After almost 30 years of graffiti bombing and going through different phases, Buny has launched a visual essay based on a really interesting idea. For some years now, the KR2 crew member has become specialized in freight train graffiti, and that’s something that’s not very common on the European scene. But what he has also decided to specifically focus on which makes him so unique, is his investigation into the scope of this type of graffiti. That’s what Container World reflects; a photographic collection that documents the shipping containers tagged by Buny, popping up in the most remote places on the planet.
-The idea of this project is sensational. What got you interested in this specific topic of how the containers you paint travel around?
A real graffiti writer’s mind is always thinking ahead and of being seen in the most surprising and original ways. So, the fact that you can be seen anywhere on the planet without using the Internet to reach other writers made me think about how to work on this surface.
-Why specifically in the ports?
Because it’s like a lay-up… yards full of parked trains of all models and colors, that make for beautiful, spectacular photos full of flavor, where you can find your train by searching and searching, or even while it’s in full airborne movement.
“I received news of a container that was seen while crossing the desert through one of the poorest countries in the Horn of Africa near the Arabian Sea.”
-What places appear in the first two issues of Container World, and what places are yet to come?
As its title indicates: places from the five continents on the planet, from the Land of the Rising Sun to America, and passing on through cold Europe. Waiting for news from Peru, St. Petersburg and Mother Africa…
-What is the strangest place where a container with a Buny tag has been located?
I received news of a container that was seen while crossing the desert through one of the poorest countries in the Horn of Africa near the Arabian Sea, but I’m sure there are many exotic and remote places that I’m still not aware of. I hope that someone who has seen one, read this article, or the one that appears in Tramontana magazine, will bring forth their story. As New York Mayor Edward Koch said in Style Wars: Time will tell, time will tell. Hehe.
-Besides your pieces, what other writers’ pieces will we be able to see?<
By all those writers who have painted a container in their life on their own or with me. The surprise factor is the most important thing because that’s what this project is all about.
“People flick through photos by just swiping a finger, almost without paying attention to what they’re seeing.”
-How did you get in touch with the people who provide you with the photos? Did you have any help? What kind?
As a journalist would tell you: Professional Secrecy.
The vast majority of the photographs are taken by myself as I have been investigating this phenomenon for many years, but as a photographer, I also have some contacts that have given me some snapshots. It’s the result of having visited many places and at the same time having been seen for many years in this game.
-Paper publications are in a downward spiral. Why did you choose this format to publish your photos?
I decided to use paper, precisely because few people use it anymore, and to me that’s a mistake. I remember years ago it was difficult to find information about artists that you liked, and when you got it, you would start to build your own collectors library at home, which I still maintain today and look at from time to time. Sometimes when you read them again you feel nostalgic, reminiscing about some very special moments. Nowadays, with the digital era, all that has been lost and people flick through photos by just swiping a finger, almost without paying attention to what they’re seeing. More or less like on this blog right now.
“All surfaces are attractive to a real graffiti writer and there’s no doubt about that. Trends are short-lived and real graffiti is not!”
-You became famous for painting passenger trains, subways from different cities and bombing the streets. Now you’re focused on freight trains. If you had to keep just one of these three facets forever, what would it be and why?
I wouldn’t stick with any of them. Variety inspires me to renew myself as I am a very restless writer and am always investigating all the viable fields to allow myself be seen in any possible way using any tool or methodology.
-Do you think that these publications will make it become trendy to paint freight trains?
I don’t think so, as freight trains have been painted since the late 1980s all over the world and writers continue to do what they like best. All surfaces are attractive to a real graffiti writer and there’s no doubt about that. Trends are short-lived and real graffiti is not!
-The first one is already sold out, it’s already too late. How can one get Container World 2 and how much does it cost?
It can be purchased at the physical shop Writers Madrid via web / online at the reasonable price of 25€.
-One last question… We’ve seen your pieces on military trains transporting tanks. Where do you find these trains?
You want to know where?
“Container World 2”
A Journey Around the Globe.
24 pages A4.
2 What do you think?
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