Nacho Carbonell has long been recognized for his ability to transform objects into tactile experiences that blur the line between the organic and the fantastical. With “Escaping Forward,” his latest exhibition at Carpenters Workshop Gallery in London, Carbonell embarks on an introspective yet future-oriented journey that examines memory, materiality, and transformation. The exhibition, which showcases over 30 pieces, marks a pivotal moment in his career—a bold departure from the familiar while staying true to the evolving core of his practice. As Carbonell himself describes, “Escaping Forward” is both an acknowledgment of past influences and a leap into new, uncharted creative territories.
At the heart of “Escaping Forward” lies Carbonell’s embrace of imperfection, a belief that the creative process itself—filled with both triumphs and mistakes—is a narrative to be celebrated. His approach reflects a profound engagement with materiality, as he repurposes elements from earlier works to construct new, dynamic pieces. Whether through the nostalgic undertones of A La Mesa, recalling his childhood dives off the Spanish coast, or the interactive Mesh Mushroom Doors, which invite discovery and introspection, Carbonell weaves personal history into universal narratives of transformation. This cyclical process of rediscovery is exemplified in The Roots Mural, a sprawling three-dimensional landscape that evokes the flow of time and continuity while pointing to the gaps and ruptures that fuel artistic growth.
In his exploration of new territories, Carbonell experiments with materials like clay, notably in his Ceramic Standing Lamp, which exemplifies his evolving aesthetic and ongoing fascination with hybrid forms where the natural and the artificial merge. As he continues to redefine the boundaries of materiality, Carbonell invites us to question the role of memory in shaping the physical world—a poignant meditation on what it means to “escape forward.”
In the interview with Whitewall, Carbonell reflects on this new direction, discussing his use of repurposed materials, the interplay of memory and history, and the dynamic tension between organic and artificial elements in his work.
Nacho Carbonell. Workshop portrait. Courtesy of the artist and of Carpenters Workshop Gallery.
WHITEWALL: Your exhibition “Escaping Forward” marks a significant shift in your career, exploring themes of memory, materiality, and transformation. Could share the personal and creative journey that led to this “new beginning” and what “escaping forward” means to you?
NACHO CARBONELL: We’re all constantly evolving and transforming. Of course, certain core ideas never change—for example, I’ve always been drawn to the idea of experience, that nothing exists without you experiencing it. But at the same time, one’s skills mutate in order to say the same thing in different ways. I’ve made many shifts throughout my career, but this time it feels stronger. ‘Escaping forward’ means I’m trying not to mingle too much with the past and to really make a break towards the future.
“‘Escaping forward’ means I’m trying not to mingle too much with the past and to really make a break towards the future,”
Nacho Carbonell
Repurposing Objects and Materials to Create New Works of Memory and Continuity
WW: The Roots Mural is a standout in this exhibition, evoking the textures and gradients of a landscape. What does this piece represent in terms of your personal journey, and how do you see landscapes—both literal and metaphorical—emerging in your work?
NC: This piece came together using different objects and materials in my studio leftover from previous works. It took form and shape naturally, without intention—and the same thing happens with landscapes. I remember the magical ritual of swimming in the sea in Denia at sunset when I was young—a moment in which different elements like sky, earth, and water all blend into one, coming together organically to form a whole. The same thing happens in a work like The Roots Mural.
Nacho Carbonell, ‘Escaping Forward’. Installation views. Photo by Benjamin Baccarani. Courtesy of the artist and of Carpenters Workshop Gallery.
WW: In “Escaping Forward,” you use remnants from previous projects to create new works. What draws you to the idea of repurposing materials, and how does this collage-like approach relate to themes of memory and continuity in your work?
NC: I see these works as a library of experiences. You can reduce memories and experiences into small, fragmented, pixelated parts—but it’s only when you zoom out and see the whole picture that it all makes sense. Similarly, the artwork is assembled from various different scraps but needs to be experienced as a continuous whole.
“You can reduce memories and experiences into small, fragmented, pixelated parts—but it’s only when you zoom out and see the whole picture that it all makes sense,”
Nacho Carbonell
WW: Pieces like A La Mesa evoke a sense of nostalgia, drawing on your childhood memories of diving and finding fishing nets. How important is personal history in shaping your artistic narrative, and how do you balance that with universal themes?
NC: We are all unique, but we share a common human experience. Universal codes link us—our most primal senses and emotions. When people look at my work, even though it’s rooted in my personal memories and experiences, they often find something that resonates with their own. I begin with a personal connection to the objects, but ultimately, I reach a much broader space through the viewer’s interpretation.
Nacho Carbonell Explores the Intersection of the Natural and the Human-Made to Reflect Global Tensions
WW: The duality of organic and mineral elements seems to be a recurring theme in your work, as seen in pieces like Dune Cabinet and Corteza Cabinet. What draws you to explore this intersection of natural and artificial, and how do you think it reflects the tension between the human-made and the natural world?
NC: Intrinsically, the two things are linked. We, as humans, are nature—so even things that are manmade are really nature’s doing. It’s impossible to separate us from nature—however, we also have the power to turn objects into something that, naturally, they wouldn’t become. I try to inject this thinking into the direction I’m taking with these works, working with primitive instinct.
Nacho Carbonell, ‘Escaping Forward’. Installation views. Photo by Benjamin Baccarani. Courtesy of the artist and of Carpenters Workshop Gallery.
WW: The Ceramic Standing Lamp introduces clay, a material not commonly associated with your previous works. What motivated this exploration of clay, and how has experimenting with new materials like this influenced your overall creative process and artistic direction?
NC: Clay is a material that we can mold with our own flesh—we can create what we want just by pressing and pulling. It’s a very approachable material, which allows us to reflect on new languages and codes. It’s almost like 3D sketching—it has a spontaneity that allows me to rework and rethink without a clear concept of what the piece will finally become. This process itself informs the piece.
Nacho Carbonell, ‘Escaping Forward’. Installation views. Photo by Benjamin Baccarani. Courtesy of the artist and of Carpenters Workshop Gallery.
WW: Works like Mesh Mushroom Doors and Mesh Mushroom Selve encourage interaction and invite discovery. What role does interaction play in your creative process, and how do you envision these pieces sparking curiosity and engagement from the viewers?
NC: An artwork exists when experienced by the viewer—without this interaction, the work would not exist. Our senses need to be in touch with the materials of the work. I’m interested in the relationship between the object and the body that activates it—for example, the desire to open a door to reveal what it leads to, or making the conscious choice to open it, or seeing a shelf and placing an item on it.
Nacho Carbonell, ‘Big Rainbow Stone Table Lamp’. Courtesy of the artist and of Carpenters Workshop Gallery.
“An artwork exists when experienced by the viewer—without this interaction, the work would not exist,”
Nacho Carbonell
WW: Your sculptures are often described as having a fictional or fantastical quality, allowing viewers to escape everyday life. As an artist, how do you see the role of escapism in your work, and how do you hope your audience interacts with this concept in today’s fast-paced, often overwhelming world?
NC: We all have dreams. We all have ideas in our heads about how we want to feel and how we can achieve that feeling. Objects have souls, and we have emotional connections to them—they can help us dream and imagine. They can act as portals to the worlds that we dream for ourselves. The fantastical elements that people see in my work can let them escape to these worlds.
Nacho Carbonell, ‘Escaping Forward’. Installation views. Photo by Benjamin Baccarani. Courtesy of the artist and of Carpenters Workshop Gallery.
