Montana LOOKBOOK #08 / 2023

← Scenes from forgotten
places. Pablo Allison
brings us images
from places most of us
are unlikely to ever visit.
PA
I believe so, for instance in Central America, particularly
in places like Nicaragua and Honduras in my experience
there was some access to better quality paint and cans
but expensive of course. El Salvador has a much more
developed scene and cans are relatively easier to get.
Same applies for Mexico where a huge industry has
been developed for all the graffiti needs. There are,
however, very violent cities in Mexico like Nuevo Laredo,
Reynosa or Ciudad Victoria, to name a few where I
would dare to say that no graffiti exists, therefor, the
access to tools is much harder.
MC
What kind of response or civil intervention do you get
from people or the locals that are non-fleeing illegal
migrants when you paint walls or freights with these
messages in poor and violent areas?
PA
The reaction from a non-graffiti audience has gone
beyond my expectations. People are more aware of
graffiti as an agent for change. The general public has
slightly shifted its perception on this art form, whether
that be a good or a bad thing I don’t know. I do feel
however that people still have a very biased opinion on
what they approve and what they don’t approve of,
which is fine by me. That said, I do wish for people to
read simple words and feel connected or show some
sort of empathy regarding matters that mean something
to us all.
In Jordan and Iraq, I mainly painted
with crappy cans but some good
paint is available at quite inaccessible
prices. The Middle East region
is a very interesting one for history
but also for graffiti.
MC
What is your favourite Montana Can and cap combination
and why?
PA
Montana BLACK as it’s the one that stands out the most.
74 Artist in focus/Interview Pablo Allison