Exclusive Interview with Pedro Blas: Behind the ArtDive into the creative process of our new LUMAS artist.
MEET OUR NEW ARTIST PEDRO BLAS
We are delighted to introduce Pedro Blas to the LUMAS Portfolio! An extraordinary artist known for his vibrant blend of photography and digital manipulation. His striking abstract optical art captivates, inspires and invites viewers to explore the intersection of reality and imagination. In this exclusive Q&A, we dive into Pedro's artistic journey, inspirations, and the techniques that shape his unique style. Uncover the story behind his remarkable work and what drives his creative vision.
If you have any questions about the artist and their work or any of our other new releases, please don't hesitate to reach out.
Can you tell us a little about yourself and what drew you to art?
PB: I've always been fascinated by how visual stimuli can provoke emotional reactions and how geometry and movement play a role in that process. My artistic journey began with an early interest in design and patterns. Still, I was quickly drawn to the kinetic possibilities in art, where visual elements could be manipulated to engage the viewer dynamically. What drew me to art was this potential for interaction—art that is alive and changes with perspective or movement.
Chromatic Eclipse I
Are there artists or movements that have had the greatest impact on your artistic style?
PB: Absolutely. The Op art movement, with artists like Victor Vasarely and Bridget Riley, and the Kinetic art movement, with artists like Carlos Cruz-Diez and Jesus Rafael Soto, have been a significant influence, especially in the way they experimented with optical illusions and visual perception. I'm also inspired by the Constructivist movement for its bold use of geometry and its focus on functionality and abstraction. I've combined these influences to explore how structure, light, and colour can create a dynamic experience for the viewer.
Chromatic Bubbles Orange I
Your work often explores the relationship between light and colour. Can you elaborate on how you approach these elements in your creative process?
PB: Light and colour are the foundation of how we perceive the world, and I like to challenge those perceptions in my work. I experiment with contrasting colours and manipulate light sources to create an illusion of movement or depth. I think of light and colour as living elements—they interact with each other and the viewer, constantly changing depending on the angle, distance, or surrounding space. My goal is to create a piece that feels alive, almost as if it's vibrating with energy.
Dynamic Chromatic Spiral I
What is your process like for conceptualizing a piece, from the initial idea to the final artwork?
PB: My process usually begins with a visual idea—a concept of movement or interaction I want to explore. I often start by sketching geometric forms or creating digital models, experimenting with how shapes will interact in space and how they will respond to light or motion. Once I've refined this idea, I move into a phase of testing materials—especially when using lenticular prints or other kinetic methods. The final artwork is always a product of meticulous adjustment to ensure the visual effect resonates as intended and engages the viewer.
Chromatic Bubbles Orange II
Chromatic Prism I
You frequently use lenticular techniques and the moiré effect. How do these methods contribute to the viewer's experience?
PB: Lenticular techniques and the moiré effect allow me to create a sense of movement and depth that isn't static; the artwork changes based on the viewer's position and interaction with it. These techniques blur the line between two and three dimensions, creating an experience that feels more like a dialogue between the artwork and the observer. It's almost like the piece responds to being viewed, coming to life as you engage with it from different angles. That interactivity is essential to how I approach art.
Chromatic Aurora I & II
How do you see art evolving in the next few years?
PB: I believe art will continue to evolve toward immersive and interactive experiences, especially with advances in digital and virtual technologies.
The line between digital and physical art will blur further, with more opportunities to engage audiences in multi-sensory ways. Artists will likely push the boundaries of perception even more, using augmented reality, motion sensors, and even AI to create works that respond in real-time to the viewer's presence.
Gravitational Chromatic Eclipse
What are three words you would use to describe your artistic journey so far?
