INTERVIEW WITH INSANE 51
Insane 51 creates murals that aim to mess with your perception. With a strong visual identity, his artworks will really make you think “wow, that looks insane!” His artistic vision was built from different influences, mostly fine arts and graffiti, the latter starting around 2007. But it is really his adventurous attitude and the will to experiment that make his art excel.
Overlaying and photorealism are the prominent elements of his compositions. Nowadays, he is mostly known for the Double Exposure 3D technique: two images layered in red and cyan to create a three-dimensional effect, experienced through 3D glasses, digital colour filters, or the glasses installations he sometimes places in front of his murals.
But his art also offers other kinds of dynamic compositions. Always playing with different layers and the human figure, the way he translates the essence of his characters is unmatched. That is exactly what he brought to his mural for the Rotterdam Street Art Museum: a depiction of Vincent Vega from Pulp Fiction, frozen in motion on a Rotterdam wall. Read on to find out what drew him to that iconic figure and what it meant to leave his mark on this city.
Cláudia Freitas: What projects were you involved in in 2025?
Insane 51: 2025 was shaping up to be a big year, and it was. I was working on a mix of studio pieces and large-scale murals across Europe and the US. There were also a few collaborative exhibitions in the works, as well as some experimental projects that pushed the limits of my double exposure technique into new mediums. I was also expanding my studio practice, working on canvas pieces that reflect my evolution beyond walls.
CF: Why the name Insane 51?
Insane 51: “Insane” came from how people used to react when they saw my early work, they’d call it insane, so it stuck. The “51” is a reference to Area 51, something mysterious, hidden, experimental. That’s how I’ve always approached my art: a bit off-the-grid, pushing beyond what’s expected.
CF: What can you tell us about the Greek street art scene?
Insane 51: The Greek street art scene is raw, emotional, and politically charged. It’s grown a lot in the last decade, especially post-crisis. There’s a strong community and real talent here. It’s not commercialized the way it is in some other countries, and I think that gives it honesty. Artists are painting with purpose.
CF: Can you tell us more about your first years as a graffiti writer?
Insane 51: I started young, around 13. At first, it was all about letters, throw-ups, bombing. The freedom of graffiti taught me everything: discipline, risk, commitment. It was my way of finding identity and connection in a chaotic world. Those years shaped the way I see everything now.
CF: Do you have some academic background, or did you learn to draw and paint yourself?
Insane 51: I’m mostly self-taught. I studied a bit of graphic design and painting, but most of what I know came from being on the streets, experimenting, and putting in the hours. I learn by doing, by failing, fixing, and evolving.
CF: Do you only do graffiti and street art? What other artistic projects are you involved with?
Insane 51: Street art is where I started, but now I work across multiple mediums. In the studio, I focus on canvas work, prints, and installations. I’ve also been involved in mural festivals, museum pieces, and private commissions. I’m interested in anything that challenges me visually, anything that lets me tell a layered story.
CF: Can you tell us more about the evolution of your style?
Insane 51: At first, I was really into photorealism and overlaying imagery, almost like a moving still. But over time, I wanted to push further. That’s how the double exposure 3D technique was born, layering two images using RGB separation to create something interactive. Lately, I’ve been refining that style, but I’m also circling back to other elements, movement, distortion, narrative, bringing it all together in new ways.
CF: What inspires you besides cinema?
Insane 51: Cinematic references are big for me, Tarantino, Kubrick, Gilliam, but I also draw from classical painting, psychology, and the duality of human nature. I’m fascinated by anatomy, decay, light, and shadow. Music plays a role too, especially hip-hop and experimental soundscapes. Inspiration can come from a film, a sculpture, or even a weird dream.
CF: Why did you choose to represent Vincent Vega in Rotterdam?
Insane 51: Vincent Vega is iconic. He represents contradiction, cool and chaotic, charming and reckless. I thought he was the perfect character to reflect movement, confusion, and intensity in a city like Rotterdam. It was a tribute to that dual energy, and to the kind of films that shaped my visual mind.
CF: How did you get involved in the Guinness World Record graffiti scroll?
Insane 51: It was an honor to be part of that. I was invited along with over 40 artists from around the world to paint the world’s longest glow-in-the-dark graffiti scroll. The energy was unreal, pure collaboration and creativity. It didn’t change my path, but it reinforced the global power of this art form. It was a moment of unity in the graffiti world.
CF: What techniques did you use for the Rotterdam Street Art Museum mural?
Insane 51: That mural combined freehand spray techniques with stencils and layering. I used a more cinematic approach, playing with blur, light, and movement instead of sharp 3D elements. It was all about motion and emotion rather than optical illusion.
CF: Why movement instead of tridimensionality in that mural?
Insane 51: Sometimes, the story asks for a different visual language. For that wall, the idea of movement, transition, and narrative felt more important than the 3D effect. I wanted the viewer to feel like the image was caught mid-scene, like a frozen moment in a film reel.
CF: How do you recall the experience of painting the mural in Rotterdam?
Insane 51: It was intense in the best way. The scale, the city, the vibe, it all clicked. Rotterdam welcomed me with open arms. I had the freedom to experiment and the space to create something bold. I left a piece of myself on that wall.
CF: How would you describe yourself as an artist?
Insane 51: I’m a storyteller. I use walls, canvas, and color the way a director uses film. I’m obsessed with duality, illusion, and emotion. Whether it’s a mural 30 meters high or a canvas in a collector’s home, I want people to feel something layered, something that pulls them in and reveals more the longer they look.
