street art with mark jenkins
Why did you start working with tape?
It was a rediscovery of something I’d figured out as a kid. If I had not been living in Rio enjoying a more relaxed lifestyle I probably would not have pushed it, but I did and so it created a new tangent that’s become me.
Your sculptures are figurative and when we see them there´s always a kind of story or narrative intention...Is this something you think before doing your work?
The installation environment creates the story more than work. Take a figure sculpture and sit it in the shower with the faucet on and you create one thing, put it somewhere on a mountain top and it’s a different feel all together.
In which way are you interested in the reaction of the people to your street installations?
In a funny way for the most part, but there is a psychological aspect and I do consider the public a part of the installation, even those who walk past without noticing it. Observing, you notice the trends of human behaviour but then there is this one guy or girl who will do something out of the norm like kick, or try to take the piece. I think psychologists should use street art in their research or maybe I should publish my studies in a psychology journal.
Social criticism, humor... is the message important in your art?
The message for me is obscured, or more like a cloud with 4 or 5 different images layered. Humor is the easiest chord to strike and one of the most complex human emotions. I like though that the piece is a sort of question mark about itself as well as everything around it. Riddles are more interesting when they are unsolved.
Is the creative process different when you put your work in the streets, or in a nature enviroment or in a museum?
It’s all about context. Street for me is natural. Nature with plastics is more about changing the nature of litter from an eyesore to something closer to ice or water – not that it makes plastics any healthier for the forest. Museums are like churches where art becomes the sacred relic – it’s the toughest space for me to approach because the environment is so loaded with “ART” that is suffocates the possibility of mystery.
The babies of "Storker project" are pretty disquieting... Could you tell us something about it...
They are a fictional component of the Tape People’s desire to self propagate and take over the world like in the movie “Invasion of the Body Snatchers”. They are also an icon for me to represent this new tape medium, a way to introduce it to the public at large in a way for them to discover and touch.
Do you leave the sculptures in the streets? Does people take them?
Yes, and yes sometimes they’re nicked/adopted, but other times I think the city cleaners dispose of them too...
What are you working on right now?
I’m working on taking a break for the next few days. I would like to go to the beach.
It was a rediscovery of something I’d figured out as a kid. If I had not been living in Rio enjoying a more relaxed lifestyle I probably would not have pushed it, but I did and so it created a new tangent that’s become me.
Your sculptures are figurative and when we see them there´s always a kind of story or narrative intention...Is this something you think before doing your work?
The installation environment creates the story more than work. Take a figure sculpture and sit it in the shower with the faucet on and you create one thing, put it somewhere on a mountain top and it’s a different feel all together.
In which way are you interested in the reaction of the people to your street installations?
In a funny way for the most part, but there is a psychological aspect and I do consider the public a part of the installation, even those who walk past without noticing it. Observing, you notice the trends of human behaviour but then there is this one guy or girl who will do something out of the norm like kick, or try to take the piece. I think psychologists should use street art in their research or maybe I should publish my studies in a psychology journal.
Social criticism, humor... is the message important in your art?
The message for me is obscured, or more like a cloud with 4 or 5 different images layered. Humor is the easiest chord to strike and one of the most complex human emotions. I like though that the piece is a sort of question mark about itself as well as everything around it. Riddles are more interesting when they are unsolved.
Is the creative process different when you put your work in the streets, or in a nature enviroment or in a museum?
It’s all about context. Street for me is natural. Nature with plastics is more about changing the nature of litter from an eyesore to something closer to ice or water – not that it makes plastics any healthier for the forest. Museums are like churches where art becomes the sacred relic – it’s the toughest space for me to approach because the environment is so loaded with “ART” that is suffocates the possibility of mystery.
The babies of "Storker project" are pretty disquieting... Could you tell us something about it...
They are a fictional component of the Tape People’s desire to self propagate and take over the world like in the movie “Invasion of the Body Snatchers”. They are also an icon for me to represent this new tape medium, a way to introduce it to the public at large in a way for them to discover and touch.
Do you leave the sculptures in the streets? Does people take them?
Yes, and yes sometimes they’re nicked/adopted, but other times I think the city cleaners dispose of them too...
What are you working on right now?
I’m working on taking a break for the next few days. I would like to go to the beach.
