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FROM BEER TO INFINITY - Grafitti artist Speto tell us all about "Streets of Sao Paulo"

By Karim Khan

Speto’s back in Brighton, where he started off his U.K. ‘face-time’ at the independent art gallery Ocontemporary. He’s showing off some new pieces for the continuation of what has become a very successful exhibition, both in Brighton and London. ‘Ruas de Sao Paulo’, or ‘Streets of Sao Paulo’ has proved an exciting platform for his particular brand of canvas work, mixing influences from Brazilian folk art and Japanese manga.

With the arrival last week of fellow Brazilian graffers Tinho, Pato and Flip at the expense of the Brazilian Embassy, does Speto think it marks the beginning of an important recognition by the government of an art form that has traditionally been located as marginal?

"We never thought, when we started, that something like this would happen - it was just kids’ stuff, you know? Painting on the streets, it was just fun. I’m so proud to do this, especially now having the backing of Governmental schemes. It’s taken a long time for people to recognise what we do as an art form: I mean, you really have to believe in what you do, and I think that personally, that’s courageous. It takes a long time, but keeping faith in what you’re doing builds character - and that‘s an essential part of who you are, what you stand for."

Speto sees the new wave of Sao Paulo’s graffiti artists as completely different from his generation, pioneers that include Boleta, Highraff and Zezao. "Their relationship with traditional graffiti isn’t as strong, there are more deeply abstract tones." So is this new nonfigurative street art leaning towards a more stencilled approach? It’s interesting to think how an art form that’s marginal by its very nature will evolve against itself, as all art does. Will we see a reaction by the younger generations against traditional methods such as the spray can? Speto can‘t see it dying out: "People still really like using it [the spray can]. Guys like Daniel Melim are mixing it up though, combining paint and stencil really well. It’s really different. I think that’s quite a Brazilian characteristic there - the mixing of styles and techniques is very natural. I guess the Brazilian style could be seen as more intuitive and emotional rather than intellectual."

Speto himself is perhaps best known commercially for his role as the creative mastermind behind Bhrama’s European ad campaign. He’s travelling to Paris next week to have talks with ad agencies there. For Speto is also quite the illustrator. Does he think getting involved with corporate branding taints the spontaneity of his work? "I always try and bring specifically ‘my art’ to another brand. To me, canvas, graffiti, illustration- it’s all communication. It’s really about people. The graffiti style is very accessible -one doesn’t need to be an intellectual, it’s simply for enjoyment. Politics saturates people, but graffiti seems to bring them together."

It may all seem a while back, but Speto was once one of thousands of street artists struggling for his break. I ask him how important independent galleries such as Ocontemporary are to less-established artists. "The gallery really adheres to the same process as the movements of the artists themselves- It’s all independent. Galleries such as this is simply how the process works. To create, you need courage. This links in with independence in any form, whether it be creating a canvas, or acting as a platform to new ideas about art. Of course it helps with the current European fascination with Brasil. Maybe because Brasil has this image of being very spontaneous, improvisational, spiritual."

Whatever the fascination is due to, it seems an important one. It’s easy to undervalue the European trademark of the consumption of the exotic as innately colonial, but circumstances such as this, the invitation and embracing of exciting new artists from so far afield can only improve the climate of sincere multiculturalism, rather than those ineffectual ‘preconceitos’ based upon cliché. This inadvertently places a lots or diplomatic pressure on the artists, as they find themselves unconscious ambassadors of their nations. Speaking to Speto though, I cannot think of a more good-natured representative.

The power of Brazilian culture has dictated that these artists take the roles of cultural ambassadors: and when diplomacy is rooted in the streets (more explicitly, the people), one cannot help to think that the social implications will be beneficial to both sides. Brasil, through this embracing and endorsement of street art, seems to be taking steps to re-address and balance its global, social reputation, and the refreshing nature of this ideology is as remarkable as it is profound. Let’s hope it lasts.