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How important is illustration to your work?
At the moment, illustration makes up about 90% of my work. Therefore, I could say that it is very important.

Do you think there is a style that defines nomono?
I guess so, or at least it is something I aspire to. Sometimes this can turn into a double-edged sword, but I try to be honest with myself and adopt a certain way of doing things and try to grow with it. This strikes me as an important challenge so that I don't die of boredom.

At the moment, you're working in Berlin, but you've also worked in Barcelona. What differences do you see in terms of design and professional life?
There are lots of differences in terms of professional relations and conditions. Spain still has a long way to go in order to reach acceptable conditions. In terms of illustration, the Spanish market is still distrustful as compared to Germany, which has a far more established tradition in this area. Overall, professional relations in Germany are different and very correct. You can always negotiate conditions without fear, because you know the client is convinced of what he or she needs. This is very reassuring in terms of learning to value your own work.
In terms of design, I think there are good things happening in both Spain and Germany. They're very different, but complement each other very well. They're good reference points when it comes to analysing what is happening in illustration on a European level.

What about current and future projects?
I'm finishing a series of illustrations for a magazine in Moscow about a generation of poets who emigrated to Baku (Azerbaijan). At the same time, I'm working on paintings for an upcoming exhibition in Berlin. In the future, I would like to develop a few animation projects and perhaps compose music for them as well.