DERLON ALMEIDA – CLEAR HINTS OF ART, CULTURE AND INTEGRATION

15 Jul, 2013

READ IN ENGLISH BELOW / LEIA EM PORTUGUÊS

By Patricia Nunes
Translation by Harriet Batey
Photos by Fernando Arrotéia

 
Born in Recife, the pernambucan artist Derlon de Almeida is already considered at 28 years old one of the biggest names in contemporary Brazilian art. Taking over ever more space in the European scene, the graffiti and visual artist has works on show in France, Portugal, Holland, and now in the UK. In partnership with the Instituto BR and with support from the Pernambuco local government and the UK Arts Council, the artist has had unprecedented influence in the VAMOS! Festival in Newcastle, being the first Brazilian graffiti artist to take part in a project of this scale. For those who have the opportunity to check out the work, the art was created on one of the new buildings for the charity ‘The Biscuit Factory Foundation’ located in Ouseburn, NE2 1AN.

 
Returning to London, an exhibition of Derlon’s work entitled ‘From Manguetown – The Urban Art of Derlon’ was a theme for debate at ‘Manguetown Grafitti & Brazilian Street Art’ which took place on 11th July at the Brazilian Embassy, with the artist and illustrator in attendence alongside designer and art director, Tristan Manco. The exhibition, which toko place from 17th to 23rd July, recieved a great response and featured a production from the Instituto BR, in partnership with Gallery 71, the Brazilian Government andsupport from King’s College Brazil Institute, as well as further support from the Government of Pernambuco.

During the week, Derlon exclusively exhibited almost 16 pieces that emphasised the values and diversity found in popular culture of the Brazilian North East, such as cordel literature, woodcuts and the most urban and pop in the art world, graffiti. “This was only possible because in Recife we’ve worked alot with the idea of rescuing  popular values and mixing them with contemporary projects”, says Derlon. The artist mentioned that he had been influenced by the 1990s movement ‘MangueBeat’ which also had the aim of recovering and expanding regional culture via this mix: “Hence the name ‘Manguetown’ – Mangue represents the vast diversity within folk art which we want to show the world”.Derlon also told Culturart about his career, with his earliest memory being of drawing during his childhood. Later, as a teenager he would look out from the window of public transport on his way home from school, taking in the street art on Recife’s walls, sparking his interest. Even in the beginning with the influence of North American graffiti, the genre’s had a large base in Brazilian popular culture. “We learned to like folk art from a young age. In Recife, this contact continually occours, so it’s just a natural absorption”.

In developing his art on the street, Derlon has had to create his own styling, having noted that achieving this would mean greater communication with the public and, it was in this research process that he recognised the power of mixing the old with the new. This combination occurred when he decided to mix woodcut techniques (which he has deeply studied, including the creation of a workshop where he can refine the unique style of this art), which consists of using cut wood that gives the effect of a stamp, a technique found in Cordel Literature panflets. During this time, the young man was studying Social Sciences, considering pursuing a career in thies field, but art’s call grew stronger when he realised the recognition and acceptance of his work by the general public. “When I realised I had an opportunity to change careers and work as an artist doing what I like, I didn’t have to think twice. I dropped out of college and decided to strengthen and improve my work, begin working from a studio and get things into galleries. After all, a graffiti artist would probably have a job anyway, so why not let that be as an artist?!” From this, Derlon’s first major work was scenery for the play ‘O Bem Amado’, followed by scenery for the ‘TIM Music Awards’ at Rio de Janeiro’s Municipal Theatre, which was 15metres long, both the result of invitation by set designer Gringo Cardia.

Amongst his original references, the Recifian says that today he is inspired by the accomplished painter, printmaker and designer Gilvan Samico, a master of art and woodcuts. In 2008, the two artists had the honour of exhibiting their work together after an invitation from the Hall of Fine Arts in Pernambuco, which was a great highlight for the young artist, a great admirer of the 85 year old Samico.

In 2012, Derlon was invited by the R.U.A – Reflection on Urban Arts Project, along with six other mural artists, including Fefe Talavera, Titi Freak, Diego Dedablio, Highraff, Tinho and Rimon Guimaraes, to make their mark on buildings in Amsterdam, Holland. Consequently, this year, Derlon and some of these artists decided to open a workshop in downtown São Paulo, and is gaining momentum and will have further news soon.
 

Amidst his busy schedule, the artist has the personal project of creating even more murals in partnership with Instituto BR, and is open to invitations not only in Europe, but all corners of the world. Currently, he is planning to return to London to complete a large scale painting. However, until this happens Culturart had the honour of witnessing and recording the artist in action on the walls of South Bank Skate Park, which he described as ‘a taster’.

For those who want to find out more about the work  of Derlon de Almeida, characterised by his notable style and clear, different and rich language go to www.derlonalmeida.blogspot.com