Fran Picazo

I was born in Valencia, a place where the character of the culture and the light of this part of the Mediterranean helped me to model a good part of my identity, in 1976. As a person born in a sailors family, I have always had a special concern for the “how” things are understood in other places, and how to conjugate them when creating new language models, matured with the experience gained in my travels around the world.

In 2003, I fixed my definitive residence in an old small coastal town after having searched for a space where I could think about the intervals left by exhibitions, murals or conferences in big cities. Intercalating the vibrant cultural news of all the countries that I visit and the calm of the original Mediterranean life.

I am a member of the International Council of Museums (ICOM) and the International Council for Architecture and Expographic Techniques (ICAMT), and I teach eventually at the University (UNED) where I studied Art History.

We must go back to the second half of the last century to trace my referential origins of the poetics in my way of understanding the artists, the works, the public and the spaces. Artists such as Anselfm Kiefer, Carsten Höller, Maurizio Cattelan, Fischli & Weiss, Damián Ortega, Christo and Jean-Claude, Jean Michel Basquiat, Keit Haring, Cai Guo-Qiang…, are an influence in my way of understanding art. They are artists who created disciplines to reimagine the experience and the art space.

In my work I create situations that question familiar forms of perception and allow artists to experiment on themselves and their work, giving an invitation to the active participation of the public in the so-called “influential environments”.

We must also observe a parallel scenario in the 90s to land in the great European capitals and enjoy the revolution that involved the intervention of spaces by a new StreetArt and Graffiti. The immersive exhibitions I design and the novel way of giving a non-existent life graphically shown to festivals and outdoor projects I collaborated with, have a remarkable influence in the intervention of spaces and in the creation of works in the artistic teams I work together.

My work, fruit of the experience, in the last years has developed a high specialization in creative transversal lines paying attention specially to the analysis, diagnosis, focus groups, investigation and study of the market, strategy, refocus of the businesses and projects, new niches of market and the repositioning of brands. New functions that contain deep connections

between the space as an unrepeatable model, the work as a communication channel, the individual / client as a sensory interlocutor, together with a deep knowledge of the art world, that is where I work.

The deal

There was more than ten years ago when I started my immersion in Urban Art interested in its combination of art, life and consciousness. This singular art form which tries the individual, the collective and the society to reflect in order to avoid them to become mere spectators of their reality called me. The work and the medium, had and have an own and an inherent characteristic: capture the attention of the viewer and try to establish a conversation, and it is always been my main interest.

These new contemporary creative expressions arose from the search of other realities, the nonconformity, the technical virtuosity and the sentiment of protest. We speak of an art whose social awareness and commitment to environmental and social values have a definite imprint in the composition of the works and in the character of the creative souls that make them. A powerful set of messages that intermingle with colors, shapes, letters and strokes, that give importance to a broad content of conceptual and technical resources that vary from purely visual and or conceptual.

In my research, I joined these heirs of the movements in the art history and in their particular use of public spaces, becoming an active part of the current trend. This is how my profile, my origins as a museologist and museographer and my interest in new contemporary expressions are united. Currently this movement consists of three main artistic strings: Street Art, Graffiti and Urban Art. Disciplines that use various technical elements and materials ranging from paper to schiacciato, through plastic paintings and the most identifying element of all: the spray.

Address the public space as a place for the artistic expression, as a means of communication, in which after the intervention the element results enhanced. Walk in the street as an autonomous art form, giving to the information contained in it a higher conceptual sense, rediscover the works under the rain, in the wind or on a sunny day and note that some nuances that the landscape of the street contains can undergo a symbolic transformation. A fusion of concepts such as territory, observation, creation, aesthetic instruments of knowledge and physical modification of the ‘intervened’ space, in which urban intervention becomes, endow citizens with an artistic element that to a greater or lesser degree improves their day by day through culture and art.


Our history

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