INTERVIEW

How would you define the project that you undertook for TruckArtProject?
In my proposal two of the "lines" of my work coexist, the organic forms that I use to make in different supports and the letters with my name, inheritance of my trajectory within the graffiti world.
On the one hand I liked the idea of covering the surface of the truck with those plots and textures, make it mine. I also wanted to pay tribute to one of the main goals of graffiti, that your name is seen by the greatest number of people (Getting Up), that your name is in motion.

In your case, how do the two sides of the truck work together?
Although the support has two faces I consider it as a single piece, but with two possible readings. One is that the organic forms are detached from a circular figure, which could be the nucleus of the composition. These elements pass to the other side and there they build the counterform of the letters, build my name forming the background, leaving the letters empty.
The other reading is on the contrary, the organic forms that draw my name pass to the other side to form this circular element.
For me it is a reflection on my own work.

What are the challenges of the project for you?
The same as when I make any mural or piece. That it has a chromatic and aesthetic harmony, adaptation to the support, that the spectator is not indifferent, that invites him to reflect and can draw his own conclusions.

How does this project fit into your trajectory and your discourse?
For me it is a more support that I have realized and it is something that I like, to take my work to different surfaces.

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 my case it is always like this, especially in exterior and large format pieces. I usually go with an idea, with annotations, but I always let improvisation play an important role in the piece. That the elements that are around me are part of the realization. The support, the climatology ...

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?
It is not something new for me, most of my work is in public space. The spectator meets my work, for me it is normal.

What about the fleeting nature with which it’s received?
I repeat, it's something I'm used to.

How did you approach the scale? Were you used to it?
Like any large format piece I used to do. It is not the first truck I paint, if I have enjoyed it the most.

What does this type of project offer you, and what do you think you bring to the project?
I believe that with this project my work can reach an audience that does not know, can give me more visibility.
For my part I contribute my personal vision, my seal.

Why is a project like TruckArtProject interesting?
By the visibility that gives to the work of the artists. This initiative reaches an audience that otherwise would not see this kind of works.
I find it interesting that artists who do not usually make these types of formats can find other possibilities to their work.

Javier Díaz-Guardiola