JAVI DARDO

Embracing change while seeking the beauty in every moment, Barcelona

When did you pick up a camera for the first time?

I don't recall an exact moment when I picked up a camera for the first time, but I do remember, from a very young age, wanting to take the analog camera from my parents and be the one to take all the photos on trips with my family or at my older cousins' weddings. I also remember, with special fondness, going to pick up the developed images with the excitement of seeing what had come out of all that. I still maintain that excitement to this day, with each of my film rolls.

What is your core feeling towards photography? What was the spark that ignited your passion?

From a young age, I would spend long hours of the day writing short stories and tales, and I even started some novels. As soon as I bought my first camera when I came of age, I started creating those little stories with images; I enjoyed creating characters. Initially, I photographed my friends; gradually, that evolved into photographing models, who served as the perfect canvas for the stories in my head.

You worked in an art gallery and collaborated with various publishers. Can you tell us a bit about the influence of art on you?

I worked for various auction houses and art galleries for about five years, photographing their catalogs and pieces on display or up for auction. Thanks to that, I had the works of many different types of artists in my hands, and I worked with a lot of people who had extensive knowledge, and they taught me a lot about art. On one hand, I learned to understand the value of the artist's context and the moment of creation of the piece, to give it greater significance. On the other hand, I also stopped idealizing all the creators whose works hung on those huge white walls or sold for hundreds of thousands of euros; I learned that something could have great value in the art market and not interest me in the least. And also, that there are many creators with immense artistic value who would never be recognized.

You love music. What connection do you have with it? How does it reflect in your photography?

Music is my greatest passion, and I'm a big vinyl collector. I strongly link photography and imagery to the music industry, as I believe the greatest music icons are always recognized for their distinctive looks, and the most historic albums are always tied to an image that becomes established in the collective imagination. Who doesn't know that the Beatles have an album cover with them crossing a pedestrian crosswalk, that Frank Ocean has an album with a portrait of him with green hair covering his face, or that Lady Gaga has an album where she transforms into a motorcycle? The way an image linked to an album can become a cultural moment seems magical to me.

Do you step out of photography to find inspiration? I mean, do you have any specific sources of inspiration outside of photography for your work? Tell us a bit about it.

It might sound like a cliché, but sometimes the best way to get inspired is to step away from photography and simply observe and live. It's important to be connected with current trends and movements, but we're constantly bombarded with images, and sometimes what really helps is to step back, rest your gaze, and suddenly, images and ideas start popping up in your mind. One of my upcoming projects, for example, emerged as I was walking at sunset on a sunny street in Madrid.

How does your environment inspire or affect you when it comes to working or developing an idea/concept? What things, moments, or people have the greatest impact?

My environment inspires me in a conversation, having dinner, or having a glass of wine and being recommended a movie, an album, or an artistic project that I should know about. I'm very curious, and as soon as someone mentions something, I quickly note it down to look into it when I have a moment.

Creatives often find themselves doing jobs for clients that they might not love as much or that grant them little creative freedom. How do you handle this? Do you accept projects that don't excite you, or do clients usually seek your signature/style? What are the essentials for you to get involved in a project?

I accept all those jobs where I see that I can contribute something to make the brand or publication better or grow in some way. It's practically impossible to solely make a living from projects where you have 100% creative freedom, but it's also a challenge to navigate that back-and-forth with clients so that your personality shines through while respecting their brand's values and your own. Other times, clients might limit you because they have a clear vision of what they want to achieve and only need an executor, and that's okay too. We shouldn't idealize our work; sometimes, it's about execution, and that's fine.

Which projects have you enjoyed the most? Or which ones represent you best?

Lately, I'm enjoying still life projects more because there isn't the same sense of urgency that comes with shooting one or multiple models. I feel that in still life, I can reflect on each shot and take the time needed for each photograph.

How would you describe your identity? What's the process you've gone through to build it? Any anecdotes?

I believe that a creator's identity forms over time and is constantly changing. In my case, I currently strive to create clean, elegant, and timeless images. I pay special attention to detail. I prefer not to have an excess of elements, only the necessary ones to create geometric shapes and interesting compositions. I enjoy playing with primary colors that are easily recognizable.

Briefly, how do you see the photography landscape currently? Where do you see yourself compared to your peers? How would you like to be seen?

We're in a very interesting moment as we have photographers interested in analog photography, traditional photographic development, and slow, deliberate work where each click matters. On the other hand, there are creators using AI to generate futuristic, otherworldly images. And then, there are photographers using digital photography and Photoshop as their tools and signature. All the coexisting currents seem equally valid to me, although some interest me more than others.

Do you believe that your photography carries your statement, or do you prefer the viewer to interpret it?

I'm not sure if it carries my "statement," but I do believe it reflects my personality or my signature. And that already seems difficult enough to achieve at times.

What would be your perfect work environment? Do you dream of being part of any particular project?

The truth is, as I've grown older, I've stopped dreaming about a specific magazine, brand, location, or team... I think I've often jinxed or idealized many situations or big names, and in the end, I've ended up in places I never imagined and enjoyed the process and the surprise of getting there.

What do you do on a Wednesday afternoon?

My favorite question already, hahaha. Well, during the week, I try to read a lot, especially about music or the novel I'm reading at the moment (currently Irene Sola's latest). Some sports always come into play during the week too... And work, always work—there's always an email to reply to or a quote to send.

Your favorite corner/home for you?

My home is my sanctuary. I'm always comfortable here.

LATEST WORKS AND PUBLICATIONS

Uniqlo, Puma, Nike, Mango, Louis Vuitton, Cartier, Heaps & Woods, Desigual, Neo2, Cosmopolitan, Schön! Magazine, Fucking Young!, Vanidad, Pertegaz, Men's Health, Elle, Harper’s Bazaar, System Action, Kosma Menorca.