How would you describe your contribution to the Truck Art Project?
My work is a continuous process that has been in transformation over the twenty years from when I started to paint in the streets of Madrid until today. I’m a plastic artist, and I didn’t choose words but plastic art as a means of expression, so I think it’s the job of the critics and the curators to talk about this.
How do the two sides of the truck engage in dialogue?
They’re a continuum. It’s geometric abstraction, so it’s a balance and interplay of tensions.
What do you see as the challenges of the project?
The main motivation is to form part of a collection of works produced by artists I admire and great friends with whom I’ve been working since I started doing this, like Daniel Muñoz, Sixe, Nano4814, Spok and Rosh 333.
How does this project fit into your artistic development and discourse?
Quite naturally. Painting in the street and on a truck are two similar things, except that here the viewer doesn’t necessarily have to be moving, since in this case it’s the canvas that moves.
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?
That’s bound to happen to me. Besides, I don’t work with a preliminary sketch.
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 same as when I paint spontaneously in the street. People don’t know that something happened the night before just around the corner, and they unexpectedly come across a work of mine the next morning. It’s a surprise, something unforeseen that multiplies the effect an artwork can generate in the viewer. It’s much more powerful and interesting than a commissioned mural or an urban safari.
And the fleetingness of its reception?
Just as fantastic as a shooting star.
How did you tackle the scale? Were you used to it?
Yes, I’m intrepid. I’ve spent years perching on cranes, scaffolding, ladders and dustbins.
What do you get out of participating in a project like this, and what do you think you contribute to it?
I contribute the abstract and geometric side of the collection, as well as the feminine side. What I get out of it is a new support on which I’d never been commissioned to paint, and also forming part of a very interesting selection of artists.
Nuria Mora (Madrid, 1974) Born in Madrid, Nuria Mora is a referent of street art thanks to her characteristic floral murals and her colourful geometric forms, which delight us in the streets of many towns. The artist was trained in specialities like interior design, architecture and fine arts before managing to create her own unique and unmistakable style. Her creations function as a perfect complement to the composition of cities, where she knows how to find possibilities in the most recondite places. She started painting in the streets of Madrid in 1999, forming a team with her partner in artistic adventures, Eltono. Both later joined the Equipo Plástico group together with Sixe Paredes and Nano4814. Surpassing the limits of the most avant-garde graffiti, this artist has also worked in fields like sound and light installations, fashion design and has even designed advertising posters for the Cirque du Soleil. Her work has been shown at such emblematic places as the Tate Modern in London, the Fundació Miró in Barcelona, the Instituto Cervantes in Madrid, and many others. Nuria Mora is bound by no borders, and the streets of Brazil, Cuba, Chile and Argentina have also yielded to her talent.