INTERVIEW WITH ALEX HORNEST (ONESTO) – PART II
After part I with Alex Hornest, it’s time for part II! The Brazilian artist will share everything about his techniques and concepts and, of course, more about the production here in Rotterdam. In his career, Alex has used over 70 different artistic names, but the one signed in the Kruisplein contains his most memorable one: Onesto, the creative alter-ego responsible for his cartoonish designs.
CF: Speaking more specifically about the mural you did here in Rotterdam, a famous architectural firm designed the building you painted on. Did that change in any way what you had planned to do?
AH: I didn’t know any of that (laughs). The only thing that came to mind when I was presented with the building was how the wall formed two sides and how I could take advantage of that. Now that you’re telling me this, it has become even more interesting because, whether I want it or not, it’s old work. Many people who visit Rotterdam send me photos of it or identify me on social media. It’s good to know that it’s one of the city’s landmarks. When I painted it then, I didn’t think about that; I just wanted to do my work as best as possible, and I was still very happy because it was my first building. But I had no idea what the result would be because, for me, the street is a field of research; I don’t go out with a ready-made idea. I don’t carry my sketchbook with a finished design; I let things happen. Before I started painting, I stood on the other side of the street observing, sitting, eating, watching people, feeling, talking… And that gave me the idea of depicting one character falling and another rising, like the life that lacks the stability many expect, always in motion. This work is about movement.
CF: I must say that your work is one of the most distinctive in our collection; it is very well-located and resonates well with the public! But what I find genuinely original are the characters, with their rounded bodies. The highlight, for me, is the hands and the pointillism. Is there any meaning behind it, or did it naturally emerge over time?
AH: It emerged over time, but the idea was always to have a distinctive style, a signature without having to write my name. As I have always liked comic books, I noticed that artists always had unique styles, and I wanted to have my own. As I developed other aesthetics and names, I realized it also gave me many possibilities. When I started creating these characters with the name Onesto, I didn’t have many materials, just latex paint and a roller brush. So, I had to develop something that would allow me skill and speed. The roller helped me create rounded shapes; the thin arm could be done with just one line. The materials also led me to this result. And the pointillism was because I didn’t have that much spray paint, so I saved the cans I managed to get. I didn’t use them to fill everything and empty the entire can; a few dots were enough. The important thing for me at that time was to do a lot with less material.
CF: I think your technique really gives the artwork a sense of texture. But do you only use these materials, or do you also use others?
AH: I use a lot of things. Last year, for example, I made a bronze sculpture. I have always been curious about different types of materials. But I also continue to use many things I used initially. Nowadays, I do many more things the way I did in the beginning; I don’t have as much desire to innovate because I’ve already tried almost everything. I worked with wood, construction materials, and different types of paints. I don’t have the same curiosity anymore. However, I still try to work with the same materials in different ways. I’ve been doing a lot of collage lately, which fascinates me the most at the moment. Through collage, I can create textures and test color combinations.
For a brief moment, Alex showed me one of his notebooks where he organizes his collages, which he refers to as abstract. He uses them to aid in color selection and the overall creative process. He enthusiastically shared his newest hobby with me and discussed many other techniques.
CF: But for this specific mural, what techniques did you use?
AH: This one was just latex paint and spray cans, nothing more. Because graffiti is about the background and outline. Nowadays, people focus more on volume, light, and shadow. But I’ve always been focused on creating an interesting design. I believe the design is more important than the color. I see many artists relying on color alone to deceive. I appreciate a good design and a strong idea. My pursuit has always been to draw well; if I can achieve that with just two colors, perfect!
CF: I’m also curious about whether the artwork has a name, as many other works in the museum do. Does it have a title?
AH: The name is “Sobe e Desce” (Up and Down). But generally, I don’t give titles to my works. They are lines of thought.
CF: Speaking of the theme again, in your other projects, such as the exhibition “Resíduos do Passado” (Remnants of the Past), you often address social issues like slavery, for example. Does this artwork intend to convey a similar message, or is it simply a reflection of the West-Kruiskade environment? What was the idea behind the mural?
AH: Actually, all of my artworks inherently contain a political dimension. Just the fact that I’m appropriating a space, often spaces that are idle or private storefronts like these buildings, has political implications of occupation, belonging, and action… So yes, the mere act of leaving my house with paints to create something in the streets, leaving my mark, is already a highly political gesture. But I feel that I don’t need to be explicit, like many artists who paint a sad, crying black person or a rich and successful one. I don’t need that. I try not to be so direct to be more interesting. The title “Sobe e desce” (Up and down) already raises questions of empowerment and enrichment because one is always on top while the other is always below. Through the imagery I create, I aim to leave it open-ended to generate interest and discussion. Sometimes, people come up with ideas I hadn’t even associated with, but it’s great that they could see something different. Art has to have the power to awaken something in you.
CF: Earlier, we talked about the color palette, and I noticed that you use the same tones in many of your works. Is there a reason for this, or does it best suit the aesthetic you want to convey?
AH: In the beginning, I used colors that came to me; I didn’t pay much attention to them. For a long time, I mixed paints to make them last longer, so any color would go for the background and another for the outline; I painted with colors that didn’t even contrast. And that ended up drawing attention, which is the most interesting part. Because even though it ended up looking strange, it made me stand out. People ended up making fun of me, saying I didn’t know how to use colors (laughs), but the drawing was good, and people also remembered that. Over time, I ended up preferring just four colors: orange, black, white, and silver. They solved everything I needed and stood out amid the gray urban landscape. But I didn’t have the financial resources to do what I wanted, so I did what I could, and it happened naturally.
CF: It’s funny how a solution due to a lack of resources has become so characteristic in your work. I like the color combination, and I think it works very well. It seemed to me a very thoughtful aesthetic.
AH: It wasn’t at all! It all happened by chance, and over time, I incorporated and further developed that identity, defending my own production. That’s what being an artist is about: learning to defend yourself and your ideas. What you paint, sculpt, and so on is just a visit card. Now, the way you make your art dialogue with other people, that’s the big secret of being an artist!
CF: I think Alex does that very well, a complete artist!
AH: Oh, thank you very much! I think age also helps; I’ve been in the artistic field for over 30 years, which gives me a lot of experience and allows me to inspire others. That’s the best part of being an artist, encouraging other people.
I am sure that Alex is a true inspiration to others, considering the impactful work he has undertaken in his community. He dedicates himself to helping young people attend exhibitions and other art events; he also extends these activities to include older age groups. Additionally, he goes above and beyond by assisting people in rebuilding their homes and even contributing with his artistic talent to create stunning murals. During our conversation, he shared one of his three-dimensional characters, which perfectly aligned with our discussion on accessibility in art. He has previously created sensory graffiti to be experienced by individuals with visual disabilities. Alex’s approach to art is deeply rooted in connection and communal experience. He values human interaction and exchanges, the genuine connections he forms with people while creating his art. Conversations, shared meals, and heartfelt embraces are all part of his artistic process. As Alex eloquently stated, “My work allows me to truly feel alive.”
CF: To conclude the interview, I have one final question. Since graffiti and street art assume the street as their exhibition space, what is your opinion about our museum being open-air and having the collection directly available in the public space? How do you see yourself being part of this initiative?
AH: Oh, I think it’s incredible. I never thought graffiti would reach this scale. Even though I studied famous muralists like Diego Rivera, I saw that they were already active in the streets. But to imagine that one day, the paintings I create would be part of an initiative like this is unbelievably amazing! The only issue with street art museums, in general, is that they often lack a maintenance plan for the artworks, and they deteriorate over time. They should involve the artists in restoration efforts, and there should be that concern, like in other museums. But other than that, it’s phenomenal that everyone can have access to art in public spaces.
In the end, receiving compliments from Alex on my interview was incredibly rewarding. He expressed his genuine appreciation for the questions I raised, which gave birth to a myriad of stories now showcased to the readers. I must admit, I was a bit nervous at first, considering it was my first interview. However, receiving recognition from an artist with vast experience, talent, and a friendly personality brought a sense of ease to the process.
