are objects, situations, feelings, thoughts, memories... Therefore, the need to express myself and give my opinion drives me to draw.

• Where do you find your inspiration?

It depends a lot, I would say that I am very irregular in this regard. It comes from different senses and I would also dare to say that it varies over time. Sometimes it depends on the mood, on my emotional situation. Sometimes, I just see colors on the street that inspire me and I want to capture them on paper. Sometimes by looking at the gallery on my phone I see pictures that inspire me to take them as a starting point, they can be pictures of other people. Sometimes inspiration comes from the most unexpected places, reading or seeing the work of other artists. Sometimes the need to tell something triggers a stroke.

• The blind in Sepúlveda was not your first 'baptism' into large formats, as you have already completed other works like the mural at the Parc Biosaludable of the Hospital Sant Joan de Déu, in Esplugues or the door of La Retratería, the photography studio of Carles Roig, in the Gràcia district. Does a design change a lot when you see it at full size compared to the small scale?

Yes, for me definitely, it changes a lot and you have to adapt to the medium you're facing. It's not the same to draw on a smooth wall, as it is on a textured wall or a shutter. Drawing on paper or a computer is much easier. When moving to a large format, proportions are also a very important and difficult factor to control, which can detract from the illustration if you're not very clear about them. Personally, I find it very difficult and I don't draw with the same ease on paper as I do on a shutter or a wall. But as I always say; with desire, time, and enthusiasm everything can be achieved.

• How was the task given by Xavier Franquesa? What did he ask you for exactly?

Honestly, everything with Xavier was very pleasant. He contacted me through social media (Instagram) because he had seen my work at La Retratería. He told me he was looking for artists for a campaign to improve the shutters on some of the Núñez i Navarro buildings in Barcelona, and asked me if I was interested in painting one of the shutters. I had complete freedom to present an illustration proposal, and I could even choose from several shutters, which I really appreciate. The colors were indeed predefined, they had to be the corporate colors of the company, but Xavier let me add a few more, so I also had some freedom in the choice of colors.

• How would you define the work you have done on the shutter?

I would describe it as a joyful work, one that brings life to a busy street. It's a space of color that captures your gaze for a few seconds as you pass by. It's also a small narrative: each house with its inhabitants and their stories, little shared stories.

• How did you come up with the approach you took?

In the work, the protagonists are characters that are quite present in my work in general. I wanted to express the concept of community, neighborhood, family. I also wanted to paint something easy to 'read' and that captures the passerby, since it is an image that is looked at for a few seconds while walking down the street. There was also no room for a super complicated illustration, the texture of the blinds doesn't make it easy. So I ended up giving it this more geometric, simpler look, but lively thanks to the combination of colors and the character of the figures.

• Did it take you a lot of effort to arrive at that solution?

No, actually I enjoyed the process. I started with some separate sketches with pencil and paper. Then I began the design in the proportional format, trying out all the concepts and initial drawings. Finally, I transferred it to the computer where I finished giving it the final shape and color.

• And what did the neighbors/clients say when they saw the work?

This is curious, the truth is that people show a lot of interest when they see me working on the street, more than I thought. For me, the best and most fun audience is the elderly. Their comments are direct and sincere. They told me many things; above all, people congratulate me and tell me that they really like the drawing, that what I paint is very good. Some people think it's a very hard job, and they felt sorry for me. Others asked what would open there: a store? a daycare? Some asked why I was doing it. The truth is that they gave me very good reviews. I spent three days painting on the street and, by the third day, I already knew some of the neighbors who encouraged me every time they passed by. Two or three people approached to ask for my contact, they were interested in having their shutters painted. I think it's a good opportunity for some young artists to show ourselves on the street.

• He told us Berok recently that it's now fashionable to paint murals on shutters. Have you also noticed that boom?

I'm not sure if I would call it a boom. It's true that there's a lot more painting going on than a few years ago. In theory, it's more respected, and I say in theory because sometimes that's not the case. You can paint your business's shutter today and find it painted over by tomorrow. But in the end, it's something that's exposed on the street and there's not much more you can do than trust in the codes of the street. There are those who respect, and those who don't. It's frustrating and infuriating to see your work scribbled over when there are a thousand places to sign and graffiti, but it has to be accepted, it's the street. I actually think it's great that people illustrate and create murals on shutters. I've always thought that Barcelona lacks color. Often when I walk down the street, I notice shops and businesses where I would love to see the shutters painted. There's a lot of graffiti, but for me, it's not the same as illustration work.

• How do you see the artistic scene in Barcelona?

Difficult question. I would say it depends on what and in which areas. I think the city itself, its people, have a lot of culture and art. As an artist / illustrator, I find it tough in terms of working and surviving, and I wish it weren't so. I believe that we artists are undervalued and, consequently, art is undervalued at an institutional level. There are few supports, and I think few resources are dedicated to art. There are young artists, like me, who are starting to become much more known, there is mobilization and willingness, but I think it's more on a social level, and thanks to social networks. If we compare the artistic scene in Barcelona with that of other cities like Berlin or Belfast, I think we fall short. I'll give you an example: Belfast, where I've been these past months, is full of spaces where young emerging artists can exhibit their work. Every week at the beginning of the month, an “opengallery” is held and there are more than 15 spaces where you can visit art exhibitions. I found it very interesting and it's something that I haven't seen here, and even less so directed at young people who are just starting out.