Issue link: https://read.dmtmag.com/i/691761
PARLÁ: You grew up in Paris where you were surrounded by the atmosphere of the urban din—the layered city walls, and the ephemeral pace of city life. You've said that you own the world's largest gallery. Were you looking at walls for inspiration at the same time that they became your gallery? JR: I grew up in the suburbs of Paris, and all there was around me were walls—whether it was to climb or to paint on. When I started seeing them as a canvas, my entire perception of the world changed and suddenly every trip was an exploration. I would always have my face glued to the window of the train to discover a new spot that I would find later to tag or paste on. I am still fascinated by all the people who left a mark, even a small one on any wall or surface just to say they were there. When we were in Cuba, we didn't see much graffiti, but thousands of little marks on walls with people's names. PARLÁ: Regarding photography, have you always seen your pictures as art, or was the artistic process in your work born out of an organic evolution around the actions of vernacular street culture that you experienced? JR: I always took pictures knowing I wanted to share them with people in the streets. I had no idea there was a world of galleries and museums and rules. Later on I discovered all of it and still the street is the place where I have the most interesting interactions. PARLÁ: You love motorcycles and you have been riding for a long time. How did you get into the sport? Is it a hobby or is it another source for your inspiration to make art? JR: I love riding dirt bikes that have no license and no plates. I have a feeling of freedom when I drive those in the fields or sometimes in cities. When I was a kid I had one and rode in the projects, just trying not to get caught. It would even sleep in my room as I was afraid anyone could steal it. You could smell gasoline in our entire apartment. PARLÁ: What first drew you to want to paste your photographs on walls and how did that evolve from small photographs to large-scale pictures? JR: I just always tried to adapt to architecture wherever I would go. The architecture always dictated the frame of the photo. In the favelas I paste mainly women's eyes because of the houses being rectangular. PARLÁ: How did you first get interested in making documentary films? JR: My work being ephemeral, I always documented it from the very beginning knowing that would be the only trace of it. Later on I realized that documentary film could reveal better than anything else the layers and stories behind each image. PARLÁ: You love to climb rooftops and take pictures from above the city. Can you tell us more about that? JR: I guess seeing anything from a different angle always attract me even if there is risk. PARLÁ: We had a lot of fun collaborating on our project in Cuba. Having traveled to Havana a few times with you, I know you enjoy being there. JR: Collaborating is such a hard process but I always learn so much from it. We got to know each other so much by working in Cuba with the people and creating the project together. 180 culturedmag.com "I always try to adapt to architecture wherever I go. The architecture always dictates the frame of the photo." UNFRAMED, a group posing in a bark moored on the beach, reviewed by JR, circa 1930, Marseille, France, 2013 ©JR-ART.NET, COURTESY GALERIE PERROTIN