We started to paint under the name of... what was the name of the droogs?
We were in a very punk period and the name was gazing at us.
Then things started to change and we started to give ourselves a tone.
We decided to change the name.
We started to look for two words that would be a good idea. We were 22 years old.
When we opened the studio, in fact, it was many years that we painted together, at least five.
And it was three years that we worked together.
The first work on commission we had done during the years of the university.
In fact, in Turin we have a number of embarrassing walls.
It was what pushed us to try to take a step forward in developing the graffiti,
to write its own name, to mix it with illustration, graphics, painting, and it is what we continue to do now.
To contaminate with the graffiti the studio part and vice versa.
To make the samples, to make artistic works, to paint, things that are absolutely essential, such as gasoline, as food for creativity, as a fire, as an adventure, to meet people, to travel, as it is now.
The graffiti is a little sticky.
Nice to meet you!
To make friends, to find people in other places, in other cities that make graffiti.
This makes it very easy to be able to export your own art, to go to another city because you just have to make a call,
and the fact that all two graffiti artists become friends automatically.
This is the way in which, for example, you know the guys here in Dark Lane, they came to Turin.
They saw our works and there they offered us.
This is not a real plug-in in order to make a sample, it is voluntary.
For all the conventions, all the gems we have been here, whether they invited us or we wrote them, asking for a place or something we can do.
We got to know you because you felt like that other guy who was making graffiti.
You already have something very strong in common.
To share strong experiences and it is a vehicle in which you will insert your own strength, your own fluency.
To convey it in something, from our point of view, very, very healthy.
If we had not met the graffiti, our adolescence would have been hidden in a more sad and useless way.
Instead, the challenge, the desire to be together and do something for us is great.
To make a sample, bring your own pieces abroad, is not, from a certain point of view, nothing new.
Because if you are born and grow up as an artist, doing things on the street,
confront yourself with people who have nothing to do with what you are doing,
you give the other graffiti that passes, occasionally, in front of your piece to an old man,
to whom you may also have to explain what you are doing, because it is not very clear to him.
It is almost the same thing.
Let's say that taking 50-100 pieces and bringing them somewhere means feeling ready to do something like that.
It means being quite convinced of what you have done.
To believe us.
To believe us.
The comments, the appreciations, the criticism, the confrontation with other artists,
whether they are going to paint or to expose where other people are.
It is all part of the game.
And the graffiti already prepares you a little bit for all this,
because painting in the middle of a road at night, a day-to-day account with everyone passing by,
you also receive insults, people passing by in the car and saying, go to work.
But it is also true that I love, for example, to stand up and talk to the elderly who pass in front of my pieces,
who are very curious.
From here I get absolutely more harsh comments from the criticism,
as well as from the children.
And these things prepare you a little bit for the exhibition, which is a more formal context,
in which there are many more intends.
So the discourse you make with someone who is passing while he is working and does everything else
is very different from the discourse you make with an art enthusiast who comes
and takes a little more specific information.
Of course, it gives you the opportunity to not only expose an artwork, but explain it,
to talk to the inauguration with a little bit of people,
to share all the thought, all the work behind an artwork.
Let's go!
There are some typical characteristics of my drawings.
One of these is to design for the most animals a very rare human figure.
It is a kind of tribute to me in the confrontations of nature.
I use the bow from my ideal of perfection, which resides in the circle.
I put a portion of perfection in my drawings.
I try to do it as much as possible.
I put my hand on the sheet of paper and then I put it in the plotter with a marker attached to create my portions of perfection.
I put a portion of perfection in the plotter with a marker attached to create my portions of perfection.
I put a portion of perfection in the plotter with a marker attached to create my portions of perfection.
I put a portion of perfection in the plotter with a marker attached to create my portions of perfection.
I put a portion of perfection in the plotter with a marker attached to create my portions of perfection.
We started to look for meaning, we didn't want to do the animorphism itself,
because the photography was fantastic, the location was perfect.
When you organize an event with music, if it is not cleaned, it is just immondition, music does not leave a mark, and then we decided to leave it.
In this case, where we are, as happened with the animorphism of Medusa, the plotter helps you to a certain extent,
it is not so immediate.
Where we are sitting now, the projection was practically invisible, because a pixel was maybe 1 cm wide, but also 30-40 cm long.
The light of the projector touches the surface as soon as it touches the surface, so after giving a general fog,
it is necessary to have a great team work.
So one must stay at the point behind a photographic car, and must go to correct,
from one side to the other, from the location, to correct each single track to make everything square.
With the experience we had, we managed to do these tasks only for the final result.
Despite 8-10 days of continuous work, at night, at the end, when you finish everything, you go to look at it from the photographic car.
Yes, it is a satisfaction. It is fascinating.
Odine and Chaos, fortunately, with the work I do, I can keep in balance both of these pulsions,
on the one hand there is the graphics in which I put myself, I have a rather numerical approach,
geometric, everything must be in grid, everything must be inclined compared to specific degrees,
everything in relation to any space, to a great level in relation to the total,
everything in a great order, and that work as a medium on the computer.
On the other hand, on the other hand, I escape as crazy as I was a doctor,
I mean, Mr. Hyder, in my laboratory, which is a place that cleanses, which is totally dirty,
and there I can paint like an animal, I can dirty any clothes, I can dirty myself,
and create in the most instinctive way that I know.
When I paint too much, I think that I am no longer able to use the illustrator,
and I have to run on the other side. When I am too much on the computer,
I seem to do something too much, I want to escape and go to the laboratory to paint,
maybe these things are part of a circle that holds me in motion.
I have been drawing since I was a child, I have always loved drawing since I was a child,
I used to draw on furniture, my mother was not very happy,
but it is really thanks to this passion that I had since the first years that I was born.
The watercolor, like the china, is something that when you touch the leaf,
that sign there is part of the final result, and you don't go back.
There is spontaneity, there is freshness, there is impulse,
and there is the fact that every stone you put down is part of the final result,
and in my opinion this is the most exquisite metaphor of life that can exist,
artistically speaking.
Life is a continuous journey, you have to continue discovering it,
you have to encourage it, turn it around, if you want,
by painting, writing, singing, telling it, telling it to others.
It is a whole issue of telling what inspires you and what surrounds you,
because in my opinion the most beautiful inspiration is this,
what we have around us now is absolutely the source of pure inspiration.
To be continued...
We were painting on this scale the mother there asking what they are doing,
without looking at us and not knowing how to give an answer to not be annoyed,
they do the magic.
And I started to come to the cream because I felt really good.
To be continued...
To be continued...
