In ‘MULTIINDISCIPLINAR’, the exhibition currently on view at Espacio Candela, Tana Lakale challenges the boundaries of technique and artistic classification. Her work defies conventional categories and celebrates indiscipline as a creative force—a controlled chaos where drawing, painting, glass, sculpture, and light coexist naturally.

Through pieces like ‘Disociada Viva’, ‘La Protegida’, and ‘New Jersey’, Lakale demonstrates that her process does not adhere to fixed rules but rather follows a constant search for the best language for each idea. Improvisation, mistakes, and experimentation play a key role in her practice, where fashion, urban life, and digital culture seep into her work in unexpected ways.

In this interview, the artist discusses her process, the relationship between discipline and indiscipline, and how her art evolves over time.

1.- ‘MULTIINDISCIPLINAR’ plays with the idea of both multiplicity and indiscipline. How did you arrive at this concept, and what does it represent for you in this exhibition?

When I was first approached with the idea for the show, I was thrilled because I had already been working on four of the pieces - ‘She’s Sooooo Stupid’, ‘Disociada Viva’, ‘La Protegida’, and ‘New Jersey’ - for almost a year. Although they were never intended to be exhibited together, they are all personal projects that, interestingly, use different techniques. This fact represents how my work and daily practice evolves - where technique becomes a conscious choice, the language I believe best conveys the idea I am working on.

In the end, we decided to complete the space with two other pieces that I consider classics in my catalog: ‘El Mundo’ and ‘La Mala Sangre’. This is how the concept of disciplinary multiplicity came together, connecting all the pieces in an organic way.

2.- The exhibition title plays with the word ‘indisciplinary’. How do you define indiscipline in your artistic practice?

I think I constantly live with the feeling that I could be doing more or, at the very least, in a more organized way—having more defined schedules or following a conventional routine. However, I always end up working at odd hours, feeling the pressure of an approaching deadline. But to be honest, within this chaos, there is also a lot of organization and consistency. Years of believing in my project and dedicating myself to it. So, I would say that my discipline is improvable, a controlled chaos.

3.- Your works coexist without hierarchies and draw from multiple languages and materials. How do you decide which medium to use for each piece?

I usually start with an idea that I let mature in my mind or in a notebook—sometimes for long periods—until I find the right medium. From there, I begin to define the technique I’ll use, always aiming to choose the one that best represents the idea. Other times, I simply feel like trying a technique I haven’t mastered yet or exploring something new. Ideas are infinite, and so are materials, so constantly switching techniques allows me to keep learning and stay engaged, avoiding routine.

4.- What role does improvisation play in your process?

Improvisation is an ally. While having a roadmap is sometimes necessary, unexpected opportunities often arise that can lead to better results than what was originally planned. Knowing how to recognize these moments and take advantage of them, even if they diverge from the initial path, is a crucial part of the creative process.

5.- Drawing is your primary language, but in this exhibition, it intertwines with painting, glass, sculpture, and light. How did you integrate these materials?

For me, drawing is a medium, not necessarily an end. It’s like a movie storyboard, where sketches are used to visualize ideas before they materialize into a final work. It’s the most accessible way to translate my ideas into a visual language. The other materials are chosen based on what I believe will yield the best result in conveying what I want to express. Each piece has its own needs, and the right material depends on what is required to develop that idea.

6.- Do you feel there is a common thread in all your works, despite the diversity of materials and techniques?

Definitely. Over the years, certain themes and concepts have repeated and evolved. I suppose my own life experiences, along with my interests, form that common thread that runs through all my works, beyond the materials or techniques I use.

7.- Urban life appears as a key theme in your work. How does it manifest in this exhibition?

It’s interesting because, as I’ve grown, urban life has become a less frequent theme in my work. I don’t spend as much time on the streets as I did ten or five years ago. Nowadays, I spend more time at home or in other social spaces, which has made me move away from the literal urban narratives that used to be so present. Now, that urban influence manifests in a more abstract way. For example, in ‘El Mundo’, which represents how all our experiences, both personal and social, are interconnected.

8.- What personal stories or experiences have directly influenced these works?

Some pieces are directly inspired by personal experiences, while others stem from internet language or memes. In one way or another, all of them are connected to my life and my context.

9.- You present a sweater made from recycled scarves from your previous collection. What does this act of reuse mean to you?

I had wanted to create something knitted for a while because I love the texture and depth it adds—something a printed garment doesn’t have. I had some leftover scarves that hadn’t sold, so instead of selling them as they were, I decided to recycle them and create something new. For me, it was a way to have fun with my own resources and do something different from what was expected.

10.- Do you see fashion as a natural extension of your artistic practice?

Yes. When I was a child, I wanted to be a fashion designer. Although I eventually took a different path, fashion has always been present in my life. In fact, the first way I started selling my illustrations was through t-shirts.

I don’t know how to pattern or sew, so collaborating with Marmi Studio to create these sweaters was a very enriching experience. It allowed me to work with another artisan while exploring a different side of my work.

11.- How does error or accident influence your creative process?

I don’t believe there are mistakes in art. In design, yes, you could consider something an error, but in art, so-called “mistakes” can simply be part of the process. The important thing is to recognize them and decide whether to correct them or integrate them into the work in a way that enriches the final result.

12.- How has your artistic approach changed over time?

I’ve noticed that lately, I enjoy manual processes more than digital drawing. Eight years ago, when I got my first iPad, it was a revolutionary discovery. But now, I see it more as a work tool rather than a creative one. Nowadays, I take much more pleasure in manual techniques like painting and sculpture because they still challenge me—something I don’t feel as much with digital drawing.

13.- How would you like the audience to experience this exhibition? Is there something specific you hope they take away from it?

That’s up to each person. I just want them to immerse themselves in the exhibition, enjoy the details, and be present. In the end, all I can ask is for them to experience it fully.

14.- What new explorations or directions would you like to take in the future?

I’d like to expand my work internationally, to learn how art and design function outside the contexts I know. I’m also drawn to exploring art direction and set design. I feel it’s a field with limitless potential, especially when working on the right project with the right team.

About the artist

Tana Lakale (*1998) is an artist born in Cerdanyola del Vallès and currently residing in Barcelona. 

She holds a degree in Fine Arts from the University of Barcelona and studied Graphic Art and Comics at the JOSO school in Barcelona. Her career has been primarily focused on digital illustration, and while drawing has always been her foundation, she has applied her creations to various media, including 3D sculpture, oil painting, and muralism, among others. She was the winner of the Patrim Award in 2021, granted by the Faculty of Fine Arts at UB, and received a scholarship to the Siena ART Institute in 2020. Among her most recent and notable works is her role as Creative Director for the TV3 show Epic Nails in both its seasons (2023, 2024). In addition to designing the show's graphic aesthetic and set, she also created commissioned artworks for the set’s decoration. She has collaborated on projects as a Set Designer and Art Director for various music videos and live performances, with one of the most significant being for artists Kitty110, La Blackie, and L’Beel at Sonar 2023.

Her solo exhibitions include the ongoing ‘MULTIINDISCIPLINAR’ at Espacio Candela (Barcelona, 2025), Summer Everyday, Verano los Domingos, and Gafas de Sol Graduadas at the Krucopia gallery (Barcelona, 2024 and 2023, respectively).