Interview Script for Juan Luis Olleros Izard, President of the Spanish Association of Watercolorists (AEDA)

1. The Spanish Association of Watercolorists (AEDA), founded in 1945, has over 80 years of artistic legacy and a deep dedication to the tradition of realistic watercolor. As the current president, how do you balance preserving the classic realistic essence of the association while embracing avant-garde contemporary art and mixed-media creations?

 

 

The Spanish Association of Watercolorists (AEDA) particularly promotes predominantly academic training for its members, supported by a faculty of 23 professors who bring vastly different styles in their processes and themes, tailored to the levels required by their students. The classic or realistic vision predominates.

 

Since its founding in 1945, its mission has been to promote, teach, and spread watercolor through classes, workshops, exhibitions, publications, and encounters with prestigious watercolor painters. It also preserves a significant legacy through its artistic collection, exhibition hall, website, and the magazine Acuarelia, which documents the evolution of the association and the progress of its members.

 

It must be understood that many of our members come to AEDA seeking to learn this technique. For many, watercolor is a challenge of personal progress that they pursue with enthusiasm and diligence. Through our competitions, we observe an impressive advancement in expression—realistic in most cases, while in others seeking synthesis, abstraction, and following the creative avant-garde of the great masters. On AEDA's part, our team of professors encourages members to advance in this technique by exemplifying abstraction and avant-garde approaches.

 

 

2. Within the international watercolor landscape, and in comparison with various global trends from regions such as Asia or the Americas, what do you consider to be the key competitive advantages of the Spanish style represented by AEDA?

 

 

As I mentioned in the previous question, the watercolor technique at AEDA does not follow a homogeneous line in style or trend, but it does possess a distinct identity reflected in its professors and its most prominent members who achieve meritorious recognition and awards, mainly in European competitions. Looking at their works, we see an interesting nuance that is difficult to define when comparing them with works from other countries, but which I will attempt to explain below:

 

• Balance between drawing and color: The Spanish tradition places great importance on drawing as the structural backbone of the artwork, without sacrificing the chromatic richness inherent to watercolor. This produces works with solid formal construction and powerful visual strength.

• European pictorial heritage: Spanish watercolorists draw from centuries of artistic tradition—from the Baroque to Mediterranean Luminism and Impressionism—which translates into a profound understanding of composition, perspective, and the treatment of light.

• Mastery of Mediterranean light: One of the most distinctive features is the representation of an intense, warm, and ever-changing light, especially visible in urban landscapes, coastal scenes, and historical architecture. This treatment of light is one of the most appreciated hallmarks of Spanish watercolor.

• Thematic versatility: The Spanish tradition maintains remarkable diversity: landscapes, the human figure, architectural heritage, nature, genre scenes, and contemporary proposals coexist naturally.

• Technical rigor with creative openness: AEDA has helped preserve a high technical standard through education, competitions, and exhibitions, while simultaneously fostering the progressive incorporation of contemporary visual languages and personal approaches, preventing tradition from becoming a limiting constraint.

In comparison with other major international trends—though I am no expert on the subject, I have always understood that:

 

• Asia (China, Japan, and Korea): Tends to stand out for technical virtuosity, expressive brushwork, and, in many cases, the influence of Eastern painting and calligraphy. Spanish watercolor, by contrast, places greater emphasis on volumetric construction, perspective, and the naturalism of light.

• The Americas (especially the United States): Recognized for a highly spontaneous watercolor style featuring loose brushstrokes, large formats, and strong experimentation with mixed media.

• Northern Europe: Frequently develops a more restrained palette and an atmosphere tied to cold-climate landscapes and muted, diffuse skies.

 

3. The general public often misunderstands watercolor as a purely traditional or amateur artistic medium; however, you have always emphasized its social and shared nature. Facing the wave of digital art, what innovative initiatives has AEDA launched to attract young creators and cultivate new generations of artists? Looking to the future, what are your concrete plans to transform the association from a traditional artistic circle into a modern creative community connecting watercolor enthusiasts around the world?

 

 

The perception of watercolor as an exclusively traditional and amateur discipline is one of the major challenges facing the sector. At AEDA, we seek to strengthen a space for meeting, training, and exchange, proving that watercolor is a fully relevant medium compatible with new forms of creation and communication.

 

Among our most relevant initiatives, the following stand out:

 

• Continuous and open training: Beyond the prestigious watercolor classes taught at AEDA's center in Madrid and online, the association organizes workshops, live demonstrations, masterclasses, and courses taught by renowned watercolorists, aimed at both beginners and established artists. This model fosters intergenerational learning and knowledge transfer.

• Exhibitions and competitions: In addition to its Spring and Autumn Salons, the association promotes collective exhibitions showing the diversity of styles in current watercolor painting, offering visibility alongside artists with consolidated careers.

• Internationalization: Participation in European networks and collaboration with associations in other countries facilitate cultural exchanges, international exhibitions, and contact between members and trends from different continents.

• Digital presence: AEDA has reinforced its website, digital magazine, and social media channels to showcase exhibitions, activities, and members' works, significantly expanding its reach beyond the physical realm.

• Openness to all ages and skill levels: To attract artists in an environment dominated by digital art, we champion the fact that watercolor relies on qualities that uniquely set it apart from digital tools: the tactile materiality of paper, the spontaneity of the brushstroke, the unrepeatable nature of each piece, and the hands-on experience of the creative process.

 

We understand that AEDA’s strength lies not in merely guarding the tradition of Spanish watercolor, but in its capacity to convert that legacy into a platform for international exchange. We intend to combine our historical prestige with accessible training, international collaboration, and opportunities for emerging creators, consolidating AEDA not only as an artistic association, but as an international creative community where artists of different generations and cultures share a common passion for watercolor.

 

 

4. In recent years, Eastern watercolor artists have experienced a rapid rise on the international scene, intensifying East-West exchange. Does AEDA plan to establish permanent mechanisms for mutual visits, exhibitions, and academic collaborations with Chinese watercolor institutions to promote this two-way dissemination?

 

 

We believe that the growing international recognition of Eastern watercolor offers an excellent opportunity to deepen artistic dialogue.

 

At AEDA, we view the possibility of developing this in the future with great interest. Our goal would be to move toward stable institutional exchange mechanisms that could include reciprocal visits by artists and representatives, joint exhibitions, symposia, workshops, as well as educational and academic exchanges where both parties can share techniques, experiences, artistic criteria, and new ways of understanding watercolor.

 

AEDA already has a history of collaboration with watercolor groups in other countries and participates in international initiatives through the ECWS (European Society of Watercolour Societies); we believe this experience can serve as a foundation to progressively build stronger ties with Chinese institutions and associations.

 

Ultimately, rather than viewing it as a one-off initiative, we would like this exchange to become an ongoing institutional relationship that contributes to the mutual enrichment and dissemination of both Spanish and Chinese watercolor painting.

 

 

5. Over the years, you have actively dedicated yourself to the creation and promotion of watercolor, leading and participating in numerous exhibitions and exchanges both in Spain and abroad. What real impact have these experiences had on the internationalization of Spanish watercolor art? Furthermore, what new perspectives do your own artwork and institutional work bring to the integration of the global watercolor ecosystem and to mutual understanding between different artistic schools?

 

 

I have only been with AEDA for a few years (since 2019) and served as its president for the last year and a half, though I have spent somewhat longer in the watercolor world, which excites me compared to other painting techniques. International exhibitions and encounters should not be viewed merely as venues to display artwork, but as meeting points that foster lasting relationships among artists, associations, and institutions from different countries.

 

Every exchange opens up new possibilities: learning about other ways of understanding watercolor, sharing creative techniques and processes, building joint projects, and, above all, creating a network of relationships that allows Spanish watercolor to maintain an increasingly active presence beyond our borders. Internationalization, therefore, does not consist solely of taking exhibitions abroad, but of participating continuously in the global watercolor dialogue. This allows our members to discover other artistic movements while enabling Spanish creation to be known and valued internationally.

 

I believe this perspective is especially important at a time when watercolor is taking on an increasingly global dimension. It is not about one school replacing another, but about creating a dialogue in which different traditions can preserve their identity while mutually enriching one another.

 

 

6. As a key figure holding prominent positions and possessing extensive experience in the sector, how do you evaluate the current state of the watercolor industry? What opportunities and challenges face this traditional discipline within the contemporary art environment?

 

 

At AEDA, we believe watercolor is experiencing a particularly interesting moment. In recent years, it has gained greater international recognition and is no longer viewed solely as a discipline bound to tradition or academic boundaries. There is growing interest in its expressive possibilities and the diversity of artistic languages it can offer within the contemporary art scene.

 

This evolution represents a major opportunity. Watercolor possesses unique characteristics—transparency, spontaneity, luminosity, and the ability to work with water as a creative element—that allow it to dialogue perfectly with other disciplines and contemporary art trends.

 

However, one of the main challenges remains reaching new audiences. It is not enough for watercolor to have a solid community of artists; we need to ensure that people who do not usually engage with this discipline discover its possibilities and understand the enormous technical, conceptual, and artistic richness behind a watercolor painting.

 

This is why we consider it essential to continue promoting exhibitions, educational activities, artist encounters, and outreach projects that bring watercolor closer to more diverse audiences, especially younger generations. The future of the discipline will largely depend on our ability to maintain its identity and tradition while simultaneously opening it up to new viewers, new artistic languages, and new spaces within contemporary art.

 

 

7. You have pointed out that portraiture and landscape painting are fundamental bridges connecting art with audience emotions. In your opinion, what is the most essential value of watercolor? Where does its unique and irreplaceable artistic charm lie compared to other media such as oil or acrylic?

 

 

We believe the most essential value of watercolor lies in its ability to convey light and emotion in an extraordinarily direct manner. It is a technique in which water is not merely a medium, but an integral part of the artwork's visual language. Its transparency, luminosity, and fluidity allow artists to achieve a freshness and a sense of spontaneity that are very difficult to replicate with other media.

 

Unlike oil or acrylic, where the artist can modify, cover, and reconstruct the surface extensively, watercolor demands a much closer relationship with the moment of execution. The white of the paper plays a fundamental role, and often a single brushstroke cannot be repeated or fully corrected. That inherent unpredictability forces the artist to enter into a dialogue with the water and accept what happens unexpectedly.

 

And precisely there lies one of its greatest charms: watercolor combines knowledge and freedom. It requires technical mastery, but also the willingness to let water, pigment, and paper participate in the final outcome. Every piece retains something of that unrepeatable moment. Therefore, I wouldn't say watercolor is superior to oil or acrylic; they are different languages, each with its own possibilities. What is truly irreplaceable about watercolor is its ability to express light, atmosphere, movement, and specific emotions using very few elements. That blend of transparency, spontaneity, and risk is what gives it a unique artistic personality. All of this shapes a vibrant landscape among AEDA members, who share their progress in this technique through their joint exhibitions.

 

 

8. What qualities make a watercolor artwork truly unforgettable?

 

 

A truly unforgettable watercolor does not depend solely on technical perfection. Technique is fundamental, but it serves something more important: enabling the work to convey emotion and leave a lasting impression on the viewer.

 

For me, a great watercolor must above all possess light, sensitivity, and personality. The transparency and freshness of the brushstroke should allow the viewer to feel the atmosphere of the piece, not just recognize what is depicted. It is also important to know how to suggest rather than tell all, leaving spaces for the viewer's imagination to participate. In watercolor, what is left unpainted is often just as important as what is painted. Another essential element is authenticity. A memorable work must reflect an individual vision, a personal way of interpreting reality. We can learn from other artists and master technical tools, but ultimately, what makes a work recognizable and enduring is the artist's personal voice.

 

In short, a watercolor becomes unforgettable when it achieves something seemingly simple yet profoundly difficult: capturing a single moment, conveying an emotion, and making the viewer want to look at it again.

 

 

9. How do you balance respect for the tradition of watercolor with the need for innovation and development?

 

 

Tradition and innovation are not opposing concepts. On the contrary, truly solid innovation stems from a deep knowledge of tradition. Watercolor has a history and technical principles that we must know, respect, and preserve, but that does not mean we must endlessly repeat the same formulas.

 

Respecting tradition means understanding the value of water, pigment, paper, transparency, and light, as well as the accumulated wisdom of generations of watercolorists. Building on that foundation, each artist must find their own voice and explore new possibilities. Innovation can manifest in subject matter, composition, procedures, the combination of materials, or simply in a fresh way of observing reality. In any case, if we want watercolor to keep evolving and play a growing role in contemporary art, we must avoid turning tradition into a barrier. Tradition should be a launching pad, not a limit. An artistic discipline remains vibrant precisely when it is capable of respecting its past while daring to imagine its future.

 

 

10. You have always advocated for the shared and social nature of watercolor. In the global context of the post-pandemic era, what social role do you believe this art should assume? How can watercolor serve as a bridge to create emotional connections between different cultures and people?

 

 

In the post-pandemic context, I believe art carries an even greater social responsibility: to help us reclaim spaces for encounter, dialogue, and human sensitivity. Watercolor has a remarkable capacity to connect with people. It is a visual language that does not strictly require words and can convey emotions, atmospheres, and experiences that are understood across cultural boundaries. When we contemplate an artwork, we can recognize the light of a landscape, a gesture, an emotion, or an everyday moment within it, even if we come from entirely different cultures. Watercolor offers a true cultural bridge. It is not merely about spreading an artistic technique, but about using it to generate encounters and foster understanding between people. In an increasingly connected yet empathy-starved world, that ability to forge emotional bonds is one of the most vital social values art can contribute.

 

 

11. From your perspective as a veteran in the field and a jury member of a high-level international showcase like Le Venezie International Watercolor Festival, what expectations do you have for young contemporary creators? What kind of breakthroughs and innovations do you hope they achieve when addressing current social issues (such as environmental challenges or cultural integration), starting from the foundation of traditional transparent watercolor techniques?

 

 

I believe that Le Venezie International Watercolor Festival expects young creators to offer something beyond technical mastery of watercolor: to understand watercolor as a contemporary language capable of engaging in dialogue with tradition, science, ecology, and other cultures. They should not abandon tradition, but reinterpret it. Transparent watercolor—its luminosity, the paper as an integral part of the image, reserved whites, and the fluidity of water—is by no means a technique of the past. It welcomes all styles without restriction: realistic, figurative, expressive, abstract, and experimental.

 

Here lies a particularly interesting opportunity. Water is not merely the vehicle for the paint; it is also a powerful symbol and medium closely tied to life and the global environmental crisis. Therefore, an artwork addressing climate change, biodiversity loss, water pollution, landscape transformation, or ecosystem fragility can gain extraordinary resonance when the inherent transparency, fluidity, or fragility of watercolor itself participates in the message.

 

Furthermore, the Festival serves as a vital cultural bridge connecting jury members and participants from around the globe.

 

 

12. When evaluating works coming from such diverse artistic traditions and cultural backgrounds, how do you maintain objectivity?

 

 

Evidently, every person is influenced by their cultural background in all aspects of life. Art is inextricably linked to individual taste, cultural education, and personal experience. As with everything, if we wish to grow, we must make an effort to maintain an open mind to perceive value beyond what is customary for us.

 

 

13. Beyond the possibility of winning an award, what valuable takeaway does an artist gain by participating in this watercolor festival?

 

 

As with any exhibition in which one participates, the primary goal is to submit your work to a dialogue with visitors and peers. This relationship grows in importance and communication when we speak of a competition. All participants should be congratulated simply for taking part, and they should congratulate each other for the richness of this shared experience, where there is always the hope of winning an award in future editions if not in this one. In all cases, participants walk away with invaluable knowledge and professional insight simply from the experience itself.

 

 

14. How can artists leverage exhibitions and competitions to build truly meaningful international connections and networks?

 

 

It always adds another valuable line to their CV, and the feedback gathered offers guidance and insight based on how their work resonated with others.

 

 

15. As one of the flagship watercolor events worldwide, what role do you consider Le Venezie International Watercolor Festival plays in fostering global artistic exchange and empowering watercolorists from different countries?

 

 

I hope it marks a major milestone in the global watercolor art scene.

 

 

16. Drawing from your experience on the jury for this edition and the current state of watercolor worldwide, what are your prospects for the integrated development, innovation, and future horizons of this art form on an international scale?

 

I would summarize it in one core idea: watercolor must transition from being understood primarily as a painting technique to consolidating itself as an international artistic language—open to research, cultural dialogue, and the pressing issues of our time.

 

It is not a matter of choosing between tradition and innovation, but of enabling both to empower each other.

 

• Preserve the core identity of watercolor: Transparency, luminosity, the relationship between water, pigment, and paper, and the control—or acceptance—of the unpredictable will remain fundamental.

• Celebrate the historical connection: Honor watercolor's rich history with scientific observation, nature, travel, art collecting, and humanism.