The multi-talented Spanish artist and local resident, Iris Morata, whose creations span across various fields, from shoe design to art and literature, is exhibiting her work at La Fontaine Centre of Contemporary Art this month. In an exclusive interview,

Apple Sharma chats with the artist about her fascinating pieces and creative musings ahead of her upcoming exhibit.

FACT: You’ve worked across multiple creative fields. How did your journey into visual arts begin and what drew you to wood as your primary medium?
IM: I began painting for my home but soon found myself drawn to exploring texture and volume through different materials. This led to Ella, a piece inspired by my eldest daughter. The process was transformative and the outcome so profound that it inspired me to dive deeper into my artistic journey. Wood, with its warmth, versatility and unique textures, became the heart of my work. Every piece has its own grain and imperfections, adding richness to the final composition. By assembling thousands of individually crafted elements, I create a bond between material, light and perception, constantly challenging my creative boundaries and revealing new dimensions in my art.

FACT: What is your creative process for making your pieces – do you begin with a clear vision or do you allow the wood to guide the final form?
IM: My creative process balances intention and discovery. I have an outcome in mind, but I can never be certain if it will turn out as I envisioned or transform through the play of light, colour and perspective. Each colour is uniquely mixed, guided by light, mood and instinct. I work with the piece laid flat, meticulously assembling each element without seeing the full image as it will appear upright. It’s only when I lift it and see it from a distance that I, too, discover the final result. That moment of revelation – the interplay between control and unpredictability – is what makes the process so magical for me.

FACT: You often explore texture in your work. What fascinates you about it and how has it shaped your artistic style?
IM: Texture has always been at the heart of my creative journey. My background in fashion, particularly in shoe design, taught me to listen to materials – to feel the cool resilience of metal, the supple warmth of leather, the delicate flow of silk. That awareness carried into my art, where wood’s natural imperfections become part of the story. Every eye perceives texture differently, just as shifting light reveals new versions of the same piece. This constant transformation, this silent dialogue between material, light and perception, is what captivates me and fuels my artistic exploration.

FACT: Your pieces require viewers to step back and shift their focus to reveal their depth. What kind of response or reflection do you hope to receive from your audience?
IM: I hope to evoke a sense of surprise. Up close, I want viewers to immerse themselves in the details – the texture, the imperfections, the subtle shifts in colour. But then, as they step back, I want them to let go of those details and experience the piece as a whole, almost as if seeing it for the first time. That shift in perception, from intricate fragments to a unified image, mirrors the way we interpret the world – where meaning often changes depending on distance and perspective.

FACT: What’s the inspiration behind your upcoming exhibition, A Thousand Fragments? What’s the most complex work from this collection and how long did it take to create?
IM: This exhibition is deeply personal to me. A Thousand Fragments reflects the way individual pieces, seemingly fragmented when viewed up close, come together to form a unified whole – much like my own journey of being broken and reconstructed. I’ve learnt to step back and view things from a distance to heal and rebuild myself. Showing this work at La Fontaine, a place filled with history and soul, makes this experience even more meaningful. The most complex piece in the collection, Beyond the Veil, took over two months to complete. Composed of more than 3,100 pieces and 60 shades of blackish tones, it was a challenge both technically and emotionally. This work is a tribute to women, honouring their strength, resilience and the layers of identity that exist beyond what is seen.

FACT: In addition to being an artist, you’re also an author and former shoe designer. How do you balance all your creative pursuits and which do you enjoy the most?
IM: I truly enjoy all forms of creativity that offer me the freedom to explore – whether it is breaking away from a set routine or making spontaneous changes to a recipe. Each creative pursuit offers its own distinct joy and challenge. However, I find that writing and art provide the perfect balance. As a novelist, writing requires deep mental focus and introspection, while art allows my mind to wander, offering a space for creative flow and concentration on the process itself. In both, I embrace duality – one side of me is meticulous and organised, while the other welcomes chaos, letting it shape the outcome in unexpected ways. Together, they complement each other, feeding my creativity in different but equally fulfilling ways.

FACT: On a lighter note, if you could collaborate with any artist, past or present, who would it be and why?
IM: I have always admired the work of photographer Martin Schoeller, particularly his hyperrealistic portraits. There’s something deeply raw and intimate in the way he captures the natural essence of his subjects. I would love the opportunity to collaborate with him and reinterpret one of his portraits, exploring it through my own lens and reconstructing it through pieces and texture. I think the blending of his clarity with my fragmented approach could create something truly unique.

A Thousand Fragments opens on April 11 at La Fontaine Centre of Contemporary Art at 6pm and runs until July 31. ✤

GO: FOLLOW @IRISMORATA ON INSTAGRAM FOR MORE INFORMATION.