Exploring the Clean, Bold, Optimistic work of Efdot

By Emma Regolini

July 10th, 2020

Image via Efdot

Efdot, also known as Eric Friedensohn is U.S. based artist and creative mind known for his figurative hand-drawn works. His minimalist, abstract-meets-figurative style has allowed him to work solo or collaborative across mediums worldwide

Image via Efdot

Drawing inspiration and nuance from artists including M.C. Escher and Keith Haring, Efdot has been able to establish a signature style and apply it to branded projects with WeWork, Google and Skillshare among others.

Image via Efdot

Efdot’s latest community-building project Muralists, is an online platform feature stories and advice from muralists around the world. In an age when ‘go-big-or-go-home’ outdoor messaging and murals have the power to start conversations and create change, Muralists is an exciting platform to see grow.

Image via Efdot

We asked Efdot a few questions about his creative process during the pandemic as well as advice for his younger self and other artists.

If you could give one piece of advice to your 18 year old self what would it be?

I’d tell my 18-year-old self to not be afraid of putting your art out there for fear of judgement. And don’t be afraid to focus on a specific niche of creative work. That’s how people will remember and support you.

Image via Efdot

What advice would you give to a young creatives wanting to freelance/source clients?

Start out by building a solid portfolio to show potential clients. Focus on quality AND quantity. If you have a product that is unique and memorable, it’s just a matter of time before clients reach out to work with you. Patience and persistence is the key.

Respect the people you’re working with, but also respect your own needs and rights.

Image via Efdot

What was the impetus for starting Muralists?

I noticed a lot of artists wanting to get into painting murals, but they didn’t have too many helpful resources or opportunities to learn.

In 2018, I started collaborating and having conversations with different muralists to study their processes. I wanted to share their work, experience, and knowledge of others in the field, along with the things that have served me as a muralist. Everyone’s practice is different, so having a platform that can share the nuances and narratives of each artist is really awesome.

We are just getting started with the Muralists project, and will be launching a podcast very soon called “Extra Paint” to share deeper conversations with our featured artists. You can find it at www.muralists.com.

Image via Efdot

Has your creative process changed while working through the pandemic?

Yes, definitely. I have been making fewer murals and collaborating in-person less. This is because most of my commercial mural projects have been postponed as businesses are shut and big events are not really happening. But I am still making art, in the form of donation-based murals, drawings and paintings, limited edition prints and baseball cards.

Image via Efdot

Is there a dream project that you would like to work on?

I would like to design and paint a skate park. I can see it having a ton of awesome skateable sculptures and murals in it as well.

Image via Efdot

What are three key learnings/lessons from your contract with WeWork?

1. Everything can be a collaboration, and therefore be made stronger.

2. I learned various tools and techniques that allow for my work to explore different media. I consider myself a multidisciplinary artist and feel that I can create works for a multitude of spaces/environments.

3. Research makes more impactful art. Art typically exists within a specific context, and, through research, you can make your art resonate deeper with an audience or serve as an example of a particular time or place.

Image via Efdot

What is your dream mural location?

I haven’t painted a mural on the side of a building larger than three stories tall. I’d like to do a large mural like this in the next year. I’m not super picky about the location as long as there are a good amount of people around to actually see and enjoy the mural.  If I had to choose a city I’d say Barcelona… They have a great art/design scene I’ve always had a dream to live there.

Image via Efdot

Can you describe your work/style in three words?

Clean, Bold, Optimistic

Image via Efdot

THE CULTURALLY ENCHANTING WORK OF GLEO

By Emma Regolini

April 3rd, 2020

Gleo ‘The Other’ São Paulo, Brazil 2017

Colombian artist Gleo has made a name for herself outside of her hometown of Cali (Colombia) on the street art scene globally.

Growing up in a small tropical city of the Colombian Pacific, Gleo also known as Natalia Gallego, has found freedom in painting walls since she was fifteen as a form of self expression and political participation.

Gleo, 2017 image by Jadi Ilias

Gleo often recites her purpose for painting walls, streets or public spaces as a reflection of their accessibility and universal ownership. Gleo explains that the “word ‘public’ is very complex, this space belongs to everyone and no one.”

Gleo, 2019

In recent years Gleo’s work has featured masked mystical beings and creatures often symbolising Latin American mythologies or cosmology. Her work captures these creatures in dream-like state through colour and the objects adorning them.

Gleo, 2017

She cites that we often “dress up and put on a mask, trying to transcend a higher self.” It is true, that Gleo perfectly captures the perceived demigod state of mind in her work on a large scale.

Gleo, 2019

A common thread between her past work includes historical objects or talismans as she draws inspiration from periods of antiquity and ancestral cultures. Her characters appearing transcendent in nature exude a sense of knowledge and spiritual power.

Gleo, 2019

When commenting on the lifespan of each murals, Gleo goes back to the public ownership of each space and therefore it’s preservation is dependent on the inhabitants. With some murals lasting days, months or years, many street artists can agree that the fate of each piece is out of their individual control.

Gleo’s enchanting, captivating and colourful murals have taken over walls worldwide from Colombia to Peru and across Europe. As a prominent female Latin American artist, the world has fallen in love with Gleo’s blended composition of cross-cultural iconography and warm theatrical renderings.

Gleo, 2016

MAGNIFYING THE ARTIST MADC

By Emma Regolini

March 20th, 2020

You may recognise her multi-coloured abstract murals from around the world. MadC is the unstoppable female artist dominating the traditionally male oriented arena of graffiti and street art today.

MadC villa mural for Pullman Hotels Maldives

MadC, also known as Claudia Walde is a German born graffiti writer and muralist. Carrying a degree in graphic design with a Master’s stamp, MadC began her career in graffiti long before her adult years.

MadC Germany 2020

Completing her first graffiti piece at 16 years of age, MadC went on to reach early international acclaim in 2010 with her piece, known as the ‘700 Wall.’ The wall covered 700 square metres along the train line between Berlin and Halle and took 4 months to complete. According to most sources, the painting is still the large graffiti mural created by a single person.

MadC ‘700 Wall’ Berlin-Halle 2010

Following her success from the ‘700 Wall,’ MadC’s style and approach slowly began to change direction. Departing from detailed and thematic storytelling, her work and artistic path diversified into gallery shows, larger scale murals and a deeper analysis of the pillars of traditional graffiti.

MadC London, UK 2013
MadC 1000 square foot wall, Chicago 2018

What has been acknowledged as a shift in ‘artistic strategy,’ saw MadC take a closer look at wild-style graffiti, dynamic lines and bold motion and colours. Her murals could now be described as having placed a magnifying lens over aggressive lettering, angles and shapes to give clarity to a different world of expression, beauty and art.

MadC Philadelphia, USA 2016 for the Philadelphia Mural Arts Program

MadC’s focus on magnified brush strokes and layered transparencies give way to a liquid form. Her murals spread across the world wash the faces of multi-storey walls in an effortless way.

MadC 12-storey mural in Berlin 2019, for Berlin Mural Festival

Bridging the divide between street art and the gallery world, MadC presented her first show in 2015 named, ‘Night and Day.’ The series explored the relationship between night and day and the role it plays in the life and activities of a graffiti artist.

MadC Marrakech, Morroco 2016

More recently, MadC presented a series of works, ‘Dialogue’ throughout the gardens of the Brenners Park Hotel in Germany Each sculptural painting has a direct link to the hotel and their placement in the garden. The painting, ‘Indigo Coelin’ (centre below), represents the fresh breeze, which floats through the restaurant. Elements of pink add sweetness while the gold lines draw meaning from the gold elements inside the hotel.

Depending on the light, the gold changes throughout the day, similar to the light, which reflects and moves through the restaurant.

MadC ‘Dialogue’ 2019, Brenners Park Hotel, Germany

MadC’s magnified, abstract style brings a fresh and vibrant energy to the world of traditional graffiti. Claudia’s roots in graphic design and teenage years honing her craft has enabled her to build, develop and refine a recognisable style which she is renowned for today.  

MadC Germany 2015

Urvanity Art 2020

By Emma Regolini

February 21st , 2020

Urvanity Art Fair is back for 2020! Living up to its incredible legacy, this year’s has an impressive line up of artists from around the world!

The event brings together creatives from urban, street art, graffiti spheres. In its fourth rotation, Urvanity has become a meeting point for collectors, artists and likeminded individuals to collectively celebrate contemporary art.

Artist: D*Face

Sergio Sancho, the founder of the Madrid based festival says that ‘Urvanity’ began with his passion for art and his mission to increase visibility for artists from non-traditional backgrounds who are breaking boundaries, literally and figuratively. 

Artist: Artez

Known for being Spain’s birthplace for artistic movements, Madrid has a rich artistic history to celebrate, from graffiti to lowbrow, neo-pop and urban contemporary influences. This year Urvanity will spread across 30 galleries showcasing more than 90 artists from around the world.

Artist: Martin Gordopelota

This year the art event will place an emphasis on the presence of international galleries partaking including Le Feuvre & Roze (France), MAGMA (Italy), PADRE Gallery (United States), Pantocrator Gallery (China) and Artrust (Switzerland), which will present works by the inimitable, Banksy.

Artist: Cranio

The event program will not only include an incredible showcase of artworks from a range of disciplines but also a series of panel discussions debating topics surrounding the concept of new contemporary art.

Artist: Cayetena H. Cuyás

With an impressive line-up of galleries and artists, Urvanity, for it’s fourth consecutive year continues to establish itself as a key player in the art fair circuit and a gathering place for some of the best and up-and-coming creative minds.

Artist: Sergio Mora

Urvanity 2020 will present an exciting program filled with activities, talks and round table discussions. Global Street Art has been invited present an insightful talk about ‘Walls and words.’  The talk will explore the power of social media and communication tools in expanding the world of urban and contemporary art! We are excited to support Urvanity in 2020 and beyond! Let the art fair begin!

Artist: PECA

Adapting street art in the digital age with INSA

By Emma Regolini

February 14th , 2020

Bristol born artist INSA has a rich history of creative projects before hitting the sweet spot with his iconic Gif-iti style of work, which he is best known for today. Before focusing on his labour-intensive animated murals, INSA has designed signature collections with Kangol and Kid Robot as well as private commissions for clients including Nike and Sony.

Today, INSA’s work is accessible around the world thanks to the internet. Upon reflecting about how his work is consumed online, including reduced pixels and low quality image resolutions, INSA decided to convert his murals into gif animations, best enjoyed online.

The process behind his hypnotising motion graphics involves re-working, re-painting and re-photographing layers of a mural and then converting them into a looped animation. The layers build colours, shapes, geometrics and dimension compositions, which allows a full story to unfold when the final animation is completed.

INSA’s murals align perfectly with the tumblr, tik-tok and instagram generations of the current digital age.

While his work is carried out in the physical world, his art can only be enjoyed through digital means. Through his augmented-reality ‘Gif-iti-‘ app, INSA makes it accessible to “experience the work firsthand through different viewing platforms.” Unlike other detailed and large scale murals that are best viewed IRL, INSA flips the coin, allowing anyone around the world to enjoy his work at any time.

What could be considered, one of his most impressive pieces to date is his collaboration with Ballantine on a satellite scale floor mural covering 57,515 square metres. With a team of 20 and a satellite 431 miles above the earth, INSA wanted to create the world’s largest GIF. Inspired by his trademark ‘Looking For Love’ design, the team worked to get the floor piece completed over four days in Rio de Janeiro in 2015.

The ethereal work of Polish muralist Natalia Rak

By Emma Regolini

January 31, 2020

You may recognise the work of Natalia Rak from her gradient blending, ethereal murals spread across the world and Instagram. The Polish born muralist studied graphic, screen-printing and poster design but later on began to focus on painting and larger scale projects.

Growing up in a small Polish village, Natalia often recounts the absence of street art in her physical surroundings. Today she draws inspiration from mythology, religious symbols and fables.

Today it is widely agreed that Natalia’s murals appear to transcend their physical environments. Rak’s use of symbolism and references to fable-like iconography adds a tangible element of magic to her work. Natalia often cites her deep connection to nature and the importance of protecting endangered species, flora and fauna.

Rak’s murals often portray women from an ethereal perspective. Carving her own space in the street art arena, the Polish muralist says that as a female artist, she understands the complex nature of what it is to be a woman.

Rak also explains that she is more interested in created figures with often-androgynous faces, focusing on their expression and form rather than traditional portrayals of females and males (in Eastern European cultures).

Despite the recurring presence of females in her work, Natalia says that there were not many female street artists to look up to years ago. In what could be considered a male-dominated space, Natalia hopes to be as skilled as her male counterparts while forging her own path and style.

Rak’s work and murals have been included in numerous group exhibitions around the world since 2009. In past interviews Natalia highlights the duality of sharing your work on social media as an artist while remaining inspired and continually creating. She says it is important to share high quality images of your work, sharing the process and how pieces are created

Odeith and the Rise of Anamorphic Street Art

By Emma Regolini

January 17, 2020

Anamorphism in street art refers to the intentional distortion of perspective, a type of optical illusion that is best viewed from a particular vantage point to experience the true image.

Early use of anamorphism or the ‘distorted perspective,’ dates back to prehistoric cave painting, as artists had to adapt to the oblique angles of cave structures. Over time the technique has been revived and used for different purposes suited to the climate of the era.

In the 17th century, anamorphosis was used to conceal images for privacy or personal safety or to hide secrets particularly associated with royal figures.

Anamorphism used in 17th century fine art paintings
Anamorphism used in 17th century fine art paintings

Today, artists use anamorphism by selecting a specific angle from which to view the piece in or take the best photograph, and for Portuguese artist, Odeith, this often involves calculated 90-degree angles or curved surfaces.

Image via https://www.odeith.com/
Image via https://www.odeith.com/
Image via https://www.odeith.com/

Although the style of 3D art is well established, Odeith has driven and refined the anamorphic style, playing with optical illusions by creating life-like scenes involving creatures, cars, chrome lettering and other realistic objects.

Combining mathematical measurements, shadows and at times an imitated background, Odeith achieves, what he refers to as his ‘sombre 3D,’ style.

It is easy to overlook the detail and skill of Odeith’s work until we are shown the piece from a more conventional angle before we can understand how the design is perfectly stretched and distorted to achieve the perfect shot.

The Portuguese artist is most renowned for his abandoned bus illusion mural piece, which quickly became a viral sensation. After coming across a block-like structure, Odeith eventually unveiled the incredibly realistic bus.

Odeith’s style is one, which is so unique and restrictive to imitation that his portfolio of work from over the years continues to push boundaries and inspire artists across the world.

Sakumzi and Msindisi Nyendwana: painting a brighter future on the walls of Motherwell

by Kelly Macbeth Mackay

“I want to inspire anyone reading this article not to lose hope. I am who I am because of hope, love and passion” – Sakumzi Nyendwana

Creative expression is a fundamental human need, yet art supplies and funding is a privilege that can be taken for granted. Imagine if the tools you use as a creative outlet were stolen from you. What measures would you take to get them back?

Sakumzi and Msindisi Nyendwana, brothers born in the Motherwell Township in Port Elizabeth, South Africa, watched funding donated by an international donor to build an art centre in Motherwell be absorbed by greed and money laundering in their community.

Their response? Create their own home into a gallery for their community and open it to travellers from all over the world. They moved their personal belongings into one shared bedroom and used their main living space to showcase their artworks to inspire the community themselves.

As my sister and I sat listening deeply to the explanations of each intricately detailed piece – art which both embraced South Africa’s challenging past and empowered its future- we absorbed the stories of pride and strength explained for each piece, both sat entirely in awe of the creative precision yet the breadth of passionate expression these brothers demonstrated within their work.

“We openly welcome any support that can add value to the success of our community development work. We want to put Motherwell on a world map in terms of attractions and beauty, and the tool we trust is art” – Sakumzi Nyendwana

Their dedication to bettering their community is something everyone should be devoted to. If we all adopted this mentality then not only would we live in a sustainable world, but we would share the collective ambition of simply doing better.

I spoke with Sakumzi directly about how he started and where Hand-in-Hand Visual Arts Studio is today.

When did you and your brother start Hand in Hand Studio?
I started the love of art in 1994 at grade3 in primary school and continued in high school but couldn’t progress because there were no art classes/subjects at school. But I didn’t lose hope and continued making bucks out of signage because I was unemployed, so to further my skill I joined an art culture organisation called Arp which was funded by an international donor to uplift potential talent, but I couldn’t complete the fine art course because the place was disbanded due to maladministration. In 2012 I managed to transform my own room into an art studio and named it Hand-in-Hand.

Is funding often stolen from the community?
There’s a lot of maladministration through our communities because we are living in a sad situation where there’s trash all around the streets. There’s always an annual budget allocated for waste control and arts and culture, but nothing ever comes from it. So yeah, there’s a lot of corruption.

Why do you do what you do?
I do what I do because I love art and am passionate about it. Art is a good therapy to heal wounds and also educate the nation. As someone who meets people from different cultures and destinations on a daily basis, I can say that art is an international language. Art means a lot to us because we are who we are today because of it; this is not just art but a way to communicate, heal and educate.

What’s the response from your community?
As people who grew up in the Motherwell township, it was not easy for us to pursue art as a career. We were overlooked and taken as lazy, crazy brothers but through passion, perseverance and hard work we managed to gain respect, love and support from the community through using art as a tool to transform communities. So it’s a great achievement to educate that art is a dignified career and we can change the stereotype if we can work together in educating and beautifying our communities.

Any other creative projects going on in Motherwell?
We’ve got plenty of talent but there’s a lack of motivation. The only project that strives for change and skill exchange is Hand-in-Hand concept that was developed by me and my bro in order to work with anyone who has a vision for change in order to bridge the gap where necessary.

What’s next for Hand in Hand?
Our next step is to make international relations and opportunities because our future outlook is to exhibit and create murals around the world.

What would you do with paint donations?
I will archive the dream of creating a mural or artistic route that carries our past, present, future. The best part of this project is the fact that it combines children and adults within the community’s development because all the work we do is to educate and exchange the skill of storytelling via art with the mission of beautifying communities, transferring and building self-worth.

What are your hopes for the future of Motherwell?
In 5 years I wish to see Motherwell on a world attraction map and to see a lot of development in terms of skill development and education.

Who have you collaborated with?
As you know, our studio attracts mostly people from abroad and we have a session whereby we walk around the township and visit all the nearest creative people for them to share their story and also showcase their craft. We do a walkabout around the community and show the paintings on the walls created during an art Exchange project together with Luc and other local creatives.

What are you currently working on?
I’m working on creating an event in celebrating youth day. The theme of the event is “Art in the Park” and the vision is to create a platform for artists and crafters to exhibit or showcase their work. The park will form a part of the artistic route that will start from our studio to the nearest area and end at the local primary school where I went to school. I am passionate about giving back to them because it was where I realised I was an artist, and often hold workshops with the school.

Who are Hand-in-Hand?
We’re a group of people working to collaborate, create and share beautiful, vibrant art with the community and the world. So far we’ve transformed two illegal dumpsites into major attractions within our township and have done many murals around Port Elizabeth. We have also been featured in exhibitions and galleries as well. Currently, we’re working to create a walking tour within our township filled with amazingly unique art and murals that portray our culture and history- past, present and future.

“I never imagined that our project would get this far and I will never stop creating art and exchanging the art skill in order to educate and also prevent the youngsters from getting bored and doing drugs.”
– Msindisi Nyendwana

Get involved!
“We would really appreciate any assistance from those reading this article on our biggest mural yet. It is approximately 40 meters in length and 2meters high. It is a blank wall outside of our community rugby and cricket stadium and will conclude the tour and history walk if the township. We would really appreciate any assistance in co-hosting a beautiful piece within our township for the community and visitors alike to be able to learn and grow from our culture and history through art.”
– Sakumzi Nyendwana

Get in touch!
Email: sakumzinyendwana@gmail.com
Trip adviser: Hand in Hand Visual art studios
Facebook: Sakumzi Nyendwana
Facebook Page: Hand in Hand visual art studios

Interview with Alexander Blot

Using the urban landscape and forlorn buildings as his muse, Alexander Blot employs a sympathetic approach to create playful site specific art works. In this interview Russian artist Blot speaks to us about his process and techniques!

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Please tell us a little bit about yourself! 

Alexander Blot. I’m 27. I live in Penza, Russia.

How long have you been making art? How did you start?

I started drawing as a child, at first I used paper. I made my first drawing outside in 2008. It was a kind of experiment for me, I wanted to try something new: new surface, new space. Since that moment I have thought that the streets are the best place for art.

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Painting on the street is a lot different to paper – how did you make this transition?

Mostly I draw without sketches because pre-made sketches do not always fit the wall or space. This is why I always find a certain place for drawing first and then make up everything from there. However I do prepare sketches and ideas for festivals and big projects beforehand. It is really important for me to complete my work on the streets with only my thoughts instead of planning and destroying the work’s authenticity. I do not only work with walls, I like to draw on objects found in the streets, on building offsets and other elements of urban space.

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Do you do legal or illegal pieces?

 In fact, I draw illegally. However I am not a vandal. I do not want to get approval for my ideas. This is why I search for calm places where nobody can disturb me. Forsaken houses, unusual lanes and alleys, ramshackle buildings with interesting patterns.

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Who do you paint for?

I draw for myself and for everyone who may appreciate it now or in the future. The creative process and its result are very important for me. But street art is supposed to be seen, you know, the streets have an audience. The audience is very receptive creature, it has a certain reaction. The artist and the audience have a kind of communication through art. It is a wonderful process.

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What styles/materials/techniques inspire you?

I like different art mediums and mixed media painting techniques. Every art medium is really unique and one-of-a-kind. Currently I’m focused on using spray paint and adding some elements with the help of an art brush.

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How does location affect how you work/what you paint?

My ideas for drawings are often influenced by the place, because I always look for harmony and coexistence between the art and the place. The approaches of drawing I use stay the same.

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If resources were no issue, what would you create/do?

I would like to travel all around the world. I want to meet interesting people and street artists with plenty of guts. I think that we would probably create interesting works together. There is a kind of creative idea and energy exchange and the possibility to inspire each other.

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Where is the best place in the world to be a graffiti artist?

The world is a huge place for art. I think that there are unique and atmospheric places for street art in every city. The uniqueness of such places can inspire in different ways, making you think of new themes and ideas for your drawings.

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What else have you been up to recently? What are your plans for the future?

 I want to join great big projects, make ambitious drawings, communicate with interesting people, tell my street art stories, and experiment with canvas and paper in the future.

Thanks Alexander !

INTERVIEW WITH ADOR

The Parade Balade et Distorsion project, initiated by Ador and Semor has been running since last year, and finally came to an end this month.

With the completion of the project came the opportunity to finally speak to French artist Ador about his last year of work, as well as finding out more about himself and the inspiration behind his work.

Enjoy!

Where are you from and when did you start painting?

I was born in Nantes, France. I painted my first scene in 2005 but I started drawing when I was kid. I tried tagging a bit before but I never enjoyed letters because I was so bad at it!

ador street art

Why do you paint?

I don’t really know. No one drew around me but I did. I don’t really enjoy anything else, except throwing stones at ducks but that’s not a job. Drawing is a way to never feel bored, even after visiting a bad exhibition or when watching bad movies, I mean everything can be a source of inspiration.

Tell us about the Parade Balade et Distorsion project you have been working on with street artist Semor. How did the project get started? What is the aim of the project?

We just really wanted to enjoy painting walls and drawing for a while.  We are drawers first, and we saw a decline in our universe, especially with the amount of different media there are. The first step of this project was an exhibition in Nantes in 2016, with the same name. We built a sculpture in the same way we draw. You can see it here:

The second step was a series of murals, here is the video:

Step by step we found partners, and this idea turned into a journey through Nantes city, painting walls in districts where there are often no artistic events.

We were interested in the link between showing work in a private and a public way; indoor and outdoor; murals and exhibitions. We kept trying to build and tell stories through different murals in the public space.

As we are used to painting outside and meeting people randomly, we wanted the organisation of this project to  involve he people we met. This is what we did, and we build ideas through getting in touch with people living in the area we wanted to paint.

Even though the general idea behind the pieces weren’t directly given by the people, we introduced a lot of details and anecdotes picked up from meeting them. We wanted each wall to have some context to locals, as well as to have people discuss the piece before, during and after the realisation of the artwork.

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What has been your favourite part of the project so far?

Behind each piece there is a lot of hidden energy, a lot of ideas from different people, a huge will and a lot of pretext to talk about. For example, in “Le Chateau de Rezé”, we painted a penguin “Le Voyageur” with a big backpack. He is eating a banana and he’s standing on an electric wire like a swallow.

I’m not saying he’s my favourite piece, but it was the first wall we did for this project and there are a lot of stories behind his backpack and in what he carries. Parade, Balade and Distorsion talks about migration, travel, and this animal was built with a lot of people who don’t carry borders, no matter what they look like.

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What has been the affect of the project to the city of Nantes?

As we come from this town, it was important for us to invest several places and districts here. We had already done few projects in Nantes, but this time it is a city-scale project.

How important is it to work with young people and locals in street art projects like Parade Balade et Distorsion?

It’s important to use the pretext of painting to generate a buzz and great an energy. Getting ideas, sharing the vision of things, staring at the surrounding and contributing to a will to imagine. Young people are more spontaneous than us, and picking up ideas from them and locals means we can make something happen together.

We don’t wanted to arrive, paint, and leave.

I hope painting a wall can be seen as a novel behaviour nowadays, and can incarnate an alternative process to be alive in our epoch and society.

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What’s the story behind your three-eyed characters?

There are a lot of symbols in the third eye, I don’t know each of them. I’ll wait for people to help me if possible! Maybe three eyes are better than two! Whatever the meaning, we will never have enough eyes to see!

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What inspired you to choose the style you paint?

Everything that surrounds me, inspires me, just as much as other artists do or a simple act as taking the metro.

How important is a location for you when it comes to your street art? How much does the place affect your pieces?

I think we consider each location on a case by case basis and it’s often surprising. Sometimes we can imagine something and we try and deal with the place. Each context can affect and influence our painting and it depends on the ambience and the people we meet. We try to leave the vision of the piece till we see the place and we improvise for each realisation.

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What has been the highlight of your career so far?

No one thing especially, each event is as important as the last one and makes envy growing. So there’s not one special moment but more all of them together. I am glad each time I get to paint and tell my stories.

What’s the public perception of your work?

I expect reaction, but I don’t have the right answer for sure. The worst is if nothing happen. One time a woman said “Wow, how ugly it is, I love it!” or “the world doesn’t deserve it”.  Sometimes people simply like colours.

The best is when people express that they can see life in an novel way, and continue to teach me new things.

Many thanks to Ador for taking time to speak to us!

Check out more of his work at Global Street art!