Just pass the gateway toChurch of Santa Maria de l’Estradain Agullana, on the left, there is a small room that goes unnoticed. Those who look at it these days will perhaps perceive a figure in the shadows, a designer, illuminated only by a wisp of artificial light. He is the artist Antoni Federico (1950) who takes advantage of the inevitable downtime that occurs between one visit and another to work. “My head doesn’t stop”, he justifies himself as he shows me the drawing that is forming on the sheet of paper he holds in his hands. A magnifying glass approaches me and invites me to contemplate the mystery that hides that jumble of compact features. Within that black background and often I see an accumulation of clear and precise structures, the artist’s attempt to embody dark matter. «This is what I can’t explain. Since I was a child I have had a spherical vision, I saw everything that was the Universe, I compressed and studied it as a child”, he confesses. His vision of the universe, what he has cultivated over the course of a lifetime, is what now unfolds in this temple that he knows and loves so much, a journey through his fascinating creative world that drinks from science and expresses itself with art.
It is not the first time that Federico has occupied a space with sacred connotations. The last exhibition was held in 2022 at the convent of Saint Augustine of Castelló. Even before he had exhibited works in this same Estrada church, the theater of his children’s games, although at the time it was in ruins and without a roof, with a large fig tree in the middle, where he has now made an installation ·lation At the age At the age of nine, Federico says, he emigrated from the south with his entire family, retracing the path previously taken by his father’s brother, and they settled in this corner of the Empordà which he ended up loving with fervor. “I’m mad to the core,” he says vehemently.
Two pieces dedicated to Montserrat which aroused a lot of interest. / Giuseppe Ribas
The artist recalls that he didn’t want to go to school because ”I wasn’t interested in learning togetherA”. In Andalusia he had been lucky enough to receive lessons from a republican teacher, confined at home. “He was an eminence, he taught me everything I know”, he reflects. Between the ages of eleven and twelve, having finished his studies, he went “to pick grapes with Carmeta de can Roman”. The father, however, sensed that his son needed something more and provided him with a room in the house where he could experiment he had what we now call intelligence emotional.” In fact, the whole family he always gave her pencils, colors and tools for creating. “I don’t know if they knew”, reflects Federico who however assures us that the world he wanted to investigate was not art but science. Agullana’s doctor, Mr. Grabulosa, helped him. “When he came to visit the sick, he first wanted to know what was painting the cloak.” It was to him who predicted and specified what he would do: “artistic theory of physics and science”.
Many have come in recent days to see Estrada’s exhibition, which will close on Sunday 3 November, and, above all, to talk to the artist. One of the exceptional visitors was himself Bisbe of Gironawho was very interested in his work. “We talked a bit about everything”, reveals Federico. He’s not the only one. They were there too scientists and mathematicianswho very often approach his workshop and are surprised by the deductions the artist reaches. Other spectators were moved by contemplating it even if Federico, he warns, does not work “neither from emotions nor from imagination, my work is not automatic, it is thought and meditated upon a lot”. Behind it lies “a very personal way of doing research, mine”.
When asked which pieces he chose for the exhibition, he states that he has “created a harmonious whole to bring to light what reality is, which is not what we only see but much more”. They are small-format works, some very ancient, dating back almost to the 1970s, others already seen in previous installations, such as the installation that presides over the center of the temple, now presented from the reverse, and, much more current. He keeps many of them in his laboratory, a silent witness to the doctrine that marked his career: “I work every day and I don’t know if it will come or not». He admits that in the beginning he “painted decorative and artisanal things so as not to make a commercial painting.” He began at the age of thirteen or fourteen “to have financial support” until he decided to throw himself in headlong. For many years they have been searching for their language, but above all they undertake professions and training to be able to express everything that was boiling inside them. He thus deepens the study of the masters, not only of painting, from Altamira to Picasso, but also of science and the other arts. “It was more than twenty years and, when I saw that he understood it, I told myself that I had to do a form, influenced yes, but not concentrate on what I had studied.” He was aware that he could not create but “add to what others had left”.
Among the pieces that have been most successful in Estrada, there are a couple dedicated to Montserrat installed on the altar. These are works created ten years ago studying the kabbalists of the monastery and hermeticism, the study and practice of occult and magical philosophy. “I was studying what the stones in front of us look like,” he says. On the sides there are two columns, which he presented to the Valvi Foundation at the beginning of the century and on other occasions, because in them, he says, “there is the basis of my painting: transparency is the binder and mother of everything”. physics, of the entire Universe”.
“Art is my life”
A few days ago, on the occasion of the expansion of the Gran Jonquera shopping centerFederico painted a large-format canvas for the first time, in situ, in front of the public. Make sure you avoid these situations. In fact, no one had ever seen him paint, not even his son. He enjoys working in the workshop, nine or ten hours a day, from Monday to Sunday. He travels only for exhibitions and is very aware of the spaces he occupies: “I will decorate them, in the maximum way of my vision: space-work, it’s a set”. Federico confesses that “art made me a person, it was and is my life. The shame is that I can’t express everything, because of this I work every day, I lack hands”, he says. Sometimes he tried to do both at the same time, emulating Claude Monet. “He said that nature ran faster than him and I didn’t understand it at first, now I do. All these great creators were people of science and history, one day, will have to prove it.”
Interview: Exploring the Universe Through Art – A Conversation with Antoni Federico
Time.News Editor (TNE): Welcome, Antoni Federico! It’s a pleasure to have you with us today. Your latest exhibition at the Church of Santa Maria de l’Estrada has certainly captivated many visitors. Can you share with us what inspired you to create the pieces displayed there?
Antoni Federico (AF): Thank you! It’s an honor to be here. The inspiration for my work often comes from a fusion of science and art. I’ve always had what I describe as a “spherical vision” of the universe. From a very young age, I found myself captivated by the mysteries of existence. The pieces in this exhibition aim to highlight that reality is far richer than what we perceive—there is so much more happening beneath the surface.
TNE: You mentioned your early influences. Can you tell us about your childhood and how it shaped your artistic journey?
AF: Absolutely! I emigrated from southern Spain at the age of nine with my family, which significantly influenced my perspective. Growing up in a creative household, my parents encouraged my artistic exploration. My father even provided me with a space to experiment with my ideas. Interestingly, I wanted to study science, not art. It was a local doctor, Mr. Grabulosa, who first nurtured my artistic inclinations while visiting patients. He recognized my passion for art and encouraged me to merge it with my interest in science.
TNE: That’s fascinating! Your works are often characterized by deep thought and meticulous planning. Can you shed some light on your creative process?
AF: Certainly. My creations do not stem from mere emotion or spontaneity—I take a thoughtful approach. Each piece is a product of meditation and consideration. I like to say that I’m conducting a personal research project. This exhibition, for instance, is thoughtfully curated to express a harmonic dialogue between the pieces, all protesting to reveal a complex reality.
TNE: The complexity of your work seems to resonate with audiences from various backgrounds, including scientists and mathematicians. Have you had any particularly memorable interactions with your viewers?
AF: Yes! It’s incredibly rewarding when visitors engage deeply with the work. One unforgettable experience was when the Bishop of Girona visited. We shared insights about my pieces and discussed the interplay between faith and science. Many scientists visit as well, intrigued by how my art invites discussions on scientific concepts. Their feedback often astonishes me because they see layers in my work that I sometimes don’t realize themselves. It’s these connections that truly enrich the experience.
TNE: Your recent works explore themes related to the universe and dark matter. How do you translate these complex scientific ideas into visual art?
AF: My goal is to simplify and visualize these complex concepts. For instance, the darker backgrounds in some pieces represent dark matter, while the clearer structures signify the foundations of our universe. I envision these elements in my mind before transferring them onto paper or canvas. It’s a balance between representing scientific realities and my interpretation of them as an artist.
TNE: There’s a lot of talk about your earlier works, particularly a couple dedicated to Montserrat. What motivated those pieces, and how do they fit within your broader artistic narrative?
AF: Those pieces are particularly special to me. I created them about ten years ago, inspired by the natural beauty and spiritual significance of Montserrat. They’re a merging of personal experience and broader themes of spirituality and nature. In this exhibition, they serve as anchors, grounding the viewer before they venture deeper into more abstract concepts.
TNE: As we wrap up, what message do you hope viewers take away from your exhibition at the Church of Santa Maria de l’Estrada?
AF: My hope is that viewers leave with a greater appreciation for the mysteries of reality. I want them to understand that what they see is merely a fraction of what exists. Art, much like science, serves as a gateway to explore and understand the universe—encouraging curiosity and deeper reflection.
TNE: Thank you, Antoni. Your insights into the intersection of art and science are not only inspiring but also encourage us all to look beyond the surface. We wish you all the best with your exhibition!
AF: Thank you! It’s been a pleasure sharing my thoughts. I hope to continue sparking curiosity and dialogue through my work.