Born in Madrid in 1971, Juan Garaizábal grew up in a culturally rich environment, though not directly influenced by the visual arts. From a young age, his passion for drawing and inventing became clear. He recalls his uncle gifting him Jeux et loisirs de la Jeunesse, a book that inspired him to build various contraptions—catapults, robots, and rockets—earning him the nickname “little Leonardo” from his grandmother. His early education was split between French and American systems, and by age seven, he was already designing covers for the school magazine.
At age 12, Garaizábal independently enrolled in Madrid’s IB 67 Drawing Academy, where he honed his skills until 17. Although he initially planned to pursue Fine Arts, an opportunity to study European Business took him to Paris. Reflecting on this detour, Garaizábal sees it as pivotal for his international career. During this period, living on a houseboat on the Seine, he continued to sketch and nurture his creative side.
A turning point came in 2000 when a visit to Chillida Leku inspired his move toward monumental sculpture. This led to his breakthrough in 2005, when he participated in Madrid’s Noche en Blanco, showcasing his outdoor installations to a vast audience. In 2006, the City Hall of Bucharest invited him to create an installation for Noaptea Albă. While there, Garaizábal discovered that the grand esplanade of Ceaușescu’s Casa Poporului had erased Bucharest’s former “Little Paris” neighborhood. This revelation inspired his “Urban Memories” series, where he uses metal and light to symbolically reconstruct lost buildings. His first project, Uranus Area, was a success, and his distinct artistic language was born.
In 2008, Garaizábal relocated to Berlin, where he further developed his monumental works. Notably, in 2012, he reconstructed the Bohemian Bethlehem Church, bombed in 1943, using iron and LED lights. He describes the process as “inexplicable,” yet the energy at its inauguration was unforgettable. His unique approach, combining public art with historical restoration, became his hallmark, shaping a career defined by adventure and perseverance.
A major milestone came in 2013 when art critic Barbara Rose introduced Garaizábal to the international stage through a collaboration at the Venice Biennale. There, he created *Memory of the Giardino*, reviving the lost Jewish cemetery in Venice’s Botanical Garden. Alongside these large-scale works, he continued producing smaller pieces for exhibitions in Madrid, Brussels, and New York. He now divides his time between studios in Madrid, Berlin, and Miami, where he engages with curators, artists, and cultural managers.
In 2016, his installation *The Balcony of Havana*, a symbol of lost communication between Miami and Havana, garnered attention for its political significance. Garaizábal describes his work as a blend of sculpture and adventure, constantly stepping into new territories and challenges.
Regarding his influences, Garaizábal has evolved over time. Early in his career, he sought inspiration outside contemporary art, but later embraced figures like Brancusi, Calder, and Serra, along with artists like Robert Rauschenberg and Joseph Beuys. He continues to push boundaries with upcoming projects in cities like Paris, London, and Mexico City, while also working on smaller exhibitions.
In 2020, Garaizábal won the Jing’An International Sculpture Biennial in Shanghai with his piece *Ever Time Gate*, voted for by half a million people. This success has led him to establish a permanent presence in China, where he now also speaks the language. In 2024, he launched his most ambitious project: the International Center for Nature and Contemporary Sculpture in La Alcarria, Spain. Located in a restored silo surrounded by a sculpture park, the center serves as a workshop and residence for students and assistants from around the world, fulfilling his vision of integrating art and nature.
