CZARNOBYL

„IN THE EARLY 80ʼS THE POLISH BORN ARTIST CZARNOBYL STARTS TO MAKE HIS FIRST STENCILS FOLLOWED BY A BERLIN OF THE 90ʼS WITH ITS PUNK AND SQUATTING SCENE DURING WHICH TIME THE ARTIST, INFLUENCED BY THE CAPITALS’ GRAFFITI SCENE, STARTS TO COMMUNICATE HIS EMOTIONS WITHIN THE URBAN SPACE.
IN HIS WORKS CZARNOBYL COMBINES HIS METICULOUS AND PRECISE PORTRAITS WITH FOUND STENCILS AND DETAILED MACHINE ILLUSTRATIONS SO THAT THEY SOMETIMES REMIND US OF SCURRILE PSYCHOLOGY OF RORSCHACH-TESTS. BY LAYERING, MIRRORING, OVERLAPPING AND A CONTINUOUS REDEVELOPMENT OF HIS STENCIL WORKS HE MANAGED TO CREATE HIS OWN LANGUAGE OF FORMS, WHICH IS INNOVATIVE AND MODERN AS WELL AS RELEVANT TO SOCIETY.
BERLIN IS HIS THE PLAYGROUND. INFLUENCED BY FILM CLASSICS SUCH AS “STALKER” BY ANDREI TARKOVSKY OR OTHER SINISTER CYBERPUNK SUCH AS WILLIAM GIBSON, HIS WORKS ARE LIKE HALLUCINATIONS OF A DYSTOPIC FUTURE. IT SEEMS LIKE HE WANTS TO REMIND US OF THE TECHNOLOGICAL PROGRESS AND ITS UNFULFILLED PROMISE OF A BETTER FUTURE. HIS CREATURES ARE COMPLETELY TORN, LONESOME BUT OPPRESSIVE AS WELL AS NOSTALGIC AND NOT YET IN A COMMON SENSE BEAUTIFUL. CZARNOBYLʼS PROTAGONISTS APPEAR MUCH MORE AS MUTATED OUTSIDERS OF AN EVIL AND UNEQUAL GAME LIKE THE MUTANTS OF THE MEGAPOLIS.”
VIA: URBAN ART CLASH

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