We are in Marchena, in the province of Seville. We have arrived early because we are going to spend the day in the studio-workshop of Quique Sarzamora, a visual artist who prioritizes the process over the final result of his works. We want to interview him, get to know his approach and his work, and, without missing the opportunity, do a photo shoot in a workshop that has a very special atmosphere.

Quique welcomes us into his studio, shows us his process step by step (so important for the completion of his final works) and tells us in detail how he lives his work, with a set-up that reflects his personality and his way of seeing life. Without rushing, enjoying the journey and with slower rhythms, forced by his technique to go against the current of the current lifestyle.

During the interview he tells us about his process while creating a special piece that will be exhibited in our store.

Who is Quique Sarzamora and how would you describe your work?

I am Quique Sarzamora, a visual artist. My work is situated in the world of abstraction, with minimalist painting focused on color and form. When I talk about form, I mean that my works are not limited to an established rectangle, but rather each work seeks to have its own shape or body.

I work from Marchena, my hometown, where I have my studio. It was an old car workshop and little by little I have transformed it into my studio. I decided to settle here because it offers me what I need: space, time and tranquility. Today, with the ease of connections, I can work from here and project my work outwards.

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What is the philosophy that guides your creative process?

My painting is based on the process, not the result. Each phase has its importance and, although all this is an invisible work, for me it is essential.

Every step, from preparing the oil and canvas to applying the paint, is essential. My way of working goes against the current pace of life, as it requires pauses and drying times. It is a reaction to the time we live in of speed, of easy slogans. To the bombardment of images we have today with social networks and advertising. We are used to looking at a lot and seeing nothing. Although sometimes it limits me in terms of deadlines, it is part of what defines my work. My work seeks calm, contemplation, and having to make an effort in front of the work to see what is really happening in it.

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Why do you decide to prepare your own materials instead of buying ready-made products?

My zero degree of work is ahead of that of many painters. I prepare oils from pigments and oils. The canvases through rabbit glue and stucco, using an old loom. This means that the painting phase itself is only an intermediate part of the process. All the previous decisions; whether I want an oil with more oil or a rougher stucco, greatly influence the final result. Although I could use ready-made products that would give me more stability, I prefer this artisanal approach.

What materials do you prefer to work with and how do they influence your work?

I usually use linen or cotton. I like linen the best, but cotton also gives interesting results. The choice depends on what I want to achieve. For example, with cotton I usually work raw, applying a small layer of glue so that it doesn't absorb as much of the fabric. This way the paint expands and spreads on the fabric by itself, which creates unpredictable effects. With linen, I prefer to work with denser layers so that the paint has more body.

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For this piece, which will be located in the Minimalism store, what fabric are you using and how do you prepare the surface?

For the central part I am using linen. I prepare the fabric on an old loom and paint in this rectangular format. Then I create my own custom frame according to the final shape of the work, cut the fabric and adapt it to this new frame.

This piece has a layer of stucco prepared by hand. First I apply a layer of rabbit glue and then the stucco. As with oil, I adjust the recipe of the stucco according to the result I want to achieve, whether it is a more uniform and smooth preparation or a rougher one. All of this is a fundamental part of the approach to the work.

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How do you mix the pigments and how do they influence the result?

I work with the traditional recipe for oil paint. It consists of grinding the pigment with oil, usually linseed oil. The more I grind the pigment with the grinding wheel, the finer the oil comes out. Making my own paints allows me to vary the recipe depending on what I'm painting. If I want a thinner layer, I'll be more insistent with the grinding wheel; if it's a base layer, I can be more flexible.

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What components does oil paint have?

All paints are made up of three ingredients: pigment, which gives the color; a binder, which in oil is oil (in acrylic it is acrylic polymers, and in watercolor it is gum arabic); and a solvent, such as turpentine or water.

Where do you get the pigments you use?

I like to try out many different types. Sometimes I buy them in hardware stores or ask people who travel to Morocco to bring me pigments. These pigments give very different finishes. I usually do tests in my notebook to see how the colors look and how they react with other materials.

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How do you start working with color?

Colour is obtained by superimposing layers such as transparencies, glazes, etc. The first layer is essential to lay the base, but it does not have to be perfect. The canvas, being only covered with the stucco layer, absorbs a lot, so the first layers help to create the base on which work will be done later.

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How does it influence your work?

Colour and paint go hand in hand in my work. Depending on how I manipulate colour, I can achieve very varied expressive results. For me, the process is what is most important, and colour is a crucial part of that. Every decision, from whether I want a colour to be more transparent or more opaque, influences the final result.

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What is your favorite part of the color process?

What I enjoy most is watching the colour settle in the days after painting. That's when I start to see the effects I like the most: brightness, saturation, transparency. I also love to observe how light affects the pieces, both natural and artificial light. For me, the environment completes the work, and that's why I try to keep my pieces simple, so that they interact with the space around them.

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How do you manage the waste generated by your painting process?

I am particularly careful about this. I don't pour the solvent down the sink. I let it sit in the studio until I can take it to a cleaning point. This is another aspect of my work that requires attention.