BIO
Madrid, 1974Nuria Mora
Any human guru, from the psychiatrist to the priest, would condemn the attachments to which restless spirits equipped with internal dynamo are given. For them, being obsessed like a spring is sin, vice or bitter mania. In these lots, Nuria Mora would be one of those spirits that would centrifuge the energy itself to survive.
Hers, however, is a miraculous mechanism. She transforms that flow into net beauty, into a matter so pure that is offered fresh and smoking: rotund traces and vegetal forms that scratch the layers of humanity as perhaps an exercise of archeological electricity. Which induces us to look at that wall in mint green and acid mallow where spray lianas illuminate creatures of ink. When we touch with our fingers her lattices of crayons or when we try to understand the lines of her carpets while we step on them and we become a part of them, that is nothing else, than attending to the beauty of man himself.
This is how far Nuria has taken us, mounted on her red Vespa. It has been a great trip, a process of fission in which her brushes have been ours and we have appropriated ourselves of her art, because what she brings to us reflects the sensitivity in everyone. Nuria's explosions are thus miraculous, because they are the telluric spectacle that bursts to bring calm, like the beautiful flowers that are wet after the storm. And Nuria herself, with her infinite laughter, is reborn and is a new one, because in each of her new spectacles she lets her ego go, the opposite of what happens to those who fill the guides, walls and galleries. Every search always takes a toll of the ego perhaps because to light new places from the dark generates a fear and distrust that must be backed up with an invasive personality and thirst for constant applause. That is not Nuria, who with her cocacola light has no inttent to illuminate a shortcut for knowledge. She surrenders to her "uselessness" because of the demands of her excess of energy. Her terrible sincerity is also her vital mechanism. She makes concerts from the most absolute delicacy found in vegetable and organic forms, finding - not seeking - the cosmic femininity of a capricious and absolute nature that surrounds everyone. In that center of flowers that she has been gathering slowly, with the greatest tenderness, or in that huge wall that explodes with sensuality and magma, Nuria's hands have led us all using a new memory of atomic detonations that are nothing but our own. And that is what some gurus call art.
INTERVIEW
How would you define the project that you undertook for TruckArtProject?
My work has been in an ongoing process of transformation for the past 20 years, from the time when I started painting on the streets of Madrid until today. I am a plastic artist and I did not choose the words but the plastic arts to express myself so I think it is the critics and curators who should talk about this.
In your case, how do the two sides of the truck work together?
They are a continuum, it is a geometric abstraction so it is a game of balance and tension.
What are the challenges of the project for you?
For me the main motivation is to be part of a collection of artworks that have been made by artists that I admire and who are great friends and with whom I have been working since I started, such as Daniel Muñoz, Sixe, Nano4814, Spok, Rosh333...
How does this project fit into your trajectory and your discourse?
For me it is natural, because painting on the street and painting a truck are similar things, but with the difference that the viewer does not necessarily have to be in motion but in this case the canvas moves.
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?
That will sure happen to me; Even though, I do not work with a previous sketch
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?
In the same way as when I paint on the street spontaneously. People do not know that just around the corner the night before something happened and unexpectedly the next morning you find a work of mine. It is a surprise, something unexpected that multiplies the effect that a work of art can generate to the viewer. It is much more powerful and interesting than a commissioned mural or an Urban Safari
What about the fleeting nature with which it’s received?
Just as fantastic as a shooting star.
How did you approach the scale? Were you used to it?
Yes, I'm brave. I've been up on cranes, scaffolding, ladders and garbage cans for years.
What does this type of project offer you, and what do you think you bring to the project?
I bring the abstract and geometric side of the collection, as well as the feminine side. It gives me a new support in which I had not painted in a commissioned way besides being part of a selection of very interesting artists.