How would you define the project that you undertook for TruckArtProject?
The titles of the two pieces – one for each part of the vehicle – are Miradas infinitas (Infinite gazes) and Paisaje inerte (Motionless Landscape). Both are made with synthetic lacquer spray paint on the backdrop of the truck. The main intention is to have two works in constant motion throughout Spain. I think it’s very interesting, because the work can reach an even more diverse audience than usual for a mural.
In your case, how do the two sides of the truck work together?
I think that, in spite of the fact that they are two different works, they have an obvious direct relationship in terms of the geometry I use. Also, I use the same technical approach. However, what makes them different is that one of them is conceived as a landscape that invites the spectator into it, while the other provokes the exact opposite. There are three faces that observe the spectator, and at the same time they observe the landscapes that the vehicle faces on each trip.
What are the challenges of the project for you?
Perhaps the fact that it’s a living work, that it’s constantly in motion. That made me think of the idea of going and returning for the spectator.
How does this project fit into your trajectory and your discourse?
I think that in my case this is a totally new format, in the sense that the result is, as I mentioned, a living work, always in motion. I had never had a painted truck to my credit. That’s another new thing, of course. However, I do have another living work of the same type: a first-class train that circulates throughout India and was also painted on both sides.
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?
In a way, yes. I had thought of doing a landscape and a body lying down, mainly because this is such a horizontal format. I’m more used to vertical formats, such as buildings. And after finishing the first side of the truck, I saw clearly that I should change the idea for the second piece and make my characters observe the spectator. That created the connection with the spectator that I wanted and that should occur wherever the truck goes.
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?
That aspect is what most appealed to me about this project. Also because there’s a direct relation to the beginnings of graffiti, to the beginning of street art itself in the New York subways, where, in a way, something very similar happened: people encountered these works suddenly. That’s magical.
How did you approach the scale? Were you used to it?
To be honest, it’s even a little small for me. The truck is a very comfortable format to work with. The only thing I’m less accustomed to is the horizontality. Buildings involve more vertical compositions. Here, everything was very horizontal. But that led me to decide to make a character lying down, and to opt for a landscape.
What does this type of project offer you, and what do you think you bring to the project?
What this project offers me is having a new piece in motion. That’s what appeals to me most. As I mentioned, it reminds me of the piece I have in India, on a first-class train that constantly travels around the whole country. I’m drawn to that idea. And in terms of what I bring to the project, mainly it’s color, freshness, and a little dose of the pop surrealism that characterizes my work.
Why is a project like TruckArtProject interesting?
Because it’s the first artistic initiative where the works, the museum, and the exhibition of works are in constant motion, and they can reach all types of people, all types of cities, some of which would never know of the selection of artists included here without this project.