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Artist Works
landscape with leaves
Category: Checkered
Condition: On sale
no cross
Category: Checkered
Condition: On sale
Memento Mori.jpg
Category: Checkered
Condition: On sale
Box 4
Category: Checkered
Condition: On sale
Et habet
Category: Checkered
Condition: On sale
Hic and Nunc
Category: Checkered
Condition: On sale
3 Signarinas
Category: Checkered
Condition: On sale
3 Signarinas
Category: Checkered
Condition: On sale
3 Signarinas
Category: Checkered
Condition: On sale
Category: Checkered
Condition: On sale
Biography: JuanJo Mora
+ 34 650 04 64 20

About JuanJo Mora's painting:

-The symbol as a universal and particular vehicle: universal because it transcends history,
particular because it corresponds to a precise time.
-Most of the authors agree in situating the beginning of symbolist thinking in a time
before history, at the end of the Paleolithic, although there are primary indications (sprinkle the
corpses with red ocher) much earlier.
-The constellations, animals and plants, stones and elements of the landscape were
the masters of primitive humanity.

(Juan Eduardo Cirlot, Texts taken from the
introduction of his Symbol Dictionary)

Our symbols, today, arise from an environment that does not have so much to do with nature
as with the intellectual universe that we have created to live in, in perpetual change and its
symbols in constant emergence and decline, visible and significant today, forgotten tomorrow.
These new symbols are generated from the same pattern as the old ones: "the sensible is
the reflection of the intelligible” Plato and “what is inside is also outside” Goethe. So, to the
When generating and activating these new symbols, the technique used is identical to that of the painter
of Altamira when he drew his bisons in the cave: putting desire into an image and activating with
that image certain feelings that activate, in turn, certain actions.
What logos and brands generate today is the same process of penetration, for
analogy, in the world of spiritual, moral, emotional facts and actions that
occurs, at the dawn of history, in the transition from the pictogram to the ideogram, and in the
origins of art.

The alphabetic signs, the letters of each writing are in this scheme, the signs that have
stayed longer over time. In some cases divine origin is attributed to them: the Hebrews the original writing of their language to
a revelation of the angels and confirm it by finding their signs reproduced in the

Egyptian hieroglyphs also derive from divine revelation, entrusted, in antiquity,
to the hermetic custody of a system of sacred signs; Athanasius Kirchner, in the century
XVII (considered the father of Egyptology and, until the advent of Champollion with the
Rosetta Stone, undisputed decipherer of symbols and hieroglyphics) gives them a
symbolic significance, above its alphabetic and textual function.

The values ​​and symbolic power of the fonts, logos, imagotypes that make up the
constellation of symbols today, mutate from that deep root in the collective unconscious,
faster than ever and it is from this transformation that today the
world and the "house" where we will live tomorrow.

Unlike other times, in which the work of the artist has been to highlight the
dark aspects that an enthralled society did not want to see, today, that reality is narrated
in all its harshness by all the media, which prioritize the worst and most
sordid news, televising the war live, causing the rise and fall of the most
obscure public and political figures, sublimate and popularize the lowest passions and
they dispute the scoop of its diffusion; the responsibility of the artist is, in my opinion and in the
as much as possible, contribute from their perception of society and nature to
that this "house" be built and rebuilt -in its constant change- with values ​​that comfort
and activate beyond commercial exchange and the always newsworthy miseries or low human passions.


2011 Individual Painting: House of Culture. Old Apiary. Madrid.
2009 Collective Painting: College Doctors and Graduates of Philosophy and Letters and Sciences. Madrid.
2008 Individual Painting: El Molar Tourist Office. Madrid.
2008 Individual Painting: "The sign in the volcano" Ateneo de Madrid. Madrid.
2008 Collective Painting: Artists from the Sierra Norte. CCHSN La Cabrera. Madrid.
2007 Collective Painting: House of Culture. Navacerrada. Madrid.
2006 Collective Painting: Artists from the Sierra Norte. CCHSN La Cabrera. Madrid.
2003 Individual Painting: "Painting on Earth." Atelier. Madrid.
2003 Individual Painting: “Painting on Earth”. Loja do Cidadâo. Porto, Portugal.
2002 Individual Painting: Arterisco Room. Porto, Portugal.
2002 Collective Painting: "Selective Memory." Contemporary Art Museum.
Morelia, Michoacan, Mexico.
1999 Individual Painting. Quinta de Santo Antonio Gallery. Aveiro, Portugal.
1998 Collective Painting. Quinta de Santo Antonio Gallery. Aveiro, Portugal.
1997 Individual Painting. Portuguese Youth Institute. Aveiro, Portugal.
1996 Individual Painting. Ya'sta Room. Madrid.
1993 Collective Painting: "3 Geometries and +". Clock House Cultural Center. Madrid.
1992 Individual Drawings: "Exquisite Corpses." Triple Room. Madrid.
1989 Collective Painting: "Shadows." Soluble Poisson Gallery. Madrid.
1988 Individual Painting. House of Culture. alcobendas. Madrid.
1985 Individual Posters and Advertising Brochures. House of Culture Alcobendas. Madrid.
1983 Collective Drawings. Adonais Room. vigo.


o Art Director, Creative and Designer. Reboot.net. 2006/2013.
or Art Director. Advertising agency Steinberg and associates. Madrid. 2005.
o Creative and designer. Whatever and Zudor & Losadi. Madrid. 03/04.
o Creative and free-lance graphic designer. Madrid. 03/04.
o Art Director of GAZZ magazine, art and trends magazine. Madrid. 2002.
o Illustrator, creative, freelance graphic designer. Madrid. 2001.
o Creative, graphic designer and editor. Medem Graphic Design and advertising. Madrid. 98/00.
o Professor of Plastic Expression. ACAV-Calouste Goubelkian Foundation and
Aveiro City Hall. Portugal. 97/98.
o Professor of Comics Course. Municipal Library of Aveiro. Portugal. 97/98.
o Design of corporate signage for the Porto City Hall. Portugal. 97/98.
o Design of covers and illustrations. ICE Magazine of the Ministry of Commerce. Madrid. 94/96.
o Production of animated short film. "One Minute Stories"
for CANAL + Spain. Madrid. 1994.
o Design and illustrations for the exhibition "Women in Advertising". Women's Institute,
Culture Ministry. Madrid. 1993.
o Design and illustrations of the book “Siete Noches - Siete Cuentos”, Editorial B3. Madrid. 1993.
o Animation and interspersed in animation productions for Film and TV
o Design of Advertising, Signage and Interior Decoration for Rooms
of Concerts and Discotheques. Madrid, Vigo, Valencia 83/96.
o Design, layout and assembly of exhibitions. Alcobendas Town Hall. Madrid. 82/96...
o Creation of comics and illustrations for “96 Lágrimas”, “La Luna”,
“Madriz” and “Amstrad”. Madrid. 82/90.
o Corporate signage design. Alcobendas City Hall, Madrid. 82/92.


o HIGHER COURSE of GESTALT THERAPY. Madrid School of Gestalt Therapy. 2021/2023
o Social Media Marketing - Digital Communication and SEO Positioning. National University of Distance Education - UNED
o Higher Course of Executive Coaching. Autonomous University of Madrid. 2012/2013
o Higher Course in Marketing Management. University of Barcelona. 2008/2011
o Master in Brand, Strategy, Management and Design. European Institute of Design, Madrid. 2007.
or business management. ESIC, Madrid. 2001.
o Computer Applications for graphic design and digital photography. 98/07.
or Ceramic Painting. Training Institute, Aveiro. Portugal. 1997.
o Current Art Workshops. Circle of Fine Arts, Madrid. 89/93.
o Studies in Philosophy and Fine Arts. Complutense University of Madrid. 1984/1989
or Fashion Design. Stoddart & Albert School, Madrid. 83/86.
or Photography. Imaginary Arts Workshop, Madrid. 81/82.
or Painting and Drawing. House of Culture of Alcobendas, Madrid. 78/80.


More information about JuanJo Mora
English speaker: Si
Participation Date: 28 June 2023