The masterful work of art by the Danish master at the Montana Colors HUB facilities gives us the perfect excuse to get a closer look at his style and history. In order to prolong the durability of the piece, we have resorted to the MTN Mural Water-Based Protective Varnish, which also serves as an example of how this tool can be utilized in the graffiti world
VERSATILITY AND HISTORY
Half a year ago, we used an MTN Limited Edition to pay tribute to SABE, a key player on the global graffiti circuit. The documentary we produced served as a summary to configure a complex portrait that could help to explain the importance of this Danish writer in his different directions: his long career, his constant activity, his versatility in considering formats, and his peculiar construction of a style as complex as it is unique.
SABE AT THE MONTANA COLORS HUB
There are many writers and graffiti artists who have wanted to leave their mark at the Montana Colors facilities since Os Gemeos performed on one of the factory buildings in 2004. Almost 20 years later, it is almost impossible to find spaces inside the MTN factory complexes that can be painted. However, in the back of the Montana Colors HUB, a large wall of virgin cement stands as the new medium on which to perform and that SABE has premiered in an almost insurmountable way: a majestic wildstyle, which has caused a furor on his Instagram account. The visit to Barcelona of the standard-bearer of “Free Your Spirit” has been taken advantage of to carry out a mural intervention that is difficult to overcome: a burner of more than 10 m that exhibits the intricate version of the Danish style accompanied by fun and classic characters.
MURAL VARNISH, ALSO FOR THE PRESERVATION OF GRAFFITI
Last fall we launched a varnish specially designed to protect murals, a very useful tool for all work that requires prolonged color durability. Designed for artistic applications, on this occasion the MTN Mural Water-Based Protective Varnish serves to protect the work carried out by SABE, and that we can use to propose the usefulness of this product also in the world of graffiti. At this point, is it necessary to say that graffiti pieces must also receive the same type of consideration as works of art?
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