Wednesday, July 11
Don Silencio
1) How and when did you start making stencils?

I started back in 2001, I have a background in graffiti (since 1994). Then i got out of that but really wanted to get back to the street and make new stuff. I did handmade stickers and that eventually evolved into stencils.

2) What was your first stencil?

I think the first one was of a gun and in block letters it said "think". I also used it for a canvas , it was pretty shit but you have to start somewhere!

3) Why in the streets?

Well, for starters, the whole Silencio project was about free expression and since i have a background in graffiti, i just naturally wanted to bring it to the streets. I didn't even think about it.

4) Can you describe your work briefly?

It's a little difficult, but it's a mixture of different techniques like scripts, stencils, images and shapes.

5) What message if any are you trying to convey?

It depends, when i do my street thing, i try to make a strong and simple message. My work on canvas is more introvert, in some kind of way. I use the same tools outside and inside but there's a different perspective.

6) What or Who are your main sources of inspiration?

Well, the usual suspects, really... but the first I really checked out was Acamonchi.

7) Is there any artist in particular at Difusor you're looking forward to meeting?

Well, I met a lot of them in Paris in 2004 during the Stencil Project. I was looking forward to meeting the guys i'm exhibiting with, Fremantle and m-city. I don't actually know half of the people here so i'm just looking forward to having a good time and meeting nice people.

8) Is there anyone, at Difusor or not, you'd really like to collaborate with?

I don't really have a lot of plans about that... there are so many people... But it depends on the context. I've been to Mexico
a lot, so if i go back there, i'd like to meet Acamonchi and do stuff with him. But if i go to Barcelona, for example, I'd like to collaborate with local artists because everybody has their own flavour, they know the good spots too.

9) What are your plans for the future?

I have a pretty busy fall, with exhibitions in Copenhagen and then i hope to get around. I have some plans to go to India. I don't know what the scene is like there, but it'd be nice to explore and see what work can be done there.

10) Have you had trouble with the police while painting in the streets?

Actually, I haven't had that many problems. The only time when i have some kind of trouble is when I do my graffiti work. If you go postering, people don't really crack down on you. But i've never had that much trouble, you can mostly talk your way out of it.

11) What has been your best experience in the streets so far?

everything! since I don't get much trouble with the police, I haven't really had a downside to it. The only thing is that it fills up your whole life and that can be both a good and a bad thing. It can take energy away from other projects... But then again, why not?

12) If you could do anything in any spot, what would you do and where?

I'd do more landscape work, something that involves nature more. I wouldn't want to paint all over the Eiffel Tower for example. I'd rather do something with nature on a bigger scale, like make a whole boat out of leaves... But stencil wise, I dunno. I don't really have big plans for stencil work.

13) How easy is it to paint in your city, Copenhagen?

It's nothing like Barcelona used to be, you really have to watch out but I guess it's like any other place where the locals know their way around and know when to hit a spot.

14) What do you thing of the "zero tolerance" regarding street art in cities like Barcelona or New York?

It costs a lot of money and worsen the quality of the work in the streets and in the public eye. I myself do tags and throwups, but i can see why people don't really connect with it. I think they're just going to crack down for a while and the work is just going to blossom in a new form... maybe something bigger and quicker. But on the whole, i think that it hurts both the culture and the surrounding society. For example, in places where they've had a zero tolerance and then loosened up a bit, they don't get more graffiti, they just get better graffiti.