Carlos García, better known as Spogo, studied Illustration at the Pau Gargallo School of Arts and Crafts. He entered the world of urban art as a self-taught artist in 2002 and was a member of the collective Barri Groc. His experience in the construction industry provided him with extensive knowledge of materials and paints, which has proven highly valuable in developing his artistic work. His style plays with form and color, incorporating a wide variety of geometric figures and painterly elements. Always attentive to the surrounding environment, he adapts his works to their context so that they integrate seamlessly into their setting. Throughout his career, he has participated in numerous national and international festivals, exhibiting in cities such as Berlin, Ghent, and Sète.
Although you studied illustration at the Pau Gargallo School of Arts and Crafts, you began painting as a self-taught artist. How was that process? What led you to paint murals in the street?
I began painting in a self-taught way because I did not adapt well to the educational system. Learning through my own interests allowed me to choose what I liked and investigate it more effectively.
Painting in the street is part of how I understand both my life and my profession, as well as my way of adapting to the realities of working in public space.
You sign your work under the artistic name Spogo. What is the origin of the name, and what connection does it have with your beginnings in graffiti and urban art?
The name comes from the dance known as the “Pogo.” The “S” was added later by a friend.
I did not have an early connection with graffiti. My understanding of what graffiti represented developed gradually through meeting other artists who introduced me to the values and aesthetics of the movement.
What role did the Barri Groc collective play in the development of your professional career in urban art?
I started painting murals alongside my colleagues from the Barri Groc collective at festivals and events related to urban culture. These early experiences served as a period of learning and experimentation while searching for an initial artistic style.
The collective also helped create a working methodology and an understanding of the importance of generating cultural content within your local community, whether through collaborations with other artists or partnerships with institutions.
Your style combines various geometric forms that generate abstract compositions. How has your previous experience in construction influenced your artistic language?
My experience working as a construction laborer and painter helped me learn how to use tools and understand different materials, wall surfaces, and support structures.
What remains from that period is mainly my use of large flat painted forms and my approach to color palettes.
What role do the environment, context, and surface play in the creation of your murals?
I always take into account the architecture of the building, the materials from which it is constructed, the shape of the walls, and the elements already present in the space.
The colors are chosen in relation to the building and its surroundings. For me, the most important aspect is finding a balance between what already exists and the transformation introduced by the mural.
I do not like creating visual tension, and I enjoy ensuring that the aesthetic character of the building changes as little as possible.
Since the beginning of your career, you have developed various collaborative projects with other artists. What role does collaboration play in your creative process? How have these experiences influenced you?
Collaborating with other artists allows me to discover different ways of working and gain new personal experiences.
These collaborations enrich my style and give me the freedom to experiment with elements that I may later incorporate into my own practice. In exhibitions and cultural projects, I believe it is very important to create and share content through collaboration with other artists.
In 2018, you created a participatory mural with a group of young people at the Pomar reservoir in Badalona. What was it like to develop the mural’s concept together with this group?
When I involve groups of young people in projects, I like to create content that is both educational and enjoyable, so that the experience feels like a team game.
I also value creating new content for each project and leaving room for improvisation in the final result.
Why do you think there are increasingly more community-based initiatives in urban art?
It is a natural consequence of the evolution of urban art itself. Since it is inherently connected to public space and the public, it makes sense to invite people in and involve them in the experience.
When it comes to decision-making and responsibilities within these projects, however, I believe that the opinions and expertise of artists should carry greater weight than those of participants or collaborators. It is important not to forget that this is our profession.
Throughout your career, you have participated in numerous festivals and exhibitions in galleries. What has working in different creative contexts brought to your practice?
For me, the most important aspect is the experience itself: meeting people, discovering new places, and engaging with different cultures.
I have always encountered wonderful and professional individuals who share my passion for art, even though they may contribute to it in different ways that are equally important.
Through festivals, projects, and exhibitions, I have also learned that it is crucial for artists to be paid for their work. We should not be creating free content within projects that involve organizations or companies receiving grants or production budgets.
In 2020, together with Martí Noy, you curated Recién Pintado, a collective urban art exhibition at the El Carme Cultural Center in Badalona. What relationship do you have with your hometown? Is there support from the city council for urban artists?
Badalona is an interesting city. It has long carried the stigma of lacking cultural projects and spaces relative to its size, location, population, and municipal resources.
If you choose to look at the positive side, however, this situation creates opportunities to generate cultural content because there is little competition and a large audience.
You combine studio-based work with interventions in public space—two very different contexts. Do you think creating art in public space adds value to your personal and professional experience?
Absolutely.
It is important to give equal importance to studio practice and street-based work. When you achieve that balance, both areas benefit from one another, and you can establish a constant dialogue between different materials, techniques, and supports.
