by Nicolás Santiago Romero Escalada
I was born, they fed me, educated me, instructed me, and shaped me, but no one ever made me “discover” graffiti. We came together by chance upon seeing and analyzing one another (with the street in the middle) and we taught one another, getting to know each other in the moment just before my pre-teen period (it was either masturbate or paint something).
First I thought that it could be a passtime, and then I realized that I had quit cigarettes but not graffiti. On the contrary, I felt that it was growing more each day…there is no day when I don’t think about: what to paint, where to paint, how to paint, what day, what hour, basically organizing my life around it.
At the end of this new decade I realized the value of the message left behind within 48 hours of the exercise (painting). Thinking that revolutions are told on the walls says a lot about that, let’s say, as a sort of direct protest of society for society. I think that graffiti is a point of connection for people, at least that’s what I like to explore with this beautiful activity.
I discovered my style by accident, when love (maybe the culprit of the greatest idiocies of mankind) brought me to creating the face of an ex girlfriend and I saw that it came relatively easily…maybe I made her a little fat and her nose a bit crooked, but from a distance it looked just like her. The thing is that I had always been fascinated by the human body, the meat that hides the bones, what we hold inside, and more than that of just its function, no?
So, to combine a small obsession for the body with a love of experimentation with people, the only way is with the idealization of something with a religious slant. Religion has put symbols in our heads that come out even today in our ways of representing the body. Each person sanctifies when they ignore.
This is the result of my work, to give importance to the inconsequential, to “deify” an unremarkable person.