First, Sojo painted the bust of an adolescent, in which the drawing and different shades of green predominate, in contrasting light and shadow.
CALLE DEL RIO MURALS
Some young graffiti artists, born around 1980, painted their graffiti on the wall of a site on Calle del Río, which was deteriorating due to the inclemency of the weather. Those young people are today the artists of the murals we are dealing with and have wanted to recover this space with new works. First, Sojo painted the bust of an adolescent, in which the drawing and different shades of green predominate, in contrasting light and shadow.
In August 2019, Isabel Flores, Checa, Giova, JP and Cain Ferreras, along with Sojo, continued painting the wall with an ensemble piece, in which they evoke their teenage summer vacations, those “summer afternoons” when they swarmed dragonflies over the anea cigars and rice paddies, when they fought the heat by bathing in the “Pico-Pato”. The work expresses these sensations and also these verses:
It was of a celestial calm
that mingled with the aromas
of a summer afternoon.
The laughter was bubbling among the
stories of señoritos and pololas,
while the day played
to feel green as
a watering place on the riverbank
of Pico Pato.
We see calligraphic borders and geometric ornaments among dragonflies and aneas cigars, with ethnic touches contributed by Chileans JP and Giova. They express their artistic technique with brushes and aerosol, from eyes, skin wrinkled by the experience of years lived and wounds healed with band-aids. Creativity here has no other conditioning factor than the two-dimensional space bounded by the wall. And with their signatures, they invite you to follow them on the busiest street in the world, the showcase offered by social networks.
Later, in October 19, Sojo painted the portrait of Cheka Noguera. His face emerges through color, light and shadow, in shades of blue, violet and orange, as if he were a comic book character. The warm tones dominate the lights, while the cold range is for the shadows. It gives the impression of a humanized technology, with features composed of technological means.
The colors of Cheka’s portrait are prolonged in the background and at the end of the wall with geometric decoration, with straight parallel lines and curved contours, combining gradations of color to create an optical illusion of depth and different heights, with shades of violets, blues and grays. This geometric composition bears the stamp of Checa Noguera.