The works aim to re-read the urban form and the chaos produced by the city by seeing beauty in the forms generated and presenting a critique of the diversity of visual information that the urban space produces. They propose a different view of the metropolis compared to that immortalized in the postcard, valuing an architecture that is often not recognized by not having the signature of a prestigious architect. This criticism is not only directed to the sphere of architecture but rather is addressed to the visual intervention produced in the cities, through graffiti, tags and spontaneous activities of the man.
What is for you the power of graffiti?
Graffiti has the power to reveal art to all social classes, it turns the street into an open-air museum, creating visual impact for anyone who passes by.
What motivated your interest and work with graffiti?
I started to make graffiti at the age of 13 with friends from school, I always liked drawing a lot and graffiti became a passion and a way to feel alive in the city. Today I work with graffiti and I can say that before being an architect I am a graffiti artist
Are there recurring themes in your work? If so, which one and why?
I like to paint “letters”, they are the essence of graffiti. But when I started studying architecture in college, I began to look at the city with different eyes and I had the idea of reproducing the city with my eyes. I could see that there is beauty in the chaos of the metropolis, that I like the contrast and the different forms of buildings, people and objects. They are clippings that are etched in my mind and which I then shape onto the paper.
Do you collaborate with other artists?
I paint with several different artists in my city and around the world. Today I have a multidisciplinary collective called NRVO, which means nerve. With this collective we produce paintings, videos and different graphic materials.
How and to what extent does the city and the wall as the canvas define the drawing?
I like to say that I draw the city in the city. Like a tattoo, the city is the body and the graffiti are the tattoos on that body. The spirit of the place where I am painting will tell a lot about how the end product of this art will interact with people. I believe that the biggest influence on drawing would be the context of where it is being done, the place and context are like platforms to say something, or at least to generate a reflection by who passes by.
What is your work process? Are there any preparatory sketches? Do you work on the computer?
My process is based on cut-outs and collages that I make in my mind. Walking down the street I come across a huge diversity of information, from buildings to small objects. When I get to my house, I compose all of these thoughts on paper in small sketches. Sometimes I go with my sketchbook doing quick drawings. When I do a painting in the street, I try to understand place, and with that I relate in some way to the inserted environment. I use the computer a lot to do research and develop digital arts, the latter is an incredible tool and is a great facilitator, nonetheless I never neglect the old pencil and paper.
How did your urban environment shape you as a designer?
I was born in a neighbourhood where the city was very alive, I was raised playing on the streets. I think that influenced me a lot, creating a relationship with the street as if it were an extension of my own home. I remember the jokes and how everything I lived was etched in my memory. I think this was the beginning of my relationship with the street and with the urban.
What is for you the architect's most important tool?
Without doubt it is the ability to see. The architect has a different way of seeing and reading spaces, he can interpret and visualize what does not yet exist. He feels the spirit of the place.
What is for you the artists' most important tool?
Utopia. Artists in general can dream and concretize in their art something that can never exist in the real world.