Any human guru, from the psychiatrist to the priest, would condemn the fixations given to restless spirits endowed with an internal dynamo. For them, obsessing like a spring is sin, vice or festering mania. In these lots, Nuria Mora would be one of those spirits that centrifuges her own energy to survive.
What about her is, however, a miraculous mechanism. Transforms that torrent into net beauty, into a pure matter that is offered fresh and smoky: resounding strokes and vegetal forms that scratch the layers of humanity as in an exercise of archaeological electricity. What calls us to peek at that wall in mint green and mauve acid where spray lianas light up creatures of ink, when we rub our fingers with their latticework of colored pencils or try to understand the lines of their carpets as we step on them and we are part of them, it is not, but to attend to the beauty of man himself.
This is where Nuria took us, riding on her red Vespa. It has been a tremebundo trip, a process of fission in which his brushes have been ours and we appropriated of his, because what she brings plasma the sensitivity of all. The explosions of Nuria are so miraculous, because they are the telluric spectacle that bursts to bring calm, like the beautiful flowers wet after the storm. And Nuria herself, with her infinite laughter, is reborn and is another, because in each new show she becomes egoless again, the opposite of what happens to those who fill the guides, the walls and the galleries. All search always takes a toll of ego perhaps because lighting new places from the darkness generates a fear and distrust that must be backed by an invasive personality and thirst for constant applause. That is not Nuria, who with her cocacola light does not intend to give us any shortcuts of knowledge. She surrenders to her "uselessness" due to the demands of her excess energy. His terrible sincerity is his vital mechanism. Nuria's thing is a beauty infection to survive itself. And from the most absolute delicacy he performs concerts in vegetable and organic forms, finding - not looking for - the cosmic femininity of a capricious and absolute nature that envelops all of us. In that center of flowers that has been slowly joining, with the greatest tenderness, or in that huge wall that explodes with sensuality and magma, Nuria's hands have taken us all for a new memory of atomic detonations that are nothing but our own. And to that, some gurus call it art.
There is something intrinsically subtle about Nuria's work, something which, even when confronting you in an unexpected, unforeseen way, always does so in a delicate, calming way. Is this the femininity she talks about in her work? Not femininity in terms of painting specifically female themes however, but in her way of working with the structure around her, not against it. Not trying to dominate the surrounding environment, not wanting to simply attach its meaning on to, but opening us up to a new appreciation of the space around us, a new way of seeing our urban milieu.
Nuria's work creates an explicit, dialogical interaction with the surface, an interchange between herself and the very medium of the city, but must also understand through her attempt to create a dialogue with the public itself, with her audience, the diverse community of the city Her work is so what would she call an 'open language', a silent, sensitive poetry, working against the saturation, the overburdening of signals that we are subject to within everyday city life. Through a spontaneous, respectful practice, considering the space, place and the neighborhood itself, Nuria thus attempts to make 'a place for free thinking', a 'space of dead time', using a language which is 'infinite, abstract', and thus 'universal'.
There is more to Nuria's aesthetic than her street productions alone however, and her inside work, her endeavors taking place within the gallery or institutional settings, would it never seek to simply replicate her outside projects within this new context; to produce on a canvas what would otherwise need the medium of the street, the spontaneity of the city to function effectively, would it simply be an anathema to Nuria, it would just not make sense. Using installations, videos, murals, watercolors, whichever tool she can reach out and use, Nuria thus re-creates her world within this new context, vitally however, always somehow connecting with the space of the city, with the real world outside of this 'place'.
Rafael Schacter on 'Beyond the curve of the road'.
She is on Instagram @NURIAMORA