Back to an interview, in january 2011
The lightgraffeur Nuno Matox was visiting Brussels last week to mark the opening of the exhibition at the gallery ARTAQ ART22. Born in 1971 in Portugal and not dead yet, the artist has been experimenting for several years with modern visual technologies. His goal: find a way to extend into the immaterial pictorial signs that have so impressed during his wanderings through the streets of the Bairro Alto, Lisbon and the Gothic Quarter of Barcelona … If ownership of the walls and damage caused by the expression of urban these give rise to endless (and fruitless) discussions, air and light are and remain free to access and use. Nuno Matox claims so ownership without rules or limits of these materials for non-us shaping of gestures and signs which the impregnation sensory virtual charm to hypnotism. Three questions, quickly, to Nuno Matox:
How did you come to Lightgraffisme?
Graffiti is a general term rather mat … For me, it is mainly the techniques and effects that I use as a spray, markers or bleeding. Urban art, the art of the street, I was very intrigued and inspired. It was at Toulouse when I was a student in the early 90 it all started. It was at this time that people started to have another look at the graffiti. The graffiti was very present at the time in the city center. For me, the spray paint has started to release the above act of painting and the opportunity to work any surface … By extension, the lightpainting a – in turn – this action completely free, allowing him to really apply everywhere, even in the three-dimensional space!
And as when using a spray paint for the first time, the lighpainting is also a spectacular experience, even exhilarating!
How to prepare a performance Lightgraff?
It can be very simple … Or very complicated! This will indeed improvisation made with just an opportunity, some LEDs and a small box, to a true staging and assembly technique developed. And when it’s live video, it is usually more complicated, especially in terms of hardware … After that, it also depends on the projects, which can range from simple delirium artist to major advertising campaign. In practice, I think live performance is much more dependent on the necessary technical and material available.
What do you think of Brussels and its urban art?
I have been in Brussels several times before. This time, I hoped to be able to organize “micro-projection” in the city center but my schedule does not allow me. I hope to return, of course, because Brussels is the center of Europe, an open and modern city. The games are what light the streets and the tall towers are present. For street art, by cons, I did not see much because I am still confined to the center during this short visit, and unfortunately, all the centers of large cities have become hyper-clean and super-video! This leaves advertising as pollution may “limit”, but taxed and legal to watch.
For Nuno Matox, urban artists need to be constantly looking for new ways of expression and adapt to changing conditions and circumstances of the practice of their art. As Lightgraffiste concludes: “The panel LEDs are the next playground for all graphic designers and artists! “. Officers deal with joyous obsessions of our lovely city fathers, creativity and inventiveness of urban artists are invited to both the subject for the object … We thank Nuno Matox for his contribution “light” in this fight and we want to return soon in the streets of the world capital of Europe in order to finally see her perform “micro-projections.”
To learn more about the artist: www.matox.fr firstname.lastname@example.org
Copyright: Artwork by Nuno Matox and interview by Serge-Louis to Brigadier PLIPP.