A friend of mine is really into graffiti art.
If not for the cool wall-art images
that he posts, I may have missed this one.
From the Because I’m Addicted blog
check out this post on wall art
by Portuguese artist Alexandre Farto.
Rad or what? Here’s what he has to say about it:
development of this line of work has essentially two bases: one is
graffiti in its most destructive side, which I have been connected to
for many years; the second is the stencil technique that I discovered
while I was looking for new paths that allowed me to express a new way
of communication. From the first one I picked up the concept of
destruction as creative strength – based on this idea I developed a way
of work that uses the removal, decomposition or destruction. The concept
is the idea that we are made by a series of influences that shape us
throughout historical layers, etc, that come from the environment where
we grew up. In a very symbolic way I believe that if we remove some of
these layers, showing other ones, we can bring to surface some of the
stuff we left behind, forgotten things that are still part of what we
Technology is changing things so quickly that we don’t
have enough time to think about what is changing (new layers), what is
affecting us. I try to underline this process in general, my work can be
seen as a kind of archeology that tries to understand what is hidden
behind things. These ideas found expression when I started to experiment
with the stencil technique and understood that I could revert the
process to have more impact: instead of creating while adding layers, I
explored the idea of creating by removing layers. I experimented with
this process using several methods – cutting clusters of posters,
corroding silkscreen ink with acid, etc. – and naturally things started
to gain a brutal and raw shape.
When I passed the idea to walls
it was natural to work with this removal concept, this negative field.
The process itself can be brutal and violent, but the result in my
opinion, is expressive and poetic. The result was visibly interesting
and allowed to start to incorporate the wall as one of the physical
components to the intervention, unlike what happened to the painting,
where the wall was a base. From there, the usage of explosives was
another step that evolved after a lot of research and tests. These
testing stages are something really nice to do, it’s actually a
pleasure, and it usually results as a main part of my work.” -Alexandre
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