SpY began to act in the street while he was still an adolescent in Madrid during the mid-eighties. Around the mid-nineties he felt that he was outgrowing traditional graffiti as a means of expression. He soon began to play with the infinite possibilities that the surroundings offered his senses.

His work involves taking over urban elements through transformation or replica, commentary on urban reality and the interference in their communicative codes. The bulk of his production comes from observing the city and an appreciation of its components, not as inert elements but as a palette of materials overflowing with possibilities. The will of the game, the careful attention to the context of each piece and a constructive, not invasive, attitude characterize, without a doubt, his performance. Like the best examples of public art, the participation of SpY forms a whole with its context. It is in the fusion of these two elements, as well as in the chance encounter between the spectator and work, where the core of his proposal is found. For this reason, he does not produce work for exhibition in galleries and limits himself to exposing graphic documentation, which takes the form of very cared-for, large-sized photographs.
SpY’s pieces want to be a parenthesis in the automated inertia of the urbanite. They are pinches of intention that are hidden in a corner for those who want to let themselves be surprised. Filled with equal parts of irony and positive humor, they appear to make the passer-by smile, incite reflexion, and to favor an enlightened conscience. ‍