a light Covers the entire metropolitan area of Valencia. Airbrushes, markers, chalk, plastic paint, etching and any substance are likely to become LUCE. There was a time when it was impossible to connect two streets without seeing your signature. LUCE’s graffiti is so versatile that it has set thousands of records: one of the most classic aesthetics in the world. logo card (Signed) proofreading where the name is lost.
When LUCE started painting in the early 2000s, Valencia was teeming with graffiti. The work was intense and there was a lot cases A prolific book. It was going out in the street to paint to discover new interventions, and wandering on the roads, it was visiting the works left the previous night. This is what a file looks like graffiti artist.
“I have been learning my visual memory for 10 years through spatial readings. I can see a signature, that can say a lot, but if you show me a picture of logo card I’ll probably take you to this place, ”said LUCE.
The street becomes a space of intervention that each writer studies to see what possibilities it offers. Within this urban reading game, LUCE began to transfer his work to the use of models, to typography games, and little by little his identity as a writer grew and set new records.
“A big leap in my business has been the use of models, which comes from the graphic expression of graffiti where the models have been completely cursed. For me the leap was to go from using models to a reluctant world to use this tool.
Leaving the classic classification of graffiti allowed the writer to begin a series of exercises in which letters became an idea from which to experiment with typography and plasticity. The symbols of urban painting have been preserved, but their production has become more complex. Along with his drawings, a more conceptual line of work was built, in which elements of the city, urban works and the experience of life on the street were brought together in performances or interventions in public space. . In 2016, the Mislata Biennale invites LUCE to intervene: the artist decides to “whitewash” several balls on the balcony.
LUCE’s graffiti and more conceptual work are exercises in the interpretation of urban spaces. The artist becomes a catalyst and reproduces the whole range of gestures, actions or experiences that he encounters in the street.. As a result of this close look, LUCE discovered how workers placed posters on billboards. They pulled on the rubber band that secured the folded poster to the ground. Using reclaimed rubber, he made a sculpture, something that, when its story is revealed, speaks to the little cliché gestures that build and animate a city.
LUCE’s poetics are in constant dialogue with the landscape which crosses, inhabits and interferes. The artist is interested in understanding space in order to intervene: “Putting something in a white space limits me, I have always been associated with certain spaces. I have a hard time building from scratch. I was associated with the city, there is something in my small production to do with this environment“.
At that point, his work transformed one of the main symbols of graffiti: vision. After years of exposure and bombardment, LUCE graphics are increasingly looking for hidden, hidden and secret spaces. Change the places that the city has made invisible, either because they are marginal, or because of their poor functionality, or because of economic neglect. Although LUCE retains most of the canonical graffiti work, he has sought that little by little return to the sock in which much of the vision gives way to the search for invisible spaces.
“Something very hidden hits the trio. Since adolescence, I try to show myself, it’s been years in Valencia if I’m doing well. place Draws attention. corn The graffiti got huge and now there are a lot of people doing it splash Crazy I think evolution is finding the hidden location. I also have references in the world of graffiti like the Spire in Berlin. I learned from him to look for the farthest place. I also appreciate places more and I sometimes enter spaces and I don’t need to do a graphic reflection that I was there.
After years of painting in the street, going down to the confines of subway tunnels and constantly drifting through the streets, there are still quite a few spaces left to discover the city. At this point, an intimate relationship with the urban space is achieved where all of its dynamics are understood. The city becomes a place which places at your disposal all the possible resources to continue your activity. For some time now and after having maintained a close relationship with it, LUCE knows where to find its materials. Urban society produces more than it consumes and cities are the accumulation of its surpluses. Currently, the artist produces large format paintings from the recycling of discarded advertising canvas: “I like more than working with the materials in which I have invested the time to acquire these resources.
One of the strengths of graffiti is that it is a fully contextual and relational painting. The fact that we paint ourselves in the street forces the artist to be in a material and legal situation in another way, more attentive to his environment. From this context, LUCE has built a work in which the subtle gestures of daily life in the city are preserved and assembled.