All posts tagged: Sixe Paredes

Sixe Paredes: Future-Folk Geometry In Barcelona

February 25, 2017 Artists

The Future-Folk Geometrist named Sixe Paredes is in Madrid at Palacio Neptuno this weekend for the Urvanity commercial art fair but today we have a look at a recent large scale pared he painted for the Open Walls Conference in Barcelona recently.

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Even at this massive scale there is a handmade warmth recalling traditional craft and the people of perhaps Central and South America; dissembling and abstracting its patterns and elements and re-stitching them in an open, inviting way.

Here we give BSA readers a peak at the process of making the mural with documentation by BSA collaborator Lluis Olive Bulbena:

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Exposing Politics and Scholarship at “Open Walls Conference 2016” Barcelona

November 23, 2016 Artists

Screenings, workshops, and talks – and murals of course.

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

These are the markings of at least some of the increasingly serious Street Art / Urban Art festivals that have emerged in the last few years thanks to calls for genuine scholarship and the creation of academic frameworks to help us understand something that began as a grassroots form of expression in the mid and late 20^th Century.

Muretz. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Open Walls Conference in Barcelona this year featured new public artworks by Dumar NovYork, Fasim, Muretz, Roc Blackblock, Sam3, Sheone, Sixe Paredes, and Syrup; a relatively small roster of artists compared to larger commercial festivals – and one that is heavily weighted toward local talents.

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

But as an artist, researcher and educator in the fields of graffiti and street art, Javier Abarca will tell you that this fourth edition of Open Walls Conference holds the “conference” aspect on center stage, with heated debates about the politics of art in public space – and private space for that matter.

This years’ debate had as its central argument the propriety of bringing Street Art into the exhibition space, how, and under what circumstances. Among the questions posed were whether it is ethical to bring urban art into the museum or whether the arts true nature is to live out its natural life wherever it has been painted illegally.

From Left to right: Elena Gayo, Christian Omodeo, Jorge Rodriguez-Gerarda and Javier Abarca during the panel discussion at the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell)

For fans, collectors, curators and artists in the Street Art world, this will sound like a familiar debate in light of an exhibition this spring in Bologna, Italy that was controversial to some because it contained illegal works taken from an abandoned factory.

The “Banksy and Co.” exhibit sparked a revolt by the artist Blu, who made a splendid show of his own by destroying others of his public artworks and inspiring the support of kindred painters to assist him, with some even holding a counter exhibition.

The audience at the panel discussion during the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell

Says Abarca, who moderated the debate, “This year’s focus shifted on the very contentious topic of the conservation of public art pieces produced without permission, resulting in an extremely intense three-hour discussion in a packed auditorium where two opposed visions on the topic were scrutinized.”

On panel were one of the exhibition’s curators Christian Omodeo, along with artist Jorge Rodríguez-Gerada, and Elena Gayo, whom Albarca calls, “a prominent Spanish restorer and head of a think tank that for the last two years has developed a set of ethical parameters for the conservation of street art pieces.”

We all benefit from examinations and cogitations such as these, and it is good to see a level of popular support to attend discussions, panels, and lectures that help shape and codify our understanding of such a widespread art movement/practice.

Sheone. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

In addition the conference featured a publishing fair called “Unlock“, which was dedicated to graffiti and street art and gathered close to sixty publishers from Europe and America, a first for the field, say the organizers. Another first, they say, is the academic study of the British artist Banksy launched here in book form as Banksy: urban art in a material world, by Ulrich Blanché.

Finally the fair featured a lecture by British journalist Marcus Barnes, “who nearly went to jail last year for publishing a graffiti magazine,” says Abarca, as well as “a breathtaking reading of What Do One Million Ja Tags Signify? by Brooklyn artist and author Dumar NovYork.”

Sheone. (CLICK ON IMAGE TO ENLARGE). Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Sam3. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Syrup. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Syrup. (CLICK ON IMAGE TO ENLARGE). Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Fasim. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Dumar NovYork reads from his book “What Do One Million Ja Tags Signify” at Unlock during the Open Walls Conference 2016. Barcelona, Spain. (photo © Javier Abarca)

Scenes from Unlock the first Street Art Publishing Art Fair as part of the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell)

Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

This article is also published on The Huffington Post.

brooklyn-street-art-huffpost-740-open-walls-barcelona-2016-screen-shot-2016-11-23-at-3-23-28-pm

Graffiti and the Everyday Utopias of the Street from Schacter & Co

March 12, 2016 Artists

Utopia, as you know, is unattainable.

Neither should one think that we are devolving into a Dystopian nightmare. Not just yet.

A new show at London’s Somerset House is examining the acts and results of so-called urban artists and their relationship to discussions about this imagined polarity.

We ask ourselves if graffiti and it’s variant unsanctioned public art cousins simply are a medium of messaging that runs outside of accepted pathways of delivery? Yes, and so much more.

Lucas Dillon. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

One one hand some public servants, civic minders, and private real estate owners have their “hair on fire” moments when these actions/interventions/disruptions of the cityscape are portrayed as signs of the utter ruin of civilization. Concurrently, libertarians, anarchists and sundry romantics may present them as a form of self expression, even self empowerment; an act of claiming a voice in the public dialogue heretofore closed to certain members of society.

In the descriptive text for Somerset’s current series providing a full year of space for Utopian thinking, we learn that co-producers Somerset House, King’s College London and the Courtauld Institute of Art are marking the 500^th anniversary of Utopia’s formal birth as a concept in writings by Thomas More. The reasoning presented says that because of his texts we are all equipped to imagine that a better world is possible and, thus knowing, “we are empowered to create it.”

Lucas Dillon. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Raphael Schacter and the arts organization A(by)P are presenting a portion of this discussion with their exhibit Venturing Beyond: Graffiti and the Everyday Utopias of the Street, just opened. Commissioning seventeen street artists for one’s show is in itself so rare and splendid as to be only in the realm of one’s imagination today. But here they are; new pieces and performances from a healthy spectrum of practitioners on the graffiti/Street Art scene like Shepard Fairey, Swoon, REVOK, Brad Downey, Horfée, and Eltono.

Schacter and company are “arguing against the traditionally-held belief of graffiti as a dystopian movement or ‘glorified vandalism’.” With installation works, in-house residencies, and a wide-ranging program of events that include workshops, talks, films, music and performances, no stone will be un-thrown in this wo/man-made island of inquiry and imagination.

Petro. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Say A(by)P, “Above all, graffiti and street art act as an alternative voice, whether it is loud and brazen or more subtle and difficult to decipher, which strive to challenge the well-worn systems of society – something which Thomas More’s seminal text also set out. All of the artists will uniquely interpret their ideas on these utopian foundations of graffiti.”

Here are a small series of images from the organizers from Venturing Beyond: Graffiti and the Everyday Utopias of the Street.

Petro. Detail. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Russell Maurice. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Filippo Minnelli. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Les Freres Ripoulain. Detail. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

El Tono. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Antwan Horféé. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Misha Hollenbach. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Sixe Paredes. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Saleo & Rizote. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Shepard Fairey. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Nano. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Revok, Russell Maurice, Nano and Filippo Minelli. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Venturing Beyond: Graffiti and the Everyday Utopias of the Street

3 March – 2 May 2016
Daily 10.00-18.00 (last entry 17.15)
Terrace Rooms, South Wing
Free admission

Sixe Paredes ‘Futurismo Ancestral’ Opens at Somerset House in London

May 21, 2014 Artists, Interview

Starting today, for one week only, the Andes will be inside the Somerset House.

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

London’s spectacular neo-classical home of arts and culture along the River Thames will play host to an all-encompassing exhibition experience mounted by the Barcelona-born graffiti artist Six Paredes in his tribute to Peruvian and Andean culture. Futurismo Ancestral: An Offering to Peru by Sixe Paredes has been inspired by the traditional and the modern, and aims to meld the two together surreally, and really.

For weeks we have been seeing the progress of a loosely banded consortium of brother street artists laying plans and constructing exhibition elements beneath the fountained public courtyard. Today the public can experience a series of walkways leading to large-scale and smaller works evoking the rich color and symbols of the region; tapestries, totem sculptures, ceramics and quipus (a system of knotted cords known as ‘talking knots’), masks and fluorescent chichas (posters).

“We are taking over three spaces at Somerset House, essentially the whole of the lower floor of the building,” explains Rafael Schacter of A(by)P, an organization that enables artists to produce events and exhibit work and who organized the installation with his partners and the Somerset House. Built and installed by a “dream team” of urban and street artists and students from University College London, where Schacter teaches, the exhibition is complemented with daily interactive events including Peruvian and Andean food, music, film, and performance.

Futurismo Ancestral is born from the travels of Sixe Paredes to Peru beginning in 2009 and his adoration of the richness he experienced in the culture compelled him to bring it back to share. One of the six street artists featured on the river façade of the Tate Modern six years ago along with Faile, JR, Blu, Os Gemeos, and Nunca for it’s pivotal street art exhibition, Six Paredes completed his most recent large scale wall just last month at the Biennale D’Art Urbain in Charleroi, Belgium. Schacter, who co-curated the Street Art expo at that Tate show and who authored The World Atlas of Street Art & Graffiti with Yale in 2013, says that this return is Paredes first major solo show in the UK .

Sixe Paredes spotting the future on the horizon. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

During the preparation for this much anticipated and lively show, BSA had the opportunity to speak with both Six Paredes and Rafael Schacter about the origins, inspirations, and preparations for Futurismo Ancestral.

Brooklyn Street Art: After touring Peru and being exposed to such eye-popping color, isn’t it surprising to be in such a grey northern city like London?
Sixe Paredes: It was not surprising for me to come here and find myself in a grey city because this color predominates in so many cities in Europe and so many European cities prohibit murals and even have specialized brigades set up to clean and remove color. Throughout my journey in different regions of Peru I’ve seen a lot of color but color can be found in all the different cultures of the world, when they maintain their primordial essence.

Brooklyn Street Art: Rafael, can you tell us about Futurismo Ancestral and how it came about?
Rafael Schacter: Futurismo Ancestral is all about the connection between the traditional and the contemporary, the fusion of the Peruvian visual culture and craft tradition with the visual palette so unique to Sixe Paredes himself. Since I last worked with Sixe in the UK, he has been living in between Peru and his hometown of Barcelona, he has become obsessed with the visual culture of the region and has learned the techniques of ceramic and textile production with famous artisans and artists throughout the region. This exhibition is about bringing together the deep history and heritage of Peruvian visual culture, and his love for this tradition with his unique, colorful, distinct style in an all embracing, multifaceted manner.

Brooklyn Street Art: Sixe Paredes, you have already been incorporating a certain minimalism into your aesthetics over the past ten years. Is it difficult to merge that understated quality with the vibrant enthusiasm of Peruvian and Andean folk?
Sixe Paredes: My art has always been characterized by the agglomeration of shapes and colors. Throughout different periods I started introducing more elements, such as the circuits, which led my paintings towards another dimension – this dimension enhanced my painting, allowing for other interpretations of my work. In recent years I have been synthesizing some of my series. I like to play with this idea because it leaves more room for reflection and I don’t need as many elements to express myself. Some of these elements are iconic to my work, such as crests or beaks which have always been in my compositions and can be found there today.

Brooklyn Street Art: The work here is simultaneously modern and folk – with the bold colors and raw patterning and symbols combined with a certain minimalism. Rafael, can you walk us through the spaces in a way that helps translate this convivial duality in an exhibition space.
Rafael Schacter: Somerset House is really an amazing location for us to be working in, we are both proud and excited to be working here! After you have exited our introductory area, our visitors will go outside into the Lighwells, an amazing outside space which has been used for films such as Sherlock Holmes among others; within this arched space, we have built a series of 3 meter high trapezoidal arches – shapes which are highly significant in Inca culture. Acting as a rite of passage, as a journey from one sacred space to another, visitors well make their way into what is called the Deadhouse, an underground catacomb which exists directly below the famous Somerset House courtyard. This space, aptly, will function as a sacred temple space, within which Sixe’s ceramics, quipus and tapestries will be housed.

Brooklyn Street Art: Not only are the color palettes from the traditional Peruvian culture warm, so too are the materials. Can you talk about the warmer, more earthen properties of wood, of yarn, and hand made masks – and how they affect your work?
Sixe Paredes: Peru has had a considerable influence on my painting palette, bringing more color to it and motivating me to use new mediums, materials and techniques, some of which have endured since ancient times. I always wanted to move towards a new path, a more ancestral path, revalidating primal techniques through a contemporary perspective.

Brooklyn Street Art: You have a stellar group supporting this one week event – some of these folks have had big shows of their own so it’s good to see them supporting another artist.
Rafael Schacter: One of the key things about A(by)P is that we want to be for artists by artists. We don’t want to simply get in a bunch of contractors to assist in bringing the project to life but want rather to recreate the group dynamic and energy that is so crucial to these artists’ worlds. As such, for every project, we want to bring the artist’s family together to help bring it to life; in that way, the creative juices and creative possibilities can flow in a much more organic manner. And not only that, but all these artists on the team are people who we will continue to work with in the future on solo shows of their own.

For Sixe’s show for example, we really have got a dream team working together, a group who like you say are all artists of massive acclaim themselves. Both Eltono and Nano4814 are two of my favourite artists in the world; Eltono has just had a superb solo homecoming show in Madrid at Slowtrack and Nano4814 and insane solo show at the Delimbo Gallery in Sevilla. Pablo Limon, our exhibition designer is one of the most amazing makers I have ever come across, a creative genius. And Lucas Cantu, who is working on our graphics, branding and exhibition production, is the director of the Savvy Studios as well as the founder of the Nrmal Festival in Mexico. As I said, the dream team! And then alongside this we have had amazing support from the students of University College London, who have all been absolutely incredible.

Brooklyn Street Art: Many Street Artists are bringing the animal world into their work today and sometimes artists will say they are giving the animals a voice to speak to us. How have animals been important in your compositions?
Six Paredes: In my case, the animal theme has been present in my work for many years, and this partly because of the admiration I feel for them. For me, among the most fascinating creatures of the animal kingdom are birds, mainly because of the wide variety of species, thousands of colours and silhouettes – and their relationship to the celestial and to flight. In terms of my compositions, this theme is important to me because it reminds us that we are also animals within the same world.

Brooklyn Street Art: In what way do you think of your work as something that evokes the future?
Six Paredes: I think my work evokes the future because it merges two different visions, the ancient and the contemporary and the bond between them which leads us to reflect about many of the things that humans have left on their way and some of them I think would be important to remember.

Sixe Paredes Futurismo Ancestral: An Offering To Peru at Somerset House in London, UK. Click HERE for more information on this exhibition.

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Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Lluis Olive Bulbena)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Muretz. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Sixe Paredes. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

From Left to right: Elena Gayo, Christian Omodeo, Jorge Rodriguez-Gerarda and Javier Abarca during the panel discussion at the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell)

The audience at the panel discussion during the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell

Sheone. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Sheone. (CLICK ON IMAGE TO ENLARGE). Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Sam3. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Sam3. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Syrup. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Syrup. (CLICK ON IMAGE TO ENLARGE). Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Fasim. Open Walls Conference 2016. Barcelona, Spain. (photo © Fernando Alcalá)

Dumar NovYork reads from his book “What Do One Million Ja Tags Signify” at Unlock during the Open Walls Conference 2016. Barcelona, Spain. (photo © Javier Abarca)

Scenes from Unlock the first Street Art Publishing Art Fair as part of the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell)

Scenes from Unlock the first Street Art Publishing Art Fair as part of the Open Walls Conference 2016. Barcelona, Spain. (photo © Enrique Escandell)

Lucas Dillon. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Lucas Dillon. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Petro. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Petro. Detail. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Russell Maurice. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Filippo Minnelli. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Les Freres Ripoulain. Detail. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

El Tono. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Antwan Horféé. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Misha Hollenbach. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Sixe Paredes. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Saleo & Rizote. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Shepard Fairey. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Nano. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Revok, Russell Maurice, Nano and Filippo Minelli. Approved By Pablo. Somerset House. London. March 2016. (photo © courtesy of AbyP)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes spotting the future on the horizon. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

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