How would you define the project that you undertook for TruckArtProject?
In your case, how do the two sides of the truck work together?
Both of them make a poem that is completed.
What are the challenges of the project for you?
To create harmony. To Have little time to feel and say something relevant and open in an evolutionary context.
How does this project fit into your trajectory and your discourse?
It is one more artjob. An empty canvas that was filled. A materialized intention. Part of the way. A memory. A posibility.
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?
I arrived with no idea. I did not know whether to do something figurative or written. Whether to use contours or not, flat or blurred ... I waited to be in front of the surface to perceive and choose. As the context was unstable, because I knew that the work was going to move and change the location all the time, I did not manage to get a reference or a guide to start creating. I only had the proportions of the moving canvas. I also remembered some trucks that I painted years ago and the pleasure of making wide gestures by drawing with spray. So I chose to write and play with my name, Remed, ("The Art as Remedy") for pure pleasure and as a tribute to the thousands of trucks painted by graffiti artists for almost 50 years.
I picked up a piece of paper and started to look for some new letters adapted to the proportion of the canvas until I found them. Then I had to complete the right side of this side so I played with sounds until I found a seven word poem of three lines. I looked for a way to write in a similar way to the title but more calligraphic. I did some tests with the spray on paper before painting the first letter on the truck. Each one of them is ornamented parting from a mechanical base, an «L» repeated to its left. If it is omitted, the poem appears in an evident way.
This side says:
El Arte, Parto.
The Art, Birth.
On the other side I repeated the same process. Find a word guide and another short poem. I decided to use the same colors, primary shades, black and white. In contrast to the other side, the background is dark and the letters have light:
Atar el Miedo.
Amar el Hecho.”
Tie the Fear
Love the Fact”
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?
This dimension of the job is something that I really like. I see it as generous. It's like an honest mural, a conscious graffiti or a flower that grows in the cement. It's a surprise, an alternative. It seeks nothing more than to be and perhaps expand the perception of their testimonies.
What about the fleeting nature with which it’s received?
I like the opportunity that it might not to be completely deciphered, the possibility of changing the viewer by the creator while he imagines perhaps another possible reality, another end to the job, another job.
How did you approach the scale? Were you used to it?
What does this type of project offer you, and what do you think you bring to the project?
Participating in this project has allowed me to create for no other purpose than to experiment, to meet and share. I did not have the feeling of serving any purpose. I was able to create freely I hope I brought beauty. That was the primary intention.
Why is a project like TruckArtProject interesting?
A project that allows an artist to express himself without a specific purpose and offer the possibility to the viewer to create without realizing it is a gift for everybody. I am grateful to Ink and Movement, TruckArtProject and Fer Francés team for making this possible through their initiative.