How would you describe your contribution to the Truck Art Project?
As a prolongation of my work, taking into account the particularities of the Truck Art Project (execution time, support, moving exhibition…).
How do the two sides of the truck engage in dialogue?
They’re different scenes, although they share the same theme and technique. Both sides show theatrical and grotesque subjects, though in different contexts. On one side of the truck, the figures are contained within a theatrical stage, and on the other, they are arranged one after another like an open-air parade or procession. I’m interested in representations that harbour a certain disquiet or strangeness, and it seems to me that the theme of the masquerade encourages such a state, although it’s treated formally in a playful tone, not at all a dramatic one. In any case, in my work, the narrative aspect is generally subordinated to the purely pictorial aim.
What do you see as the challenges of the project?
The main challenge was carrying out the project on a support of about eighteen metres by three overall, in four days, and in conditions I’m not used to (like working outside or with people present during the execution of the work).
How does this project fit into your artistic development and discourse?
As an extension of my work, I think, though taking account of variables specific to this project when it came to conceiving the work, such as the movement and speed of exhibition once the truck is in motion, among other factors.
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?
It wasn’t my case. I was quite clear about what I wanted to do, and I tackled the work as I had planned.
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?
As an incentive. I think it’s a marvellous initiative. The fact that it’s travelling around by road means it’s going to be shown to every kind of public, from those familiar with art to those who would perhaps never have had any intention a priori of confronting a pictorial work in conventional spaces like galleries and museums, so the experience can be an interesting one.
And the fleetingness of its reception?
I think fleetingness is one more distinct aspect of the project, and one to bear in mind when it comes to planning the work.
How did you tackle the scale? Were you used to it?
Yes, I’d done similar formats.
What do you get out of participating in a project like this, and what do you think you contribute to it?
For me, it’s been a very positive experience at every level, both professional and personal. I understand that the social aspect and reciprocity are a constant in the Truck Art Project. As I remarked earlier, the fact that the works are made directly visible as they travel by road brings them close to a very heterogeneous public, and I think this feeds back into the project and increases its stature.
What’s the interesting thing about a project like the Truck Art Project?
The singularity of its proposal.
Cristina Lama (Seville, 1977) opts for leaving the significance of her works open to the viewer. Using the technique of acrylic, she frequents large formats onto which she pours dilemmas centred on the family, childhood or freedom. Cristina Lama’s complex painting has evolved progressively and naturally. She works in fresco, with a brushwork that denotes sheer pleasure in the medium, and sometimes allows it to be seen that the iconography is no more than a pretext for painting, to which she adds information aimed at granting absolute importance to the material. Her violent but premeditated brushwork lends the image force, and her flexibly abstract strokes give full sense to the gesture. The content displays sensitivity and emotion. Her natural evolution towards serenity and psychological complexity has led her to create continual scenes with random elements forming a plane ‘without a break’. Her works can be seen at places like the CAC - Centro de Arte Contemporáneo in Málaga and CAAC - Centro Andaluz de Arte Contemporáneo in Seville.