Capturing Light and Emotion
Capturing Light and Emotion
Interview with Mallorcan Artist Adolf Gil
Adolf Gil, a self-taught painter born in Muro, has developed a unique ability to capture the interplay of light and emotion in his work. His career, spanning from studios in Sydney to exhibitions in cities like Madrid, Hamburg, and Milan, is a testament to his restless and experimental spirit. Originally trained in electronics, Gil discovered art as a pathway to self-expression and healing. Through a technique combining translucent pigments and layers of acrylic paint, his work responds to light, revealing new dimensions throughout the day. In this interview, Gil discusses his creative journey, artistic influences, and his ongoing exploration of light as the central element of his work.

By Mar Piris
20/11/24
What inspired you to pursue painting as a self-taught artist?
I originally studied electronics and worked for a company in Madrid providing maintenance services for banks and large companies. Although the job required a lot of focus, my mind often wandered to colors, textures, and lights. After long workdays, I’d rent a studio and paint in the afternoons. It was there I realised art was my true passion—it felt like butterflies in your stomach before a new date. I spent five years immersing myself in various painting techniques, searching for my voice. In 1992, I left electronics behind, traveled to Australia, and began exhibiting my work. By 1994, I held my first solo exhibition, officially embarking on my journey as an independent artist.
Do you always use the same materials in your work? How did you develop your technique?
My paintings are layered. While in Australia, I discovered opals, which change color depending on how light hits them. This fascinated me, and combined with the light of Mallorca, it inspired me to study how light interacts with my work. My technique involves superimposing semi-translucent paint, creating 12 to 15 layers that change depending on how light interferes with them. I use acrylic pigments mixed with latex, adjusting the transparency. Natural light shifts throughout the day, which causes my paintings to change as well. I also experiment with artificial lighting in my studio to control what the viewer sees. This interplay of light and transformation is central to my work—”everything survives if it can transform; otherwise, it doesn’t survive.”
Why is light such a prominent theme in your art? Could your work exist in complete darkness?
Light is key because it’s what I chose to focus on in my artistic career. It’s a blend of coincidences—growing up in Mallorca, my background in electronics. They say you search for your father’s influence in your work; maybe it’s part of my family tree. I’ve always been interested in learning and growing, especially when a new project excites me. I once spent two years studying the heart, absorbing everything before translating it into my art. The emotion behind that is what matters most. For me, it’s essential to be emotionally engaged in my work. I don’t paint daily, but when I do, I can go non-stop for months, painting for 18 hours at a time. Eventually, I burn out and stop, only to pick up again once I’m emotionally ready.
Do any of your works capture the Mallorcan landscape?
Not really. My work isn’t focused on landscapes or local folklore. I paint for self-discovery and healing, to manage my emotions and understand myself better. Art for me is a personal necessity, not a way to fit into societal expectations. It’s about externalising internal emotions I can’t otherwise process.
Interview with Mallorcan Artist Adolf Gil
Adolf Gil, a self-taught painter born in Muro, has developed a unique ability to capture the interplay of light and emotion in his work. In this interview, Gil discusses his creative journey, artistic influences, and his ongoing exploration of light as the central element of his work.
Why is light such a prominent theme in your art? Could your work exist in complete darkness?
Light is key because it’s what I chose to focus on in my artistic career. It’s a blend of coincidences—growing up in Mallorca, my background in electronics. They say you search for your father’s influence in your work; maybe it’s part of my family tree. I’ve always been interested in learning and growing, especially when a new project excites me. I once spent two years studying the heart, absorbing everything before translating it into my art. The emotion behind that is what matters most. For me, it’s essential to be emotionally engaged in my work. I don’t paint daily, but when I do, I can go non-stop for months, painting for 18 hours at a time. Eventually, I burn out and stop, only to pick up again once I’m emotionally ready.
Do any of your works capture the Mallorcan landscape?
Not really. My work isn’t focused on landscapes or local folklore. I paint for self-discovery and healing, to manage my emotions and understand myself better. Art for me is a personal necessity, not a way to fit into societal expectations. It’s about externalising internal emotions I can’t otherwise process.
Where can we view your art?
I’ve exhibited in galleries, holding over 100 shows in the first 20 years of my career. However, I’ve distanced myself from the media and have become quite anti-journalistic, especially after the pandemic. Nowadays, my art is available through online galleries and social media platforms or on my website. I have a strong presence in France, Switzerland, Germany, the UK, and Italy. I work with private collectors and occasionally create art for hotels. I don’t take commissions, as they’re difficult for me. What you see in my studio is what’s available. It takes around 5-6 weeks to complete a piece—longer if I make a mistake and have to start over. The materials I use, like pigments and luminescent paints, are top-quality and last around 400 years.
Can you tell us about your Urban Art project in Muro?
During the pandemic, I started a series of Urban Art pieces in Muro’s old town. You can see them online at my website. The idea was to make art accessible to everyone, not just elites. I created marble lithographic works and placed monoliths with marble architectural pieces around the town. Visitors can take a piece of paper and charcoal and create their own lithograph, which is both entertaining and educational.
Is there a notable figure you identify with?
I don’t really identify with anyone, but if I had to choose, it would be Nikola Tesla.
Contact:
Instagram @adolfgil1
Facebook.com/adolfgil
Where can we view your art?
I’ve exhibited in galleries, holding over 100 shows in the first 20 years of my career. However, I’ve distanced myself from the media and have become quite anti-journalistic, especially after the pandemic. Nowadays, my art is available through online galleries and social media platforms or on my website. I have a strong presence in France, Switzerland, Germany, the UK, and Italy. I work with private collectors and occasionally create art for hotels. I don’t take commissions, as they’re difficult for me. What you see in my studio is what’s available. It takes around 5-6 weeks to complete a piece—longer if I make a mistake and have to start over. The materials I use, like pigments and luminescent paints, are top-quality and last around 400 years.
Can you tell us about your Urban Art project in Muro?
During the pandemic, I started a series of Urban Art pieces in Muro’s old town. You can see them online at my website. The idea was to make art accessible to everyone, not just elites. I created marble lithographic works and placed monoliths with marble architectural pieces around the town. Visitors can take a piece of paper and charcoal and create their own lithograph, which is both entertaining and educational.
Is there a notable figure you identify with?
I don’t really identify with anyone, but if I had to choose, it would be Nikola Tesla.
Contact:
Instagram @adolfgil1
Facebook.com/adolfgil