Andrea Torres Balaguer (b. 1990) embodies distinct characters in her captivating self-portraits. These photographs could easily be mistaken for oil paintings, with their rich, jewel toned backgrounds and serene subjects posed in the centre of the composition. Most striking of all are the bold brush strokes that cover the faces, acting as masks that conceal the identity and expression of the person beneath. In the spirit of René Magritte’s famous painting The Son of Man (1964), the contemporary photographer leaves an important part of the image a mystery. She is also highly selective when it comes to what is being shown to the viewer, considering everything from clothing choices to hand placement. Showcasing the artist’s signature style, five images from her series The Unknown are now on display as part of the exhibition In the Viewing Room at Jackson Fine Art, Atlanta. In this interview, Balaguer shares with us the evolution of her practice, her creative process and recent experience shooting the Dior 2023 Cruise Collection.
A: In the Viewing Room showcases five portraits created between 2019 and 2023. Why did you select these pieces? How do they connect to one another?
ATB: These pieces represent the evolution of The Unknown, which was my first series where I used painted brush strokes. The exhibition also features a print with gold leaf and one photograph from my collaboration with Dior. All of them display my distinctive style when it comes to colour choices.
A: In one photo you’re turned away from the viewer (Bouquet, 2019) and in another you’re stood in a regal manner with hands carefully positioned in front of you (Faun, 2022). How do you choose the poses for each piece? What do they represent?
ATB: The poses are related to the costumes and the character that I’m performing. Hands are always very important to me. They suggest something when they are visible and they conjure ideas about the unseen when they are hidden. You can read subtle meaning if you pay attention to the hands.
A: The brush strokes are almost like a mask, concealing the wearer’s expression and identity. Could you tell us more about this aspect of your self-portraits? What is the role of anonymity in your work?
ATB: I always say that when you think of “a portrait”, the face is the most important element when it comes to recognising a character. When I do a brushstroke, and hide this part from view, it’s like stealing an identity. I decided to do it to myself through self portraits; I lose my own identity to become infinite ones. The audience interpretation is one of the most important aspects of my work: everyone can imagine a different character under the brushstroke. This is the power of what you are not seeing.
A: What is your process? How do you choose the right colour, direction and style for each brush mark?
ATB: I do a lot of little prototypes before painting the big final piece. Sometimes the right colour appears by itself and it’s obvious to me that only “that” colour can represent what the character needs and matches the vibes of the picture. But other times it’s just a process of doing a lot of tests and deciding by my self-taste which one is ideal. The direction of the brushstroke is more or less the same process because it depends on the energy that I am trying to convey – this can be calmer or more hectic.
A: The obscured face is a motif that brings to mind the work of Surrealists René Magritte and Sheila Legge. Who are your artistic inspirations? In what ways do they inspire your own work?
ATB: My biggest inspiration is Duane Michals. I discovered his work whilst at University and I was mesmerised by his sense of humour and irony – the work touched me so deeply. René Magritte’s paintings have also always been a big inspiration for me in many ways, especially conceptually. And, when it comes to light and colours, the master Annie Leibovitz made me discover that I love light (and natural light especially) more than anything.
A: One of the pieces on display – Tango (2023) – was part of a collaboration with the fashion house Dior and the 2023 Cruise Collection. Could you tell us more?
ATB: It was a wonderful experience and I had the pleasure of living in Sevilla. The collection is a tribute to Spanish traditions and craftsmanship and is inspired by Andalusian folklore. I had the chance to choose some of their amazing dresses and perform in a new way, presenting my own vision of the collection. The red, black and gold are present in all the pictures. The characters are powerful woman, with strong attitudes.
A: On the topic of fashion, your subjects are often adorned in sumptuous silk, satin and other beautiful materials. What role does fabric play in your photography?
ATB: For me, colours and texture were the most important things when it came to choosing clothing in The Unknown. Later, in my series Hivernacle, the volumes and forms were key. Choosing the right garment is what takes the most time because it is an essential part of the work and the final result. The fabrics make the character and set the vibe of the work. They can tell you a lot about the personality of the wearer and this can define some other aspects, like the pose. I really like to play with the light falling upon different fabrics. I love textures, wrinkles, lights and shadows, so it’s so fun to play with good materials.
A: What projects are you working on at the moment?
ATB: I’m working in some shows for 2024 as well as another project for a brand (that I have to keep secret for now). There is also a new series that I’m starting where I want to play with colour a little bit more.
Jackson Fine Art, Andrea Torres Balaguer: In the Viewing Room | Until 23 March
Words: Diana Bestwish Tetteh and Andrea Torres Balaguer
Image Credits:
- Andrea Torres Balaguer, Faun, 2022 Signed, titled, dated, and editioned on label verso 39 x 29 inch archival pigment print with mixed media Edition of 7 + 2AP.
- Andrea Torres Balaguer, Satin, 2023 Signed, titled, dated and editioned on label verso 47 1/4 x 35 1/2 inch archival pigment print with mixed media Edition of 7 + 2AP.
- Andrea Torres Balaguer, Tango , 2023 Signed, titled, dated, and editioned on label verso 31 1/2 x 25 inch archival pigment print Edition of 5 + 2AP.
- Andrea Torres Balaguer, Faun, 2022 Signed, titled, dated, and editioned on label verso 39 x 29 inch archival pigment print with mixed media Edition of 7 + 2AP.
- Andrea Torres Balaguer, Allure, 2019Signed, titled, dated and editioned on label verso47 1/4 x 35 1/2 inch archival pigment print with mixed media Edition of 7 + 2AP.
- Andrea Torres Balaguer, Silk , 2023 Signed, titled, dated and editioned on label verso 47 1/4 x 35 1/2 inch archival pigment print with mixed media Edition of 7 + 2AP.
- Andrea Torres Balaguer, Nebula , 2023 Signed, titled, dated and editioned on label verso 47 1/4 x 35 1/2 inch archival pigment with mixed media Edition of 7 +2AP.
