Studio Visit: Iván Franco

Iván Franco works through detail, creating drawings that mimic the clarity of a photograph. His practice questions the act of looking, pushing drawing towards a level of precision that borders on the real. We visit his studio, a quiet space with privileged views over Barcelona.

Alzueta Gallery (AG): What is the first thing you tend to do when you arrive at the studio?

Iván Franco (IF): I usually come every day of the week, and I take weekends off. When I arrive early, the first thing I do is lift the blind and enjoy the views. The studio is on the 16th floor of a large building in La Pau, a nice neighbourhood in Barcelona. Starting the day with a wide perspective of the space gives me good energy. It is generally a very quiet place, so I get a moment to myself before beginning to work.

AG: How would you describe your studio?

IF: My studio is part of Piramidón, a Contemporary Art Center, and I share it with other artists. We all have our individual studios, but being part of it creates a very positive community where synergies and ideas emerge. I do not need much space. I work with an easel tucked into a corner of the room and that is more than enough.

AG: How do you approach new artworks?

IF: I work directly on one piece at a time. I invest however long it takes. Larger works take two or three months, and smaller ones about fifteen days. Many people say I look like a printer because I start in the upper left corner and finish in the lower right.

AG: Your desk is filled with specific tools. What do you use them for?

IF: I have almost the full range of pencil grades. I am missing a few 5s and a couple of Bs, but my collection goes from 8 to 6. I usually remove the wood around the graphite, leaving the lead exposed, and I use sandpaper to sharpen it as much as possible. I shape it like a needle so I can draw details with greater precision.

AG: Could you describe the step by step of your technical process?

IF: I start preparing the background and then work from left to right so I can rest my hand. I first apply a layer, for example with an 8B, then blend it so that the white dots of the paper disappear and I get a mid tone. From there, I build up darkness with harder pencils. Once I have reached that mid tone, I start playing, especially in the hair, using the eraser to sweep and lift highlights where the light hits.

AG: Photography plays a key role in your work. What role does it hold exactly?

IF: My reference is photographic, because my work seeks to question contemplation. I always want the reference image to be as close to photographic as possible. The computer screen makes this easier because it is luminous, unlike paper, which is opaque but very sharp. It is an essential tool for me. That is why I work with low ambient light, just enough to see the paper while viewing the reference image clearly on the screen.

AG: To finish, is there any curiosity that describes your day to day in the studio?

IF: Graphite dust gets everywhere, you can see that the whole studio is covered with it. I try to take care of my equipment, like the computer, but sometimes I have to replace things because of it. I should probably work with a mask… but well, that is a risk you have to live with (laughs).