Paula Calavera, aged 35, was born in Ceuta but relocated to the Canary Islands at the tender age of four. Her passion for art was ignited by her mother, yet it was her father who motivated her to pursue a degree in Fine Arts. She has dedicated over ten years to muralism, a pursuit that has granted her the opportunity to travel across Spain and internationally, crafting large-scale artworks. Paula celebrates the thriving state of the sector in the Canary Islands and emphasises the need to establish supportive networks among professionals.
When did you first decide to take up mural painting and what prompted that choice?
As a teenager, graffiti—the precursor to mural art—was regarded as a rite of passage into various social circles, particularly among young men. This was during the 1990s and 2000s when leisure pursuits were still markedly gender-segregated. I encountered murals upon commencing my Fine Arts studies, which is a common path for most women of my age group. Growing up in La Orotava, I watched with admiration as Sabotaje al Montaje created their murals. However, I never envisaged becoming an artist like them, partly because the field has evolved significantly since then, transforming into a professional economic sector rather than just a leisure activity.
At what point did you start perceiving this practice as a profession?
Upon completing my degree in 2013, I entered a competition to design the artistic layout for the Los Cristianos Pier, a project reserved for university students. Although I won the competition, I frequently say that the project was somewhat overwhelming for me due to my lack of experience. Nonetheless, it helped solidify my understanding that I was passionate about this line of work and that there were career opportunities available. After that, I also took charge of the design for the Ofra clinic.
Having launched your career as a muralist with these two institutionally-backed projects, has this influenced how the public perceives or engages with your work?
I feel fortunate in this regard. I also think that being a woman in this field has played a role here too. Even though I began my career a bit later, those first two opportunities allowed me to gain international recognition sooner. For me, they serve as a form of introduction.
How did you navigate the transition from smaller works created during your university studies to large-scale murals?
During university, I had the chance to create large canvases and also took a course focused on mural work. However, it wasn’t until I undertook the Los Cristianos project that I truly grasped the use of tools, material handling, and the logistical aspects involved.
Is the message conveyed through a smaller piece substantially different from that of a mural?
Yes, particularly in relation to the audience each work is aimed at. In public spaces, our creations are meant for passers-by, which necessitates more accessible ideas that resonate with a broader audience. Conversely, when I create a smaller piece, I don’t apply that same filter, and I focus on my own vision.
«The demand for our work is increasing because it reflects the public art trend of this era»
What is the current state of urban art in the Canary Islands?
The presence of the ULL Degree in Fine Arts in Tenerife has bolstered the island’s professional art scene. Peers from other islands, such as Sabotaje al Montaje, who came to Tenerife for education and chose to stay, have laid the groundwork. Gran Canaria has an active scene, though perhaps it leans more towards graffiti. However, the lesser islands witness limited activity as young people often migrate to Tenerife or Gran Canaria for opportunities. Still, when compared to other areas of the Peninsula, there is a significant group of artists in the Islands. On a professional level, we could match places like Granada, given that around twenty individuals in the Canary Islands are currently engaged in contemporary muralism. There is a vibrant scene, especially since cutting-edge festivals have been held in locations like La Palma and Gran Canaria, which gained international recognition. Such events have illuminated professional opportunities within the Islands.
Interestingly, urban art in the Canary Islands is thriving, yet there seems to be a lack of festival networks in this field.
Indeed, it is peculiar to note the lack of sustained initiatives. The longest-standing initiatives include Sumérgete en Santa Cruz by Fundación Moeve and Seis de Doce in Los Realejos. In 2018, our collective contemplated whether this would become a short-lived trend, but it has proven otherwise; the demand for our work continues to grow as public art becomes increasingly prominent. Additionally, our presence is being acknowledged in mainstream contexts, as evidenced by our appearances in perfume adverts.
As this success unfolds, is the sector unifying and preparing for the future?
I often say that as artists, we embody our own brand and distinct style. Although our work is frequently carried out with assistants, there is a perception that collaborative efforts devalue the art. The public’s notion of the lone creative genius persists, yet we are gradually supporting one another as a collective. Although we lack formal unions, we are slowly fostering relationships to establish minimum working conditions. This has been evident since 2015, and I firmly believe it is essential for our continuous growth.
Is the next logical step for urban art in the Canary Islands to form alliances?
Absolutely, such collaboration can propel our growth, address best practices, and secure the training of future generations…
«The ULL has been instrumental in promoting good practices and fostering professional engagement»
Muralism, along with its precursor graffiti, was often viewed as a form of vandalism. Within contexts like Tenerife, how has the establishment of the Faculty of Fine Arts contributed to shifting that perception?
I believe its role has been pivotal in preventing society from criminalising our work. For many years, graffiti was associated with illicit activities or deteriorating urban environments. Additionally, in the Canary Islands, few self-taught artists transitioned to professionalism; thus, the academic experience has been crucial for most. This helps explain why more substantial projects have unfolded in Tenerife compared to Gran Canaria. The existence of the University has substantially defended good practices and bolstered professional activity.
In fact, you continue to engage with academia and are researching the history of mural art in the Canary Islands.
Yes, I have been involved in this for five years now, as combining research with artistic practice can be quite challenging. This area remains under-explored internationally, and hardly examined in the Canary Islands. I aim to investigate the developments on the Islands over the past 30 years to understand the current landscape.
What do you consider the significant milestone that has allowed this sector to flourish in the Canary Islands?
I believe, akin to the evolution of photography, there has been a democratization of art. Urban art has opened avenues for the working class, enabling them to engage with artistic expression.
themselves in artistic expression. Moreover, we encounter a practice deeply embedded in society, widely embraced, and not confined to high culture. In numerous instances, we observe individuals who began with graffiti, then pursued higher education, successfully advancing their projects to a bureaucratic level.
Can muralism become a tourist attraction for the Canary Islands?
I believe it can. Recently, I was restoring a mural in Lanzarote, and during the process, many tourists stopped to capture photographs of us. I perceive this as the emergence of a new heritage. Just as many travellers visit churches, there will undoubtedly be those interested in exploring murals.
The Canary Islands, particularly Tenerife, is also evolving into a hub for renowned international muralists. They come to work and often choose to settle permanently.
Indeed, beyond the existence of significant initiatives, the Canary Islands’ place in the global imagination is crucial. We find ourselves in a more liberated environment as well.
«The limited presence of women is attributed to the absence of role models; “They can’t envision themselves doing this.”
How do you assess the presence of women in muralism?
We confront demanding physical work, but I maintain that, more than gender, it hinges upon the struggle one chooses to undertake. I believe the underrepresentation of women in the field stems primarily from a lack of references, leading many women to be unable to picture themselves in this realm. It is also true that we encounter highly masculinised environments, where familiarity with women is lacking. However, I think the introduction of female quotas has benefited us. Initially, it might have been seen as adverse, but it has proven to be an effective strategy. Moreover, when murals feature feminine themes, it is preferable for a woman to create them, which has also opened doors for us. Our male counterparts have made strides in this regard, providing initial opportunities.
Unlike graffiti, which is often transient, murals are conceived with a sense of permanence.
We are presented with a heritage that requires preservation, or at the very least, longevity. The challenge lies in the fact that these projects frequently overlook the need for restoration. One must be mindful that walls require proper treatment prior to any intervention, and this needs to be factored into the budget. It is also important to note that the languages, resources, and forms of expression we utilise are not simple to maintain. Therefore, it is virtually impossible for a mural to endure indefinitely. Not only does the physical aspect degrade over time, but so does the message. After about 20 years, the imagery may no longer align with the aesthetics and ethics of that particular era. What truly matters is that, once you occupy a space for art, you ought to keep painting; it must not revert to being just an empty wall again.
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