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.