Humans are a conglomerate of realities, a product of the discourses to which we are exposed on a daily basis. In the construction of our identity, we choose to personify those values and ideas that best match our subjectivity, even if this means opposing a centuries-old cultural system and risking our lives in the process. This is the reality of women in our time, a struggle to end the avalanche of tacit and structural violence which, despite the proliferation of actions and discourses in favour of gender equality, seems to be increasing in direct proportion to the number of voices against them. In this sense, art is seen as an ideal means of denouncing the patriarchal patterns that, impregnated in our culture, degrade, minimize and destroy the integrity of millions of people who, simply because they are women, suffer the vicissitudes of an absurd hegemony.
Art and urban art, in particular, not only denounce situations, but also offer alternatives, courses of action that make it possible to eradicate a problem or gradually transform a belief system, an idea or a simple behaviour. To this end, art should not be limited to a specific sector of the population. Paola Delfín, originally from Mexico City, is a contemporary artist whose work explores the beauty and sensibility that surround the female figure. Highly influenced by the techniques of illustration, Paola manages to incorporate elements of femininity, creating dynamic contrasts that try to give her work its own life. Her philosophy is that art must be accessible everywhere, “my passion is to create, to be able to tell a story with my hands through images that involve the spectator in the story”, says Paola herself for her biography on the Widewalls platform, emphasizing the importance of artistic manifestations jumping from the galleries to the streets in an attempt to make the medium more accessible.
Paola Delfin’s approach to art came at a very early age. As a child she always saw in her pencil and paper the possibility of visualizing her reality through drawing. In her mission to take her art to all possible places, Paola has experimented with different techniques and formats to catalyze her ideas and emotions, finding in muralism the ideal means to convey her message to society, away from the exclusivity that usually involves the artistic medium, to promote a true interaction between the audience and the artistic work, which invites reflection and encourages action.
Paola has managed to take her work to streets and galleries all over the world, countries such as Germany, Argentina, Colombia and Spain, have witnessed how the fluidity of her strokes manages to appropriate large walls to make visible the strength of her work.
Paola Delfin is currently painting on the dome of Focault’s pendulum for SeaWalls: Water is One, a new edition of the Pangeaseed Foundation’s SeaWalls: Artists for Oceans program, produced by Nueve Arte Urbano.
By Ricardo Quezda.
Photos Gabriel McCormick, Eddgar Torres and Yoshi Travel.
Intercultural Festival of Urban Art begins in the city of Queretaro from March 27 to April 15.
If, at this early age of the 21st century, we could speak of a predominant artistic trend in the world, that would be urban art. The movement of monumental plastic art, which takes its influences from muralism, graffiti, public interventions and even from the most astute advertising activations, has made its growth the culmination of a social idea that emanated from the deepest values of humanity when the French Revolution was proclaimed in 1776, making art a universal right to which all people must have access, the brightest edge in the arsenal of democratization and cultural proliferation.
Today, this movement, which although it has its speakers and its detractors, has evolved and found a social niche through its synthesis as a tool that gives voice to the ignored, strongly raises the messages of those concerned and finds its catharsis in the street, where passers-by can be impacted, motivated and in the most benign of inspired and prosecuted cases. Thanks to this last quality, urban art has found a new paradigm, the artivism that summons artists from all over the world to take the walls and walls that make up the panorama of a city to delve into the depths of its social scars and unveil one of the challenges facing its citizens, generating concise messages that allow them to take assertive action before it is too late and from a challenge to a real difficulty for that society to find progress and ensure its survival.
This scheme, of finding the elephants in the room, has given urban art a differentiating capacity among the current trends that predominate in museums because, contrary to contemporary art and its complex and literary statutes, urban art is born of the ramplonería, of the simple, honest and raw of the streets, of the aerosol cans spitting paint on the brushes passed by water and thinner, of the truck singing the song “Panadero con el pan” to the traditional carnivals.
Thanks to this, artivism as a branch of urban art is able to connect with people, improving the neighborhood relationship, making visible the forgotten roots of an oppressed nation or contributing enormously to the preservation of marine life, as Nine Urban Art has done in Querétaro and Estonia through transgrafiti, or Pangea Seed through her artivism in coastal cities around the world. As in its time with muralism, Mexico is positioned as one of the leading exponents of urban art, thanks to various public and private initiatives but above all to the enormous desires and desires of artists, graffiti artists, illustrators, designers and enthusiasts who make up the national scene of urban art. From all of them and for several years Nueve Arte Urbano, whose headquarters are in the city of Querétaro, has managed to establish a viable model for the positive appropriation of urban spaces with collective causes.
After a complex mission to Estonia in 2017, with the transgraphiti festival “Mextonia”, Nueve has returned to the city where it was born and together with Pangea Seed Foundation, one of the main promoters of artivism worldwide, are developing the “Festival Water is One” at the Centro Cultural Manuel Gómez Morín CECEQ in the city of Querétaro, with the specific aim of generating murals that evoke the problems of water today and allow citizens all over the world to take initiative and begin to positively impact their environment.
With the participation of more than 16 national and international artists, the festival intertwines the qualities of transgraphiti and artivism, developing a series of pictorial proposals that make up a meta work of art inside the cylindrical building whose dome holds a Foucault pendulum and which houses the Science and Technology Museum “The Pendulum”. Like the waves that form when a drop breaks the surface of a body of water, the festival seeks to make CECEQ the epicenter of a conscious revolution in the care and management of water resources, in other words, that we citizens waste and pollute less water in our daily activities. With the intention of generating a message that spreads, the festival will concentrate its work on the CECEQ, creating an eye for the hurricane, where they will be painting Aaron Glasson, Curiot Tlapazotl, Demencia, Goal, Jason Botkin, Mantra, Nosego, Paola Delfín, Pogo, Renata, Ryper, Sermob, Smithe y Sänk, with the industrial painters Jorge and Fernando Lucio, from where the series of affluent murals headed by Saul Torbe, Miguel Valiñas, la Xfamilia, Roco Oñate, Lelo y Root Rises.
What does it mean to be an artist today? What is art in 2018? As in everything else, history has shown us that the conception of art and the artistic has evolved between periods and societies. From cave paintings in caves around the world, they gave way to artistic manifestations that told the story of great civilizations from China to Mesoamerica, through the elitist art of European monarchies and the Renaissance, to the avant-garde of the 20th century, which diversified and democratised the world’s artistic scene, setting the stage for all the disciplines, techniques and means of artistic expression that we now classify or attempt to classify as art.
What is it that makes all these forms, rites, strokes, experiences, stains and sounds come together under one word? To tell the truth, I think we will never know and, more than approaching a consensus, the debate on the definition of the artistic is constantly expanding, hand in hand with the evolution of the media with which an artistic piece can be created and the spaces in which it can be exhibited or distributed.
In these times of ambiguity or plurality, depending on the lens with which one looks, it is common to question the artist about whether his work is artistic or not. And if a work is not art, then what is it? “It is what it is. I don’t think it’s anything unique or different. I’m just being myself,” says Yis Goodwin, better known as Nosego, in an interview with The Hufftington Post when asked why his art is not art. Born and raised in Philadelphia, Nosego is a multidisciplinary contemporary artist who embraces urban art as one of the many platforms on which his work reaches the public.
This philosophy that removes labels from the forms of expression and breaks down the barriers that limit creativity, is the one that allows Nosego to inspire people with messages translated into fantastic creatures that fuse with urban life and impact people’s imaginations in the blink of an eye. After being rejected by different institutions to exhibit and further develop his work, Goodwin saw in the refusal the perfect excuse to emancipate himself from the bureaucracy that usually obscures art, to take his work to the spaces where it could really have an effect on people: the street.
In Nosego’s compositions different elements converge that give life to dream beings, composed of figures and characters that emanate from his imagination. According to Goodwin himself, these assemblages have their origin in childhood, when the uneven compositions that could arise at the moment of joining one toy with another evoked in him a new possibility to create and play. Now that same style of voluminous patterns and vibrant textures, which form characters converted into living ecosystems, has its origin in the conception of life as a set of moments, memories and lessons that structure our identity, a whole that represents us with our different nuances and defines us as people.
For Nosego, life is a collection of small moments that together tell a great story, with this slogan he wants his art to take him to places where he can connect with different people and communities, always attracted by the mystery of not knowing what his next destination will be. With the arrival of spring in the city of Querétaro, the imagination of Nosego will also come to participate in the international festival SeaWalls: Water is One to be held from March 27 to April 15, 2018. Water is One, is a collaboration of Nueve Arte Urbano and the Pangeaseed Foundation, in conjunction with different private and governmental institutions, which aim to increase awareness of the global crisis surrounding the vital liquid, through the possibilities offered by urban art and muralism. Nosego will join a multicultural group of artists who, with sprays and brushes in hand, will translate the history and problems of water into visual narratives that connect with society, while contributing to the change in mentality that the current water situation on our planet demands.
On March 20 at 10:15 the spring equinox was held, dividing the day exactly into two equal parts. While this natural movement of the earth invites hundreds of people to visit archaeological sites or natural wonders, it also offers an opportune moment for in-depth analysis and reflection on the balance.
Millions of years ago, the earth was a single landmass united and in balance with nature and water; today humanity faces the greatest problem since its inception, that of recovering the balance that has allowed life on earth. Under this mission, associations, foundations, associations, collectives and society in general have taken to the streets to put the issue into the mouth through artivism and other actions that seek to preserve natural resources, care for flora and fauna, and the search for equality between people regardless of race, sex, belief system or origin.
As in ancient Mexico, duality has always been a fundamental theme: day and night, life and death, or the four elements, are tangible manifestations of the natural order of things, but above all of the balance that governs the world; the equinox, with its twelve-hour day and night, also symbolizes an opportunity to open up thought in a year that seems politically and socially complex. For ordinary people, who contemplate and live with artistic manifestations, commitment is optional but fundamentally necessary to achieve a collective dream.
Beyond the contemplation of the artistic manifestations characteristic of urban art, it is of vital importance to balance and calibrate the reality that the inhabitants of the world understand our role in our society, in its care and in the preservation of resources, under this slogan the mission of artivism is centered if in generating art, but above all in generating change, not only at an ecological level, but in all the spheres that make up society and culture, unleashing integral actions that allow each citizen to contribute to the flourishing of a new nation in harmony where balance, equal rights, obligations, security and opportunities, the preservation of natural resources and the recognition of historical knowledge are proliferating, in order to lead to the creation of a prosperous future, as the Mexican spring has naturally been for millions of years.
La media esfera representa la bóveda celeste. En su cúspide, el domo presenta un “óculo”; agujero que abre la bóveda hacia el vacío del cielo, cómo narran los mitos culturales de la humanidad. Del óculo cuelga, 28 metros abajo, un péndulo de bronce de 280 kilogramos. El péndulo evidencia la danza entre el cielo y la tierra, mostrándonos la fuerza de gravedad y el movimiento de rotación terrestre.
Entre el Cielo y la Tierra, un grupo de creadores libres, crearán mensajes pictóricos para inspirar a la comunidad hacia la unidad, hacia la naturaleza y hacia la comprensión de que “El Agua Es Una”.
Before the universe was what it is, there was chaos, and consciousnesses were on the sidelines of the singularity and the great explosion. Later, and with the passage of the eons, the sky was separated from the earth, and our ancestors called the four symbolic pillars that sustained the spherical celestial vault “Tezcatlipocas”, separating it from the square Mother Earth.
“Mexico” is a mysterious word. It comes to us from a past that is lost in the dust of history. It is said that “Mexico” means “in the navel of the moon”, in the centre of the world. In turn, “Tenochtitlán” means “tunas on stone”, which in the lyrical language of our ancestors means “in the heart of the earth. The thousand Mexican identities unite in a cluster under this poetry: “IN THE OMBLIGO OF THE MOON, IN THE HEART OF THE EARTH, WHERE HEARTS ARE OFFERED TO THE SUN”.
This is the poetry that inspires us to create “Water is One”: The dome and its pendulum represent the navel of the moon and the heart of the earth, and we who offer heart, work, narrative, dreams and resources; artists, writers, authorities, producers and people, we thank life and ask for support from Queretaro, to achieve our task with the highest quality.
Many thanks to all the authorities, to all the allies and to the four pillars of heaven, for allowing us to live fully, to create and to act.
Ometéotl (duality rules together over the universe).
We arrive to March 2018 and the spring already begins to feel in Queretaro, with high temperatures and suns worthy of the warmest summer afternoon. A very different reality from Montreal, Canada where, to this day, the snowfall leaves layers of 20 centimeters of water in the process of melting. The most basic reading would say that climate change is a myth and that the fact that snow continues to fall and accumulate on cars, sidewalks and roads today is only a symptom that temperatures are stable and that the Earth does not suffer the ravages of human activity.
The truth is that the Earth is a dynamic entity and its more than 4.5 billion years of history have shown that our planet is in a changing state and that everything that happens on it directly affects that process. Our era has given us different utopias regarding life on Earth in the coming years, but the ability to understand that fatalistic discourses about the environment can be eradicated if we change our mentality is a constant challenge for the societies of the world.
Back in Montreal, the city that is eagerly awaiting the end of an outdated winter, is Jason Botkin, an artist and producer whose work explores the possibilities of unconventional art to inspire society to radically change its way of thinking,”by stimulating greater awareness of relevant cultural, environmental, sociological and political issues. Throughout his career, Jason has collaborated in the production of more than 200 murals around the world since 2009, and has participated in solo and group exhibitions in Canada, the United States and various European countries. In addition to Botkin’s extensive portfolio, he co-created and directed the EN MASSE project, which aims to explore the spontaneous creation of large format black and white drawings and public installations.
Within his international collaborations, Jason also serves as regional project coordinator for the Pangeaseed Foundation in Canada. The issues directly involved in global warming, especially those that affect the Earth’s water bodies, are often too complex, limiting the actions that people can take to help reduce them. Pangeaseed, through its public art program SeaWalls: Artists for Oceans, aims to raise awareness about ocean conservation by creating large-format visual stories that interact with society and change people’s mindsets about the vital liquid and its ecosystems.
Jason Botkin will be present at the SeaWalls: Water Is One international festival, a new edition of the PangeaSeed program to be held at the Manuel Gomez Morin Educational and Cultural Center of the State of Queretaro, from March 27 to April 15, 2018. Botkin, together with a multicultural group of artists committed to water conservation, will accompany Queretaro’s spring with pints that, rather than beautifying the city’s urban landscape, aim to create visual metaphors that will impact the mentality of the spectators, in the hope that these messages will be translated into actions that will allow them to recover the balance between the Earth’s blue ecosystems.
Lying and on the brink of death, a senseless creature surrounded him and began to utter foolish words, soon more beasts of fierce colors and impossible shapes joined in; a serpent with crow’s feet, a donkey with wings and a tongue of fire, a coyote with sparrowhawks’ wings, spotted lizards with lion’s claws and horns, and so several more who in multitude joined voices and began to sing a single song that Peter’s mortal ears gradually understood: abje, al, albrej, Lebrija, lebrije, alebrija, alebrije, alebrije, alebrije… horrified and stunned Peter ran with all his might and when the lungs began to burn and the heart started to explode instead of beat, he staggered and with his fall the spirit returned to his body.
He drew air as he had not since birth and awoke from his dismal sleep. He was surrounded by his family, the burst ulcer had him very badly and yet he got up and tried to explain what he had found in the world of dreams. The words were not enough, they clumped together in his mouth and seemed to make no sense to the ears of those around him. Peter had an idea, took his working materials and spoke through the cardboard, thus releasing the first alebrije.
This happened many years ago in Oaxaca, but the national soil has the characteristic of being very fertile in creators. Now, when we visit the streets of Mexico, it is increasingly common to see artistic compositions reclaiming concrete walls by filling them with the tones of a particular artist. Within the Mexican urban art scene, one of the most prolific and interesting artists without a doubt is Curiot Tlapazotl whose work inevitably reminds me of the story of Pedro and makes me wonder what Curiot dreams of.
Native of Sahuayo Michoachán, also home to the Trino’s zombies and the tlahualiles, Favio Martinez, better known as Curiot, develops his works on the threshold of the oneiric and the real, between the pop and the surreal, developing to each stroke beasts charged with Mexican folklore in an adoption and symbolic reinterpretation unique and fascinating that, among other motivations, seek to infect viewers with the desire for creation, as a highly positive creative bacterium that counteracts and provides an emotion to contemporary citizens, zombified and
Settling for much of his life in Costa Mesa, United States, during the golden age of skateboarding, Curiot developed an affinity for drawing that quickly turned into love and returned to Mexico at the age of 19 to enter the Fine Arts faculty at the Universidad Michoacana de San Nicolás de Hidalgo where he began to develop his style, sometimes decomposed, sometimes fine, sometimes beastly, and sometimes delicate or intriguing, denotes the freedom he has managed to conquer in each stroke by tasting a personal style reminiscent of a remix among the bestiaries of Aloys Zötl with influences of the skate decks, the creatures of Mexican folklore, the dance of tlahualiles and some strokes of Carrigton.
Freedom is a dream and in the present day it seems that living from art is also a dream, but beyond recognition or success, Curiot’s work is one of the few discourses where it is clear that he lives in his art, under this scheme it is undeniable that Curiot shares a fragment of himself in each of his”cute” and curious” creatures, reaching from it an evocative capacity that immediately transports us to the dream world, where ideas flourish from the ashes, where the tlahualiles are monumental creatures that escape from the canvases and the animals fuse with their surroundings and delicately escape from the walls to steal an emotion from people to fight the abominable grey of the cities, to give us a little bit of dreams, a little something to remember.
Stretched out and on the verge of death, humanity rests in their homes, their cities or their streets, around them creatures made of air, earth, water, fire, leaves, animals and flowers abound in the world of dreams. To the imagination, their shapes become impossible to describe and it is not until the Curiot’s hand releases them with spray or brushes on a blank canvas of cloth or brick and they take possession of the space away from the dead and mundane, or at least that’s what Curiot Tlapazotl seems to dream.
The Creatures of Curiot Tlapazotl will be present in Querétaro during the Festival of Nine Urban Art Seawalls Water is One, from March 27 to April 17, 2018 in Querétaro.
You can learn more about Curiot Tlpapazotl’s work at:
More photos from the Stills agency:
Where does inspiration come from? The human being, by nature, lives in a constant internal struggle to reinvent himself; art, in all its aspects, is presented as the ideal means to enter catharsis. Although artistic manifestations come unannounced, we humans are often forced to confront the innermost spaces of our subconscious – as intimidating as this may be – so that, through observation and questioning, we can find that spark that ignites our emotions and clarifies our ideas, allowing us to turn them into tangible means that interact with other people.
Since 2009, Lilian Muñoz, better known as Demencia Beivide, explores the need to confront ourselves to find peace and fulfillment, embracing”madness as the character we all evade being”. With a style of complex graphics and voluminous textures, the technique of Dementia has evolved, adopting the line as the characteristic component of his works, which he”delimits and at the same time creates”. Through the exploration of the human form and its relationship with the environment in which we find ourselves today, Dementia explores the limits of madness, to abstract the most organic from the mind. The colours and textures present in his work evoke a permanent dialogue between man and nature through time. Trained as a graphic designer by the Universidad del Valle de México in the city of Querétaro, Lilian is constantly learning new techniques in workshops given by different artists.
As a multidisciplinary artist she has participated in urban art and industrial design projects, as well as different artistic applications such as illustration and ceramics, inviting her viewers to reflect on themes such as identity and time. Among her most characteristic works are the ceramic skulls, or as she calls them,”crazy flowerpots”, which, in addition to serving as life support for any type of plant, are inspired by the Aztec culture where the skull represented a symbol of eternity and resurrection. Demencia creates this skull-shaped work to reinforce and spread pre-Hispanic symbolism,”personalizing lives with Mexican design and folklore. Thus Lilian demonstrates that art should not be limited by the medium in which it is transmitted, since, as Dementia herself mentions on her website, she paints on any surface.
Demencia Beivide has become a renowned plastic artist in the national scene participating in events such as the 20th Anniversary of the Museum of the City of Queretaro, the International Jazz Festival of San Miguel de Allende and the fair URVANITY ART 2018 in the Spa Gallery of Madrid. This year he will join the group of national and international artists that will be part of the international festival SeaWalls: Water Is One, a new edition of the SeaWalls: Artists for Oceans program produced by Nueve Arte Urbano and the PangeaSeed Foundation, to be held from March 27 to April 15 of this year in the city of Queretaro.
Citius, altius, fortius, translated literally as stronger, higher and faster is the motto of Olympism and condenses the qualities that human beings aspire to refer to sport. For those who practice graffiti exercise, the Olympic notions are not a doctrine, they are a daily experience of life. Stronger art, higher walls and faster pints are the fundamental pillars that created the X famila
“A collective must be multidisciplinary, graffiti, stencil, roller, brush, documentary filmmakers and to some extent that makes a crew better composed”. Frank.
In a country where art is perceived as a tool for demographic segmentation, public art represents one of the strongest forms of democratization of artistic expression. Under this motto, the members of the X familia create and have painted with a strong national identity message, creating with a discourse of aerosols and brushes pieces that seek to remove the passer-by from the urban monotony, throwing a stimulating cocktail of colors that due to the complexity and proportions becomes part of the urban iconography, as demonstrated by his piece Tlazokamatli in Tlatelolco for the Transmuta Festival.
Born of affinity and the desire to paint larger and larger walls, the X famila was formed unofficially Circa 2008 at some point on the map between Torreón and Tlaxcala, when the Mexican graffiti scene was in its original stage and the “super-events” and “expos” that celebrated a crew in a city were the bread and butter of every week; In this way, the tips were aligned until the original Xtreme Crew, a crew that wanted to paint monumental and extreme pints, coincided with the generation of the original Xtreme Crew, but faced with the need to find a meaning that would connect with each of its members and disavow the American ideals of the nickname Xtreme, Atler AKA the Satanic conceived the idea of X as the perfect cross of equilibrium: up, down, left and right, having the family as a natural consequence of the brotherhood of people who have been managing an identity style for years and above all sharing life as a family, as an X famila.
Descendants of an urban style that is not satisfied with the graffiti flush with the floor, the monumental work of the X familia has found in its fundamental differentiator, the macro format, the capacity to transcend and break the ephemeral nature of traditional graffiti creating a discourse of the street, for the street and with the street, where the game of interpreting signs and the massive valuation of the pieces in a public gallery is generated.
Graffiti is not street art, it is something unique, unclassifiable and its illegality is innate, but in recent years it has become a public manifestation of a scene that was invisible to other citizens and which, by inserting itself in the artistic circuit, swings in and out of the legal margins to generate Street art and it is at this point where work, more than a complication, is a way of living or surviving.
Beyond the urban romanticism that seeks to reflect the circuit of world street art where the pints appear on Facebook and Instagram and enhance the artistic or discursive quality, the creators, many initiated as graffiti artists, seek to dignify the craft and establish a stage with better opportunities yes, but with greater respect and humanity.
“The worst thing about the national urban art scene is the way some managers turn around and stop being human, that is, they see you and your talent as merchandise. That happens a lot with urban art and graffiti think that by giving you a support you can say artists, it seems that they think you paint and you don’t get tired, this is not a hobby is a lifestyle”.
Frank and Leba.
With their respective ups and downs, the members of the X familia, some of them married and with children, see in the new generations an opportunity to recover the way in which the paintings were generated: painting without waiting for them to be invited, taking initiative and, above all, believing that there is no wall that cannot be overcome in unity with your friends.
“Gather your things, your friends and paint. It is not a question of self-management, but of graffiti at heart, of the street, in which the Sunday pints are painted for example “. Frank.
In the street there are codes and adagios that in one way or another normalize graffiti and in the same way the union of artists with managers seeks to create the union. The collaboration of Nueve Arte Urbano and X familia has managed to generate brotherhood between its people, becoming evident when the piece is finished in time and form, as if it were a gift for the city.
The future is full of murals, aerosols and paint for the X familia, a balance between colors, scaffolding, lifts, tips, family, friends and personal development, but before seeing the future Leba, Dark, Seckir and Frank look back and while they remember a little nostalgic and a little bit remorseful not to have started before and with more strength, and remember that in the X familia, a balance between colors, scaffolding, lifts, tips, family, friends and personal development.
The X familia started with the series of murals Afluente that makes paintings in the perimeter of the Cultural Center of the State Manuel Gómez Morín, where it will take place The Festival the Water is One with the piece “Al Vibrar de la danza” on Pasteur Avenue, Frank writes about it:
“Holy Cross you salute with a glow to the four primary axes the result of communion between the sun and the moon dance that unifies man with the cosmos generating harmony and balance by vibrating your feet like butterfly fluttering being free life-giving seed yoyotl that resonate one by one resembling the fall of raindrops Universal water transmitter that purifies and give life to our existence.”
In a multi-diverse country, the 13 brothers from eight different states that make up the X famillia will continue to create murals that seek to highlight in a real and profound way the national identity in order to generate a nation in contact with its pride, aware that it is capable of transcending and overcoming its challenges. Always in union, always in collective, his work reminds us that in Mexico the X is of family.
They say that the fluttering of a butterfly is enough to cause a hurricane on the other side of the ocean, this idea coming from the chaos theory is frightening and irremediably beautiful. Within the complexity and grandeur of the universe, we as humanity are a particle within an immensity but, as they draw ever closer to the earth, these small particles begin to acquire a fundamental role as butterflies flapping at the same time.
Everything we do and stop doing has a huge impact on the place where we develop and therefore in the short or long term will have a huge impact on the whole planet and therefore on humanity. In our time, transcending separation is one of the fundamental missions for anyone who wants to understand its role in the world and in nature; for artists like Aaron Glasson, this understanding is manifested in each of his actions and above all in his particular way of seeing the world through each of his works…
Born in New Zealand, Aaron’s studio work and installations have been exhibited around the world, in places such as the MOTAT and Spoke Art Gallery; in magazines such as Juxtapoz and HI Fructose; in festival walls such as Sea Walls by Pangea Seed Foundation, of which he is also creative director; and in Mextonia, produced in Tallinn by Nueve Arte Urbano.
Characterized by a vibrant style and in deep contact with nature, Aaron Glasson’s artivism takes up the most essential aspects of the human spirit and ennobles them by interacting it with its environment, creating pieces that highlight the ethnic, cultural and endemic qualities of a region, developing a sincere and cataclysmic discourse of what is to come if we do not change the way we do things, portraying what is to come if we do not change the way we do things.
Beyond the works of art, the best way to know the perception of an artist is through his raw works, which are developed in a direct way, without trial and without corrections, in this sense, the sketches of Aaron Glasson tell the story of a person who is not only in contact with nature, but with his spirituality and his humanity, being the harmony between all the above, a quality that allows him to find inspiration throughout the world around him and take action in the form of different manifestations: from sketching to the wall, easel, installation or video; changing the universe from its small trench as a revolting particle whose reach and impact are unlimited.
Artivism of Aaron Glasson will be present in Querétaro during the Seawalls Urban Art Festival of Nine Seawalls Water is One, from March 27 to April 17,2018 in Querétaro.