Marina Zumi is an Argentian born (1983), but São Paulo based, artist. She came into contact with the street art scene early on and was one of the initial participants of the formative experimental street art group Expression Sessions in Buenos Aires. One of the few female artists to take her work into the streets of São Paulo, Marina Zumi has a fashion design’s background which contributed to define her colorful and feminine style.
Marina Zumi tries to paint magically graceful murals to provide oases of serenity amidst the crowded and noisy city streets. Her studio production takes a more concrete direction. By sewing her artworks with gold, silver, and black threads, she increasingly approaches Concrete Art’s theories, but her art draws inspiration also from nature, cosmos, sacred geometry, Quantic Theory and day-to-day life. Marina Zumi wants to unwrap the Flux of Energy, symbolizing connections between all beings, represented by a reoccurring motive of seven lines: one central intention, and the parallel resonances, three positives and three negative.
Currently residing in San Paulo, Zumi continues to develop both independent and collaborative works on the streets and in gallery settings all over the world. With all of her craft and approach completely independent and self-taught, her development from graffiti to her current works has been a rich school of personal study.
Through animal figures that embody human virtues, my works reflect on the present time and on the modern world. The figure of the stag represents a wise spirit that is capable of remaining calm and levelheaded even in the face of adversity. In this case, his attention is captured by the moon (which is in the shape of a tyre), rather than by the sun or by the countless stars in the sky. By the moon, which is the only true safe anchor for humankind. During the night, it shows us the path to follow and the way to overcome our limits. If there.
Christian Krämer aka DOME
The illustrator and street artist DOME, born in 1975, lives and creates his art in Karlsruhe. Fascinated by art in the streets, he discovered spray paint as a medium in 1994 and started painting walls. He found his niche creating art that examines the human condition in a surrealistic manner, isolating parts of the body and drawing them individually. In 2011, he developed a system of “modular construction” where he can construct his artwork out of pieces that are drawn in increments of 45 degrees: a body part is drawn and then rotated 45 degrees and drawn again, and then again, etc. This method allows him the flexibility – a fundamental word in street art culture – to quickly change a portion of the composition without starting the entire composition over. Once everything is in place, he paints the subjects of his surreal world with pens, india ink and acrylic, and the figures come to life. DOME’s works invite the observer to explore the thoughts and emotions experienced while gazing upon surreal images, inspired by the baroque architecture, where floral patterns, brackets and altars enrich the backgrounds. His figures are often presented in landscapes, on stages and platforms, accompanied by banners of words with a font that was created by the artist himself.
The silhouettes of two human beings, inspired by shadow theatre, meet on a chequered stage. The man, with his face covered by an elk mask, pushes a wheelbarrow with a rose in it towards the woman he loves. This is proof that love and passion lead man to go beyond the limits of the conventional and to explore new paths, even when there appear to be countless obstacles. The placard states "Innovation requires passion", because innovation comes about when somebody loves and believes in what they are doing. In this case, this sentiment is embodied by the rose being carried in the wheelbarrow, with the roots and earth it needs in order to survive.
Christian Krämer aka DOME
Alexey Luka, born in 1983 and based in Moscow, is one of the most progressive young Russian artists and illustrators. He began his artistic career with graffiti, before to study on the benches of the Moscow Architectural Institute and to start developing a new street art language, less influenced by Western related critics of consumerism and Pop culture and more involved with the Russian Avant-garde tradition. El Lissiztky and Vassily Kandinsky are part of this background which led him to dialogue with urban architecture, where he paints or installs colored curves and lines. His artistic technique, refined working in the streets, is based on a digital analysis of the forms which will be part of his three-dimensional compositions of wood and other materials.
Even if his art and life are strongly linked with Moscow, the Russian internet boom in 2010 allowed Alexey Luka to strengthen his international reputation. His works, geometric and fragmented like jigsaw puzzles, are now part of many international cityscapes. He has recently taken part to some group shows in some of the best renowned urban art galleries, like Openspace in Paris, Mini Galerie in Amsterdam and 1 AMSF in San Francisco, while developing his first solo shows Long tomorrow at Pechersky Gallery in Moscow and Late. Still Life at Enjoyted in Lyon.
It was the geometrical shapes of architecture in Moscow, the city where I was born and grew up, that inspired me to look to the codes of abstraction, giving me the desire to combine them with the biological universe – in the form of plants and human beings – that inhabits urban spaces. This combination is the narrative language I express in the various places where I paint. The work of art at HangarBicocca tells of the encounter between different cultures in cities that are increasingly multicultural. It is from this fortuitous exchange between different cultures, symbolised by the two abstract figures that converge towards the centre of the wall, that new biological forms come to life – in this case, that of a plant. The repeated presence of black circles and the inclusion of a tyre recall an essential element of urban life.