BIO

Nano4814

Born in Vigo in 1978 and resident in Madrid, Nano4814 is an elusive multidisciplinary artist with outstanding skill. He begins to develop his creative work over 20 years in Vigo, his hometown, taking their first steps into the traditional school of graffiti, but over time it has managed to develop a much more personal and icon-graphic aesthetic. Nano affiliation with the street initially fascination arises by mounting the aesthetics of the surrounding culture and skateboarding in particular. Remembers the impression made him the first time he saw the posters Cost and Revs stuck in the streets of NY or work Twist (Barry McGee), among many others, from the pages of the first magazines Slap arriving in Spain; or focus of Fernando Elvira as artistic director of the magazine 360 ​​Skate; these influences led to an interest in the urban environment and Nano soon began experimenting with traditional aesthetics of graffiti and different techniques that could be brought to this medium. After graduating in Fine Arts at the University of Pontevedra he makes a brief training period in London, studying at schools like Saint Martins School of Arts and the London College of Printing. In 2004 he moved to Madrid to develop their artistic work and began to exhibit in galleries and institutions in Spain and abroad. Among the many projects in which he has participated could highlight Planet Prozess in Berlin, the Urbanitas exhibition at the MARCO of Vigo and Street Art at the Tate Modern in London, or more recently, during the year 2016, Crossing Borders / Crossing Boundaries in SAM Museum in St. Petersburg or Venturing Beyond Sommerset House in London. It is part of the art collective The Plastic Equipment, along with Eltono, Sixe Paredes and Nuria Mora, with whom he has carried out projects in Peru residence, China or Mexico. In his most recent work we can observe complex dynamic compositions of multiple figurative, anthropomorphic although almost abstract forms. superimposed or fused bodies, mingling with each other in a precarious balance we do not know whether fighting or rescue, intercourse or rejection. Moving in a wide color range of saturated colors and textile patterns that accentuate the abstraction of which we speak, Nano uses elements that become recurring symbols in your current job: Brick walls, barbed wire, broken wooden barriers or colored sticks to often parties in many pieces (allegory of pictorial act itself) and hanging bait or amulets. Objects that encourage intrusion and transgression, for masks. These barriers both suggested as a veiled truth hidden, giving clues but eluding clarify the reality painted. This ambiguity is perhaps the most defining characteristic in the work of Nano 4814.