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people, but maybe it’s efficient
also, somehow.
If you want to be respected
by people, show them
some respect.
Which was this phrase in
Portuguese that was erased
previously to the festival and
that was repainted afterward
by the writers who did it,
but like 20 years ago and
this phrase actually switched
from a name-writing, constructive
perspective to a
cultural perspective, because
people appropriate this
form and it was some kind
of symbol for them.
It could have also been this
Padre Cruz Statue, which is
almost one of the only forms
of art that the people have
here, so maybe at some
point, one of the paintings
which was done in a totally
different perspective will
become some kind of symbol
of the inhabitants, but
it’s not something you can
expect.
You can’t plan it. If you want
to plan it, I’m not sure if it will
work the way you planned it.
I did a little research on
your work and you also
work in museums and galleries.
Do you feel like there
is a difference in depth of
the meaning of your work if
you do it in the streets or put
the same art in a gallery? Do
you feel like there is a lack or
like something is missing?
No, because I don’t do the
same art in galleries, I’m always
working site-specific.
When you come to a white
cube, the white cube has its
own history, so you can act
in the same manner if you
work in the street and take
care of the history you’re
referring to. And sometimes
a gesture in urban space can
have a different sense, but
could be the same in a gallery
and be relevant.
What could be very basically
interesting, if at some
point name-writing could
go through art skills of the
writers regarding specific
perspective of painting.
It could be painting directly
onto the walls of the gallery,
but mostly writers don’t do
this, because galleries are
actually not promoting the
mural, but the fact of selling
objects, but there are also
none-profit-galleries, so it’s
not a rule, it’s just a manner
and you interact with it
and so from my point of view.
I feel like being inspired from
what’s happening in the city
could make you do good artpieces
in galleries whilst not
using the same tools, which
are maybe bringing the same
issues, but in a different
way. A good way of telling
the same story in two
manners, would be thought
documentation, with the process,
with the surveillance of
a neighborhood, making
kind of a larger picture
and more complex vision.
I mean outside the context,
which gives you some inputs
of what the work is related to.
I was invited to do shows and
the reason why I accepted
was always that the people
paying me to come, were
giving me materials, authorizing
me to experiment and
use the gallery as a studio and
chasing the way I wanted to
show it and most of the time
I was doing things outdoor,
but also bringing back some
traces of things I did outdoor
inside to put it into a dialogue
with some specific
gestures I did in the gallery,
so it started to construct
some kind of vision, because
then you come to the gallery,
you see something that is related
to your own city or your
neighborhood and you can
see it for real and the existence
of the site-specific
gesture you’re doing and
the documentation bring
you two perspectives of the
same work.
That’s also how I use the
Internet. They are not going
to promote the pieces
which were curated, they are
not going to say ‚yeah, you
did illegal work, that was super!‘.
So I just did it and then
at some point it will end
up on my website or I
will communicate it on my
blog. So it’s just like using
the Internet as a place to
show things differently or
more precisely, giving some
context. ‚Besides the history
of the exhibition space with
which you can play, you also
have this mind space, white
space without anything
that could disturb your attention,
where you can say
precisely say the things you
want to say, which is not
the case when you do it in
a big space. It could be used
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