Ricardo Fumanal
Artist Bio
Ricardo Fumanal was born in Huesca in 1984 and moved to London after cultivating his youthful spirit in Barcelona and Madrid.
Fumanal’s artistic training began at the Lleida Secondary School of Arts, where he specialised in graphic and advertising design. He later moved to Barcelona, where he worked as a graphic designer while extending his studies in printing techniques and illustration. After collaborating with a number of studios and art directors, he focused on producing illustrations in varying media and formats. These include work for www.elmundo.es or magazines such as Dazed&Confused, German Glamour, El País/EP3, Marie Claire, Hercules, Metal, Apartamento, Wallpaper*, Nylon Guys, and a great many covers for literary review Leer .
His clients include the Barcelona City Council or fashion brands Pull& Bear and Mango (Fumanal developed an expanded dynamic illustration project used as a backdrop for Mango ’s Spring/Summer 2008 catwalk show).
During his period in Barcelona, Ricardo Fumanal managed the implementation of Arxiu_Dossiers , an innovative documentation centre focusing on the work of contemporary artists selected by a committee of experts as being representative of the city’s creative environment. The initiative was hosted by the Santa Mònica Art Centre ( CASM ), which also commissioned a set of mural illustrations carried out on-site by the artist.
Ricardo Fumanal’s interests range from photography for fashion and advertising to the Fine Arts. Thus, his main professional activity as an illustrator draws from a broad array of techniques and languages. His current artistic outlook is expanding from the realm of manual drawing (marker, pencil and ink on paper) into moving images.
Indeed, his scope of action is located in a non-place where speed and stillness exist side by side, implying that his current work arises from a fragmented, multifaceted and versatile gaze. His images follow a diagrammatic procedure that provides for their reinterpretation as collage and subsequent analogical postproduction. His compositional identity is thus defined by simplicity and a confrontation between figures and background, resorting to a network of references, icons and spontaneously topical items, all tangled with resources, recollections and pre-generational links.
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