All posts by Melissa


graffitimundo Interviews Poeta Ahead of His New Exhibition

We spoke with Christian Riffel aka Poeta ahead of his exhibition “A Ver Sólo se Aprende Mirando” (“You Only Learn to See by Looking”) which opens at UNION Gallery on Friday July 29th.  The exhibition features more than 15 original artworks, including canvases, drawings, sculptures and a video installation, and is curated by Pablo Frezza, graduate of art administration and curatorship who specializes in  geometric and concrete art of Argentina.

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The artist in his studio

Art came about by itself, when I realised it was the alchemist that helped me to deal with and overcome situations that I went through in my adolescence.  It was with graffiti that I developed my passion for painting. I started going out with friends in 1999 in Villa Ballester, in Buenos Aires province. At that time there were loads of walls, and there were very few people out painting. After a while I met some artists (Roma & Debo), with whom I painted for several years.


I think the personality of an artist is shaped by the difficulties that arise throughout the creative process. The process is like any other; where you focus on acquiring the discipline to work and on developing self-confidence, while you spend as much time as possible with the tool you’ve chosen.

I wanted to start composing a work that expressed my feelings, without the use of a figure or object, and that was how I decided to explore form, colour, and geometry. I had been painting human figures and objects for ten years when my work began to mutate into amorphous works. At the time I felt it was wise to start developing a plastic language, and that in turn demanded an intellectual practice. Since then it has evolved from the plastic to the theoretical.

“Magnánimo”, Acrylic on canvas, 120 x 140cm, 2014

I refine my ideas every day, the materiality changes, its opacity or  light and its beautiful shadows appear. I have been painting geometric works for six years and the evolution I have experienced in the process is really rewarding. Right now I’m interested in bringing all of my ideas together and drawing on multiple processes in the creation of my works.

Working with sculpture has helped me to develop my artistic language. My work, although flat, uses depth and perspective that simulate a spatial effect, or a construction. Sculpture has given me new ways in which to examine my work. It inspires me to keep moving, increase my knowledge and tools and to delve into things I’m unfamiliar with in order to reinvent myself.

Tirar de la Cuerdad, Victoria Tolomei
Sculpture from the exhibition “Tirar de la Cuerda”, at the Fundación ICBC, Photo: Victoria Tolomei

Being an artist who paints in the street and in the studio creates a symbiosis where one situation feeds into the other. Sometimes things that happen in the street inspire me in my studio work, or I discover something that I have applied in the studio that I can use in a mural. The two processes are different in terms of format, and you can develop more delicate works or use other mediums and techniques in the studio, for example.

I see a bright future for urban art in Buenos Aires because of the vocation and quality of artists that Argentina has. Hopefully the contemporary art circuit, both the institutions and the galleries, will stop disregarding urban artists, as I think this is the change which is lacking in the scene.


In the exhibition “You Only Learn to See by Looking”, I’m applying new artistic languages that I’ve developed over the last few years.  In this collection I’ve utilized diverse techniques in the creation of the pieces. I’m inspired by a problem I see; of how people seem to look but don’t really see.   It seems to me that we see and become familiar with one another through a sort of screen, which dictates to us what we see.  I’m interested in having people observe and experience these new pieces in a deliberate and active way.  I’d like them to be sensitized by the show and to question how they see or what they look at on a daily basis.


Images courtesy of the artist

Catalogue of Artworks: “Alquimia” by Georgina Ciotti

“Alquimia” is the new exhibition by Georgina Ciotti at UNION Gallery. In this, her first solo show, the artist contemplates the dichotomy of human nature and animal instinct in a striking collection of original artworks which center on alchemy as a metaphor for a transformative process.



In these artworks, human figures twist and merge with the Saí and Ocelote, animals indigenous to Misiones, Argentina, creating a striking contrast between the pictorial elements in a palette of bold cobalt and the symbolism of delicate gold leaf, which floats over the coal-tinged black background.


Georgina Ciotti is a multi-disciplinary artist whose work has spanned muralism, sculpture, design, illustration and special effects.  Currently specializing in muralism, she has previously worked extensively in art and special effects for cinema, publicity and theatre with directors like Peter Greenaway, Pedro Almodóvar and Spike Lee, among others. Ciotti also participated as conceptual designer in cinema for: DOOM by Andzei Bartkowiak, Hellboy I, Hellboy II, and was a member of the Oscar winning team for best special effects makeup in Pan’s Labyrinth by Guillermo Del Toro.

View and download the catalogue of artworks here.
For all inquiries write to us:


Images by Catalina Romero

Book Launch: “Habitat” by Elian Chali

As part of the exhibition “Pioneers of a Trip to Nowhere” in the  Francisco Caraffa Provincial Museum of Fine Arts, exhibiting artist Elian Chali is launching his first book, entitled “Habitat”.

“Habitat” by Elian Chali, edited with TRImarchi Ediciones, with the support of CYNAR Argentina

After years of compiling images and theories, while creating incredible murals in cities across the world, Elian brings together content generated during the period of 2013 – 2015 in Argentina, Australia, Belgium, Canada, USA, France, England, Italy, Mexico, Poland, Peru, Dominican Republic, Russia and Uruguay.

The book takes a look at arquitecture, urbanism and photography as well as the artist’s own reflections, and includes a prologue by Martha Cooper, beloved North American anthropologist and photographer, who witnessed and documented the birth of the underground culture in New York.


According to Chali, Habitat emerges from his attempt to comprehend our urban surroundings.  This search for meaning was the motive which initiated the task of analyzing the city as a phenomenon: its configuration, its genetic makeup, and its future.

The presentation and launch of “Habitat” by Elian Chali will be held on Saturday 25 June at 3pm, in the Foyer of the Francisco Caraffa Provincial Museum of Fine Arts.


We’ve been following this amazing artist for years, and we’re very excited for this new project of his. To read more on some of his recent projects check out these articles:
Puente: A Public Art Project in Córdoba, Elian – new collaborations in Europe, Physical Graffiti – The connection between urban art and architecture in Argentina, and be sure to watch this beautiful video from a recent project he did in Milan, Italy:




Exhibition Review: “Pioneers of Trip to Nowhere”

“These artists are part of a movement, of a greater collective, which has enriched the arts with new experiences, both for artists and for art consumers.

The central concept of the exhibition is the context; the street, the public space, and the descriptions of different situations taken and put on display by each artist. We are witness to how they are affected by this space, how they process it, and what historic events get recreated in their memories.

They give back to the streets something of what they receive from it, bringing something of the outdoors in, in order appreciate anew our common meeting place, the public space.”

– From the curatorial text of the Francisco Caraffa Provincial Museum of Fine Arts

On May 19 not one, but six exhibitions opened in the Francisco Caraffa Provincial Museum of Fine Arts. However, we were interested in one in particular. Curated by Kosovo Gallery, the exhibition “Pioneros de un viaje a ningún lado,” (Pioneers of a Trip to Nowhere) brings together a group of artists who are the first representatives of the urban art movement to set foot in Cordoba’s museum of Fine Arts.

The night of the opening the room was packed with a sea of animated people flowing past the various works spanning Museum Hall 5. But despite the warmth of the crowd, it was cold because Nicolas Romero Escalada, also known as Ever, froze his work. Literally. On the back of his large-scale portrait, which he called “Idealism as a metaphor applied to reality,” there is a cooling system that maintains the low temperature that has created the ice chunks seen on the face of the protagonist. Approximately 29.4% of the work is frozen and this represents the percentage of children in this province living below the poverty line (according to a survey of the Catholic University). This data is blood-chilling. So is the artwork. This installation is accompanied by a looped projection of a sort of modern Christ (the actor Carlos Rogers) who walks through the city under the weight of the Communist symbol. We see again and again how this suffering man drags his modern cross in front of the eyes of society.

Nico Romero alias Ever “Metáfora del Idealismo aplicado a la realidad” (Idealism as a metaphor applied to reality)
Detail of “Idealism as a metaphor applied to reality”

Julián Manzelli is also known as Chu, and since his beginnings in Doma (the mythical art collective), his artistic vision has always had a playful spin. However, behind his affable character creations, our cultural identity is analysed. This time, the artist presents “Urban anomalies and the development of a circle.” Representations of those urban landscapes where concrete planning is overcome by spontaneously generated improvisation. The “urban absurd”, as the artist calls them, are pieces that unfold on the table, breaking the schematic monotony, challenging perspectives and appealing to error and genius at the same time.

Chu 1
Julián Manzelli alias Chu “Urban anomalies and the development of a circle”
Detail of “Urban anomalies and the development of a circle”
Detail of “Urban anomalies and the development of a circle”

Tec is a local artist who divides his time between Brazil and Argentina. He knows very well what happens in the street, as he has never stopped painting its walls. He knows their history, and both their roots and that of thousands of Cordobeses, are the inspiration for the reflection “Watch your Head”. This is an installation that covers the entire wall in which workers’ texts and helmets are interwoven. Tec draws our attention to a key moment in the history of Córdoba: The Cordobazo and general unity of the labor movement with the students. An interesting fact: Tec has family members who were part of the worker and student resistance, and it is this close connection that continues to drive him out into the streets.

Tec 2
Tec “Cuidar la Cabeza”
Detail of “Cuidar la Cabeza”

A third wall addresses the history of the province of Cordoba in a piece by Franco Fasoli, also known as Jaz. One of the pilars of Jaz’s work is the identity and violence found in different cultures. This time, Franco Fasoli takes the confluence of the past and the present as the place from which the painting rethinks the construction of identity. The contrast of images evokes the determination and ability to face giants. In this case the local neighborhood Alberdi gives rise to the piece entitled “First free territory of America”, which was created with the assistance of the locals. Once alone with the work, Franco Fasoli added finishing touches and, upon completion of the show, the work inspired by the streets will be reinstated back to its home.

Franco Fasoli alias Jaz “Primer territorio libre de América” (First free territory of America)
Detail of “First free territory of America”

The last installation that is part of Pioneers, also belongs to a local artist: Elian Chali. This artist’s works are a constantly evolving exercise because they are holistic compositions created within the public space, which are at one with their surrounding environments. “Urban Hygiene” proposes a reflection on the mechanisms that determine the collective behavior, and and the ways in which the public then reinterprets these mechanisms. It invites citizens to question the elements which, in their place of origin, make up the parameters of the concept of living, which allows the reconfiguration of its transient role, of its public morals, ultimately recognizing their domain.

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Elian Chali “Hygiene Urbano” (Urban Hygiene)
Elian Chali “Urban Hygiene”

So there they are, the Pioneers of a trip to nowhere. They have come this far and we can not wait to see what their next destination is. Be sure to check out this amazing exhibition at the Francisco Caraffa Provincial Museum of Fine Arts in Cordoba before it closes on July 28th.

Sala General 2

Words by Ana Laura Montenegro

Images by Daniel Luján, courtesy of the Francisco Caraffa Provincial Museum of Fine Arts

Interview: Georgina Ciotti Talks About her Upcoming Exhibition ‘Alquimia’

We spoke with Georgina Ciotti ahead of ‘Alquimia’, which opens Friday June 10th at UNION Gallery. In this exhibition the artist contemplates the dichotomy of human nature and animal instinct in a striking collection of original artworks, which center on the concept of alchemy as a metaphor for self-transformation and material metamorphosis in the creation of artwork.

‘Alquimia’ is my first solo show.  I never wanted to do one before because I didn’t really like the idea of exhibiting my work. I feel like now it’s a good opportunity, and UNION seemed like a good place, since for me it depends a lot on the energy and the relationship I have with the people I’m doing the project with. When I choose to do a mural, I have to have a good vibe with the client as well, so for me it’s the same when I choose to work with a gallery.

The artist’s studio PH: Catalina Romero

A lot of my experiences from my time in Misiones, Argentina have become part of the concept for this show. I went on a trip to Misiones for a month after my mother died, to be in the middle of the jungle with someone from my childhood that lives there without electricity and without running water, in these cabins he built there. It was a very intense time for me.

In Misiones you’ll find the Ocelot and the Sai. The Ocelot is a small feline, and the Sai is a blue bird. The friend I stayed with asked me to create a piece for him when I was there so I started working with these animals, which are indigenous to that region.

Sketch for ‘Alquimia’ PH: Catalina Romero

For me, alchemy encompasses everything; from the terrestrial to the spiritual. It can also represent the dualities of masculinity and femininity, as well as the volatile and the corporeal. Alchemy is about a search, rather than concrete answers.  My experience in Misiones transformed me, but I think these transformations are happening all the time. Alchemy is like a fractal, it’s everywhere but we’re not aware of it.  The creative process is an alchemy. You see the artist’s materials, and then how these get transformed into artworks.

In this exhibition, the viewer reconstructs the pieces themselves, participating in artworks that play with the limits of the abstract and the figurative.  I’ve been doing a lot of research on neuroscience and human behaviour, and in these pieces are references to the famous Rorschach ink blot tests.  Some of the images in the artworks are mirrored, causing the viewer’s perspective to shift between seeing something figurative or something more symbolic and cultural.  In one piece you might see the face of a tiger, or an African mask, while internally they’re really other things.

For me, the studio work is a laboratory for the work in the street. What happens in the studio, and in exhibitions, and in moments of introspection like these ones, is the raw material that is then used in the streets. But it’s also true that not everything you do inside can be done outside; an erotic series could be controversial for example, although I would love to do it.

De la serie INSTINTO para TRIFULCA I
From the series ‘INSTINTO’ for the exhibition TRIFULCA I at Hollywood in Cambodia, 2015

I started painting in the street because I didn’t have any space to paint indoors.  I was living in Barcelona in a shared flat so I started there, it was more free then. Over time my work changed, the street always changes you.

I think of a mural like a type of oasis in the desert. I’ve had moments where I just want to create some beauty in the street, leaving behind something that people will stop and look at, in order to generate a place where people can be at peace for a moment.

Barracas 2015 Ph Georgina Ciotti
Mural in Barracas neighborhood, 2015 / PH: Georgina Ciotti

The street art scene in Buenos Aires today is very trendy. When I returned in 2010 after living for a decade in Barcelona the scene was very open and now it’s really fashionable.  It would be great if we could prevent it from being absorbed further by the system. On one hand I feel like true street art is dead, but on the other I think it’s nice what’s happening, because there are lots of people painting and with so much freedom, which doesn’t happen in a lot of countries. But spaces are also becoming more regulated.

People have a philosophy about their work, but then at the same time you are forced to negotiate with reality, and that can result in contradiction. For example with street art festivals, they give you a space to paint, but it’s controlled.  Festivals are great promotion, and they make you a star, but there’s a compromise that you have to make.  I’ve done it before and it’s great, because you’re surrounded by friends and colleagues, and you learn a lot from everyone else, but I would never put myself in a position where my work is censored. I’ve always done what I wanted.

MUROPOLIS MENDOZA, Centro Cultural Le Parc, 2014 / PH: Georgina Ciotti

The streets are a good place to exercise your political rights. The situation right now makes me think of what you see in the U.S.,  where they give people a special place to protest, so that you ultimately need their permission to express yourself.  I think that a place where you see the walls painted is a place where the people are active and involved socially.

Art is a representation of the paradigm of the times, and i think that at the moment art is becoming more holistic, and that reflects what’s happening in the world.

Barracas Ph Fede Yantorno
Mural in Barracas, 2015 / PH: Fede Yantorno

Artwork Catalogue: ‘ASIMETRICOS’ by Nasa & Cabaio

Nasa and Cabaio recently collaborated on a mural in the Colegiales neighborhood, as part of their exhibition ‘ASIMETRICOS’ in UNION Gallery.

Although each artist has his own distinctive style, they were able to find common ground deep within their respective works and to use this as a starting point from which the rest of the exhibition was generated.

The mural is the final piece of the puzzle, as the artists come full circle and apply what they learned from the challenge of working together indoors back out to the streets.

Mural at Virrey Aviles and Conde, in Colegiales

In ‘ASIMETRICOS’, the two urban artists come together in a different context to celebrate the spirit of the dynamic encounters which so characterize the local urban art scene. In the gallery setting, their individual and collaborative works give rise to a unique and inimitable exhibition, which cultivates an inter-disciplinary dialogue.

You can view and download the exhibition catalogue here.


Artwork by Cabaio, Mixed media on canvas, 50 x 50cm


Artwork by Nasa, Acrylic on canvas, 71cm diameter
‘ASIMETRICOS’ exhibition at UNION Gallery

Interview with Jorge Pomar “Amor”

Graffiti introduced me to the world of art. One day I picked up a three cans of aerosol with a friend and we went to paint some bombs. Blue, chrome and black. I remember that day with a lot of joy, pure magic. Something changed inside of me.

Painting in the street became a pleasure and an expression of freedom. When I was a teenager I used to skateboard and hang out in the streets with friends a lot. I started experiencing the city with a lot of curiosity, seeing urban space as a place of experimentation and exploration.

"Crucigram", Black Circle Festival, Bushtyne, Ukraine, 2015
“Crucigram”, Black Circle Festival / Ukraine, 2015

Painting was the only activity that made me feel something intense. When I finished high school I had no idea what to do next. I worked in a couple of places and started four different university programs but I didn’t finish any. Painting became an activity that represented freedom and fun. Little by little, I started to visit new cities, and to develop new friendships. Graffiti opened a lot of new doors for me.

I find endless inspiration in the streets, especially in Buenos Aires. I pay special attention to different things: the grey building facades, cracks, construction sites, messages written in restrooms, tags on metal blinds, words carved on a tree, the design of iron railings, things that get caught in trees, colourful awnings, flags hanging from balconies, car stickers, the colours of the train and bus lines, the walls of the railway tracks, the back of newsstands, garbage strewn on the ground, the sound of rush hour, hidden spaces, going up on a roof, down into a tunnel, into an abandoned house, drinking coffee in a classic downtown bar, etc. The city is like a big playground where I can experience and be inspired by an endless array of different situations.

“Vicious Circle” / Association Le M.U.R / Paris, 2014.

Nowadays, I’m working on global concepts such as war business.  I’ve found a way to take on this dark subject through trivialisation, using color as my starting point. My interest in this issue arose during the week of the first match of the World Cup in Brazil. The conflict in Gaza Strip was picking up again in a terrible way and I was overcome by a sense of absurdity as I watched how the planet was being mesmerised by a ball.

Last year I focused on vexillology (the study of flags), identity and the study of color, all centered around the theme of conflict.  I held a solo exhibition called “$ 1.800.000.000.000” (one trillion eight hundred billion dollars) in Buenos Aires in the Alpha Centauri gallery, which took as its central idea the economic investment made each year in the weapons industry.  I’ve also traveled in several countries over the last four years, and some of these were engaged in serious conflict while I was there. I filmed situations of urban life, local culture and mural processes during these trips, and used this material to make a documentary film called ”Thirteen cyphers”.

“History and identity of Dock Sud”, Buenos Aires, Argentina, 2015

In Buenos Aires I had the opportunity to participate in “Pintó La Isla”, a beautiful project which took place in Isla Maciel, in the South of Buenos Aires. One of the artworks is entitled “History and Identity of Dock Sud”, which is a landmark close to the Buenos Aires port, the point of entry for a majority of immigrants coming to South America in the late XIX century. The most interesting part of my experience in this project was the widespread participation of locals in the project. Because of this, the artwork doesn’t have a purely individual framework, but rather belongs to various people.  This has created a context where the mural is better taken care of by the locals, and also favours the generation of more projects like this.

“Colors are for people, not for flags”, Respublica Festival/ Ukraine, 2015

I think the act of painting on the street becomes like a magnet for different situations. Painting a mural is all about being in a particular place for a specific amount of time and, while the piece is in progress, all around there is a constant flux of millions people, elements and influences. Exchange and interaction are unavoidable consequences. Over the last few years, I became aware that it’s all about living the experience, and learning and sharing, whatever the context, place, time and sometimes even the visual result of the artwork may be.

Collage on Fabriano paper 200 g 35 x 50 cm 2016
Collage on paper, 35 x 50 cm, 2016




Program of Workshops in UNION Gallery

graffitimundo and UNION welcome autumn with a program of workshops run by celebrated local urban artists.

Intended for both beginners and those with experience, the workshops offer a unique opportunity to experiment with new techniques under the direction of renowned artists.

Workshops are run in Spanish but are open to all. To sign up for any of the following, please email us at  Spaces are limited!



Description of Workshop
The workshop begins with a presentation of the history and theory of stencil, looking at different examples of the technique and its use throughout history. The artist will guide participants through the entire process, from the selection of images to their adaptation to the stencil using various mediums, including photocopying and Photoshop. Once the images have been chosen, each student will learn techniques of cutting, and will tackle the different challenges that come with designing and producing a stencil.

About the Artist
Cabaio began painting in the streets as part of the artistic collective Vomito Attack, a group motivated by political activism. In 2005, he started working on a solo project, developing a style that reflected a more personal and intuitive means of expression: colourful compositions, the repetition of geometric figures, the use of figurative elements and the inclusion of calligraphy.

Requirements: No prior experience necessary

Date: Saturday 23rd April
Time: 14 – 18hrs
Cost: 450AR$ per person, includes materials



Description of Workshop
This workshop offers an informal view of geometry, the construction of modules, patterns and their uses and applications in contemporary art. The workshop includes a talk in which the general concepts of geometry will be discussed, images will be analyzed and examples of geometry in different eras and cultures will be seen. Following this, each participant will produce different modules and patterns on paper employing various techniques of drawing, painting and stencil. The workshop concludes with experiments and debate about the finished product.

Take a peak of a previous workshops here: Video (Password: “Peliculas”)

About the artist
The work of Hernan Lombardo, a.k.a. NASA, is rooted in graphic design, architecture and modern art and is also influenced by the “do it yourself” philosophy. NASA belongs to a generation of artists who began to intervene in the city in 2000, changing the perception of the urban space.

Requirements: No prior experience necessary

Date: Saturday 7th May
Time: 14 – 18hrs
Cost: 500AR$ per person, including materials



Description of Workshop
The class begins with an introduction to collage and its uses as a creative tool in the production of an artwork. Participants will experiment freely with collage on paper by employing different textures, shapes and colours. Practical exercises are intended to help develop diverse perspectives, and the idea of balance in  abstract composition will be explored. The workshop culminates with the practical application of collage to an object, in this case the use of sublimation to transfer the unique design of each student to a mug, which they can then bring home.

About the Artist
Defi Gagliardo was a founding member of FASE, a multidisciplinary collective of art, design and music. Together with other collectives, they were the creative forces that generated an urban art form based on graphic design, characterised by bright colours, cartoon characters and lots of positivity. Defi’s compositions vary between the abstract and the figurative and are typified by big explosive gestures, colours and textures.

Requirements: No prior experience necessary

Date: Saturday 14st May
Time: 14 – 18hrs
Cost: 500AR$ per person, does NOT include materials

Thank you to Montana Colors for accompanying us!

Cabaio Stencil Workshop


Interview with NASA & Cabaio about “ASIMETRICOS”

We spoke with the artists NASA and Cabaio ahead of the opening for their new exhibition about art on and off the streets, and the challenge of taking on a collaborative show together in Gallery UNION.


NASA: I began intervening in public space as a means of revitalizing underutilized areas of the city.

I was really interested in the idea of bringing something anonymous to the city. I found a new medium where I could express ideas on a larger scale in the public space, which was a revelation to me in many ways. I discovered a direct interaction with the space and with the inhabitants of the city.

Cabaio: I started to work in the public space with Vomito Attack.

I have great memories of that time – always at night, a spray can, a few sheets of stencils and out to paint. I was in university at the time and I didn’t have any artistic project in mind. My “artistic” interest came later, after I had been panting in the street for a while.


Cabaio: So many artists have inspired me.

Without doubt Blec and Banksy were fundamental, they were they ones who brought the tool of stencil to light for me. Also Greco, Twombly, Vasarely, Basquiat, Yepiz, architects such as Kazuyo Sejima and Ryue Nishizawa (SANAA), Le Corbusier, MVRDV and Koolhaas among others.

NASA: I’m a great admirer of modern art and the avant-garde.

If I could go back to any point in history, it would be as a student of the Bauhaus, everything that came out of there seems incredible to me. The Argentine artist Perez Celis was a huge inspiration for me as well. He may have been the one to introduce me to abstract art, which, for some reason, is the kind of art I most enjoy.

Artists that inspire me from the past and the present, from here and there in no particular order are Miró, Kandinsky, Mondrean, Sol Lewitt, Le Park, Ferrari, Siquier, Stella, Celis, Pollok, Testa, Tapies, Minujin, Picasso, Warhol, Basquiat, Haring, etc.


NASA: Today my work is focused mostly in the studio.

That’s where I find the axis, it’s where my research and production happens. I am thinking about bringing my work to the public space again and applying there everything I have done in the studio over the past few years.

Cabaio: For me, there is an inevitable relationship between the work done in the street and that of the studio.

In general my work starts in the studio and continues in the street, beyond that you have no idea where it will end up.

I think that this process that happens behind closed doors enriches the local urban art scene. I see a lot of development in the use of different techniques and ways of intervening in public space.

NASA: I think that ideally every scene renews itself, that there are always new contributors who are nurturing and expanding the movement.

I believe in change and evolution! I think that the future of the urban art scene depends on the actors and their concerns, as long as we’re in movement the fire will keep burning!


Cabaio: For this exhibition, we have departed from an initial recognition and acceptance of ourselves as asymmetrical.

We have points in common as artists, but different work and different points of view. The interesting thing is to try to recognize what these asymmetries are and to work together from there.

This concept has also caused me to experiment with asymmetry in my own work. I have given space to different processes occurring in a personal way.

NASA: The exchange of ideas and processes is very enriching, to ramble together is great for the spirit.

While it’s common to work in a team in urban art, this case is different because we are dealing with an exhibition in a gallery, so the context is different. It’s an important challenge ahead of us, but I really like the idea of creating unique and inimitable pieces which merge both of our work. It will be something special!

With Cabaio, I have found points of connection deep within the work. They are about structure, repetition, the use of frames, positive and negative space. Things that are hard to find simply by just looking at a piece of work.

NASA for blog
CABAIO for blog








Stencil Workshop

Last week we held a stencil workshop with the artist Malatesta in UNION Gallery.

Malatesta began the class with a presentation on the history of stencil, showing different examples of the technique and how it has been used throughout history. Following this, the artist continued with the practical portion of the workshop, guiding students in the selection of images and their adaptation to stencil using both homemade techniques as well as programs like Photoshop. Having chosen images to work with, each student then proceeded to translate them into stencil, experiencing in the process the different challenges presented in designing and cutting templates suitable for painting.



The afternoon ended with an open air paint session, where the group took their newly-cut stencils to the walls, experimenting with different techniques of overlapping and the repetition of images using a variety of colors of aerosol.



Stencil continues to be one of the most effective techniques for creating a striking image. While its effects and results will depend on the talent and experience of the artist, it remains an extremely interesting technique and tool for someone who is just beginning to develop their art.

UNION Gallery holds exhibits of urban art and also offers workshops lead by local artists. To receive more information about upcoming workshops or to organize a private workshop write to us at Experience is not required to participate.

Thank you to Montana Colors for accompanying us!