“””Traced on the façade that gives access to the Science and Technology Museum of Foucault’s pendulum, Sermob’s mural speaks of the indivisible in the world. Sea creatures merge with the human archetype, highlighting the way in which the species that inhabit the earth are irretrievably linked; we are all one universal entity and the actions of one species can profoundly affect the existence of the other. In this way the angles in the shape and the watery figures that maintain the background composition direct our view upwards.
At the top of the piece, a person balances two buckets, symbolizing Tlaloc and the difficulty of bringing water to people. With this metaphor of Sermob, each inhabitant becomes a sort of Tlaloc, a god whose strength has been reduced before the action of others and whose need to bring water to those he loves plunges him into difficult tasks. Cities are no strangers to this, when the great mass becomes a single entity with a name; the Tlaloc that carries water to them becomes a snake hundreds of kilometres long, like the “”Aqueduct II””, until it reaches the inhabitants of the city who seem to live with naivety without knowing that perhaps in less than three years it will probably be an act of hope to open a tap.
The piece by the artist, originally from Iztapalapa, but who has lived in Querétaro for years, finishes off with vegetal accents of nopal whose importance has been vital in the life of the citizens since the foundation of the city and whose existence would be impossible without water. Sermob’s sharp and neat line defines an almost surgical precision that attracts visitors inside the children’s museum of “”the pendulum””, where behind the smile of every little boy awaits an inspired citizen who will be part of the generation of change agents that the country needs, those who will make Tlaloc its lightest burden.
“Every component of the water cycle is vital to life on earth. While it is common to think of water in its liquid state, high in the sky clouds contain an enormous amount of the world’s pure water. The industrial activities carried out without measure and the waste that our unconscious way of life throws away, significantly damages everything around us. In his mural, Miguel Valiñas tackles the theme of water and atmospheric pollution, creating with his brushes a cloud that takes the form of a siren in the sky, like a magical being that flows through the atmosphere in the hope of bringing us the waters we need gently, while the city, naive about its existence, continues to be damaged by the exhalations of its economic activity.
An architect by profession, Miguel Valiñas travels the world like his ethereal mermaid, creating murals, disseminating ideas and promoting awareness.”
For life to exist there must be balance, this is the message that the native of San Luis Potosi addresses in his work, this piece that describes a humanoid creature figure that releases the water that two hands hold, tells us about the evolution of life and that each living being depends on each other to grow and exist. The piece ends its message on the far right, where a plant like man goes through stages, making it clear that we are not so different when we all share a common need.
Made entirely with Calligraphy, the work by the Mexican artist, who lives in Dresden, Germany, highlights the problems of moving the liquid from one place to another, and his work flows strongly as a consequence of life.
“Mediante un trabajo colaborativo entre Édgar Sánchez, Tré Packard, Sigre Tompel, Jason Botkin, Ricardo Quezada y la legendaria periodista Martha Cooper, el equipo de artistas y productores de “”El Agua es Una”” dedicó y suscribió su trabajo con el siguiente texto:
“”Somos una comunidad de artistas e impulsores del cambio, actuando como uno, en una expresión colaborativa de libertad cultural y activismo ambiental. El agua en nuestra sangre es la misma que cae del cielo y recorre corrientes y ríos hasta nuestros océanos. Todas las aguas son una. Usando el lenguaje universal del arte, ofrecemos estos muros, con amor por el agua que sostiene toda vida en este planeta y para recordarnos la importancia de construir comunidades fuertes que protejan este recurso sagrado.””
Dando un acento final a la obra monumental, los artistas Atole Parra y Hannah Sole, se encargaron de plasmar este texto en uno de los muros colindantes al estacionamiento, en una hermosa letra azul que evoca el fluir del agua.
With more than 30 years of experience in graffiti photography, Martha Cooper is the world’s leading promoter of this style system. Having her Genesis in Brooklyn, Martha witnessed first-hand a movement that would take the world by storm. As part of the festival activities, we invited graffiti artists from Queretaro to paint a tribute to the photographic work at the Martha Cooper Graffiti Open. To the call of Nine Urban Art, graffiti artists from all over the city joined in, to express their name and remember that these walls are also theirs: Gofe, Smoke, Toes, Muek, Roy, Kererer, Cres, Evok, Snak and Xoffe.
During the last days of the festival, the group of artists was strengthened with the collaboration of more artists. This caused the painting to conjure up marine fauna at the far end of the art metawork, with a very particular style, typical of graffiti techniques, Tmuz’s work fights for the preservation of marine species, while advocating controlled consumption and life in freedom. Saúl Torbe and Paola Delfín joined him to leave a last breath of urban art on the walls of CECEQ.
Art is the common language of all humankind. Sh11na from Japan joined the affluent that generated the festival, the eastern end of the cultural complex. His piece addresses the human need to survive from the liquid and the explosion of vitality it contains.