How would you describe your contribution to the Truck Art Project?
For this project, I worked with one of my series called Numerical Abstraction, which speaks to us of the numbers used as symbols to refer to the economic crisis suffered in recent times by some countries, but also observed in relation to their links with ancestral cultures and mystical projection. In these works, I carry out a personal exploration of the ontological and functional structure of the numeral.
How do the two sides of the truck engage in dialogue?
They are in perfect dialogue, as I use the same series and working technique on both sides of the truck.
What do you see as the challenges of the project?
I found it very easy to carry out this project, and I felt very comfortable working on it. My challenge was to do something different than all the trucks that had been painted until then, so as to contribute something new to the project.
How does this project fit into your artistic development and discourse?
I like good ideas and things well done, so this project fits in the way I work, both because of its originality and because of the high standard of curatorship.
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, I considered different ideas, but I decided in the end on the Numerical Abstraction series, since it distanced itself from all the other finished contributions. The support wasn’t a problem for me as I had worked with it on other occasions.
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 put myself in the viewer’s place, and it would greatly interest me to come across one of the trucks travelling around any region of Spain. I imagine the truck in many completely different locations and spectators in countless regions of the country. Seeing a work of art in motion is a fantastic and thrilling thing.
And the fleetingness of its reception?
All the better, like something that fleetingly appears and disappears. I think it’s a magical thing.
How did you tackle the scale? Were you used to it?
The scale wasn’t a problem for me. For many years, I’ve been accustomed to painting large surfaces of all kinds, and I’ve always felt very comfortable working in a large format.
What do you get out of participating in a project like this, and what do you think you contribute to it?
I get the great satisfaction of having participated in this original project, and having contributed a work different from all the others.
What’s the interesting thing about a project like the Truck Art Project?
Because there are few firms and entrepreneurs in Spain that will lend their support to proposals of this kind, and even more interesting is this project’s real patronage of many of the country’s artists. I would also like to take advantage of this interview to congratulate Jaime Colsa once again on his initiative and commitment.
Sergio Hidalgo Paredes (Barcelona, 1975), better known as Sixe Paredes, began his artistic career in the world of graffiti in the late 1980s. During the 1990s, his hunger to explore new terrains led him to create his own studio and experiment with painting, sculpture and installations, combining the public prominence of street interventions with a more private facet in the intimacy of his studio work. From his travels on the American continent, he developed an interest in the cultural heritage of the pre-Columbian societies. In this way, he investigates the development of techniques like pottery and weaving, fusing the atavistic and the modern through counterposed and transmuted concepts to create what the artist himself calls ‘Primitive Futurism’. Human representations, ancestral figures and animals appear in many of his works as expressions of a desire to reconnect spiritually with the primaeval essence. Sixe Paredes has work in spaces and galleries all over the world. In 2008, he was one of the eight artists who painted the façade of the Tate Modern in the famous Street Art exhibition of mural paintings.