Studio Visit: David Macho

In the heart of Barcelona’s Raval neighborhood, right in front of a fruit shop and on one of the busiest streets in the area, we find David Macho’s studio. He welcomes us on the ground floor of a space shared with other artists and leads us up a narrow wooden staircase to the loft where he works at least ten hours a day. Original, chaotic, and filled with curious and colorful objects, the studio perfectly matches David’s personality and his paintings.

Alzueta Gallery (AG): Have you ever considered painting somewhere else? In a more spacious place, where you wouldn’t have to share space with other artists, in a quieter neighborhood?

David Macho (DM): Yes, because I’m on a very busy street where things are always happening. But I paint with my back to the street and always wear headphones, so I don’t get too distracted. Actually, I came here because I was kicked out of my previous studio. I didn’t plan on staying this long, but since I always work late, it suits me because I live nearby.

AG: Did you paint the same way in your previous studio? Or has your work changed since moving to a smaller space? Do you think painting in such a small studio influences your work?

DM: I used to paint larger figures. But the big change came during the pandemic when I had to move my studio home. I had a small tabletop easel, and my canvases kept shrinking. Then, a friend recommended that I buy magnifying glasses with a light for painting. But they break quickly, and I keep piling them up here. It’s like a graveyard… I use them a lot.

AG: How many hours do you work a day? Do you always wear the glasses?

DM: About ten hours a day, usually from 12 to 12. I always wear the glasses, except when painting artist studio scenes—since they are on paper, they don’t reflect as much, so I can take them off.

AG: How did the idea of painting other artists’ studios come about? Have you ever thought about painting your own studio?

DM: I think it started when I saw a photo of Matisse painting from his bed with a stick. I thought it was a great image. In my paintings, I often include references to iconic moments in art history but with a perspective that adds irony and humor. I had thought about painting my studio, but I wondered, “Who’s going to buy it?” Still, it would be interesting. Everything would be tiny, with lots of objects.

AG: Did you paint the studio paintings all at once?

DM: Yes, I painted them in groups of three, though I usually work on one painting at a time. Except for this one that I was working on when you arrived, which I’ve been painting for three years.

AG: Tell me more about this painting.

DM: It’s a set of bleachers filled with people. There are tons of people—friends, celebrities… probably around a thousand figures. It’s literally a representation of “a mass.”

AG: You’ve sometimes described your artistic practice as an investigation into “bureaucratic plasticity.” Could you elaborate on this idea in relation to paintings like this, where you depict crowds?

DM: Bureaucratic plasticity is a term I coined years ago, though I don’t use it as much now. It was a way to understand plasticity within all the bureaucratic processes involved in trying to be an artist in Spain. Traces of this idea still exist in my work, as I consider my way of engaging with power within the art world and its spaces to be ongoing. For example, in my paintings, I include people from Alzueta Gallery or museum representatives.

AG: What is the relationship between your work and the world of artists and celebrities?

DM: Celebrities are archetypes within the institution—each plays their cards to maintain their privileges and continue their legacy. I know that the more celebrities appear in my paintings, the more interest they generate. And believe it or not, it’s been the celebrities who have come to me.

AG: Your work definitely plays with a very interesting ambiguity. Where does your interest in mass culture, pop, and kitsch aesthetics come from?

DM: I’ve always been fascinated by it. As you can see, behind the corner where I paint, I have twelve saint figurines and a pope. My mother has been giving them to me over time, and now I have an army of saints accompanying me! Television is also one of my great passions. There are many references to the TV world in my works.

AG: Sometimes, your paintings have an apocalyptic narrative touch but without losing humor. How do you balance criticism with the ability to laugh at yourself?

DM: My favorite song is FINDELMUNDO by Chico y Chica—it perfectly explains my view of the world. It goes like this: “The flood has carried away a printer, whoever catches it drowns, there’s nothing left in the stores, no one can stand this end-of-the-world smell, don’t miss it.” The critique often speaks for itself—I just paint. Also, I tend to say everything that comes to mind. Since I don’t like silence, I talk a lot—sometimes to fill space, sometimes just for fun. In the end, we’re here to have fun, right?

AG: Just like in your paintings, which are packed with elements and people.

DM: And just like my studio. In reality, everything is connected.