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Iconographic post-graffiti

OTTSTUFF fuses the languages of graphic design and iconographic graffiti, creating an oneiric and minimalist universe, where color plays the main expressive force. Iconographic graffiti, surrealism and minimalism are his main creative influences, also inspired by architecture and nature. Germinated in the public space, his artistic language approaches iconographic post-graffiti to a minimalist surrealism, addressing his interventions to the improvement of our daily relationship with the environment, throughout a constructive-affective transformation of it.

 

Mutable icon.

OTTSTUFF's face silhouette stands out as his main icon,  which allows him to address different topics related to the human essence from equity, disregarding stereotypical differentiations, also reinterpreting the environment as a semantic element. The dot, basic element of artistic expression, is another of the artist's most characteristic iconographic elements, which is recurrent in most of his artworks. Read more [+]

Visual poetry and rhetoric.

Along with the use of color, visual poetry and rhetoric are essential contributions of graphic design to OTTSTUFF's creative language. Searching for an autotelic aesthetic experience, originated through play, means both the starting and ending point: the creative process is an end in itself. The icon evolves as a rhetorical element, and environment plays a fundamental semantic role. The use of literary figures such as prosopopeia, anaphora or allegory is frequent along his creations. Read more [+]

Why post-graffiti?

Behind graffiti, there are different people, circumstances and creative concerns, and creativity does not understand of watertight compartments. Unavoidably, graffiti evolves and merges with other passions and knowledge, in parallel with the individual's both personal and professional development, generating new variants. However, at a collective level, it is necessary to differentiate and safeguard the term 'graffiti' as an independent phenomenon. Read more [+]


Community murals

Emerging in Chicago (United States) during the late 1960s, the Community Mural Movement conceived the artistic process as stimulus for a social process, far beyond aesthetics. The main purpose of these interventions is to reunite artists with local communities around a collaborative process rooted in the tradition of mural painting, in order to create art that transforms not just  the public or shared spaces intervened, but also their inhabitants' lives and relationships.

 

MISSION

Creating in community, growing in community.

Creative development aimed at achieving a common goal, supporting a healthy coexistence, defending values and promoting positive attitudes and behaviour.

VISSION

Art as a powerful tool for social change.

Focussing the creative process as a shared human experience, with the capability of improving community relations, contributing to interpersonal development and strengthening the feeling of community.

APPLICATIONS

Adaptable to different scenarios.

As a social and cultural activation tool, within creative education, and as team-building activity. Improve your community's human ties through participatory murals in shared spaces (schools, companies, associations, neighborhoods, etc.).


Illustrative muralism

Another artistic line of interventions in the public space.

 

The stroke, relegated to second place in most of his iconographic post-graffiti pieces, plays a leading role here. These artworks are closely linked to his ink and bleach illustrations, often reinterpreted from a expanded color palette, towards a urban aesthetic. Colored dots, recurring elements in his iconic line, also make their appearance here, establishing a connection between his different urban interventions and extending thus the artist's creative universe.

 

Always looking for new interesting projects!

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