Tardor: Urban Art as a Dialogue with Place
Written by Diego López Giménez
Published on July 16th, 2026
Behind the signature Tardor there is no invented alias or carefully crafted artistic persona. Quite the opposite. The urban artist, born in Dénia in 1996, explains that the name he uses to sign his murals is simply the one his parents gave him at birth. “Although it may sound like an artistic name, it is my real name. Since it is such an uncommon name, I decided to use it as my signature rather than adopting a pseudonym,” he says.
His first steps into the world of creativity were closely linked to graffiti and hip-hop culture. During his teenage years, rap music and the visual universe surrounding it sparked his interest in artistic expression. “I started by painting letters and developing increasingly elaborate tags,” he recalls. Over time, those letters evolved and began to coexist with characters, faces, and more complex compositions, gradually shaping the visual language that defines his work today.
Although he cannot pinpoint a specific moment when he decided to dedicate himself professionally to urban art, he acknowledges that creativity has always been a part of his life.
Although he cannot pinpoint a specific moment when he decided to dedicate himself professionally to urban art, he acknowledges that creativity has always been a part of his life. “As a child, I was always drawn to painting and anything related to art,” he explains. The transition into a professional career happened gradually, as he gained experience and realized that it was possible to turn his passion into a profession.
His education combines formal training with a strong self-taught component. After completing an Arts Baccalaureate in Dénia, he moved to Madrid to earn a degree in Applied Wall Art, later continuing his education in both traditional and digital illustration. Yet he believes that much of his artistic growth has taken place beyond the classroom. “I have always considered every project an opportunity to learn. Constant experimentation, travel, observation, and the development of personal projects have been fundamental to my evolution as an artist.”
For Tardor, inspiration begins with the place where he is about to intervene. A wall, in his view, is never merely a surface on which to place an image. “I try not to see the wall simply as a support for an artwork, but rather to understand the story behind it, what happens around it, and what makes it unique,” he says. This attention to context is one of the defining characteristics of his work, as he seeks to create pieces that engage in a dialogue with both their surroundings and the people who live alongside them.
He is also fascinated by the transformative potential of urban art as a way of bringing reflection into public spaces.
He is also fascinated by the transformative potential of urban art as a way of bringing reflection into public spaces. “I am inspired by the ability of urban art to bring certain reflections into the street, making them accessible to people who might never enter a gallery or museum.” For him, a work has fulfilled its purpose when it succeeds in provoking an emotion, a question, or a new perspective on something familiar.
Among the influences that shaped his early years, he highlights classic graffiti-culture references such as Wild Style, Style Wars, and Mi firma en las paredes (My Signature on the Walls). These works fueled a fascination that began with lettering and gradually evolved toward figurative imagery. “For years I devoted a great deal of time to perfecting my lettering. Later, I began introducing small characters among the letters, then faces and figurative elements, until that side of my work became increasingly prominent and ultimately defined the artistic language I use today.”
The creation of each mural begins with a phase of research and observation. Tardor visits the site, takes photographs, gathers information, and studies the characteristics of the environment before developing a proposal. “I create a design that responds to the message that needs to be conveyed while also engaging with the environment where it will be located,” he explains. He then analyzes technical aspects such as the condition of the wall, the materials required, and the access equipment needed. Only then does the execution phase begin, a stage in which, as he points out, “planning and improvisation constantly coexist.”
As for the ideas he seeks to communicate, many of his works explore themes related to nature, territorial identity, and the relationship between people and their surroundings.
As for the ideas he seeks to communicate, many of his works explore themes related to nature, territorial identity, and the relationship between people and their surroundings. Rather than imposing a fixed interpretation, he prefers to create space for reflection. “I would like those who encounter my murals to pause for a few seconds, observe carefully, and discover something new,” he says. In his view, public art has a unique ability to transform everyday spaces and offer new ways of understanding the places we inhabit.
To those considering expressing themselves through urban art, he offers simple but direct advice: start. “Don’t wait until you feel ready, because that moment will probably never come completely,” he says. His own experience has taught him that practice, mistakes, and perseverance are essential teachers. At the same time, he emphasizes the importance of developing a personal voice. “What is truly interesting is finding what you have to say and discovering your own way of saying it.” In his opinion, urban art only reaches its fullest meaning when it emerges from a genuine need for expression and from a sincere connection with the place and the people who surround it.
Diego López Giménez is the author of books such as “Street Art by Women” (ed. Hoaki) and “Valencia in Graffitis” (ed. Dilatando Mentes)