A visual application on any surface of the commonest feelings using the simplest tools.
Vive y trabaja en/Lives and works in: Madrid.
Diplomado en Diseño Gráfico, Istituto Europeo di Design, IED, Madrid.
Exposiciones Individuales/Solo Exhibitions
Galería PANTA-RHEI, Madrid.
Galería PANTA-RHEI, Madrid.
Exposiciones Colectivas/Group Exhibitions
Festival Crítica Urbana, Patio Maravillas, Madrid.
Live Debris 2009, junto al colectivo Basurama, Portland, Oregon.
Madrid Abierto 2008, en colaboración con VOTA DIER, Madrid.
Creador de dueños, Off Limits, Madrid.
INK.01: Encuentro Internacional de Ilustración, Bilbao.
Urban Affairs, Berlin.
Mallorca Femstival, Basurama, Palma de Mallorca.
SENSORAMA, Centre de Cultura Contemporània de Barcelona, CCCB, Barcelona.
18th Independents arts Festival, Sint Niklass, Belgique.
17th Independents arts Festival, Sint Niklass, Belgique.
II Edición Madrid, Palacio de Minas, Madrid.
Actividades Académicas/Academia Related Activities
Colaboraciones en el periódico DIAGONAL y la revista Nolens Volens, Universidad Europea de Madrid, UEM, Madrid.
Taller Semana del Arte, Universidad Europea de Madrid, UEM, Madrid.
Encuentro multidisciplinas POESÍA E IMAGEN, ponente, Universidad de Cordoba.
INK.01: Encuentro Internacional de Ilustración, ponente, Bilbao.
Profesor de dirección de arte, ZINK!, College of Communication, Art and Design, Madrid.
Seminario SENSORAMA, ponente, Centre de Cultura Contemporània de Barcelona, CCCB, Barcelona.
“Iniciación al arte: Graffiti”, Círculo de Bellas Artes, Madrid.
1. What made you choose art as a profession?
One day I decided to use street images and messages to raise my critical voice against everything I couldn’t attack in other places. Without a doubt, street art has offered me the best way to develop my work whilst avoiding the manipulation found on other circuits. No rules, no limits.
2. How would you define your work?
Awkward and sensitive.
3. What subjects are you interested in?
The political establishment was my first target. People whose ideological or economic interests ruin the lives of those who have least for their own benefit or in favour of a rich, callous minority.
What really interests me now is shining a critical spotlight on human beings themselves and their lack of responsibility for their own acts.
4. What resources – formal or otherwise – do you use in your work?
Short, sharp messages. Hard-hitting, direct messages. Simple colours.
5. What relationship does your work have with reality? What are your raw materials?
It’s totally related. The sole purpose of my work is to reveal the dramas in our society.
6. What, according to you, is the point of art?
I think that art has often borne witness to what happens in the times we live in, defining what we were, are and will be – alongside its aesthetic and decorative functions.
Another, more personal, purpose is that it helps me understand people better, often revealing the best and worst sides to everyone and showing once again that we all perceive life differently.
7. How do you hope the public will receive your work? What audience are you aiming at?
I hope to make some kind of an impact on everyone. The advantage with the street is that you can reach 100% of the public and you have to use the simplest and most effective codes of communication.
8. What qualifications have you got? What do you value most from your time in education?
I’m a graphic designer. But I don’t think you need any prior education to do what I do in the street – it’s an emotional impulse. You just need a bit of common sense, the tools to say something and getting out on the street to say it. You can call it stencilling, painting, performance or hooliganism.
9. How would you define your current professional situation? And in the future?
My current professional situation is disastrous. Politicians criminalise my work in the street, institutions censor it in public spaces and in Europe these kinds of actions are assimilated so well that they appear more a motive for making money than a protest action.
My hopes and expectations haven’t changed much since the first day I started painting. I’m well aware that painting graffiti in favour or against a given subject is completely irrelevant, although that doesn’t make me lose hope of shaking up someone’s thoughts.
And the fact that the market is assimilating street art for its own benefit is totally undermining its power of protest.
10. Many artists say it’s difficult to make a living from their work; how do economic considerations affect you when it comes to work? Do you think this has a bearing on your work?
The advantage of centring my creative activity on the street is that if you’re an observer, you’ve got a spot (bus shelter, wall), ladder (fence, rubbish bin, pipes…) and a pot of paint (left over from decorating work, rescued from a skip) anywhere in the city. The cost of materials is the least of my concerns. The problem comes when you have to deal with the fines.
Even so, economic consequences don’t affect my work at all. My livelihood and my family’s livelihood don’t depend on something as unstable as art (in Spain). That’s why I have my job.
11. What do you look for or expect from your relationship with promoters and curators? What advantages and difficulties have you found with these relationships?
I’ve not had any major problems with curators of my exhibitions over the course of my career as an artist.
The problems I’ve had have come from political appointments to public exhibition spaces. They have no qualms about removing work with a political edge if that pleases the person higher up who gave them their job.
12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
I don’t know about elsewhere, but Madrid has very little high-quality support and training and education places. Forging a career as an artist is not a recognised achievement. The situation is gradually getting better, but unfortunately we’re the great unknowns in Europe.