I discovered concept art by chance, while studying illustration. And my first thought was: here they pay me for having ideas, not for drawing well. Suddenly I understood what mattered was impact, not perfection. I landed the only concept art position available in the Balearic Islands at the time. Just one spot. I fought for it and won it.

I trained under Marcos Mateu-Mestre, the Mallorcan who went on to work at DreamWorks and Netflix, and later under Ed Hooks, a world-renowned expert in acting for animators. Over the past 20 years, I have worked for PlayStation, Xbox, Nintendo, Nickelodeon, RTVE, and Disney. But what changed my creative process the most didn't come from any of them. It came from the therapist’s couch and the stage.

I trained as a Gestalt therapist and an improvisational actor. The tools I use in my projects are the same ones therapists use with their patients, and the same ones actors use when they step onto the stage without a script and create something extraordinary out of nothing. And they work.

Today, I teach hundreds of artists to do the same: to think before they create. To build maps instead of improvising without a safety net. The problem is almost never technical. The problem is not knowing where you’re going.