Javier Calleja says his images are based on early childhood memories of things like books, comics, and toys, but he does not like to discuss the meaning of his work, leaving such interpretations to others.
Several commentators have noted the resemblance of Javier Calleja’s images to the Japanese artist, Yoshitomo Nara. Through this stylistic piggybacking, Calleja can be interpreted as a conceptual artist who is satirising the artworld’s commercial ethos, especially as exemplified in the famous quote of Andy Warhol: ‘Making money is art and working is art and good business is the best art.’
Calleja’s avoidance of originality in an international context—like say, Sturtevant, who appropriated Warhol and Frank Stella for different reasons—and use of short, asinine English phases on t-shirts or held placards, seems to be a strategy that with sugariness ensures scornful chatter, and scornful chatter encourages debate and controversy. In a post-critical climate, these nurture sales.
His artworks, such as Long Day (2017), While Ago (2018), Don’t be bad (2019), or Take it all (2019), are usually named after the simple, written English phrases that are included in the image. Despite its connection with the strategy of appropriation, he sees his work as anti-theory, and favours immediacy over complex cerebral speculation.
Later developments reveal an interest in making murals by positioning groups of portraits with coloured circular elements painted directly on the wall, overlapping together to visually blend and cohere, as seen in Untitled (2021). He sometimes makes immersive installations as well.
