Christian Guemy is a graffiti artist. Quite a popular one. He came to Sri Lanka a few months ago. Did his thing. Entranced everyone. Young and old. I didn't interview him long enough. He wasn't very willing to come forward with me. So I could only afford this much. I hope it does justice. To him.
Graffiti is not
new. To us in Sri Lanka, the word would bring to mind the verses of Sigiriya,
called “කුරුටු ගී” in Sinhala. As an aesthetic tool, it has been here for quite some
time. As a social tool, teetering between realism and the political, between the
need to record life and the need to propagandise a message, it’s new. Those who
consider themselves connoisseurs (of sorts) would rate it as a plebeian art.
They may not be wrong, for graffiti is well and truly the “common man's art”, as
it seeks to communicate with the street-goer (it’s “street art”, after all).
Christian Guemy
is an urban artist. He has his message, unadulterated and free of frill. Guemy is here. Correction: “was”. He was
here two weeks back. He painted, all around and across Colombo, bringing to the
metropolis in Sri Lanka what he had tried out in his hometown of Vitry, in
France. The paintings (or “කුරුටු”, shall we say?) are pretty much everywhere,
on trishaws, on the walls of shanty settlements, on other walls, even inside
houses.
That’s as
subversive as it’s going to get.
I met Guemy on
his last day in Sri Lanka. He was leaving that night. He had things to say and
things he put across. Graffiti is his passion, but it never really shows in
him; his solemnity and noticeable lack of pretension about his art is what
struck me most forcefully. Perhaps this is partly owing to how he first
encountered graffiti: “30 years ago, in 1984. That was a time when hip-hop
culture was beginning to take root in my country.” Rap, break-dance, and the
like hadn’t become nativised in France at the time; graffiti too figured among
these art-forms, so it wouldn’t be crass to say that it too is a recent fad where France is concerned.
Still, he has
taken his views on his art firmly to heart, as any budding artist will do. He
holds graffiti in the highest regard, yet categorically denies any smattering
of professional knowledge on the subject (“I am no expert”), a sign of his modesty perhaps. At
another level, though, one can argue that his whole worldview of graffiti can
be summed up as follows: it is subversive, yes, but we have moved away from the
political subtext which it has become placed in during the past. “My art
is more about reaching to the public; it is ‘subversive’ in that sense.”
Instead of being a “rebel outside the system”, it’s more about being in it and
changing society.
That’s the way
Guemy sees things.
How has Sri
Lanka fared for him? “Quite good actually,” he says, “People here are so
friendly. I have been to other countries, to India especially. Those were
heavily intense trips, quite painful. Not so Sri Lanka.” No doubt his
paintings have attracted attention from those around whose settlements and
houses he has taken his art and talents to. People from all walks of life –
predominantly children – would have doubtless been awed by the novelty
of it all.
Christian Guemy can be aloof. Rightly so. His
noticeable lack of pretension marks him out well. I think we
all can describe his talent and art out as follows: colourful, but not ornate. His
views on the “subversive factor” in art, predominantly in painting, are not
novel. There are admittedly artists across the level, in repressive regimes or
otherwise, who engage in colourful, exaggerated, and of course politically
dissident statements in their graffiti. Not so Guemy. Change, after all, must
come from within. Dissent may be in order at times, but to make it a dominant
motif in one’s works would be, after a certain limit is passed, quite ineffective.
Written for: Ceylon Today LATITUDE
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