How would you describe your contribution to the Truck Art Project?
What I’ve basically done in this project has been to use images I’d already worked on that would more or less allow me to do the truck quickly.
How do the two sides of the truck engage in dialogue?
There’s no dialogue between the two sides. It’s rather one image for one side and another one for the other. On one side there’s a fight sequence, and on the other some letters. I follow the line of some walls I’d done, where I worked on structures, pipes and machinery, adapting it a little to the letters so that it will be more like a colour print rather than ordinary letters.
How have you envisaged the reception of a work like this one, which is found rather than sought out by the spectator, and which doesn’t circulate through the usual artistic channels?
In the case of the vast majority of my work, it’s the viewer who encounters it. It’s not for someone who has to go to an enclosed space and walk in through a door. It’s normally a pedestrian who’s walking by and comes across the wall. It’s true there are people who go expressly to see it, but I focus above all on the form, not so much on the way the truck itself is going to be. It’s good that people should come across it.
And the fleetingness of its perception?
The walls I work are made to be seen from a distance, and they’re not usually very complex images in terms of detail. That way it functions: for instance, the sequence of people fighting is on the side where cars overtake the truck, while the letters are on the other.
How does this project fit into your artistic development and discourse?
Well, this is one more of the projects I’ve done on trucks but carried out with the right means. Most of the things I’ve done on trucks have been on my own account, climbing up on four paint pots to try to reach the top. This is a project that makes it easier.
What do you get out of participating in a project like this, and what do you think you contribute to it?
I’m excited to be in a project with other very interesting people taking part. The contribution the project makes to me is to have a truck going from Madrid to Ciudad Real, a route which my work wouldn’t normally reach, and it may be that people from around there will be able to see my work, something which otherwise they’d never have seen in their lives. Now, I don’t know if those people are really going to like what I do or not. What I contribute to the project is a lorry trailer painted by a painter. Unlike many others who work the line or the form, what I’ve worked on most in this case is the splash of colour. There’s a value in painting that other people can’t contribute. They contribute other very good things, but in this case they contribute nothing in painting. I think it’s in the painting that I bring something to the project.
What’s the interesting thing about a project like the Truck Art Project?
It’s good for projects like it to be carried throughout in Spain, and for the format of the truck, which is a dull format at first sight, to bring something to the viewer or the people who pass by it. It’s enriching, and I think we all win. The viewer wins, the truck driver wins, the company that owns the trucks wins, we all win because we’re more visible… These projects where everyone wins should be done more often.
Aryz (Palo Alto, USA, 1988), has lived since a child in Cardedeu (Barcelona). He describes himself as a muralist and regards his work as his best biographical summary: ‘I’ve always thought it’s the work that has to speak for itself,’ he says. It was while at high school that he entered the world of hip-hop, the gateway to the graffiti scene. He then started to paint façades in derelict factories. The internet was his springboard to recognition and his first commissions. In 2010, he decorated his first wall in Italy. Today he is a prestigious muralist and designer who has left his work around the world. His characteristic skulls and robotised animals appear on walls in places as disparate as China, Venezuela and Madagascar. Street art lives together in the work of this singular artist with the influence of the most academic painting, whose trace is visible in huge still lifes or painstaking portraits. Some of his murals, inhabited by skeletons, beached boats or animals with a gesture of pain, display a marked pessimism, although the artist confesses that he has recently opened up his palette to other sentiments, abandoning his tendency to despair.