Interview at NoCure Magazine issue #05 Australia, August 2014
You won’t find simon silaidis’ calligraphy adorning the concrete barrenness of densely populated precincts nor is it confined to paper. Operating under the pseudonym urban calligraphy, he instead sees creative value in the exclusive experience afforded by working with the debris of the built environment forsaken by society.
Words: Anthony Thomas
A designer by trade, Silaidis has managed to remove financial motivation from his calligraphy practice, instilling it with a rare purity. “Calligraphy for me is a way of life. The sweeping brushstrokes, the formation of the letters and the control over the ink gives me a sense of freedom but at the same time a sense of captivity to make the best possible art.”
“I try to completely express my inner self through calligraphy. Art, after all, is about expressions and communication. That’s why I spend so much time finding ideal locations that merge in harmony with my art instead of places where many people can see it.”
Void of explicit signatures, Silaidis’ style itself has become the key identifier for his murals. Drawing on his vast cultural experience, the Western Arabic and Asian influences that are on proud display in his lettering are not easy to ignore. Given the scale of the works, it’s hard to believe his process is largely unplanned, preferring to remain dynamic and responsive to the site itself.
“I spend most of the time getting the idea out of my head to the wall. I try to find special spots where I intend to express the atmosphere of the surroundings through my art. I use a variety of brushes; my favourite colour is black because it remains a neutral expression to the viewer while maintaining a strict character. I try to keep all my works as sharp as possible and this means that it can take quite some time before reaching the result I want.” He adds to the disbelief when he reveals the meagre material output required to create the works. “I manage to create all my big murals with only 500ml of paint. This gives me more control to know that everything used is 100% important. I dry my brushes over and over in order to achieve as much sharpness as possible since I work on unbuffed surfaces and I want to keep the surface wall atmosphere as I found it.”
I TRY TO COMPLETELY EXPRESS MY INNER SELF THROUGH CALLIGRAPHY. ART, AFTER ALL, IS ABOUT EXPRESSIONS AND COMMUNICATION. THAT’S WHY I SPEND SO MUCH TIME FINDING IDEAL LOCATIONS THAT MERGE IN HARMONY WITH MY ART INSTEAD OF PLACES WHERE MANY PEOPLE CAN SEE IT.
I prefer to work on the natural environment of a wall because I firmly believe that time is the best background for every piece .
“I also prefer to work on the natural environment of a wall because I firmly believe that time is the best background for every piece. That way it blends and creates a better physical appearance. When I return after some time, I can see parts of the wall destroyed. This is art with the help of the nature.” Indeed it is. His works become contemporary artefacts forcibly embedded into the histories of the buildings themselves. As the sites decay so to do the murals, blurring the lines between new and old. By appropriating the distinct stylistic influences informing the works with modern techniques, each site is assigned an oddly prophetic mood that Silaidis’ fondness of religious iconography exacerbates. His short film, Skyfall, has become an acclaimed piece of urban art cinema. So much so, he has returned to the medium in his latest project, Lucid Dreaming. “When Skyfall was ready. I watched it again and again but I was not ready to release it. Often, I am still not happy with myself even though the film inspired many people. We filmed Skyfall the day that we went to see the site. This time we did it with the opposite way of thinking, looking for ways to express how a person lucid dreams. After all, in dreams, we enter a world that’s entirely our own. So when we can control it? In a lucid dream state.” An interesting concept surely and one that embodies his vision of a new world detached from the chaos of the one we live in now.
Calligraphy is more than a hobby for Silaidis. It has become a tool he uses to navigate emotional turbulence and has pulled him in directions he never imagined possible. His goal now is to channel this into creating artworks that act as symbols of change for others, the impermanence of the works offering both literal and metaphorical meaning to a viewer. The writing may be on the wall but exactly what it says will never be predetermined if Silaidis has anything to do with it.
Interview at Diseño & Dinero Colombia May 2014
y su increÍble habilidad caligráfica-urbana
Front Cover: Simon Silaidis / Circle of Life
Simon Silaidis es un talentoso artista caligráfico,de origen Japonés y residente en Atenas, Grecia quien se destaca por pintar y rediseñar murales a través del uso de la caligrafía en las zonas urbanas. Su pasión por lo que hace lo ha llevado a crear magníficas obras con un estilo netamente urbano, gótico y basado en el mundo espiritual. Desde los trece años de edad ha estado perfeccionando su técnica para plasmar letras y escritos caligráficos sobre los murales. A continuación la entrevista exclusiva que brindo a la revista Diseño & Dinero.
Teniendo en cuenta artistas como Bansky, Jean-Michel Basquiat y Keith Haring, que han rotolos paradigmas del arte urbano, ¿Qué aspectos has aprendido de sus obras?
´´Estos tres artistas son excepcionalmente talentosos con lo que hicieron. Bansky, para mí,representa un espíritu innovador y su obra busca incansablemente las fronteras de nuestra civilización occidental. Gracias a su obra, aprendí a cultivar esa chispa innovadora que lo caracteriza. Jean-Michel Basquiat fue un rebelde y anticonformista, sus obras me transportan de lo primitivo a lo actual. Lo que aprendí con sus obras fue eso, lo cual interpreto en un pensamiento propio :
´´ Un hombre tiene que ser totalmente libre´´. Por último Keith Haring, para mí, es toda una leyenda, sus obras me impulsan a tener pasión por la vida, me dan ese sentimiento y espíritu inspiracional que un verdadero artista debe tener´´.
¿Qué movimientos artísticos te han servido como influencia para crear tus obras?
´´En realidad no me enfoco en algún movimientos artístico ya que la mente, por defecto, empieza a copiar ideas. Lo que hago es mirar y apreciar todo tipo de arte, y luego trato de preguntarme a mí mismo todo lo que he percibido. Cuando observo algo, no lo interpreto al 100%, debido a que siempre quiero hacer creaciones únicas´´.
¿El mundo espiritual y religioso han inspirado algunas de tus obras? ¿De qué manera?
´´Absolutamente. Yo respeto y creo mucho en esos mundos. Siempre me inspiro en la religión y me gusta usar palabras con un significado espiritual y religioso. De esa manera, el espectador se cuestionará el por qué y la forma como le están ´´hablando´´ mis obras´´.
Hemos visto que en casi todos tus trabajos, empleas una tipografía gótica. ¿Por qué?
´´Me apasiona hacer caligrafía con brocha plana. Y así es, mis obras están basadas en este estilo. La tipografía gótica es la base de muchos escritos caligráficos. Me gusta mucho usar plumas y brochas planas, por lo cual tengo una colección grande y única de estas´´.
¿De todos tus trabajos cuál es tu obra favorita?
´´Siempre trato de hacer una obra de arte mejor que la anterior. Cada obra tiene una historia distinta, teniendo en cuenta el lugar y el tipo de arte que plasmo en cada una. Amo todas mis obras. Me siento muy feliz y siempre hago un cumplido de cada una´´.
En Colombia, el Arte Caligráfico ha empezado a tener más acogida y han ido surgiendo nuevos exponentes en esta área. ¿Qué consejo le darías a las nuevas generaciones que incursionan en este arte?
´´Cada artista se conoce así mismo de una forma distinta. Así que mi consejo va directo al alma: Simplemente traten de hacer y dar lo mejor de sí mismos. Piensen bien el papel que desempeña el arte y lo que tratan de expresar de sí mismos. Si las nuevas generaciones pueden comunicarse con la audiencia a través de sus obras, entonces es un ´´arte exitoso´´. De eso se trata todo tipo de arte: ¡de comunicación!´´.
¿Cómo llegaste a alcanzar tan alta habilidad estética en los trabajos que realizas?
´´En realidad no sé si mi trabajo es genial. Yo solo trato de expresar la atmósfera de cada obra que hago a través de mis letras y escrituras, al mismo tiempo, desarrollar
mi estilo haciéndolo lo más elegantemente posible. Cada semana practico mucho. Además, encuentro un sentimiento distinto y especial en cada pintada y cada una, a la vez, es un reto para mí. Solo los espectadores saben si es genial o no. Yo solo doy lo mejor de mí´´.
¿Qué tan alto quisieras llegar con tu trabajo?
´´No hay límites. He logrado muchas cosas con mi trabajo, tales como viajar alrededor del mundo, hacer gráficos y diseños desde que tenía 13 años entre muchas otras cosas. Pienso que llegaré tan lejos como Dios me lo permita. Si de mí dependiera, nunca me rendiría. Siempre seguiría adelante por lo que amo y por la gente que cree en mí. He recibido muchos mensajes en mi correo electrónico personal, los cuales son muy alentadores y me llenan para seguir adelante, a pesar de las adversidades´´.
¿Qué proyectos tienes preparados para un futuro cercano?
´´Hace un año, lancé una producción cinematográfica llamada SKYFALL, la cual ha sido de gran apreciación alrededor del mundo. ¿Qué se viene ahora? Una nueva producción llamada ´´Lucid Dreams´´, probablemente la película caligráfica más atmosférica hasta el momento. ¡Prepárense!´´.
¿Te gustaría venir a Medellín, Colombia para realizar alguna obra?
´´¡Por supuesto que si! Me encanta viajar y explorar lugares únicos alrededor del mundo y decorarlos con mis creaciones. Tal vez en un futuro ubique alguna de mis obras en Medellín´´.
Interview @ Enspire.hu March 2014
This is ART with the Help of the Nature”
Greek artist Simon Silaidis has given another dimension to calligraphy with his project called Urban Calligraphy. He’s left the studio and gone outside to explore secluded areas that constantly provide him with spots to work at. I’ve asked Simon about art, calligraphy and design.
How and when did you get first in contact with typography, calligraphy and design in general?
I started back in 1998 after visiting a graffiti festival in Athens. After that, and until 2001 I was experimenting with a variety of graffiti styles. I stopped at least six years in between because graphic design came into my life at the end of 2001 and changed it forever. I travelled a lot as a designer, but I finally came back to Greece in 2007 and got involved again.
Why and when did you decide to start Urban Calligraphy?
All started when I felt that a piece of paper couldn’t host my art as it happens to many other people involved with calligraphy. Urban Calligraphy is calligraphy under rural, urban and suburban surroundings that escapes from the ink into the paper and the boring surroundings of a calligraphy lab and exposes itself in public places, abandoned buildings, the streets and all sorts of surfaces focusing on the atmosphere of the wall.
I don’t know the exact reason. The only thing I know is that I wanted to somehow express my inner self. Art, after all, is all about expressions. For me this happened while observing the flow of the brush. The stability you need for calligraphy is something that has grabbed me.
You create in public places, abandoned buildings, the streets and all sorts of surfaces. Based on what do you choose places? I suppose there are several sites you can choose from.
The place usually chooses me and not the other way around. What I mean is that I try to find special spots where I intend to express the atmosphere of the surrounding through my art. I always liked the idea of exploring, and I spend most of my free time on mountains trying to track down hidden jewels of places. The older the place I choose to „decorate”, the crazier I get while on it.
Do you host workshops or give lectures for professionals and/or non-professionals by any chance?
It is not my style to do that. Even that I’ve had various invitations to do it, I do calligraphy for my own soul and focusing mostly on that. Someday maybe yes, I will tell my story in front of a crowd.
How do you start, develop and work on a project?
I explore lost places and I try to express the feeling of the place where I work. I use a variety of brushes; my favourite colour is black because it remains a neutral expression to the viewer while maintaining a strict character. I try to keep all my works as sharp as possible and this means that it can take quite some time before reaching the result I want. I also prefer to work on the natural environment of a wall because I firmly believe that „time” is the best background for every piece. That way it blends 100% and creates a better physical appearance. When I return back after some time, I can see parts of the wall destroyed. This is ART with the help of the nature.
Your style is recognizable but still unique and in a sense very educational as you mix Arabic, Asian and European elements, which might – and actually should – inspire others to consider the world greatly diverse but united at the same time. Have you consciously developed your style or has it happened rather spontaneously and unaware?
I have developed my style from my travel destinations I have had in the last 14 years. Of course, every artist starts with a baseline and later tries to evolve it to something better but all choose their own way. For me development comes from many aspects. One of the aspects is the place I choose for my art, which inevitable makes me face „new problems” meaning dangerous paths in the nature, weather conditions, etc. Also doing murals with a brush is harder than a SprayCan because the paint needs special control to reach the best results.
On your Behance profile you label your work as street art, which according to Tristan Manco – and probably to many others – is equal to post-graffiti, neo-graffiti. He also mentions in his book Street Logos that the drawing inspiration comes from bio-technical forms, calligraphy, ethnic patterns, retro fashions and fine arts. How much impact does graffiti have on your work? What are the differences between graffiti and neo-graffiti?
Labelling my work, for me, it is not important, and I feel it would only narrow it down. What I do is influenced by Arabic calligraphy with a combination of Western calligraphy, and it is a deeply spiritual process. My work communicates with street art and graffiti-oriented people, though the materials and the techniques I use are not those of a regular street artist. Graffiti is graffiti, street art is street art, neo-graffiti is not an applicable term for me. For me art is one thing and refers directly to the spectators souls regardless of the medium used.
I assume that you don’t only want to provide new experiences with Urban Calligraphy but to talk to people in an indirect way without any mediators such as curators, institutions. Don’t you think it’s a bit paradoxical that you do exhibitions despite the fact that you’ve decided to explore unknown or less known urban public surroundings to bring about new approaches concerning calligraphy and art?
As I mentioned earlier my work is located in secluded environments. By doing exhibitions selectively and under my terms, I give my audience a chance to see my work live and feel my vibe in person instead of just looking a good photo. So no, performing in exhibitions is not paradoxical. I always practise my art without money expectations or constraints.
What is your opinion on what has happened to Banksy’s works, namely it is claimed that those belong to the owners of the walls, and he or she can sell them if they want without contacting or giving any money to the artist himself? How ethical is this? What would you do if someone did this to your work?
Works that are done in public spaces belong to public spaces, in other words, to everybody. I think that someone who happens to own a wall and just wants to make money out of Banksy’s work is just selfish, greedy and does not respect art. This kind of thing is difficult to happen to me as I work in secluded and abandoned areas mostly focusing on the vibe and the tranquillity of the surrounding; public exposure is something that does not concern my work or me. In other words, the spots where I work do not belong to anybody, and therefore if someone tried to exploit it, he or she would face legal consequences.
I’m quite convinced that people are – at least to a certain extent – manipulated by so-called art trends and tendencies on the account that art is closely tied with business and money. Sooner or later every special and new but yet marginalized art form becomes part of the system. Could art and artists exist without business nowadays?
If you choose art as a professional career, surely you have to exist, depend on and endure in the system that you describe in the question. However, you can choose to work in another field – which is my case – and practise art without financial expectations or constraints. All this depends on the circumstances and the choices one makes in his/her life.
You have been working as a graphic designer for more than ten years but you are also an artist. Your profession requires you to both follow rules and please your clients. As an artist you have more freedom but calligraphy still demands calligraphers to be aware of some rules, however, you don’t necessarily have to please anyone, only yourself. How can you balance between your two selves?
Balance is my first rule in life. If I don’t have balance, I cannot do anything. In a same way all aspects of design need a balance. No matter you are a traditional artist or a designer. I am always involved in many aspects around design that I really cannot name you. I’ve been running my own creative studio in the last 10 years and this really absorbs me, it consumes much time and energy. But calligraphy plays the role of making me a better person, not exactly in design but it makes me forget all the problems that surround me. So in other words, by having inner peace that comes from calligraphy I can be more creative in my design carrier.
What are you working on right now?
Exactly one year ago today I released the SKYFALL movie that brought me a lot worldwide appreciation. So what about now? A new film called Lucid Dreams is coming, which is probably the most atmospherical calligraphic film ever. Get ready!
Interview @ PingMag August 2013
Greek designer and artist Simon Silaidis is returning to Tokyo to show his latest work from the Urban Calligraphy Movement. PingMag spoke with him just before the start of his exhibition at the Kojimachi Gallery.
We understand you’ve only recently started this street art project. What led up to this?
I started back in 1998 after visiting a graffiti festival in Athens. After that and until 2001 I was experimenting with a variety of graffiti styles. I stopped for at least six years in between, because graphic design came into my life at the end of 2001 and changed it forever. I travelled a lot as a designer and in 2007 I finally came back to Greece and got involved again. Now I am the one of the people behind the Urban Calligraphy Movement.
I’ve had my own creative studio for the last twelve years focusing on graphics design, web design and short film production related to graffiti and street art. You can think of me as like a Swiss Army knife.
You work on abandoned buildings and public places. What kind of sites?
I try to create my work in places outside the city walls, usually on mountains. I don’t like to paint on the typical places other people paint. Sometimes I drive my car several kilometers to explore the best spots. I try to find places that if someone visits them they would never expect to find an art piece there. And the older the place the crazier I get when I decorate it.
You wrote that Urban Calligraphy uses materials nobody would think they could be used. What kind of materials?
The brushes are standard sizes. For large-scale murals I use custom brooms. This way I can use them as brushes and I can produce different brush stokes as contrasts on the mural.
Perhaps this is a silly question. Is it graffiti or calligraphy or street art — or all three?
Nothing is silly. It’s a combination of calligraphy and street art. Since I’m not using spray on my works, it cannot be graffiti. In calligraphy you must have full control of the brush. If you control the brush then you control your work. So what really attracted me is being more accurate with the things I do and at the same time also creating art.
You used to live in Japan. Did you ever do anything similar in Japan?
My life in Japan was 100% for business. I had the honor to be there for my design skills as a designer. I can say that this was one of my highlights of my career.
Always I take steps after a lot of thought. I want to be sure I can control something well before try to expose it or take it to a higher level. This is one of the things calligraphy also requires and I always have it as rule. I wasn’t ready at that time for something like this. So now I feel it’s about time. That’s why I am back.
Did being in Japan inspire or inform your work at all?
Japan as a country is full of inspiration. Everything you see around you is something unique. Of course, I try to absorb everything every time I visit Japan. Even the way of life in Japan is an inspiration for me. They try to always be perfect in everything. This is something I try to do as well in my work.
I understand you mix a lot of influences — Asian and European and Arabic?
Correct. My style is a mix of Western, Asian and Arabian calligraphy. I try to find abandoned places and turn them into a piece of art with the calligraphy. I create my works in studio with ink and bamboo pens, and for something on a wall I use materials such as flat brushes and large brooms.
How did the current exhibition in Tokyo come about?
Montana Colors JP (a graffiti spray distributor) has always supported my art and I really thank them for everything. I got an invitation from them for a solo show and we arranged it. They have also organized me to do some murals inside Tokyo. Makoto and Kenshiro are doing a great art job in Tokyo.
The exhibition will take place at Kojimachi Gallery. I will show a variety of studio works and a special new project with the use of calligraphy. Unfortunately I cannot ship many of my artworks because the destination is quite far from Greece. After that, trips inside Japan will follow for new murals in the Tokyo area and Hiroshima.
What can we expect at the current exhibition?
The inner side of the Urban Calligraphy. I am not often making canvases because I focus 100% on urban exposure of calligraphy.
You are Greek. Have the recent economic and civil troubles in Greece affected your work?
Urban Calligraphy is not about money but about serenity, the inner voices of my soul. I don’t make calligraphy to earn from it. I am already a successful designer. I believe this is one of the most positive things for art to go higher. For me the earning comes through the exposure, a mural is a bigger, louder canvas. I don’t let my work get affected by life problems. This is my escape, my freedom.
We live in a crisis brought on us by the EU. They designed a Europe for the strong and disregarded the weak. My perspective is that Greece is the experiment by the strong economies of Europe on how to impose on the weak ones. Portugal, Italy, Ireland and Spain will follow. People should unite against the experimental purposes of the few.
What are your future plans for the Urban Calligraphy Movement?
At the moment a new film is ready with dirt bikes and a very big ramp construction decorated with my calligraphy. We filmed that for a bike show in a Greek airport and it came out tremendously. Also in Tokyo I will make another film on Japanese culture, plus about what I will do there.
Thank you, Simon Silaidis!
Interview @ DesignFather July 2013
How did you get started in the street art scene?
I started back in 1998 after visiting a graffiti festival in Athens. After that and until 2001 I was experimenting with a variety of graffiti styles. I stopped for at least 6 years in between, because graphic design came into my life at the end of 2001 (and changed it for ever). I travelled a lot as a designer and in 2007 I finally came back to Greece and got involved again. Now I am the one behind the Urban Calligraphy Movement.
When describing your work, what would you say are the main themes?
Hmm, abcdefg… Letters are the main theme, applied in the rural, urban and suburban surroundings.
How has your style developed throughout the years?
I always try to evolve my style. Not because I am afraid to remain the same, but because I try to test and see my limits and ideas. Development comes through new challenges, which I always keep in the back of my mind. Sometimes I feel like I won’t succeed, but I never let this fear take over me and in the end I try my best. But it has also developed through various collaborations with other artists and mix of styles.
What are your favorite materials/colors to work with?
I work with a variety of brushes, and bamboo pens plus other materials that can play the role of a pen. My favorite color is black, because it remains a neutral expression to the viewer, while maintaining a strict character.
What has been your most challenging and/or rewarding piece of work thus far?
I think the “next one”. I always feel like I have to give more than I already did to a previous work, because each project has its own facts. So, rewarding pieces are the ones that help me meet new people and connect to create something unique.
How long does it usually take you to finish a mural?
It depends, actually. I try to keep all my works as sharp as possible. This means that it can take quite some time, before I see the result I want. Of course you have to be very careful and very balanced while using those brushes, because it’s damn easy to make mistakes. I also prefer to work on the natural environment of a wall, because I firmly believe that “time” is the best background for every piece. That way it blends 100% and creates a better physical appearance. Of course, if you make one mistake…you have to kiss that wall goodbye and search for a new one
How do you choose a street/environment to work on? What intrigues you the most?
Usually, I go with the flow, that feeling that the place is choosing me and not the other way around. What I mean is that I try to find unexpected places that no person would ever think of as appropriate to show off art. I always liked the idea of exploring and I spend most of my free time on mountains, trying to track down hidden jewels of places. The older the place I choose to “decorate”, the crazier I get, while on it.
Urban Calligraphy, as the term suggests, is calligraphy under rural, urban and suburban surroundings. Unique calligraphy that escapes from the ink used on paper as well as the boring surroundings of a calligraphy lab and exposes itself in public places, such as abandoned buildings, streets and all sorts of surfaces, using materials nobody would ever think of using. In one word: ESCAPE!
Why “Skyfall”? Why not a different name that wouldn’t associate you with a secret agent, who has dedicated his life in order to serve this very system you are opposed to? What is it about this song that intrigued you to use it for your video?
“SKYFALL” reflects the way calligraphy approached me in my life. It was very much like a sky fall. The title is certainly also ironic, because when we went on reperage to check the exact spots to start filming, there was the thickest fog ever around the mountains. We were amazed by the mystic scenery, although we were indeed not ready to film under such weather circumstances. But we couldn’t miss the opportunity to do it.
On the other hand, Adele’s song is really a piece of tremendous work. She is a magnificent artist that I truly admire. Believe it or not, I am a fan of emotional songs. I am also directing many graffiti videos for my team DESIGNWARS, so I always pay attention to the song in the background. If it doesn’t “speak” to me, I cannot work with it.
If you put all problems we faced during the filming (because of the bad weather, the fog and the rain) aside, we do have footage from “SKYFALL” that never got published. Due to the strict film duration. So, expect something special to come out in the near future
Is this scene an outsider’s art? Or is street work more authentic than gallery work?
For me street work is more authentic. Because I have to scout the places I want to work on. Gallery work I can do on any given studio, on any given day of the 365. Street work has limits, problems dangers and etc… Makes you try harder, think faster.
What do you do when you’re not creating art?
I can’t think of even one minute that I am not actually creating art, in some way. If you put Calligraphy aside, I still remain a professional designer and I have had my very own creative studio for 14 years. What makes me unhappy sometimes, is the fact that I no longer have as much time as I would actually want to spend otherwise. With friends, trying out extreme sports… But if I look back and think of all the things I have gained throughout all these years, memories, new friends, achievements, then this is a reward. And feels like it.
Let’s just say you were hosting a dinner for 2, during next weekend. And these 2 could be anyone you’d choose. Dead or alive. Whom would you invite?
(laughing out loud) I am a huge fan of food. So I would invite two others who would respect and appreciate it. That would be Dan, my brother that never says no to food – or to meetings.
And my second guest would then be Mr.DHEO, my Portuguese brother. I admire both his art as well as his stomach’s unlimited storage. Both of them are part of the YAPAME crew. And the mission of the crew is to satisfy every tough stomach around
We’ve read somewhere about an exhibition in Japan that you are participating to. Is this true? When is it due and what is it about?
From 10th until the 20th of August my work will be presented at a Solo Exhibition of Urban Calligraphy right in the Center of Tokyo – presented by Montana Colors JP at Kojimachi Gallery. I will be showing off some of my studio works as well as a special new project of calligraphy. But do note that I will be staying around for quite some time, so there will be new Murals coming up there, Tokyo and Hiroshima.
Japan is a place that has honoured me with many beautiful memories in the past. I have lived there for quite a long time. And loved every minute of it.
Do you have any special plans for the future? Something to look forward to perhaps?
Many new things are coming up. Always to surprise my followers. A new film is on the way, but do pay attention this coming October for something real special.