Skip to main content
Dulk About

How it all started…

My interest in creating arises from memories and the need to recreate them. It amuses me to create fantasy worlds in which imaginary characters interact. With coloring pencils and felt-tip pens I scribbled all over my dad’s books and the old encyclopedias which had belonged to his father (my grandfather), and which I now treasure, since that’s where my fascination for the animal kingdom was born. They were probably the first images I ever saw of a tiger, a rhinoceros, or a toucan. Back then I did not know what they were, but that is when I started on this path of learning and studying which I follow with increased attention day by day.

The leading figure of my father and his interest in nature lingered around my own interest in creating and this became a mixture of elements nurturing my first steps. On weekends I would go with him to his aviary; he bred an average of 200 canaries, goldfinches and

greenfinches per year, it was incredible. When I walked into that space, it was as if I stopped belonging to the outside world and I had become one with them, it really thrilled me. Then I would go home and draw them, and from there, I would generate hybrids of birds with other animals.

That’s how it all started. I never thought any of that would take me anywhere, and I suspect that may be the very thing that has brought me all the way here. I draw and paint because it’s my way of life, because it is something I need to do to feel that I am myself, and because I have felt like that, ever since then. Combining my personal interests, art and nature, is the foundation of my work now, as it was in my childhood. There is nothing that makes me prouder. When what you do and make is true, you show yourself as you are and with work and perseverance that will rarely turn out badly.

Between Street & Studio

The studio and streets provide me with different but necessary experiences. In mural painting, the street is a temporary space for art, an ephemeral place of traffic. It requires a spontaneity that the study compensates with a methodical approach, where works with a specific purpose are generated; its duration over time. The street is exposed to much more different and harder conditions to have under control. In the studio, the space is easily (and comfortably) controlled, though. That is the reason why I might like it more and more.

Nevertheless, there is a part of me that needs the street in order to feel free, a wilder side that was born from my

beginnings in painting walls. It may no longer has the intensity of then, but it still allows me to improve myself, grow and learn just like I do in the studio. Working with large scales allows me to test myself and see how far I can go. I definitely love that.

I need harmony between both worlds, as if it were a weighing scale. Complementary and reciprocal, both work together and come together to form myself as an “artist”, despite of the fact that I refuse being called like that, since my work is an extension of my person.

Art & Purpose

In my artworks, I recreate biological environments wrapped in antagonistic concepts.

The color palette invites to investigate a dreamlike narrative setting that conveys beauty and calm at first glance, which will subsequently lead to a more profound meaning in later observations of the work.

A visual connection that gains strength in the lost gazes of the characters that inhabit the paintings can be observed/noticed. All the characters are threatened, most of the times injured or directly dead, but fully present/aware to create scenes covered with sarcasm. Tragic realism hidden in an ideal world.

That is where my work functions, a mixture of reality and fiction owned by beings of nature. Frustrated ideals or dreams turned into colorful nightmares, adorned by the false reality that human beings nurture. Happiness does not make us think, we simply enjoy it or observe the ones who possess joy take pleasure in it. However, sadness gives us a greater opportunity to reflect. It makes us stop and, on many occasions, it makes us try to mend situations and acts for which we feel sorry. It goes a long way.

View Collabs

Testimonials from
Dulk’s work

“It is a great honor for PangeaSeed Foundation to call globally sought-after artists like Dulk allies, given his worldwide demand and international entrepreneurial success. His artistic technique is outstanding, and his original creations are of the highest quality, genuinely communicating with the beholder and leading to great exchange and inspiration.”

Tré Packard

Founder and Executive Director
of the PangeaSeed Foundation.

“Dulk has a strong dedication to stand up for different kind of ecosystems and endangered species. With this extraordinary approach he stands out to create awareness amongst so many.”

David Roos

Curator & Creative Director of the STRAAT Museum.

“Dulk’s use of color and subtle surrealism has helped make his reputation one of the greatest in the art world. Being known for working closely with nature has given Dulk’s work extra meaning and with that he has been able to bring attention to various climate and animal issues.”

Andrew Hosner

Curator & Co-Owner of Thinkspace Gallery.

“Dulk has wisely put into play his passion for nature along with his critical vision of the worrying global situation of the future we are facing. Dulk, his work, is stained with vibrant colors; a true energetic current which impels us to become aware and act in consequence.”

Joan Peiro

Polytechnic University of València Professor.

“Most of Dulk’s artworks done on the last lustrum, despite their undeniable plastic beauty, describe a tragedy. sweetened by its subtle humor and exquisite workmanship, they still have been made with a deep commitment to the environment.”

Juan Antonio Canales

Polytechnic University of València Professor


View more