Faroner, 1988

Lighthouse-Keeper, 1988

Have you been influenced by or interested in certain illustrators?

No, never. I’ve said it many times: I hate illustration. Whenever I’ve collaborated on a book or something like that, I’ve always tried to work with artists on the same wavelength, so we’d understand each other. And I think the task of the artist is to work in parallel. For example, if I’m talking about windmills I don’t want the other to draw a windmill, because this limits the imagination of the reader, no matter how brilliant the artist may be.

I have always chosen my collaborators. When I was doing visual poems I had lots of problems at first. I’m not a draughtsman, I’m a poet. For example, I took an A from a newspaper and cut it out, but this was just a draft. I didn’t get on with the illustrator, because I like sans-serif letters, which means representing a sign with no other intention than placing the viewer in contact with the poem. I was not interested in stylistic exercises. But the typesetter thought that a black letter on white was rather weak and wanted to put all sorts of wigs on the A, and give it a coloured background. When I said no he got angry and wouldn’t work with me. But all I wanted was for someone to typeset clearly the letter I had cut out from the paper.

Ballester, Arnal: ‘Com fer una roda quadrada’, La Il·lustració. Revista molt il·lustrada de l'Associació Professional d'Il·lustradors de Catalunya, no. 1 (November-December 1994), pp. 4–7

Technical details

Original title:
Registration number:
Brossa, Joan
Date created:
Date acquired:
Being restored
MACBA Collection. MACBA Consortium
Object type:
Glass and plastic on wood
Edition number:
Ed. 10/10
MACBA Collection. MACBA Consortium. Joan Brossa Fund. Long-term loan of Fundació Joan Brossa
© Fundació Joan Brossa, VEGAP, Barcelona
It has accessibility resources:

The MACBA Collection features Catalan, Spanish and international art and, although it includes works from the 1920s onwards, its primary focus is on the period between the 1960s and the present.

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The artist has to face the unknown with a positive mood and sink his teeth in without fear.
Eduardo Chillida