How would you describe your contribution to the Truck Art Project?
My contribution combines two of the ‘lines’ of my work: the organic forms I normally produce on different supports, and the letters of my name, a heritage from my career in the world of graffiti. On the one hand, I liked the idea of covering the surface of the truck with those weaves and textures, making it mine. I also wanted to pay tribute to one of the principal objectives of graffiti: that your name should be seen by the greatest possible number of people (Getting Up), and that your name should be in motion.
How do the two sides of the truck engage in dialogue?
Although the support has two faces, I regard it as a single piece, though it does have two possible readings. One of them is that the organic forms are disengaged from a circular figure, which could be the nucleus of the composition. These elements pass over to the other side, where they build the counterform of the letters. They construct my name by forming the background, where the letters are left empty. The other reading is just the opposite. The organic forms that draw my name pass over to the other side to form this circular element. For me, it’s a reflection on my own work.
What do you see as the challenges of the project?
The same as when I do a mural or any other piece. Making sure it has chromatic and aesthetic harmony, that it is adapted to the support, and that the viewer is not left indifferent but invited to reflect and draw his or her own conclusions.
How does this project fit into your artistic development and discourse?
For me, it’s one more support that I’ve worked on, and that’s something I like: taking my work to different surfaces.
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?
In my case it’s always like that, above all with large-format pieces for exteriors. I generally go with an idea, with notes, but I always let improvisation play an important part in the piece, allowing the elements around me to form part of the execution. The support, the weather…
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?
It’s not a new thing for me. Most of my work is to be found in the public space. The viewer comes across my work, and that’s normal for me.
How did you tackle the scale? Were you used to it?
Like any of the large-format pieces I generally do. It’s not the first truck I’ve painted, but it is the one I’ve most enjoyed.
What do you get out of participating in a project like this, and what do you think you contribute to it?
I think this project will enable my work to reach a public that doesn’t know it. It can make me more visible. For my part, I contribute my personal vision, my stamp.
What’s the interesting thing about a project like the Truck Art Project?
The visibility it gives to the artists’ work. This initiative reaches a public that otherwise wouldn’t see works of this type. I find it interesting that artists who don’t normally work in this type of format should be able to find other possibilities for their work.
Rosh 333 (Alicante, 1977) is a visual artist, illustrator and graphic designer whose work took shape in the town of Elche in eastern Spain. He belongs to a caste of graffiti artists who aroused the interest of the international urban scene in the late 1990s. His cheerful multicoloured murals finished with his characteristic heart signature, the reflection of his creative and artistic drive, are apt to surprise us in any street in Madrid, Barcelona or Valencia. Rosh has won over the public and the cognoscenti alike to become one of the leading urban artists in Spain. His work is notable for its organic quality and a constant experimentation with form, texture and colour. He investigates supports, formats and techniques, giving free rein to a flow of sincere expression that strikes up an intimate dialogue with the viewer. One of his bestknown works is the intervention at Paco de Lucía metro station in Madrid, a collaboration with another urban artist, Okuda San Miguel. Entitled Between Two Universes, this stunning 300-metre mural with the image of the famous guitarist was the first urban art project on an underground railway network in Spain.