Nuria Fuster

Artist selected by Barro, David at 2010

My work can be summed up as a constant search for what’s ‘real’ in ‘reality’. I’m interested in an object as something to be observed and as an exercise or act where we can exercise the muscle to propel us towards it. It’s about breaking the increasingly dark glass that separates us from it. An object as a structure acts as a mirror: if we can reach it, we get closer to our own nature.


1. What made you choose art as a profession?
I had a promise to keep. My great-uncle always wanted to be a commercial artist and my mother studied art at a bleak time for women – and my uncle made me promise I’d achieve it myself. Realising that you’re free to choose when so many other people haven’t strengthens you in your decision. Although it might sound silly, I was always sure about this. I’d seen several documentaries with artists sat in silence drawing freely in front of wooden tables and I wanted to be like that and feel that as well.

2. How would you define your work?
A mixture of everything I like: Rauschenberg, Oteiza, Cabrita Reis, Russian Constructivism, Cubism, Velázquez, and Bach, amongst others. A kind of objectual sculpture. They’re very structural pieces, most of them in wood made with objects I deconstruct. I see myself as close to a certain German current in contemporary sculpture. A very austere style that looks for mystery.

3. What subjects are you interested in?
Too many. Sometimes I’d just like to focus on one; we’ve all got our own obsessions and at the end of the day that obsession ends up becoming The “Subject”. You could say I’m obsessed with reaching the “real” reality of things. I’m interested in everything that lies in this path: speed, distortion, glass, vision, cut-outs, language, etc.

4. What resources – formal or otherwise – do you use in your work?
It depends a lot on the process in question. Perhaps the process itself is my resource. It’s what you find during the process that determines how it progresses and the final shape the piece takes. I work quickly and like discovering the piece by chance. I also construct a lot. It’s paradoxical: at the start I open up the piece, but at the end I need to close it completely.

5. What relationship does your work have with reality? What are your raw materials?
The reality I’ve found myself in at different moments has shaped my work completely. I’m interested in reality in itself as a subject. I work directly with it; disused objects and furniture are my raw materials and speak directly about my reality or other people’s. For me, doing art is forging a dialectical path to it.

6. What, according to you, is the point of art?
For me, it’s a path for knowledge and emotion.

7. How do you hope the public will receive your work? What audience are you aiming at?
I’d like my work to make people feel something in the same way that other people’s work has had an impact on me. I realise that in my own case there are pieces I didn’t use to like but which I now do, and vice versa. You gradually find out about and understand things and that changes your vision, your density. I suppose that I’m aiming at people who are looking for the same sort of thing as me.

8. What qualifications have you got? What do you value most from your time in education?
I think my degree in Fine Art is the least important thing. What has helped me most to understand the language of art was my sculpture teacher at the Art School in Rome, Alfio Mongelli, and, above all, seeing lots of art works by artists, and not just plastic artists. These have been key for making progress. I think you learn about art by seeing art, just as you learn about music by listening to music... That’s it.

9. How would you define your current professional situation? And in the future?
I’m happy. I think I’m gradually achieving my personal goals, although I see this as a long-distance race.

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?
Absolutely. You either sink or swim. I decided to swim by adapting my work to my circumstances. I started to work with objects I picked up off the street, because I hadn’t got a studio or any money – I was just eager to work. What is hard is having to work on other things just to be able to work on what you want... It doesn’t make sense... Working so you can work…

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?
So far I’ve been very grateful. I like my work to form part of someone else’s project and fit within their vision. It’s like a kind of Russian doll.

12. What do you think sets the arts scene in Madrid apart from elsewhere? What would you say are its pluses and minuses?
Madrid is still a bit behind the times, which gives it a special character. I like Madrid because it radiates energy, there’s a momentum for work, lots of people keen to do things and Madrid is the centre where it all comes from. Now it seems art centres have been revitalised by the internet, but you still need a physical nucleus where real people can see each other and build things together. There is room for improvement, though: it needs to shake itself up and be bit more daring and carefree.


Curriculum vitae

Nuria Fuster
Alcoi, Valencia, 1978.
Vive y trabaja en/Lives and Works in: Madrid.

Formación Académica/Education
Licenciada en Bellas Artes/Bachelor of Fine Arts, Universidad Politécnica de Valencia.

Exposiciones Individuales/Solo Exhibitions
When someone melts a menhir, Hamish Morrison Galerie, Berlin, Alemania.

Bodies, Hamish Morrison Galerie, Project Room, Berlín, Alemania.
Don Quijote también esculpió el aire, Galería Marta Cervera, Madrid.

Certamen Internacional EXPLUM, Puerto Lumbreras, Murcia.

Camino Subterraneo/Subterranean Way, Galería Marta Cervera, Madrid.

Structural Events, Hamish Morrison Galerie, Berlin.


Arquitecturas Domésticas, Galería Marta Cervera, Madrid.


Galería Metropolitana Barcelona, Barcelona.

Exposiciones Colectivas (Selección)/Selected Group Exhibitions
ARMORY SHOW, Hamish Morrison Galerie, New York, EEUU
ART COLOGNE, Galería Marta Cervera,Madrid
ARCO, Galería Marta Cervera, Madrid

Premio Fotografía Purificación García, Círculo de Bellas Artes, Madrid.
Galerie Weekend Berlín, Hamish Morrison Galerie, Berlín, Alemania.
SEEING RED, Hamish Morrison Galerie, Berlin, Alemania.
ARCO, Galeria Marta Cervera, Madrid.
Marike Schuurman & Nuria Fuster, Hamish Morrison Galerie, Berlin, Alemania.
GENERACIONES 2012, La Casa Encendida, Madrid
ARTSituacions, Curated by Vicente Todolí, María del Corral, Yolanda Romero y Teresa Blach. Centre Santa Mònica. Barcelona / Patio Herreriano. Valladolid / Domus Artium 2. Salamanca / MEIAC Badajoz

ARCO 09, Galería Marta Cervera (Madrid), Madrid.


Edges of Darkness, Hamish Morrison Galerie, Berlin.
Kören Beck Tomlinson & Nuria Fuster, Newman + Popiashvili Gallery, New York.
C!RCA Puerto Rico 08, International Art Fair, Galería Marta Cervera (Madrid), San Juan de Puerto Rico.
NEXT 08, Galería Marta Cervera (Madrid), Chicago.
XII Certamen Unicaja, Málaga.


AQUÍ Y AHORA, Sala Alcalá 31, Comunidad de Madrid, Madrid.
Generación 2007, La Casa Encendida, Madrid; La Capella, Institut de Cultura de Barcelona; Sala de Exposiciones del Convento de Santa Inés, Sevilla; Reales Atarazanas de Valencia.
KIAF, Korea International Art Fair, Galería Metropolitana Barcelona, (Barcelona), Seoul.
Creacion InJuve 07, Círculo de Bellas Artes, Madrid.

Espacios Vitales, Asociación Hablar en Arte, Universidad Autónoma de Madrid. Revista Plástico, Madrid. Revista de Occidente, Fundación Ortega y Gasset, Madrid.

Becas y Premios/Awards and Grants 
Premio/Award Fotografía Purificación García (Selected)

Premio/Award ARTSituacions
Premio/Award GENERACIONES 2012

Beca Marcelino Botin
Beca/Grant Artes plásticas, Fundación Marcelino Botín. XII Certamen Bienal Unicaja de Artes Plásticas, Obra Social Unicaja, Málaga. (Adquisición/Adquisition)


Generación 2008, Premios y Becas de Arte Caja Madrid, Madrid, como Colectivo LOBAK. (Mención de Honor/Honorable Mention)
Certamen Internacional EXPLUM Arte Actual, Puerto Lumbreras, Murcia, como Colectivo LOBAK. (Adquisición/Adquisition)
Creación InJuve 2007, InJuve, Madrid. (Selección/Selection)
CIRCUITOS. Comunidad de Madrid. colectivo LOBAK*


Generación 2007, Premios y Becas de Arte Caja Madrid, Madrid. (Selección/Selection)
Beca Casa Velázquez, Ministère Français de la Culture, Madrid.


X Certamen Bienal Unicaja de Artes Plásticas, Obra Social Unicaja, Málaga. (Adquisición/Adquisition)


Generación 2003, Premios y Becas de Arte Caja Madrid, Madrid. (Adquisición/Adquisition)


Obra en Museos y Colecciones/Works in Museum and Collections
Fundación Marcelino Botín, Santander.
Obra Social Caja Madrid.
Colección Unicaja, Málaga.
Patio Herreriano, Museo de Arte Contemporáneo Español, Valladolid.
Colección EXPLUM Arte Actual, Puerto Lumbreras, Murcia.