9. Inaugural poster

Cristina BanBan: “I wanted to make a reference to the figure of Rodin’s Thinker, a symbol of the dreamer and creation”

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The creator of the inaugural poster for the 2023-2024 academic year at UPF, Cristina BanBan (El Prat de Llobregat, 1987), is an internationally renowned and award-winning artist. She has shown her artistic works at galleries around the world, such as Skarstedt (London and New York) or Perrotin (Tokio, Shanghai and Paris). Her works are also part of permanent collections of institutions such as Fondation Louis Vuitton (Paris) or Columbus Museum of Art (Ohio); or they have been shown in collective exhibitions in the Royal Academy of Art in London or The Hort Family Collections in New York, where she currently lives.

A fine arts graduate, she is known for her semi-autobiographical nude portraits, featuring Rubenesque female figures in a neoclassical style. In this interview, she discusses the ideas that inspired her and that she sought to convey with the inaugural poster for this academic year. 

Cristina BanBan, envoltada d’algunes de les seves obres
Cristina BanBan with some of her works (by Albert Font)

What were your thoughts when you were commissioned to create the inaugural poster for the 2023-2024 academic year at UPF? 

I was thrilled to accept the UPF commission. It was a source of pride for me to join the ranks of historical artists who have also been part of this project – who had created previous posters – such as Tàpies, whom I admire very much. I usually never work on commission, but this struck me as an interesting opportunity to change the types of projects I participate in a bit and see the work reflected in a different format, as I usually paint for shows.

Cartell inaugural del curs 2023-2024 de la UPF, obra de Cristina BanBan
Inaugural poster for the 2023-2024 academic year at UPF by Cristina BanBan

  • The work you made for UPF shows two girls who seem to be listening to someone. What does the poster mean?

    • The female body is characteristic of my work; I use the figure as a method of expression. I usually start with classical poses, such as a woman sitting, standing in contrapposto* or lying down. In this case, though, I wanted to make a reference to the figure of Rodin’s Thinker, a symbol of the dreamer and creation, concepts that I think are inherent to education and to the enthusiasm of young people. 

      The figure of the woman is the foundation for all my paintings. You could say that these women are the vehicle for expressing certain emotions. It becomes an autobiographical work.

  • Voluptuous human figures, especially women, take centre stage in your visual world. Do they represent someone in particular or are they anonymous characters?

    • Figuration is the language with which I first approached the art world. I had a fairly traditional education, based on copying the natural world. So, today, I am experimenting with moving away from this realism at times. But the figure of the woman is the foundation for all my paintings. You could say that these women are the vehicle for expressing certain emotions. It becomes an autobiographical work.

  • You are joining a collection of works by renowned artists such as Antoni Tàpies, Miquel Barceló, Roy Lichtenstein, Susana Solano or Lita Cabellut. What does that mean to you?

    • I am very excited to be part of this legacy – and to continue it – as an artist from the current generation, especially given that the project is in Barcelona.

  • This is your first work exhibited in Catalonia, despite your international acclaim. What do you think of that? Do you have any upcoming shows planned for Catalonia? Would you like to have a greater presence in your homeland?

    • Exhibiting your work at home is always satisfying. It is moving to be recognized in your place of origin. I don’t currently have any exhibitions planned in Catalonia, but I would very much like to have an institutional presence here. 

      I think that culture and art are essential for understanding the times we live in. They are a means of information that offers another perspective and is not governed by rules, standards or other filters. 

  • What do you think of UPF’s commitment to culture, and to art in particular, as a hallmark of its institutional identity?

    • I think that culture and art are essential for understanding the times we live in. They are a means of information that offers another perspective and is not governed by rules, standards or other filters. I think art is a very powerful tool and a sign of freedom of expression and innovation. 

      For me, what happens in the studio comes out quite organically. I try to be as honest as I can with my work in order to feel free. 

  • You usually make large-format works. How do you approach the blank canvas? What is the creative process behind your works?

    • It is not something I stop to think about much. For me, what happens in the studio comes out quite organically. I try to be as honest as I can with my work in order to feel free, as, ultimately, that is why I am an artist. Every day is different. I don’t have a set routine. I always start with sketches. Once I have a drawing that fits the composition, I make a large-format version of it on the canvas with charcoal. Then I start to paint. But I don’t plan that: it is the most intuitive part of the process. 

  • What advice would you give to young artists and creators looking to make a place for themselves in the art world?

    • In my view, curiosity and constant hard work are what pay off in the long run. Above all, they should be true to themselves, find something that excites them and embrace it. 

      *Contrapposto: a way of harmoniously arranging the parts of the human body, especially when some of them are in motion.