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I started drawing at an early age, and I have always been interested in the development of different branches of art. But the intervention in the streets and the visual assault impacted me in my life seeing works of anonymous artists who repeatedly used the city as a gallery to cause questions, which they were not interested in answering, only to cause questions, doubts and even commotion with the works they left on the wall, letting time gradually destroy them. Doubts that later caused me to recontextualise the way in which I would lead my life, my work and the way in which I would relate to…mehr

Produktbeschreibung
I started drawing at an early age, and I have always been interested in the development of different branches of art. But the intervention in the streets and the visual assault impacted me in my life seeing works of anonymous artists who repeatedly used the city as a gallery to cause questions, which they were not interested in answering, only to cause questions, doubts and even commotion with the works they left on the wall, letting time gradually destroy them. Doubts that later caused me to recontextualise the way in which I would lead my life, my work and the way in which I would relate to the rest of the world. This work has been a craft that is also my hobby and the most purposeful way I have found for true "free expression". I hope that this work inspires and/or motivates other people to continue with the exercise of urban graphics and social criticism. Without criticism, there is only conformism.
Autorenporträt
Inspirado por artistas anónimos em Ensenada B.C. entre os anos 90 e o início do século e a aquisição de uma peça de fada pastor (OBEY the giant). Foram a motivação para se iniciar no vandalismo artístico. Com intervenções em B.C. Guanajuato, Querétaro e Cidade do México. Com publicações Rev. Etnografías em março/agosto de 2018.