ÁNGELES AGRELA - INTERVIEW

Today, we have the pleasure of speaking with Ángeles Agrela, one of Spain’s most celebrated contemporary artists. Known for her striking portraits that reimagine the representation of women, Ángeles uses hair as a powerful symbolic element, often exaggerating its presence to question identity, beauty standards, and self-expression. Her works have been exhibited internationally in institutions such as CICA Vancouver, the Centro Andaluz de Arte Contemporáneo, Museo Artium, and in galleries like Nicodim Gallery, Perrotin, Anat Egbi and Galería Yusto Giner. She has also participated in major art fairs including Art Basel Miami, The Armory Show, Art021 Shanghai, and Art Dubai. Blending classical references with a contemporary lens, she brings a unique and thought-provoking perspective to the art world. Ángeles, thank you for joining us!

Ángeles Agrela: Thank you for inviting me. I’m delighted to be part of your project.

1. Beginnings and Influences

Your work often references classical portraiture while reinterpreting it in a contemporary way. What drew you to this theme, and how has your practice evolved over time?

Since the beginning of my artistic practice, I have been deeply interested in the human body, my own and others'. Over the years, I have explored this theme through various techniques and approaches. I initially engaged with portraiture through self-portraiture, using myself as a subject to explore identity in different series of drawings, photographs, and videos. Over time, my approach evolved, and I transitioned to working with models, ultimately focusing on painting as my primary medium.

What fascinates me about portraiture is its unique ability to captivate viewers, allowing them to connect with the image of another person and relate to their features in a personal way. I have a deep appreciation for art history, particularly classical painting and the depiction of the human form across different eras. However, I am especially drawn to naturalistic representations. My favorite and most influential portraits come from the Golden Age of European painting, particularly from the 15th to 17th centuries. Additionally, having grown up in southern Spain, I cannot ignore the influence of Catholic religious art—the hyper-realistic sculptures and paintings of the Baroque period, which often depict female saints and virgins with striking realism. These representations of femininity have undeniably shaped my work.

2. Symbolism in Hair

Hair plays such a central role in your portraits, often overshadowing or completely replacing facial features. What does hair symbolize to you, and how do you use it to explore identity and representation?

While hair is often the most visually striking element in my work, it is not the only significant aspect. The background, the decorative tension it creates, the clothing which directly references contemporary fashion icons and the subtle, sometimes surreal facial features all play essential roles in the composition. However, I understand that hair carries powerful cultural and historical connotations, making it one of the primary symbolic elements in my pieces.

Sometimes, hair represents power and self-confidence; other times, it seems to engulf or even suffocate the subject. It can serve as a form of camouflage, helping the figure blend into their surroundings, yet paradoxically making them appear even more mysterious and unsettling. Each work tells its own story. Hair embodies both power and vulnerability, conformity and individuality, obligation and freedom. In some cultures, it is even perceived as a danger. It is an intrinsic part of oneself, yet it demands constant decision-making regarding its appearance and maintenance something both personal and subject to external judgment. This duality is what makes it such a compelling metaphor in my work.

3. Cultural and Historical Context

You’ve spoken about your interest in reconceptualizing the role of women in art history. How do you see your work contributing to this ongoing dialogue?

Art, by nature, should contribute to redefining contemporary perspectives on the past. Historically, the significance of an artwork has often been judged by how much it altered perceptions of its time both in terms of art itself and the society that produced it. As someone deeply passionate about art history, I believe that classical works not only provide aesthetic pleasure but also serve as historical documents that reflect the evolving values and narratives of their time.

Traditionally, Western and Catholic artistic traditions have portrayed women in highly specific and often restrictive roles: virgins, saints, virtuous nobles, or, conversely, symbols of temptation and sin. Fortunately, from the second half of the 20th century onward, female artists have worked tirelessly to break the male-dominated hegemony of the art world. Even in the 21st century, it remains our responsibility to continue shaping the ongoing history of art by contributing our own perspectives and experiences. I hope that, in the future, when contemporary art is viewed as part of history, these shifts in representation will be evident. More than that, I would like to think that our works actively drive those changes forward.

4. Creative Process

Could you share how you approach creating one of your intricate portraits? Do you begin with a specific concept in mind, or does the work evolve more intuitively?

When I begin a new piece, I always consider both the individual work and how it fits into my broader body of work, particularly within the context of an upcoming exhibition. I like to view all my paintings together in the studio to identify missing elements whether in terms of color, composition, or thematic exploration and to ensure a cohesive visual dialogue across the series. In a way, I approach each exhibition as if I am creating one large painting composed of multiple interconnected pieces.

Individually, each portrait starts with extensive research. I collect numerous images and ideas, saving them on my phone or computer a gesture, a body posture, a specific hand position, a painting that inspires me, a hairstyle, a color obsession, or even a phrase I overheard. From there, I create a digital collage as a preliminary sketch, which constantly evolves throughout the process. While this collage provides a rough blueprint, the final drawing often deviates significantly from the initial concept. This organic evolution is crucial to my process, keeping the work dynamic and engaging.

5. Institutional and Gallery Relationships

You’ve exhibited in both institutional spaces like the Centro Andaluz de Arte Contemporáneo and commercial galleries like Nicodim, Perrotin or Yusto Giner. How do these environments shape your practice or the reception of your work?

Generally speaking, I feel I have more control over the entire production process when exhibiting in a gallery. However, this depends on the situation. In institutional exhibitions with curators selecting works from various collections, I sometimes have less influence over the final narrative or exhibition design. Yet, these situations can be valuable, allowing me to see older works in a new light and observe unexpected relationships between past and present pieces.

On the other hand, in institutional exhibitions where I create an entirely new body of work, the process feels like an expansive artistic endeavor, unconstrained by commercial considerations. That is one of the key advantages compared to gallery shows. However, I have been fortunate to work with galleries that have never imposed limitations on my exhibitions. My artistic vision and the integrity of my work have always remained the top priority.

6. Art Market and Collectors

Your work has been shown in high-profile fairs like Art Basel Miami and Zona MACO. How would you describe your relationship with the art market? Are your collectors predominantly private individuals, or do institutions play a significant role in acquiring your work?

My relationship with the art market, like that of most artists, is complex. When an artist remains relatively unknown, with a small base of dedicated collectors, everything feels manageable and organic. However, once the market’s machinery takes notice at a higher level, it becomes harder to maintain control. While this visibility is often seen as a marker of success, it also means being subject to market fluctuations that have little to do with the creative process in the studio.

In recent years, the art market has experienced a degree of volatility, attracting speculators. At one point, my works began appearing at auction houses, which initially made me uneasy. I was relieved when things settled down again. Fortunately, my work continues to attract a steady demand from collectors who genuinely appreciate art. Most of my collectors are private individuals from the United States, Asia, and Europe. My pieces are also included in institutional collections in Spain, though not as widely abroad. That said, I try to remain somewhat detached from the commercial aspect, entrusting my galleries to handle these matters. I prefer to focus on my work, maintaining a pace that allows for thoughtful creation rather than market-driven production.

7. International Reach

Having exhibited in places like Los Angeles, New York, Dubai, and Shanghai, how do you think your work resonates with international audiences compared to Spanish ones?

For a long time, my work had little to no international reach. I was primarily exhibiting within Spain, working with local galleries and fairs. However, this is not just my experience, it’s a broader issue for Spanish artists and galleries. The Spanish art market is relatively small, making it difficult for local galleries to break into the top-tier international fair circuit. As a result, many exceptional Spanish artists remain underrepresented on the global stage.

That changed for me when I gained access to international markets, and I was pleasantly surprised to see how well my work was received by audiences from diverse cultural backgrounds. My artistic language, with its references to popular culture, fashion, and art history, seems to transcend geographic and generational boundaries. It’s fascinating to witness how collectors and audiences from places like South Korea, Mexico, the United States, and Dubai engage with my work. While I would expect Spanish audiences to connect with my pieces in a similar way, the reality is that very few of my collectors are based in Spain.

8. Themes of Identity

Your portraits have a sense of mystery and ambiguity. How do you hope viewers engage with the identities, or lack of them, depicted in your works?

I deeply value the feedback I receive from audiences, whether in person or through social media. Sometimes, I am surprised by the personal narratives people construct in response to my work interpretations that I had never considered. Portraiture, in particular, has a way of drawing viewers in, allowing them to see themselves in the image of another, even when gender, time, or cultural context might create barriers.

Discussions about my work often center around themes of feminism, ambiguity, and symbolism. My intention is to challenge the historically male-dominated gaze in the representation of femininity in art. This resonates strongly with female viewers, many women have reached out to tell me that my portraits speak to them on a deeply personal level. However, I also have a significant male audience, including collectors and enthusiasts who interact intensely with the enigmatic nature of my portraits. Regardless of gender, I believe that fascination with the subject is a key component of my work. Over the years, I have refined my technical and visual approach to enhance this sense of intrigue. However, the most meaningful aspects of artistic engagement are often beyond the artist’s control. In the end, an artwork functions like a cryptic message in a foreign language each viewer deciphers parts of it and fills in the gaps with their own experiences. My goal is to create images rich with possible interpretations, leaving room for each person to form their own unique connections.

9. Memorable Projects

Looking back at your career so far, is there a particular project or exhibition that holds special significance to you? Why?

There are several. One of the most memorable was my first major solo museum exhibition at the Centro Andaluz de Arte Contemporáneo in Seville in September 2001. It was an ambitious project, involving sculptures, drawings, installations, and a series of self-portraits where I attempted to blend into the sky. In some of these photographs, I wore sky-blue clothing and was suspended from a bridge to create the illusion of free fall. There was no Photoshop, just raw, unedited negatives. One of these images, depicting me in mid-air, was used as the exhibition’s promotional image. However, on the last day of installation, September 11th, 2001, the tragic events of 9/11 unfolded. Suddenly, the image of a falling body took on an unintended and profoundly unsettling meaning. The exhibition opened two days later, but in the wake of such devastation, it felt inconsequential. This experience was a stark reminder of how art and life can intersect in unexpected ways.

Another defining moment was my solo project at Zona MACO in Mexico in February 2020 with Yusto-Giner Gallery. At the time, I had been working on my series of female portraits, but these works had gone largely unnoticed in Spain. Juan Pablo Yusto proposed bringing them to Mexico, and I witnessed firsthand how they resonated with audiences. Every single piece sold, not only to Mexican collectors but also to collectors from Los Angeles and Miami. Just a month later, the COVID-19 lockdowns began. Spain imposed particularly strict restrictions, and I found myself isolated in my studio for months. However, during that time, interest in my work exploded through social media, and I received a surge of inquiries from collectors. This unexpected turn of events marked a major inflection point in my career.

Lastly, my first solo exhibition with Nicodim in New York in March 2024 was incredibly meaningful. Titled "Self-Portrait as a Schoolgirl," it was a personal tribute to my younger self. The girl who used to spend hours drawing in Úbeda, a small town in southern Spain, unaware of where her passion would take her. It served as a reminder to appreciate how far I have come and to celebrate the journey.

10. Future Aspirations

What’s next for you as an artist? Are there new themes, mediums, or collaborations you’re excited to explore?

I am currently preparing for my next solo exhibition at Yusto-Giner Gallery, opening on April 5 in Marbella, Spain. This new body of work introduces variations on portraiture, expanding on themes that have been central to my practice. It marks my fourth solo show with the gallery which I have been working with for nearly a decade. They played a crucial role in establishing my presence in the international art scene, so exhibiting with them always feels special; like coming home.

11. Advice for Emerging Artists

What advice would you give to young artists who want to balance critical exploration of cultural themes with creating work that connects with the art market?

In an ideal world, artists would never have to chase trends or adapt their work to market demands. Cultural and intellectual movements have their own rhythms, often dictated by critics and theorists rather than artists themselves. Meanwhile, the art market operates on its own cycles, shifting focus based on strategies that are beyond an artist’s control. Trying to conform to fleeting trends is often counterproductive, by the time an artist develops a body of work that aligns with market preferences, those preferences will likely have changed.

That being said, we don’t live in an ideal world. Artists must navigate reality, set a course, and sustain themselves. My advice to young artists is to persevere and trust their process. Success does not need to happen before the age of 30. Keep working, stay true to your vision, and remain patient. Opportunities will come at the right time.