How would you define the project that you undertook for TruckArtProject?
I have worked the two sides of the coin, looking for dynamism in the differences. Bearing in mind that this exhibition space will move and visit different places.
In your case, how do the two sides of the truck work together?
In 2016 I have been fortunate to work in Mexico and New York the two faces of the truck, two points opposite and united by many conduits.
What are the challenges of the project for you?
To think that in several seconds, what it takes the truck to pass in front of the viewer, the viewer thinks about my image and the estrangement of the context.
How does this project fit into your trajectory and your discourse?
Inserting my work in Truck Art Project has been the easiest, since my work with curator Fer Frances is always fluid and fun.
Some artists admit that they came in with a pre-existing idea that they had to modify, or that grew in other directions when faced with a canvas like this one. Was that the case for you?
My project has been modified several times to carry it out, the first issue has had nothing to do with the result, but this is the interesting thing about the work and is part of the process.
How did you approach the reception of a work like this, in which the spectator comes across it instead of seeking it out, and which doesn’t “circulate” through the usual art channels?
The context is very different from a museum or gallery but the fugacity is often the same, since we are accustomed to consume images, in fact this is one of the challenge of the artist to try to have someone observe an image more than several seconds.
How did you approach the scale? Were you used to it?
The scale is perfect, I want all my photos that size.
What does this type of project offer you, and what do you think you bring to the project?
I love participating in a men's project with my partner Marina Vargas.
Why is a project like TruckArtProject interesting?
It is of great importance that Truck Art Project exists, and contagious to more collectors and private companies, are the patrons that we need. The public runs the risk of becoming a mirage.