Do your projects emerge inspired by the street, the space where you are going to intervene, or do you have an idea first and then you choose the wall?
RR: I find my inspiration in the world today. My recent work on the street show what I feel and want to be transmitted, or what people can feel, but are stuck with something. The silence was the penultimate work I did, on a street where there are many people who probably have many problems, but prefer to be silent. It is near the river, and is a very quiet place. I thought that there yes, was the location for it. I always choose a word, the face will show what I want to convey to people.
And the work on Madeira, in Machico?
RR: It is the "scream", for several reasons. José Montero was the one who helped me in this project. He is a remarkable person and asked me at the beginning to paint a door, I had already thought of the "scream", he saw it and liked it. So why did I do it? It is the opposite of silence. The chosen space is uninhabited, but people have lived there and they need a voice, to explode. And also at the level of society, especially the Portuguese who want to talk and discuss politics but are always silent. The Portuguese are a people that accommodate to silence, things are bad, but all seems normal. Because they are like that, the Portuguese need to shout.
How do you see yourself in a few years? Do you think you'll keep active in urban art?
RR: Yes
Do you also see yourself in a space, such as an exhibition?
RR: I think of only one thing at a time. I have many projects in my life, I am taking a course of scenography, I want to explore it and the stencil, to which I dedicate all of my free time. But yes, I would like to do an exposition, and continue my art actively sending messages to the people.
On the street?
RR: Yes, yes, especially on the street. I lost my fear and caution about how I should do my work. Even in conversations with friends encouraged me to do what I really wanted to. I always painted on canvas, in a closed setting that was the family, but always said I wanted to go to the street. Until I did.
Do you think society now respects work of people like you more, or still thinks the graffiti, urban art is marginal?
RR: I think its people that talk about it that way that make urban art marginal. If graffiti was like here on this island, where people are encouraged to paint in a space where there is nothing to hide, it would make this type of art more accepted. I was painting yesterday and felt that from the people. They did not gaze with prejudice. But maybe if it was in my town they would look at me differently, because there would not be a project, it would be me and the street. I think we have overcome the barrier of vandalism, although a grafiter is more rebellious with the street, more stray and not afraid...
To attack?
RR: Yes, but that's the essence of graffiti. It is a blow to society. Somehow I think some might be more careful with what they do on the street. I do not like to see theaters and cinemas painted with tags, I respect the freedom of each one, but I am an artist and I think there should be more artistic projects.
Would you like that to happen in your town?
RR: Yes, in Guimaraes, but Porto especially now that I'm there. It is a city that has very good artists that are being completely neglected. Some even make exhibitions, I mean Hazul, all his works are being painted over by the anti graffiti movement. This also spurred me to go to the street.
