Graphite with Talitha Andrade

Graphite with Talitha Andrade

Experience with conducting graphite with artist Talitha Andrade had two purposes: on one side, and live the experience of other, discuss the public reaction to an intervention of this nature. The experience was mediated by the following activities: definition of macrointervention area, search for an appropriate wall realization of graphite, dialogue with people approaching while performing and leave the message of the artist to the city.
The work of Talitha Andrade is very expressive and politically charged. For her, the graphite is your means of dialogue with society. As is common for graffiti artists, but little noticed by the public, Talitha does graffiti anywhere, because it has a relationship of territoriality with places, with their seats. Thus, graphite is not a speech” isolated as it may seem at first glance, but rather a dialogue between the artist and the city graffiti artist who responded.


Graphite with Thalita Andrade. Photos by F. Marzadro (2014).
Graphite with Thalita Andrade. Photos by F. Marzadro (2014).

During the three hours of completion of graphite, occurred on July 21, 2013, many people came, mostly men, workers, between 25 and 50, apparently of lower middle class and poor. The reactions manifested that can synthesize the others were: “What is she doing?“; Why are you graffiting in an area that does not pass anyone?; Grafiteira is the woman?; “What this means drawing?; Why are you mourning? (The latter was motivated by the word mourning,” placed at the end of the graphite). The set of survey responses indicated that perception:

(a) They agreed with what we were doing;

(b) Yes, even liked three former graffiti tagger and approached and were interviewed;

(c) reminded of the existence and location, but almost never of their content. Sometimes reminiscent of the colors. The memories were more accurate Graffiti Monica and Pinel, located in the walls of the San Joaquin Fair;

(d) Few memories. References were made to graffiti near the Brasilgás in BR;

(e) In general, when graffiti were (less tagger) or when they were damaged;

(f) liked because the city was more beautiful, funny, colorful. Disliked because they are seen as graffiti and vandalism and dirt do not understand / share the motivations of the tagger.


Excerpt from Flavio Marzadro (2014) master dissertation , entitled The public in public Arrte: presences, discourses, activations and experiences“. Federal university of Bahia, Brazil, 2014.

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