Have you seen the street art scene become more prominent/responsive in relation to recent debates surrounding gender or immigration for example?
There are some guys, not many though, who engage with current issues. I wish there were more. I think it should be an obligation because we work in the streets, so we should speak about things that are important instead of painting cats and dogs and butterflies.
You have completed major street art projects internationally – do you see big differences in different countries’ attitude to and adoption of street art or is the medium fairly ubiquitous now?
Yes, absolutely. There are huge differences between the countries, just like differences between cultures and customs. Some countries treat it purely commercially and others where it’s part of their freedom of speech. Argentina for example. I did a project there with local artists Jazz and Ever – their art has grown out of the strong tradition of engaged, political street art and still carries a very strong meaning. It’s also widely accepted – you will not get arrested even if you’re doing an illegal piece. Because of that their street art is on a very high level. I loved Melbourne as well, where there are whole streets where you can express yourself artistically without being chased away. Local artists are very welcoming and open to working together with strangers. Europe and the US are much more territorial and competitive.
How do you feel your work with CGI composition, working in animation feed into your independent work as an artist?
Those two worlds cross over all the time. I use my professional knowledge in my street art. No matter what medium I choose, I always think about it as a collage or compositing. Straightforward images or photos seem boring to me.
What does it mean to you as an artist to be represented in the ART4PEACE campaign – and in what ways do you feel street art can be used to break barriers and raise questions about society?
Street art is in itself like a huge advertising campaign – it has the potential to be seen by many. But we don’t deal with ‘washing powder’ – we sell ideas. This is where lies its potential and its role. We can’t treat it as a decorative wall-paper, we have to speak about important things. That’s why the ART4PEACE campaign feels very now. My piece speaks about love – two elderly people fulfilled by love. That’s my message to the world. “Be cool, don’t treat yourself too seriously, life is to short for that, it will end soon, so love each other when you still have time for it.”