Run Don’t Walk
The route that introduced Run Don’t Walk to stencil art originated in the 1990s in Buenos Aires’ hardcore/punk underground. There was barely any street art scene when, in line with the DIY ethic and aesthetics of this background, he started using stencils for flyers, posters and records for his band.
Nowadays his work responds to and comments on the socio-political conditions, using references from animals to Karl Marx, via Janet Leigh’s scream in Psycho. ‘I have this romantic idea of changing someone’s routine a bit,’ he says, ‘If that happens to at least one person, then mission accomplished’. Stencil offers him not only a cheap way of spreading ideas but also a photographic definition that he considers fundamental for his art. ‘The reaction from passers-by is important and with stencils a four-year-old can understand what he or she sees.’