More hippy chic and free-wheeling than you may remember, Miss Van brings her buxom, plump, yet oddly drowsy beauties to the Avant Garde festival in Spain. Evermore stylized and romantic, her feathered and festooned ladies have always had a mysterious sensuality since you first began seeing them on the street over a decade ago. Now as their dandy evolution swoons them to something closer to hyperreal, we may be seeing a merging with aesthetics of AI and the smoothly moving robotics of today’s science realm.
The raven-haired Toulousean street artist/muralist/painter brings here ‘Las Gitanas’ as the final of this three-chapter Tudela tome, a warmly languid femininity that washes over you, bringing you closer than you had imagined to the future. With June’s mulberry bruised skies above the rusted mountain range behind them, these pursed-lipped adventurers are given an added dimension of surreality from the photo-framing by gifted photographer Fer Alcala in these shots for Avant Garde Tudela 2020.
Jeff McCreight crosses the rubicon with this allegory of summer joy at Avant Garde Tudela 2020. The American painter brings these two jumping boys to the river to cool off just as the heat of July is arriving to cook us all.
When it comes to street art and murals, as you know, context is everything and this spot at Paseo del Castillo is the environment that frames your childhood dreams, and hopefully, one many child will yet enjoy.
Japan’s Mina Hamada has just completed her mural for the 2020 edition of Avant Garde Tudela in Spain. Curated by artist Jorge Rodríguez-Gerada and organized by Tudela-Cultura, the northern Spanish city has been home to a number of murals in the last decade or so from names most street art fans will recognize, and despite being in the middle of Covid-19 lockdown and gradual stages of liberation, this show finds no excuse to stop.
“Betting on culture is always risky, even more nowadays,” say organizers, but the results are solid. Three new medium and large scale murals my Hamada, Miss Van, and Jeff McCreight were added to the twenty-one brought in the previous edition of the festival.
Here we see that Hamada’s universe of shapes and color call out the natural world and environmental elements. Flora and plant life react to the stimuli of wind and water, with Mina interpreting her relationship with them all.
With the earth at the center of the eye, Jorge Rodriguez-Gerada tells us that the first of two murals he painted for the recent COP 25 conferences is called “Forest Focus.” As the world has been watching the largest forests of Australia burning this month, he clearly knows what we’re all facing.
“With an image of the world as the iris,” he says, “This mural has an artistic focal point that symbolizes the values set forth at the COP25 conference being held in Madrid.”
The Cuban-born Street Artist, now based in Barcelona, was partnering with a public art program/platform called GreenPoint EARTH during the United Nations Framework Convention on Climate Change (UNFCCC) conference, or COP 25 to create two new street art pieces.
Well known for his “Terrestrial Series” of artworks spread over masses of land that are visible by planes flying overhead, Rodriguez-Gerada blends social and ecological themes seamlessly with sometimes profound results.
His second mural of the series is a portrait of Hilda Pérez, a person indigenous to Peru and theVice President of the National Organization of Andean and Amazonian Indigenous Women of Peru (ONAMIAP). The team says she was chosen to represent indigenous people because their voices are frequently marginalized in discussions about ecology and climate change, despite occupying 25-50 percent of the Earth’s land.
“We need to think of every tool in our toolkit because time is ultimately running out,” said Greenpoint Innovations founder Stephen Donofrio at a panel discussion with the artist at the Action Hub Event during the COP25.
He was speaking about the pivotal role that Street Art has been able to fill in education, as well as his own interest in partnering with artists and other collaborators to raise awareness for a myriad of environmental issues. “That’s why it’s really important that Chile/Madrid COP25 has this really strong message that it’s time for action.”
With
more plans to involve Street Artists around the world “to inspire climate action with
positive messages about the interconnected themes of nature, people, and
climate,” Donofrio says he believes that the
power of communication that Street Artists wield can be focused to make real,
impactful change.
“The connectivity is really important
in these projects to establish that we are dealing with globally challenging issues
that boil down to a really local consequence.”
Artist/curator Axel Void is framing it this way when inviting 24 artists to Barcelona for TÀPIA (“walls” in Catalan). Figurative muralism also comes to mind as you look over these new walls ofNau Bostik.
Graffiti writers, Street Artists, contemporary artists: all of these participate in this impermanent show, each in their own expression of realism, and poetic realism, as long as we’re feeling like coining a term.
“Traditionally in
‘street art’ these walls and spaces have presented themselves as vulnerable to
the interventions of artist,” say organizers. “Blurring the edges of this
physical, yet metaphorical division, between the idea of private and public.”
We’re
pleased today to present original photos of the murals that were executed
outdoors in conjunction with the exhibition.
“Tapia” is currently on view at B-Murals in Barcelona. The exhibition ends February 29 2020. Click HERE for more information and to see the artworks in the exhibition.
Poseidon and the sea are both visible from here, so is Athena, another powerful Greek god. She ultimately prevails, if you recall. You can read HERE about their Athena intervention back in July.
Here we see graffiti/Street Art/muralist duo PichiAvo is prevailing as well in Barcelona during recent commissions in July and September. This time their signature style is employed for a real estate developer client and the results are tight as ever.
The Spanish painters’ deconstruction of classical iconography is becoming the stuff of legends, and here they present their tableaus in sectional designs that poke inside and out- elaborate expressions of gauzy and marbled high and low imagery blended in a complimentary way.
Our special thanks to talented photographer Fer Alcala today who shares his unique view and optical talents today with BSA Readers.
The color palette of the new collection of murals at the 3rd edition of Parees Festival is softened, earthen, stable. Adding five new murals brings the total to 23 here in Oviedo The 3rd edition of Parees Festival in Oviedo in Northern Spain, only minutes from the Bay of Biscay.
Udatxo. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)
As you review the techniques and schools of influence you can see the careful curation of the selection of muralists – each seemingly contextual, whether figurative or abstract of geometric.
Organizers say the newest artist participants, Mina Hamada, Hedof & Joren Joshua, Udatxo, Catalina Rodríguez Villazón & Matth Velvet, were chosen from a global selection yet are expected to be cognizant of their immediate environment in their conception.
Udatxo. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)
There are themes based on regional culture, say the organizers, and “You can also add to this spirit the main characteristic of the event which make it something different from other urban art festivals in the country: the participatory processes: neighbors from every area where the walls are located collaborate with their authors in order to participate in the final design.”
Udatxo. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Udatxo. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Udatxo. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Hedfof & Joren Joshua. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Hedof & Joren Joshua. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Hedof & Joren Joshua. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Hedof & Joren Joshua. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Hedof & Joren Joshua. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Catalina Rodriguez Villazon. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Matth Velvet. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Matth Velvet. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Matth Velvet. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Mina Hamada. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Mina Hamada. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)Mina Hamada. Parees Festival 2019. Oviedo, Spain. (photo courtesy Parees Fest)
It is always interesting to go into the studio space of a Street Artist to see how their big public practice translates to their “fine art” commercial work. Here we have new works from a figurative painter and portrait maker Jorge Rodriguez-Gerada, who is preparing pieces for his upcoming “Fragments” series.
He says that the haunting and beckoning faces are painted upon textured surfaces that are at least 150 years old. How, exactly? “I have perfected a process that allows me to remove old interior wall paint surfaces from abandoned buildings to use as my canvases,” he says. The fragile cracked and flaking surfaces are stabilized and made whole so the new works can actually have an archival quality.
One
gazes at these beauties and considers the axiom, “beauty is only skin deep”,
meaning that a pleasing appearance is not a guide to character. Here,
Rodriguez-Gerada appears to adding character with old skin.
You
may think of them as architectural skin grafts newly preserved, or some form of
urban exfoliation. Seeing the process at play, you may also be reminded of
Italian preservationists “skinning” the first few centimeters of a façade to
remove a BLU piece in Bologna – later hung in a museum.
“While most walls surfaces touched by a restoration technique have some kind of tangible historic importance – frescos or murals, for example,” he says.
“I am giving importance to these commonplace textures for the intangible memory that they possess and the passage of time that they portray.” These fragments of memory and time are now merged with new spirit, enabling them to travel further into the future.
Occasionally
you hear someone comparing an empty, abandoned factory to a gallery where
graffiti writers and Street Artists have sprayed their pieces directly on the
walls instead of hanging them as canvasses. Less often is the space itself
claimed as an exhibition opportunity for sculpture, or mobile.
Spanish
Street Artist Elbi Elem has taken that step from two dimensions with three with
this new hanging piece that engages geometry, abstraction, and texture with a
kinetic perspective, and the results fill the room as much as the imaganation. What
is next for a Street Artist whose work is geometric on the wall?
“I made this a couple of days ago in an abandoned place in the Costa Brava, Girona,” says Elem, who has been creating sculptures since 2002, and in the past few years has exhibited in galleries and on the street in places like her home Barcelona as well as Valencia, Madrid, and Turin in Italy.
The work itself reflects, architecture, urban landscapes, surfaces, and patterns of the city. The artist says that invariably the expression also is an interpretation of her inner world. This new mobile sculpture gives you an additional clue with its name: “Liberty”.
In a multicultural city like Barcelona, where it’s estimated that there are people from 114 nationalities, Santa Coloma de Gramenet Town Hall has commissioned artist Jorge Rodríguez-Gerada to find a unifying vision.
Indeed with his new ground mural completed over 10 days with 3 assistants, Rodríguez-Gerada goes to the CŎRE of the matter. Probably the work was good for their hearts, maybe not for their knees.
Curated by Anja Mila and Arcadi Poch this public work aims to encompass metaphorically the history of the city as well as the lifeblood that courses through its veins today.
The results are impressive, and you’ll probably be able to see it on Google maps. Not yet though. We just checked.
You got furious at us sometimes this year. Or rather, you were mad at artists whose work pissed you off. Thanks for the emails though bro. We still love you of course sister.
Without a doubt the polarized atmosphere in social/economic/geopolitical matters worldwide in 2018 was increasingly reflected in the graffiti and Street Art pieces and projects that we wrote stories about. Loving it or hating it, often BSA readers were motivated to share the story on social media for discussion and to write directly to us to take issue, or even to chide us for “being political”.
Let’s be clear. Art has always been and will always be “political”. We tend to think that the artwork that we agree with is not political because it is expressing our values, opinions, and worldview.
So that’s why you propelled stories about a clandestine Trump cemetery installation by InDecline onto the list this year. That’s why Winston Tseng’s inflammatory campaign against a certain kind of Trump supporter on NYC trashcans proved to be so provocative and offensive to so many people, while others crowed support.
The topic of free speech under fire also attracted high interest for Fer Acala’s story of artists and rappers who took over a Spanish former prison to protest restrictive recent federal laws aimed at protest in that country.
But BSA readers also love the spectacle, the vast animated murals, the scintillating stories behind the art and the artist; the connection that communities and festivals create with art in the public sphere – or in abandoned factories, as it were. The biggest splash this year was the over-the-top creation of and the fiery destruction of an art sculpture at the Falles de València celebration in Spain by Street Artist Okuda. You loved the tantalizing images by Martha Cooper, and somehow everyone relishes the idea of building and constructing a large, colorful, inspiring piece of art and then lighting it on fire in the public square – propelling that story to the top of the BSA list in Top Stories in 2018
Box trucks are a favorite canvas for many graffiti writers in big cities and have become a right of passage for new artists who want the experience of painting on a smooth rectangular surface that becomes a rolling billboard through the streets advertising your name, making you truly “All City”.
When in French Polynesia a few weeks ago with the ONO’U festival, a number of artists were given the significant gift of a large truck or school/commuter bus on which to create a mural, a message, a bubble tag.
Together on the islands of Raiatea and Bora Bora there were about 10 of these long and low autobuses that became sudden celebrities in the sparsely travelled streets, debuted as some of them were in Raitea, when painted live at an all night party for the public.
The Painted Buses of Raiatea and Bora Bora. Continue reading HERE
Ajo Samaritans describe themselves and their mission on their website like this; “Samaritans are people of faith and conscience who are responding directly, practically, and passionately to the crisis at the US/ Mexico border. We are a diverse group of volunteers around Ajo that are united in our desire to relieve suffering among our brothers and sisters and to honor human dignity. Prompted by the mounting deaths among border crossers, we came together to provide food and water, and emergency medical assistance to people crossing the Sonoran Desert.”
Destroying Desert Water Bottles; Chip Thomas New Work in AJO, Arizona. Continue reading HERE
A current survey today from the streets in Copenhagen thanks to a couple of BSA fans and friends who share with readers their recent finds in one of the world’s happiest places, according to the 2018 World Happiness Report. Apparently it is also a good place for gay birds to come out of the closet.
With a storied history of graffiti bombing of the red trains that goes back many years, possibly generations, Copenhagen has long been a treasured destination for graffiti writers.
Now you will also find murals and installations illegally and legally by local and international Street artists – and the iconic full sides of buildings here are subtly transforming the public face of the city.
Copenhagen Diary: A Street Surevey of The Moment. Continue reading HERE
So INDECLINE picked a swell morning to debut their long-planned and complicated site-specific installation at this golf-course in New Jersey.
“INDECLINE felt is necessary to commemorate some of the victims,” they say. “The dates on the headstones correspond to some of the highlights of Trump’s first year in office.” You may remember some of these milestones on the tombstones, you may have to Google others.
The saddest death for us all year has been the civility and respect of Americans toward one another – as those hard working families who are just scraping by are being skillfully manipulated through sophisticated PR / media campaigns into thinking that they are the only real uber-patriots and to hate the wrong people. Most importantly they are fighting and voting against themselves without realizing it.
“Grave New World” Trump Cemetery. Continue reading HERE
Borondo. Utsira. Utsira, Norway. Summer 2018. (photo courtesy of the organizers)
From BSA:
Today we revisit Utsira, the tiny island in Norway that has hosted a few Street Artists over the last couple of years, like Ella & Pitr and Icy & Sot. This year the fine artist and Street Artist Gonzalo Borondo blended into the hills and the forest and the lapping waves, making his spirit dissipate into the community and into a boat.
“There’s a strong sense of community,” he says as he reflects on the metaphor he has chosen to represent his time here on an island of only 420 people, “There is a mutual support among citizens and a common feeling of enjoying the same unique condition.”
Borondo Finds Community on The Island of Utsira in Norway. Continue reading HERE
Equally gifted in the heavier handmade artisanal crafts of porcelain and ceramic as she is with aerosol, Nespoon did installations of both this month during the Emergence Festival in Sicily (Valverde + Catania. The seventh year of this international festival for public art, Nespoon shared the roster with American Gaia and Sicilian Ligama from March 10-26 creating works related to the city and its stories. In many respects these new works appear integral, interventions that belong there, may have been there a long time without you noticing; a sort of netting that holds the skin of the city together.
Nespoon Casts a Lace Net Across a Sicilian Wall. Continue reading HERE
One of the direct actions organized by the platform for fighting against Partido Popular’s civil rights oppression was to film a video clip featuring some of the most renowned lyricists on the scene as Frank T, Elphomega, Los Chikos del Maíz, La Ira, Rapsusklei, and César Strawberry, among others, at the old La Modelo prison. The location is an accurate metaphorical scenario when you are seeing that your liberty is being cut off thanks to laws like ‘Ley Mordaza’.
The song ‘Los Borbones son unos ladrones’, which alludes directly to the Spanish monarchy, includes some excerpts from some of the songs created by rappers serving a prison sentence. The video clip for the song, which you can watch at the end of this article, has become viral and almost all media outlets in the country are speaking about this big shout-out in the name of freedom.
No Callarem. La Modelo Prision. Barcelona. Continue reading HERE
Highlighting collective efforts that advance events during war and the tales of heroism, butchery, resistance, intrigue, and subterfuge that are braided into historical retelling, three Italian Street Artists commemorated citizen resistance and a Nazi massacre in a lengthy mural for the Penneli Ribelli Festival this month in Bologna.
At the center of the story is the resistance by everyday Italians of various ages, genders, and social classes, a movement known as the Italian resistance and the Italian Partisans, or Partigiani. The icon of the festival is a wolf in honor of the Partisan who led the group, Mario Musolesi, whose nickname was “Lupo”, or “Wolf”.
NemO’s, Ericailcane and Andrea Casciu Ride a Tandem Resistance. Continue reading HERE
We knew that these two talented and powerful personalities would compliment each other stunningly and that’s why we encouraged them two years ago to do a doc. A short term one was the original plan. But the two hit it off so well and when you are looking at a five decade career like Ms. Cooper’s and you have the dogged determination to do her story justice, Ms. Miles tells us that even an hour and a half film feels like its just getting started.
Now “Martha” the movie is at a unique juncture in the project and YOU may be able to participate; Selina and the team are looking for any original footage you may want to show them – and it may be used in the documentary.
“Martha” The Movie. Selina Miles Most Ambitious Project To Date. Continue reading HERE
After 25 years writing graffiti, DavidL has found his own way of working. It’s funny because one of the inherent issues about graffiti and street art is visibility. All the trains, the bombing, the tagging…it’s all about being noticed, being every f-ing where. It has been like this since day one (Taki 183, Terror161, 1UP…you know how it works).
But for David it’s not like that anymore.
Maybe it’s a sign of the days that we are living with social media, communication 2.0, etcetera. It’s obvious that if you have certain skills managing all this and a little bit of talent, plus a pinch of good taste, you can reach a global audience and show your work to the entire world even when you are concentrating the majority of your creations in a secret location.
DavidL, Through The Lens of Fer Alcala. Continue reading HERE
This week we have a selection of the UPEART festivals’ two previous editions of murals – which we were lucky to see this week after driving across the country in an old VW Bora.
We hit 8 cities and drove along the border with Russia through some of the most picturesque forests and farmlands that you’ll likely see just to collect images of the murals that this Finnish mural festival has produced with close consultation with Fins in these neighborhoods. A logistical challenge to accomplish, we marvel at how this widespread program is achieved – undoubtedly due to the passion of director Jorgos Fanaris and his insatiable curiosity for discovering talents and giving them a platform for expression.
When I was asked how to name the exhibition few weeks ago, I merged the words “vandalism“ and “Wandel“ (the German word for “Change“). That’s how Wandelism (or Changeism) was born and how it started transforming itself into an exhibition, which is truly accepting, embracing and living CHANGE.
On the grounds of a former car repair shop that is soon to be demolished, one can literally feel the constant movement and transformation of the urban fabric we all live in. Everything changes. Constantly. Change is evolution. Change is progress. Change is also the DNA of the art represented in the Wandelism show.
“Wandelism” Brings Wild Change For One Week in Berlin. Continue reading HERE
The city of Eugene in Oregon is preparing for the 2021 IAAF World Athletics Championships and like many cities these days it is transforming itself with murals.
With a goal of 20 new murals by ’21 (20x21EUG), the city began in 2016 to invite a slew of international Street Artists, some locally known ones, and a famous graffiti/Street Art photographer to participate in their ongoing visual festival.
A lively city that is bustling with the newly blooming marijuana industry and finding an endless array of ways to celebrate it, Eugene has been so welcoming that many artists will report that feeling quite at home painting in this permissively bohemian and chill atmosphere.
“At the end of the day when one is towing the line of being provocative, you may cross that line in some people’s mind but I think if one is not trying to find that line then the work is not going to make any impact”.
Winston Tseng has probably been crossing that line, pissing off some people and making others laugh for a few years now. He appears to consider it an honor, and possibly a responsibility. Relatively new on the Street Art scene the commercial artist and art director has also created his 2-D characters on canvasses and skate decks that depict the abridged characteristics of a typecast to play with the emotions and opinions of passersby.
Winston Tseng: Street Provocatour Brings “Trash” Campaing to NYC. Continue reading HERE
Yes, Street Art is ephemeral, but OKUDA San Miguel just set it on fire!
During the annual Falles de València celebration, it’s normal for artworks to be destroyed publicly in about 500 locations throughout the city and in surrounding towns. Part of a spring tradition for València, Spain monuments (falles) are burned in a celebration that includes parades, brass bands, costumes, dinners, and the traditional paella dish.
This year the first Street Artist to make a sculpture in the traditional commemoration of Saint Joseph is the un-traditional OKUDA, creating his multi-color multi-planed optic centerpiece.
Okuda Sculpture Engulfed in Flames in Valéncia. Continue reading HERE
We wish to express our most heartfelt gratitude to the writers and photographers who contributed to BSA and collaborated with us throughout the year. We are most grateful for your trust in us and for your continued support.
When the Street Artist is not taking over bus shelters and reconfiguring fashion ads into grotesque critiques of beauty culture, he has also been learning about analogic photography at Nau Bostik. The Barcelona-based cultural space has phenomenal education programs for artists to develop their skills with facilities equipped with one of the best photography laboratories in Spain.
But learning how to create a photographic print there kicked Vermibus’ butt – making him nearly quit in his pursuit to get it right.
“One by one, the artist carefully applied liquid emulsion on sheets of 100% cotton paper of the highest quality. By contrast, the developer was applied with an expressive brush stroke, which makes each one of the pieces different and special,” says the official press release for the new print he created, called “Katherine.” It doesn’t say that he failed multiple times before he discovered that technique.
His perseverance is documented here on BSA today as photographer and cultural documenter Fer Alcala interviews Vermibus about his residency and the challenges he faced learning how to create this work.
Fer Alcala:So, you spent some weeks as a resident artist at Nau Bostik working on the Katherine print. At the same time, you were doing a workshop with some school students about adbusting, contrapublicity… Which came 1st: the creative process of the print, or having to do the workshop, where you ended up with the idea of developing Katherine at Bostik? Vermibus: The print and the workshop were two completely different projects that took place at the same time. I was invited by Xavier Ballaz, from Difusorbcn, to give a two month workshop in Barcelona about counter-advertising from the feminism and gender theories perspective.
The challenge was to find a place where to live and work during this time in Barcelona, that’s how the art residency at Nau Bostik came across.
I was supposed to have a room and a studio there but, because of the characteristics of my materials (the solvents) we couldn’t figure out where to install it. So, I had to approach the residency in a different way.
Fortunately, Nau Bostik has an important relation with analog photography and also they have one of the biggest photo-laboratories from the country “La Perversa”. It was impossible not to feel inspired by this place.
Adapting my needs to the situation I end up develop my last print there.
Fer Alcala:If I’m not wrong, you’ve launched 3 prints to date, using a different technique in every one of them. Could you tell us a little bit about all this and how you have chosen each process? Is it kind of a challenge for you? Is it a matter of not repeating yourself?
Vermibus: After trying them, I think other artists can profit more from techniques like giclée and screenprinting than I.
When I’m creating, I like to have an experience and I want this one to be reflected in the final work. At the same time, I’m interested in the investigation and the developing of techniques that break boundaries and open new or forgotten paths.
Fer Alcala:I had the chance of spending some time with you at the laboratory witnessing the developing of Katherine. I have to say that it was a very delicate, technical and magical process. Did you have to learn this technique from zero? What was the most stressful part of it? Did any ideas about quitting the project come to your mind?
Vermibus: I knew the very basics of analog photography and I knew what I wanted to do but I had to learn how to do it, almost from zero.
Of course, I had all the problems someone could have in a laboratory, literally every single one of them.
To be in a dark-room for long periods of time, when things are not going good can be devastating. The idea of quitting came to my mind many times.
But from my experience, when nothing is working and you are close to let it go is when magic happens. During the last week of the art-residency I found out that the main problem was the composition of the paper, so I decided to give a last push and I got a beautiful top quality paper that was decisive in the production of the print.
In the end, I could have everything ready on time with the results I wanted from the beginning.
Fer Alcala: Once Katherine was produced, you showed it in the exhibition context during Moniker Art Fair London. After all the hard work, were you happy with the results and the feedback you got from attendants, collectors, other artists? Vermibus: The moment of showing your work is when all the pain has passed and you can enjoy. I really believe Brutally Human is the best collection of works I have done until now. The feedback was great, so it seems like the people enjoyed it too.
Fer Alcala:Is there any way to still get it? Vermibus: I think Moniker Art Fair still have some prints left.
Fer Alcala: I would like to ask you a couple of things apart from the creative process of Katherine. I think that, while you were doing the workshop at the school, working on issues as beauty, the role of women in advertisement, gender… the La Manada rape media coverage was at its height. Did it influence the way you approached the work with the students? Vermibus: Working with kids is something that I didn’t do before, so my approach towards the students, the profession and of course it was taken with massive respect.
I was preparing the lessons with a lot of care but adapting myself and the content to the needs of each moment So, what happened during that time with La Manada was the worst that could have happened to the girl, to her family and to womens rights in general but perfect to make young people understand the importance of respect and empathy.
Fer Alcala:You are developing your own solvent, which I think is great. Could you explain to us why you have decided to do it and give us some tips about the technical side of it? Vermibus: Together with Elena Gayo, a renowned conservator and restorer from Spain, I’ve been developing my own solvent.
The idea had different goals: reducing toxicity, gaining molecular stability and understanding better my technique to be able develop it.
After months of work and infinite setbacks (similar to the process of the print) I found the correct proportion of “ingredients” to create my own solvent.
Visually speaking it leaves the painting slightly smoother than the old solvent and the molecular structure is much more stable because I control the ingredients. Also, I can modify the mix because I understand what each of the solvents does individually and all together.
But the most important is that we could reduce the toxicity drastically, from a commercial solvent that was carcinogenic, neurotoxic, mutagenic and reproduction-impairing to a solvent that produces no irritation through skin contact and inhalation. And that’s a big deal.
Fer Alcala:Is it something that you are doing for yourself or are you planning to produce it and sell it at a larger scale? Vermibus: The solvent is absolutely adapted to my needs but who knows, maybe one day…
Fer Alcala:Tell us about your plans for 2019 Vermibus: 2018 has been a very decisive year. I spent most of my time reflecting on what I’m doing and why I’m doing it, but specially with who I’m working with and with who I’m not.
I have learned a lot this year and 2019 will be the moment when all what was learned will start to materialize. That’s all I can say for now.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
