8609780083_47cc517dd2_cHow would you describe your latest production?

I recently participated on the Second International Graffiti Fine Art in São Paulo at MUBE (Brazilian Museum of Sculpture). This production that has the title “o passado para te criar” (the past to create you), shows how attached we are to our past, preventing us to live new moments, new ideas and thoughts.
My last production on the streets was a panel with the artist RaulZito, with the title “pode chamar todos os deuses”(can call all the gods), located on the Vila Madalena hood, this panel portrays the afro culture, which is very strong here in Brazil. My productions are always wrapped around things that bother me, things that relieve some pains of living.
Hundreds of artists out there make pieces every day. How do you think could be your style defined?
My productions portray my history, my past, my ancestors and all the moments that I´ve lived. I represent the Brazilian style, which is an intuitive style, of intense creativity.

 

8498143942_3ae9f7beaf_cWhat are your main influences – art and otherwise?

I´ve been in contact with art since I was very young, my father paints canvas, but didn´t go on with it, anyway his work has always been a big inspiration to me, and it still is.
I am also influenced by the euphoria of the city of São Paulo, by the mix that is the Brazilian culture: culture of faith, culture of bread and butter, of resistance. Everything that vibrates on a will of changing inspires me.
In art: O bispo do rosário, Os gêmeos, Onesto, Sebastião Salgado, Walter Firmo, Portinari, Tarsila do Amaral, the afro indigenous brazilian culture and brazilian history itself.
In music: Nação Zumbi, Siba, Paulo César Pinheiro, Maria Bethânia, Chico César

 

A lot of artists want to be published on art blogs. It seems that in these days a painted wall does not exists without re-blogging. What’s your Pov?

Who paints the streets only to be posted on blogs, uses all the strenght, magic and importance of the streets for his own benefit. He takes advantage of the street context.

 

8426654333_2f8d00e136_cSomeone said: “a wall is a very big weapon”. Do you find the same nowadays, while we’re surrounded by millions –of billboards? I mean, don’t you find even thinner the line between art -and ads?

Yes, it is thin and delicate. But I still think that the street art is strong and necessary in the cities and we, as artists have to beware of this relation. I believe that art brings questioning while ads already give you an answer. Art gives you freedom to choose what do you want do with a piece you´ve just seen, it doesn´t point you to any direction, like an ad would do.

 

What role does a public art piece play in the community? I mean, do you feel connected with the so called “street art -movement”? Do you believe in art-exchange?

Graffiti is a shout from the city, a shout asking people to stop, observe and question about how they are living their lives.
I feel that I do something different by painting on the streets, showing another way of “using” the city. I leave my art on the streets and the city gives me back its culture, good conversations, different places, special people, there is always an exchange, mainly on the poor hoods.

 

6958995619_baeaa80cbb_cWhat role do you find galleries can play in helping an artist to emerge -from the streets?

I believe galleries can open some doors, such as sponsoring productions on the streets and making expos, and to have the opportunity to make a living only from your own art productions would be perfect.
Making expos in galleries the artist has to think on its production in another way, adapting it, so it doesn´t loses its strength and intensity that his art has on the streets. After all graffiti is only on the streets.

 

How has your work evolved over the years from when you where beginning? When you look back, how do you feel about your beginnings?

Back then I didn´t know what to do with my life, till I started painting. In the beginning it was just fun, it had certain innocence. Over the years, mainly after realizing the seriousness, importance and strength that is painting on the streets, I started trying to say something, to question.
In the beginning my productions were heavier, esthetically ugly. Now, I seek to do lighter productions, but without losing the strength of what it transmits, hit in the wound of people, bring a certain discomfort.
I feel that my work matures according to my own maturation, it is a reflex of how I am. Nowadays I have much more things to say and question. But I never want to lose the purity of the beginning.

 

6678643835_2401ab4ec8_bOf all the projects you’ve done, which has been most satisfying?

The most gratifying project was the “Retrato Coletivos” (Collective Portraits), a project that was made possible through a Public Edict from the Municipal Secretariat of São Paulo, the VAI program, in which myself and 3 other artists painted the blindsides (the side without windows) of 4 buildings that used to be favelas.
We had a really intense contact with the dwellers, it was a wonderful exchange. As a matter of fact the painting itself became a mere detail. I´ve learned very much with this project, and met people that will carry for my whole life.

 

6382699973_df9fa442dd_zWhat would your dream project be? I mean theme, location, size…

A dream project would be to paint a panel, like a huge building, in a big metropolis and be able to spread my work all around the world, inspiring people and taking new possibilities to places where dreams were put aside.

 

What’s next for you? What shows or projects do you have planned?

Soon I will be participating on a collective expo in Minas Gerais (Brazil), I am looking forward to it because I´ve never done my work outside São Paulo. And I hope to make an individual exposition as soon as I can.