Addressing the theme of thirst and despair, Saul’s work portrays a dreamlike landscape where creatures migrate from one side to the other seeking first to quench their thirst in the desert, first as a nuisance that becomes a terrible need for survival. Saul’s agglutinated line invites reflection and gives the message that without water we have nothing. On the left side of the mural, Saul approaches a more optimistic tone with a female face wrapped in symbols of fertility and life. The work is sprinkled with different forms, sometimes visionary and sometimes abstract, which make up a kind of garden graffiti artist of delights.
Sänk’s mural recreates the legend of the mystic Chan, the mythological creature that governs the waters of the springs where the liquid flows from the rock, and the responsibility of taking the water from Querétaro to the Zamorano hill when humans fight for it. Today the Chan seems to be further and further away from our cities, so we have to unite communities and actions to recover the ecological balance. On its wall, Sänk portrays the legend in which a wise man of the village invokes the chan, asking him to let the water of Zamorano flow so that it can return to the springs of the glen. The scene features a handful of Ajolotes, the extraordinary Mexican salamander that has the power to regenerate your organs. From them the rains come out, new rivers are born and at one end, hidden at the bottom of the space, in the limits of the building, the Blue Deer of the Wirrarica, lord of life, contemplates the rebirth of its garden.
“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.
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.