Public art responds to the absence of institutional policies that promote accessibility and encourage bold, experimental proposals. Museums no longer monopolize cultural content, and expanding creative horizons is essential in cities with limited artistic resources. GRANNADA addresses this need by advocating for free access to art. 

This artwork intends to provoke contemplation, and each interpretation will be unique to the individual who encounters it. While red may evoke alarm and provocation, and white can suggest a void, the bold colors remain open to personal meaning. This way, the artwork fosters a connection between itself and the viewer through personal interpretation. Similarly, the banana introduces a variety of meanings. In this context, it serves as a metaphor for art that has become an «easy product,» accessible and consumable but lacking in depth or risk. 

The Banana as a Metaphor

«Art should not be something to be consumed; it should be something to be cultivated.» 

The banana, a symbol of both the exotic and the ordinary, embodies the conformity and lack of innovation in the local art scene. A city known for its rich cultural history and tourism, Granada remains trapped in an almost folkloric aesthetic that avoids risk and fails to challenge the conventions of contemporary art. More than just everyday food, the banana serves as a commentary on how local art has been reduced to something devoid of insight and unprovocative, stripped of its ability to transform, spark curiosity, and stimulate critical thought. This mural ironically suggests that the city has become a commodity much like this fruit: quickly consumed, leaves no impression, and does not incite change in the collective perspective of what art can be. 

Similarly, the banana could be what it is, or it could also be a metaphor for what it means to be an artist in Granada. It is perishable and alludes to concepts of temporality and ephemerality. When including these fruits within the artwork, it is natural to expect that they will either be taken by visitors or left to rot in the days that follow. The banana becomes a multifaceted symbol of artists’ struggles in Granada, reflecting their untapped potential and the strain they endure when deprived of the support needed to flourish. It is a powerful visual metaphor, inviting reflection on the fleeting nature of talent and opportunity. It portrays how cities can «devour’ their artists or «let them die» if they fail to foster a nurturing environment. We cannot forget that we live in an era of global cities, where these major urban centers compete for talent, investment, and innovation, consuming everything in their path. It is challenging for institutions, politicians, business owners, and small municipalities to develop innovative incentives to navigate this future effectively. 

«Cities that succeeded in attracting and retaining the creative class are more likely to experience economic growth, as members of this group drive business creation, develop new industries, and attract investment.»

– Quote from sociologist Richard Florida in his renowned study The Creative Class.