How would you describe your contribution to the Truck Art Project?
I’ve worked both sides of the coin, looking for differences in dynamism and bearing in mind that this exhibition will be moving and visiting different places. How do the two sides of the truck engage in dialogue? In 2016, luck enabled me to work on the two sides of the truck in Mexico and New York, two opposite poles joined by many conduits.
What do you see as the challenges of the project?
To think that for several seconds, the time the truck takes to pass in front of the spectator, the viewer will think of my image and the estrangement of its context.
How does this project fit into your artistic development and discourse?
Fitting my work into the Truck Art Project was very easy, as my work with the curator Fer Francés is always fluent and fun.
Some artists admit they arrived with a preconceived idea which they then had to modify, or which grew in other directions when they were confronted with a support like this. Was that your case?
My project was modified several times before it was finished. The initial theme had nothing to do with the result, but that’s the interesting thing about the work, and it’s part of the process.
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?
The context is very different from a museum or gallery, but the experience is often just as fleeting because we’re so used to consuming images. In fact, that’s one of the artist’s challenges: to try to get someone to look at an image for more than a few seconds.
How did you tackle the scale? Were you used to it?
The scale is perfect. I want all my photos to be like that.
What do you get out of participating in a project like this, and what do you think you contribute to it?
I love taking part in a men’s project along with my companion Marina Vargas.
What’s the interesting thing about a project like the Truck Art Project?
It’s enormously important that this project should exist and spread to other collectors and private enterprises. They’re the patrons we need. The public sphere runs the risk of becoming a mirage.
Celia Macías (Seville, 1977) is an artist and cultural activist. With a degree in Fine Arts from the University of Castile-La Mancha, she went on to higher studies at the Faculty of Audiovisual Communication of the HFBK in Hamburg (Germany). Colour and light predominate in her work, where they are used from a pictorial perspective. Her photographs, direct and unconvoluted, cast a poetic gaze over the everyday, documenting reality while speaking to us at the same time with the intimate voice of the artist. In her anthropologically inspired work, she invites us to look for the traces of happiness in the lives around us. Macías has stood out particularly with photographic work for the covers of albums by musicians like Tony Bravo, Rocío Márquez and Niño de Elche. She also frequently contributes to magazines devoted to art, thought and the image. Her artistic production can be found in public and private collections, and has been shown at various exhibitions in museums and galleries. She works with the Galería Javier Marín in Málaga and forms part of the project ‘El Simposio’ together with the writer Jacobo Bergareche, the pianist María Dolores Gaitán, the painter Manuel León Moreno, the designer Palomo Spain and the chef Paco Morales.