10 Questions with Carlos Almenar Diaz

Venezuelan-born artist Carlos Almenar Diaz is a French-Australian citizen who has won multiple awards as an established banknote designer and contemporary artist.

Besides his artistic work, Carlos is the founder of Banknote Art Concept™, an organisation which values and celebrates the promotion, education, and curation of the artistic and cultural dimension of banknotes and coins. Banknote Art Concept™ supports the holistic research involved in money creation, to their artistic reuse and revalue in the context of "Money Art and Art Fiduciaire".

Carlos has a Bachelor's in Graphic Design and a major in Creative Design; he also has a Bachelor's in Journalism and a major in Social Development. In 1997, he moved to Lausanne, Switzerland, where he became an accredited banknote designer at the renowned Swiss Koenig & Bauer Banknote Solutions Company. Since then, Carlos has been designing and developing banknotes on cotton paper and polymer substrates for many countries around the world.

Carlos has studied colour theory, in particular extrapolating these concepts into designs seen in banknotes geometric patterns. He created and used chromatic perceptions and patterns across multiple cultures whilst encompassing communities' unique representation across the world.

Carlos believes that the dynamism between the design concepts, chromatic theories, and the printing process makes a perfect synergy between visual design and art. Carlos is the first Venezuelan artist to design an artistic Op-art Swatch® watch on behalf of Venezuela for the Dubai World Expo 2020 in the "Swatch® X You" project. Op-art is one artistic technique where the chromatic phenomenon in space has been deeply investigated.

In August 2023, following his artistic residency at the Swatch Art Peace Hotel, Carlos was commissioned by Swatch to create an artwork the "Love Is Love, The Colors Of Pride" multidisciplinary exhibition at the Locarno Film Festival.

Carlos's artwork continues to explore and investigate the optical experiments between the phenomenon of colour, visual rhythm, and ourselves.

almenardiaz.art | @almenardiaz

INTERVIEW

Your journey as a banknote designer and contemporary artist spans across cultures and disciplines. How has your background influenced your artistic vision and approach to art?

My journey as both a banknote designer and a contemporary artist truly crosses cultures and disciplines, deeply influencing my artistic vision and my approach to art. Immersing myself in the study of cultures, human perceptions, technology, development, industrial processes, and the intricacies of counterfeiting has been pivotal. These elements are the backbone of designing banknotes, yet I find my muse in the amalgam of artistic styles, currents, structural compositions, and the play of colours. This blend of aesthetics and functionality is what I strive for; a banknote, to me, is more than just a piece of art—it's a functional product that plays a vital role in our daily lives.
Understanding the dual value of banknotes—both monetary and cultural—is crucial. They are not only mediums of exchange but also bearers of cultural identity and artistic expression. 
I see the evolution of banknotes through three distinct artistic lenses. Initially, the classic era, characterised by ornate designs of the 18th and 19th centuries, highlighted by burin engraving and a monochromatic palette. Then came the modern era, inspired by the 20th century's shift towards multichromatic schemes and the incorporation of modern art styles in imagery. We now find ourselves in the contemporary era, where digital tools have replaced hand engraving, and the design process embraces colour theory and narrative images, ranging from graphic synthesis to hyper-realism. This progression reflects not only technological advancements but also a deepening of the narrative and aesthetic qualities of banknotes, underscoring their importance as a cultural artefact.

Can you share some insights into your study of colour theory and geometric patterns, and how you have translated these concepts into your designs for banknotes and art installations?

Throughout my career, I've been deeply involved in the study of colour theory and geometric patterns, which has influenced both my banknote designs and my art installations. My work in banknote design demanded an intricate understanding of artistic and visual composition, incorporating lines and patterns rooted in geometry and algorithmic construction. These designs often draw inspiration from ancient civilisations, textiles, and cultural symbols worldwide. This deep engagement with complex patterns aimed to enhance the security of banknotes, making them challenging to counterfeit.
In transitioning these concepts to my artwork, I've aimed to simplify these complex patterns to evoke optical illusions or a sense of movement, focusing purely on the emotional impact rather than functional utility. This shift allowed me to explore the expressive power of colour and form without the constraints of their practical application in banknote security.
I've observed that colour has a profound ability to capture visual attention, drawing viewers into a momentary parallel universe. This interaction between colour and visual rhythm can elicit inexplicable emotions and reactions, creating a dynamic visual experience. The concept of visual rhythm, akin to a harmonious succession in space, organises the composition's surface, imparting a sense of dynamism and movement.
Colour, for me, is a tool of communication that conveys identity and evokes emotions. My exploration into colour theory has been heavily influenced by the Bauhaus movement and the works of 20th-century artists involved in Kinetic Art and Op-Art. These studies have guided my use of complementary colours for chromatic contrast and analogous colours for creating optical effects, aiming to trigger a rich emotional and perceptual response in the viewer.

The integration of cultural elements from diverse communities is evident in your designs. How do you approach incorporating cultural nuances while maintaining a cohesive artistic expression?

Reflecting the culture and identity of nations in their banknote designs is crucial to me. Each country, even if it shares borders or colonial influences with another, has its own unique history, idioms, dialects, architecture, ecosystems, and flora that give it distinct meaning. In my creative process, I embark on a journey through the past, present, and future of each country for which I design banknotes. I aim to blend the practicality of design and visual communication with the emotive power of art. I'm acutely aware of the differing practices of each function, yet I strive to create a fusion that ensures my designs are not only aesthetically pleasing but also functional for industrialisation and perceptible to humans.

Could you delve into the process of creating your Op-art pieces? What inspires the integration of these patterns into your work?

When creating my Op-art pieces, the intricate patterns found on banknotes, observable only through a magnifying glass, serve as a significant source of inspiration. The construction of these backgrounds involves linear, concentric, or geometric patterns with varying line thicknesses intricately registered with one another. The complexity and colour interplay in these patterns are crucial considerations in my banknote designs, where registered coloured lines and clear embossing techniques produce unique chromatic effects and optical illusions of colours that don't physically exist. This not only enhances security features for banknotes but also captivates public perception.
Op-art, a term coined in the 1960s, highlights this phenomenon, with significant contributions from artists across Europe, Israel and Latin America. My design studies in Venezuela, a country that has had a profound influence on Kinetic art since the 1940s, allowed me to immerse myself in this movement. Having been privileged to see my homeland embrace this artistic movement, I've had the unique opportunity to study and contribute to the architecture and design of banknotes since 1997. My subsequent experiences in France and Australia have further enriched my understanding and appreciation of Op-art and led me to develop my own research and artistic style.
This blend of Art Fiduciaire and Op-art influences has led me to explore three distinct series in my artwork: chromatic linear rhythm, chromatic concentric rhythm, and chromatic curve rhythm. In these series, colours that appear static are transformed into dynamic chromatic rhythms, creating focal points of interest and eliciting visual reactions. This exploration not only allows me to integrate these patterns into my work but also to engage deeply with the viewer's perception, blurring the lines between art and functionality.

Could you discuss the role of optical experiments in your artistic process and how they contribute to the overall narrative of your work?

In my artistic research, I have created works that explore the interaction between colour and visual rhythm. The combination of colours and line shapes not only captures interest and provokes visual reactions and emotions in the observer but also transforms what appears to be static into dynamic chromatic rhythms. So far, I have worked primarily in two-dimensional formats, using a variety of mediums such as paper, canvas, aluminium, acrylics, and vinyl, as well as techniques including acrylic ink, pigments, and sublimation processes. I prefer to use flat colours without gradient effects, and I have created large-format works that invite the public to directly connect with the Op-Art, adding a layer of depth that immerses the viewer in my sequences of repeated lines in analogous and complementary colours.

Op-art is characterised by optical illusions and the impression of movement, especially about the viewers. How do you engage the viewers with your artwork?

In my daily interactions with architectural and urban spaces, I've observed how we become creatures of habit, often unresponsive to the unchanging signs around us. My aim as an artist is to create visual signs that elicit a sense of surprise and break the monotony of urban routine. By incorporating colourful artworks enriched with visual rhythms and the impression of movement, I introduce an additional layer to our routine spaces. This approach not only adds value to architecture, interior design, and urbanism but also embodies the principle behind my artistic process. It offers the public or viewers the chance to immerse themselves in a colourful and optical journey, allowing them to interact directly with the chromatic artwork.

What do you hope audiences take away from their experience with your Op-art pieces?

"I hope that the public experiences emotions through my artworks, pausing for just a moment to enter a universe that may be either real or imagined.
I feel incredibly proud to reflect the culture of countries through my banknote designs; it's truly wonderful. I'm accustomed to knowing that my designs and Art Fiduciaire pieces, as banknotes, are carried in the pockets of millions. However, the feeling shifts when I see my Op-art work installed in spaces accessible to the community. It fills me with pride to watch people observe, touch, and interact with my art freely and spontaneously, without any social or cultural barriers. This is the magic of art."

As the first Venezuelan artist commissioned to design an artistic Op-art Swatch watch, what significance does this achievement hold for you personally and for the representation of Venezuelan art on a global scale?

Feeling proud encapsulates my personal reaction to being selected and commissioned to design a canvas for a Swatch watch for the Dubai World Expo 2020. This pride stems not just from the honour of collaborating with Swatch but also from the opportunity to represent my homeland, Venezuela, in such a significant global project. It was a profound honour to incorporate the colours of the Venezuelan national identity and flag into my Op-art work for the watch design. The symbolism and synergy of the watch's artistic design extend beyond mere aesthetics, embodying the spirit and culture of Venezuela.
My artistic Swatch watch became one of the most popular, propelling it into the top 3 amongst those created by invited artists from all 194 countries participating in the Expo Dubai. This achievement not only highlighted my work but also significantly elevated the representation of Venezuelan art on a global scale, filling me with an immense sense of pride for my country.

Your artwork has been showcased in prestigious events like the Venice Biennale and the Locarno Film Festival. How do these platforms contribute to the dialogue surrounding your exploration of chromatics and visual rhythm?

Being showcased at prestigious platforms like the Venice Biennale and the Locarno Film Festival greatly enriches the dialogue around my exploration of chromatics and visual rhythm. I believe that colour, as a potent medium of expression, draws people in, creating a connection that transcends mere visual appeal. In the realm of contemporary Op-art and the broader contemporary art narrative, it's not just about crafting works with colours and optical effects. Today's art demands a conceptual foundation, a dialogue about the work's creation, its interaction with the environment, and engagement with the audience.
Colour carries both universal symbolism and specific cultural meanings. In my artwork, I use colour abstractly, focusing on creating a purely rhythmic visual journey that produces optical effects through chromatics. Beyond this, I seek to tap into the deeper symbolism attributed to colours by humanity, adding another layer of connection between my work and its viewers. This approach has opened interesting conversations across cultural and artistic platforms, allowing me to pinpoint social or natural contexts—such as the colours of pride or the hues of botany—to anchor each piece or series.
These themes have been particularly poignant in my work displayed at international exhibitions. For instance, during my Art Residency at the Swatch Art Peace Hotel Shanghai, I distilled the concept of the banknote to its most minimalist form, creating a series of artworks inspired by the colours of pride. Utilising a contemporary, geometric, and dynamic language within an Op-art and Art Fiduciaire composition, my work offers a unique interpretation of Pride symbolism. It celebrates diversity and inclusivity through a rhythmic and chromatic journey, inviting viewers to pause and envision their own stories within the colourful narrative I present. This approach not only enhances the viewer's experience but also contributes significantly to the ongoing dialogue surrounding contemporary art's role in society.

As an artist working at the intersection of tradition and innovation, how do you see the Op-art movement evolving in contemporary art, and what role do you envision for yourself within this evolution?

The evolution of the Op-art movement within contemporary art is both fascinating and boundless, thanks to the array of tools and platforms at our disposal today. When I began my artistic journey, my creations were brought to life with traditional brush and paint. Now, the advent of new technologies has not only enriched the artistic landscape but has also opened avenues for exploring art in innovative media. Op-art, with its inherent focus on visual illusions and dynamic interactions, seamlessly adapts to and thrives in this environment, allowing for explorations in animation, video, and immersive experiences where viewers become both participants and protagonists.
My explorations have spanned various mediums, including paper and aluminium, and have extended into the creation of installation artworks in public spaces, as well as integrating Op-art into the realm of fashion design. I view this as merely the beginning of a new era, one that will be shaped by a generation that draws inspiration from these contemporary platforms.
Op-art today transcends its traditional confines, emerging as a dynamic force in industrial design and transforming everyday objects into artworks rich with movement. My vision for Op-art is that it becomes more than something to merely observe or decorate a space; it should interact with and invade our spaces, engaging us directly and empowering us to explore our senses, emotions, and feelings. In this evolving landscape, I see my role as a catalyst for innovation, pushing the boundaries of traditional art forms and embracing the possibilities that technology and new media present. This approach not only defines my contribution to the Op-art movement but also shapes its trajectory in the broader context of contemporary art.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.