Our Fall Artist Interview Blog honors artist, Alberto Ortega! When my boss, Linda Wehrli, forwarded me Arcadia Contemporary‘s eNewsletter featuring Alberto’s upcoming solo show: Eye of the Beholder, recommending we interview him, it was obvious – his work is breathtaking! We were ecstatic when Mr. Ortega accepted our blog interview invitation. We’re glad to let you in on our conversation with the artist and share his process and artistic journey.

So grab a pumpkin spice latte, sit back, and enjoy the read!

JLS. What is your style of painting referred to? For our art students, would you please describe what this style means or represents?

AO. My painting style is often described as narrative realism or cinematic realism. This means I focus on capturing everyday suburban scenes, but with a strong sense of narrative, mood, and atmosphere, much like a scene in a film or novel. I aim to depict ordinary settings but infuse them with mystery, tension, or subtle unease, leaving room for the viewer to create their own interpretation of the story.

JLS. That’s the first I’ve heard of narrative or cinematic realism. For our students, would you kindly divulge the definition?

AO. Sure! Narrative realism involves using realistic techniques—like attention to light, shadow, and texture—but it’s not just about creating a lifelike image. It’s about using those elements to tell a story, evoke emotion, or suggest something happening beyond what’s visible in the painting. The goal isn’t only technical precision but also conveying deeper themes and ideas through those realistic depictions. It’s an interplay between what’s real and what’s imagined or hidden.

“Big City”

JLS. So cool. You use of light and shadow definitely creates an atmosphere! Much of your paintings feature suburban scenes. What is the story or inspiration behind your choice of subject matter? Do you create the paintings off the top of your head, on location or look at personal photographs?

AO. The suburban scenes in my paintings are largely inspired by my own experiences living in suburban environments and the quiet, often overlooked aspects of those spaces. Suburbs, particularly the idealized version from the 1950s, can seem like places of stability and conformity, but beneath the surface, there’s a tension that I find intriguing. Themes like isolation, routine, and the pressure to conform are central to the way I depict these settings.

I don’t paint directly from life or photos, but instead, I construct miniature models of suburban houses, streets, and neighborhoods. This allows me to control every element—light, shadow, angles—giving me the flexibility to craft a scene exactly as I imagine it. The inspiration can come from small moments I notice on walks or drives, like an abandoned lawnmower or a house with all its lights on late at night. These details spark an idea, which I then explore through the model-making process and later translate into a painting. The narrative isn’t always fully developed from the start, but emerges as I work with the model, playing with composition, light, and mood to create an image that suggests a deeper story.

JLS. Very create that you literally build the scenes beforehand. I understand you have a solo exhibition coming up at Arcadia Contemporary. Congratulations! May we have more info on the show for our readers? Date? Theme? Etc.? Thanks!

AO. Thank you! My upcoming solo exhibition at Arcadia Contemporary in New York City is titled “Eye of the Beholder” and will open on November 7, 2024. The show delves into themes of perception, memory, and the hidden tensions that exist in suburban life. Much of my work in this series continues to focus on suburban settings, but the emphasis is on how different viewers interpret these spaces—what they see or don’t see, what feels familiar, and what creates a sense of unease.

The paintings will explore the idea of looking beneath the surface of seemingly ordinary scenes to uncover deeper layers of meaning. I’m using a muted color palette and controlled lighting to evoke a sense of quiet mystery, reflecting the dualities often present in suburban environments—peaceful yet unsettling, familiar yet unknown. The works will include a mix of new pieces where I continue my practice of building scale models to construct the scenes before painting them.

This exhibition is really about engaging the viewer’s personal interpretation, hence the title “Eye of the Beholder,” inviting each person to bring their own stories, memories, and emotions into their viewing experience.

JLS. Awesome! We’re excited to see the online catalog when it’s available. Best of luck at the opening night! For our students, what do you believe are the pros and cons of gallery representation? Are you represented by any other art galleries?

AO. In my experience, gallery representation comes with its pros and cons, especially for emerging and established artists alike.

Pros – Things I like about being represented by a gallery are that gives you access to a larger audience, including collectors, curators, and art professionals. Galleries promote your work, get you into exhibitions, and help to build your career. Also, a gallery often takes care of the business side of things—handling sales, negotiations, and pricing your work appropriately for the market. This allows artists to focus more on creating. I also have noticed that having gallery representation adds a level of validation or prestige. It opens doors to opportunities like museum exhibitions, art fairs, and sometimes international exposure.

Cons – Galleries typically take a significant commission on sales, often around 40–50%. This can reduce the profit an artist makes on their work, though the trade-off is often worth it for the exposure and sales opportunities. Some artists feel that gallery representation can limit their creative control, as they may be expected to produce work that fits a certain style or market demand. 

As for me, I am represented by Arcadia Contemporary in New York City, and my work has been exhibited worldwide, including other galleries. Having solid representation has been crucial in building my career at a national and international level. However, it’s always a balance between keeping creative freedom and working within the structure of gallery representation.

“Reflection”

JLS. Thank you for sharing your experience. Our students are interested in the latest tools of the trade. May I please inquire, what is your preference for paints and brushes? Do you use oils or acrylics? Do you paint on canvas board, panels, or…? Do you finish with a varnish or leave as is?

AO. When it comes to materials, I have a few specific preferences that I find work best for the kind of paintings I create.

For paints, I primarily use Williamsburg and Michael Harding oil paints. 

For brushes, I prefer using natural bristle brushes for the first layers, especially when I’m working on larger shapes or blocking in big masses of color. These brushes allow me to push the paint around with more authority. For the finer details and the following layers, I switch to softer synthetic brushes. I find that Trekell brushes are great for achieving the precision and softness I need in the later stages. In general, I work 90% of the time with rounds.

As for my painting surface, I prefer to paint on canvas glued onto aluminum composite panels. These panels are more resistant to warping, moisture, and humidity than traditional wood panels or stretched canvas, making them a more durable option, especially in varying climates.

Finally, once a painting is finished, I use Gamvar varnish to seal and protect it. I like to apply the varnish and continue brushing it after it starts to tack up a bit, which helps to reduce the overall shine and gives the surface a more uniform, subtle finish. This keeps the colors looking rich without too much glare.

“Happy Hour”

JLS. Thanks for sharing your supply list with our readers. We’ll be sure to check out these oil paints for our students. At what age did you realize you wanted to be a professional artist?

AO. It’s hard to pinpoint an exact age when I realized I wanted to be a professional artist because, for me, it wasn’t about choosing a career early on but more about having an innate need to create. From a young age, I was always drawn to visual arts and storytelling, whether it was through drawing, writing, or simply observing the world around me. This need to express and explore ideas visually has always been there, almost like a natural extension of myself.

Over time, that creative impulse became more structured, and I started to see how I could refine it into something more focused. The transition to becoming a professional artist wasn’t something I planned from the start—it happened organically. I didn’t set out with the goal of “becoming a professional artist,” but my work developed, and I began to connect with people and galleries who responded to it. Eventually, the opportunity to exhibit, sell my work, and pursue art as a full-time career evolved naturally from that.

For me, it’s always been more about fulfilling that inner drive to create than about achieving a specific professional milestone, and I think that’s what still pushes me today—it’s less about a career path and more about continually exploring and expressing ideas through art.

JLS. Very true. As artists we feel that innate sense to create! Did anyone try to talk you out of venturing into an art profession? If so, how did you handle it?

AO. No, I was fortunate enough to have supportive parents who encouraged me to pursue my passion. My family has always been inclined toward the arts in one form or another—there are musicians, illustrators, and other creative professionals among my relatives. So the idea of venturing into an art profession was never something I had to justify or fight against..

JLS. That’s great. A family of artists. 🙂 I understand you were born in Spain. How did you end up settling in Raleigh, NC? I currently live in Asheville so not too far! Do you find that the city influences your artistic approach or subject matter? 

AO. I ended up in Raleigh because of a past relationship, and although that chapter of my life has since ended, I decided to stay. Raleigh has had a significant impact on my work, especially in shaping my narrative around suburban America. Moving here was a visual awakening for me—there was something about the neighborhoods, the houses, and the general atmosphere of suburban life in the U.S. that sparked a lot of creative ideas.

Even now, years later, there are still things I encounter that feel novel to me, as if I’m seeing them with fresh eyes. The suburban landscape here, with its specific light, architecture, and sense of space, continues to inspire my paintings. It’s a setting that, while familiar to many, holds a lot of hidden complexities and stories that I try to explore in my work. Living in Raleigh allows me to immerse myself in that environment, and it has become a central part of my artistic identity.

JLS. It’s nice to be inspired by where you live – awesome! Did you study art in college, attend masterclasses or are you self-taught? What are the pros and cons of studying at a university vs. self-taught? Were any masterclasses memorable? With whom did you study?

AO. I earned my MFA in Seville, Spain, which at the time was a very traditional five-year program. The approach was grounded in classical training, focusing on foundational skills such as drawing, anatomy, working with live models, etc, along with other classes like Art History, Art Theory, etc.

“Revelation”

I’ve always believed that a formal art education has both its advantages and limitations. The main benefit is that you get access to a wealth of knowledge and techniques that you might not come across if you’re self-taught. You also have a community of peers and mentors, which can be invaluable for growing as an artist. However, the downside is that traditional education can sometimes limit your creative freedom or keep you in a particular mindset.

Once I finished my formal studies, I continued to research and self-teach in order to find my own voice and develop a unique style. That independent journey has been just as important in shaping me as my formal education.

While I didn’t attend specific masterclasses, I have a deep appreciation for the idea of continually learning and seeking out new influences. I believe a balance of both structured learning and self-guided exploration is key to developing a personal, authentic voice as an artist.

JLS. Thank you for sharing. A balance between formal studies and self-teaching sounds right. Do you teach any workshops via Zoom or in-person?

AO. No, I do not currently offer any workshops, either in person or via Zoom. My focus remains primarily on my own practice, but I enjoy sharing insights through interviews and discussions about my work. Teaching isn’t something I’ve explored deeply, but I’m always open to discussing art and techniques with those interested in learning more.

JLS. Noted. What is some advice you can give the young artists studying at Pastimes?

AO. My advice would be to focus on the work itself rather than seeing art as just a career path. You need to be genuinely obsessed with creating, not because it’s a job but because it’s something you can’t help but do. The passion and drive for the craft should be the starting point, and everything else follows naturally. If you’re focused only on where it will take you, you might lose sight of the joy and exploration that comes from making art for its own sake. Stay curious, keep experimenting, and don’t be afraid to fail—that’s how you grow as an artist.

JLS. Sound advice! Thank you. Art can touch people’s lives, bringing happiness and hope. For example, my boss Linda Wehrli, partners with CoachArt to provide free art classes for families impacted by childhood chronic illness. Is there a charity you are fond of or support, that you might like our readers to learn more about?

AO. While I’m not currently involved with any specific charity, I have a deep appreciation for the role that art can play in people’s lives, especially in uplifting those who are facing challenging circumstances. I think it’s wonderful when art intersects with charitable efforts, like what CoachArt is doing to support families impacted by chronic illness.

JLS. Indeed! Do you have a favorite quote or mantra you turn to for inspiration?

AO. I don’t have a specific quote or mantra that I turn to consistently. Instead, I find my inspiration comes from the mood of the latest book I’ve read. Sometimes, when I need a spark, I revisit certain books or passages that I know will put me in the right headspace. It’s less about holding onto a fixed piece of advice and more about returning to narratives or ideas that fuel my creativity at a particular moment.

Thank you Alberto, for this insightful and engaging interview!

Want to learn more about this fantastic artist? Check out his website, Instagram, and Facebook page.

We hope you enjoyed this month’s Artist Interview blog! Curious to learn how to draw? Pastimes offers an Intro to Drawing with Graphite Course. Set up a free consultation today!

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