EJSMONDT Interview about his project «KUBRICK» – 7-06-2021
Name of the Street Art piece that has modified the urban space: Kubrick
Location : Chróścina, Poland
Year : 2020
1- If you had to choose a Street Art piece that you created, as a transformation of the urban space, which one would you choose? How does this Street Art piece denote urban space metamorphosis?
Street Art isn’t just about visual and aesthetic changes, but also how a given place is perceived and experienced. All the works that I call non-commercial can evoke this state. The portrait of Stanley Kubrick from last year is a good example of that.
2- Why did you make this Street Art piece in this urban space? Was it the town hall or the property owner who authorized or asked you to create it? Can we consider this work as illegal/vandalism or legal, what is your criteria?
I choose areas which contrast heavily with my style. They have to be deserted, forgotten, deteriorating. Because of this combination, the effect gets amplified. When I begin working on a project like that, I don’t ask anybody for an opinion or permission. If I want to create something, spend my time and money, then I just do it and nobody can limit my imagination. When I do it in a place like that, somebody may say it’s illegal. But I call these works ‘non-commercial’. And by doing it, it is me who asks the question: who is the vandal here? Me? Making a work of art without asking for permission? Or the owner of the property who legally leads the place to ruin?
3- What is the message you want to communicate through this Street Art piece? Is it related to the urban space where you did it?
For sure. Many people don’t seem to understand why these works are created in places like these – someone may easily destroy them, right? Well, I treat it as an experiment, provocation and manifesto. My premise isn’t without reason. I choose these spots because nobody expects to experience a contrast this powerful with a painting they stumble upon. In this regard, I’d rather be remembered by this one person who had a priceless experience, than be ignored by a hundred others who skip the painting exhibited on a building wall amidst the city chaos. I also believe that art can, and should, exist everywhere – not only on the walls of galleries and museums, although with these institutions the word art is often questionable. Good art speaks for itself, bad art has to be spoken for (though not all institutionalized art is bad).
4- How was this work integrated into the urban space? What was the interaction that the inhabitants of this city had with your project? Did they participate in its creation?
Even though strong contrast was the driving force, I still tried to embed the painting in the environment. Did it by myself, since that’s the premise of such projects. As for the interactions, I mostly learned of them from Instagram, where people sent me pictures and positive opinions, sharing their discovery. For deeper thoughts and impressions I’d have to ask in person. Still, I think that I managed to achieve my goals, at least to some extent.
5- Do you think it is important that the local people participate during the production of your work and that they become artists modifying the urban space or do you prefer to carry out your projects alone without anyone seeing you?
In these kind of projectsI prefer to work by myself, without supervision. However, I did have the chance to paint a wall with the inhabitants participating. I believe that with the right approach and rules, it makes sense, especially with younger people.
6- According to you, what is the criteria that determines your Street Art work modifies the urban space and why is your work considered aesthetically well done?
Even though I’m very well-aware of what I’m doing, I cannot answer this question. I cannot evaluate myself based on these criteria. It’s a question better suited for those who have seen my works.
7-What is the “historical future” of your work? Should we take care of it, preserve it and repaint it as if it were a museum’s piece of art? Or should it be allowed to age with the city itself?
I’ve left my painting in an abandoned space. Its fate isn’t indifferent to me, but I cannot influence it anymore. I left it for others and what they choose to do with it is up to them.
8- How does your work add value to the urban space in which it is produced?
I think the true value doesn’t necessarily lie in the space in which the painting is, but rather it comes and goes with the recipient.
9- What were the difficulties that you encountered during the completion of your work modifying the urban space?
During this particular endeavor, the weather was fine, but ticks are the biggest problem. You really have to watch out for these buggers.
10- Why is urban art important to modify the urban space? What sort of projects are you planning to do in the future ?
Urban art has a big impact on imagination, especially, but I’m sure that in the near future its role will grow and painting with photovoltaic or photocatalytic paints becomes a standard that brings additional benefits. For me, I mostly focus on the projects I want to complete this year, so I don’t really think beyond that. I plan to paint the portrait of the great Stanisław Lem for his 100th birth anniversary and a series of abstractions entitled «uli».
RRSS OF EJSMONDT: Instagram