How do the two sides of the truck engage in dialogue?

The first side that I painted is the one depicting a character under pressure, boxed in within the truck’s sides. The character is holding a broken multi-coloured stick, which is the subject of the other side of the truck, but this time it’s an abstract composition consisting of sticks and string. I think there is certain continuity between them both, as if they were strips from the same comic.

What do you see as the challenges of the project?

The biggest challenge was getting the piece to work while in motion, so that it wasn’t just a blur and so the viewer’s eye could analyse it within tenths of a second. How does this project fit into your artistic development and discourse? It’s in line with the murals that I was doing at the time.

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?

I completely improvised. I approached the support without any preconceived ideas and just got carried away in the moment. The only thing I had planned was the colour palette; everything else was developed there and then.

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?

I don’t usually think too much about the viewer when deciding what to paint. The support is indeed somewhat unusual though.

And the fleetingness of its reception?

I tried to make it a straightforward image. Synthetic and easily analysed. Or at least something that allows you to form a quick first impression. Although, with a bit more time, if you come across it in traffic, you can appreciate the details and find new meanings in addition to that initial interpretation.

How did you tackle the scale? Were you used to it?

Yes, I’ve actually been working with this kind of size for a long time. The scale didn’t represent any kind of problem. Perhaps the main issue was time, having two days to paint both sides. It was quite a tight schedule and pretty intense.

What do you get out of participating in a project like this, and what do you think you contribute to it?

It’s an opportunity for more people to see what I do and to also see it in movement, in an informal, public, day-to-day environment, without pretence.

What’s the interesting thing about a project like the Truck Art Project?

I love the idea of having a piece in permanent transit. In my case, in Ibiza. Something simple but hyper stimulating.

Nano4814 (Vigo, 1978) is an elusive artist with outstanding multidisciplinary skill. He began his creative work more than twenty years ago in Vigo, his native city, where he took his first steps in the traditional school of graffiti, although with time he has forged his own style and a personal aesthetic. His fascination with skateboarding led to an absorption of the aesthetic of street culture, and he very soon started to experiment with the classic techniques of graffiti. After graduating in Fine Arts from the University of Pontevedra, he went to London for a short period of training at schools like the Saint Martin’s School of Art and the London College of Printing. In 2004, he moved to Madrid to develop his artistic career, and started to exhibit at galleries and institutions both in Spain and abroad. Among the many projects he has taken part in, some of the most noteworthy are Planet Prozess in Berlin, the exhibition Urbanitas at the MARCO – Museo de Arte Contemporánea in Vigo, and Street Art at the Tate Modern in London. Together with Eltono, Sixe Paredes and Nuria Mora, he forms part of the artistic collective El Equipo Plástico, with which he has conducted residential projects in Peru, China and Mexico.