1. Please, tell me some of your personal information: age, profession, artistic carreer, where do you live?
home town: Montreal, Canada
2. Why did you decided to work in streets?
I wanted to work in the streets because I wanted to have a voice, to have a say in the public dialogue, un- mediated by the usual channels of expression such as radio, television and newspaper or the other venues in which artistic expression usually appears such as art galleries or museums. I also wanted to express ideas that I felt were probably contrary to the status quo and therefore difficult if not impossible to receive official permission for. Anyway, it was my feeling that the official channels of communication (the status quo) were severely biased and undemocratic to begin with which to me justified such an unsanctioned and ultimately illegal form of expression. It was my feeling that the system as a whole was unbalanced, unfair and generally flawed and I felt further justified by what I considered to be a general disrespect for genuine justice and democracy and a general level of hypocrisy and denial within the media, the government and society at large.
3. What did “pedestrian art” means?
“Pedestrian art” was a title I gave to a piece which transformed a section of sidewalk into a running shoe but the title is relevant to all of the work I’ve done on the street. The title in the case of the running shoe piece has a few meanings. First of all, the running shoe, being made for the foot is literally “pedestrian”. Because the piece was done on the sidewalk, the audience is also decidedly pedestrian. So on one hand “pedestrian art” means art for pedestrians, for people that walk, for people that experience the city on foot. I’ve always felt like it was the best way to experience a city since your pace is slower, your experience of the environment and the people in it is more immediate. In a car, you’re insulated from the immediate environment by steel, glass, air conditioning and sound proofing and the pace at which you move is too fast to assimilate the surroundings. This somewhat virtual experience that’s engendered by driving a car also influences one’s relationship with and attitudes towards the surrounding environment and the people that inhabit it. I would say pedestrians are generally more in touch with the city than those that drive. To appreciate street art for example demands that you get out of your car in most cases.
The word “pedestrian” in English can also mean lackinginvitality,imagination,distinction,etc.; commonplace; prosaicordull. For me this is a reference to attitudes towards street art and graffiti in general, which even though it may be popular and fashionable, is still generally considered beneath the purview of art galleries and the serious art world in general. I wanted to subvert the pejorative sense of the word “pedestrian” to in fact celebrate the “commonplace” and the “ordinary” and ultimately the democratic implication of the pedestrian experience.
4. Which is the message implied in your art?
Different messages are implied depending on the context but overall my goal is to question the unquestionable, shed light on the “taken for granted” and break through my own and others general state of denial.
5. Please, tell me about your thematic you prefer and why? Ex. Nature, house objects, etc
Organic forms from nature are often more pleasurable and even therapeutic to observe and draw. I also like to introduce natural forms into an often times cold and mechanistic urban environment, a reminder of sorts, that nature still exists and that it might once again assert itself despite the concrete, asphalt and steel that surround us. At the same time, I consider man made objects to have their own beauty. They are mirrors in a sense of the human psyche, revealing as much through their functionality as through their aesthetic form. I’m particularly interested in man made objects that are not quite “modern” and that appear dated in some way. A rotary dial telephone for example is more interesting to me than an iphone.
6. Paint and shadows work fine together? Which other street elements you like?
I’m particularly drawn to elements that represent repeating patterns such as sewer covers, street markings, street signs, sidewalk patterns etc. Because of this repetitive nature of the man made environment there are countless opportunities to intervene in urban spaces.
7. How far do you want to go with your art?
As far as it will take me.
8. Which is the biggest paint you did, which is the smallest?
I think the biggest painting I did was a stretch of road that I painted for the Tour de France. The smallest was probably a Banana Peel I painted on the streets of Barcelona or a seagull painted in Normandy France.