|Agujero de bomba (Todos asistimos al espectáculo de la guerra) / Ilustrator / 1998|
Las pinturas de Fasim muestran su retrato sincero de las virtudes del mundo y sus desastres, donde todo se funde en una suprema expresión cercana al llanto, a la locura, a la alegría de la vida y la risa, a pesar de todo. Música clásica y contemporánea al mismo tiempo, este pintor brutal no puede ser encasillado: durante años ha estado pintando desde su alma, desechando las estrategias comerciales vacuas. La única influencia que admite tener hoy en día es la de Francisco de Goya y Lucientes.
|Grabado 10 / Wacom / 2014|
At age 14 he starts writing Graffiti, influenced by the initial boom of Hip Hop culture in Spain.
One year later, he meets Henry Chalfant in Barcelona through D.F.R. Crew and Kiku Mistu. That meeting with Henry Chalfant, author of the film Stylewars and the books Subway Art and Spray Can Art, was both enriching and the beginning of a deep friendship. Through Henry, Fasim gets to know and understand the wildstyle graffiti that was blossoming in the New York subway and promptly introduces this style in Spain. His pioneering in the wildstyle made him a well known artist and a source of inspiration for a new generation of graffiti artists. Leading a live that could be described as that of a modern-era Huckleberry Finn, he painted trains and walls almost on a daily basis. In several trips to Paris, he gets acquaintanced with Jonone and the BBCrew and joins their group "156 all stars".
|Fasim / Henry Chalfant / Not2 (Lenon) / 2002 / Barcelona|
Among many others, he has painted along with Sento, Seen, Pjay, Dare, Jay, Echo, Jonone, Sharp, Sen2, Macrew, T-kid, Cope, Ink, Loomit, Toast, Inka, Kane, Won abc, and Popay.
At just 21 years old, he was already well known in the international graffiti scene, and he had brought into Spain a brand-new, fully developed urban art form.
Driven by his endless curiosity, at that moment he started combining graffiti with other currents in painting. For years, he visits art museums and art galleries and learns about modern and contemporary vanguards, which were to influence his artwork. He also became a tireless reader about arts, literature and poetry.
|Ephemeral mural / BlackLab22 / Elche 2013|
Slowly and tenaciously he then decides to set himself apart from his previous influences and develop an artistic language of his own, such a style that he would define himself as "a painter of human catacombs". In 1996, four years after the end of the war, he travels to Sarajevo. This travel would forever change his vision of the world, as he gets deeply impressed by the genocide. For some days he shares a house with a number of war survivors. In a journey of no return from the horrors committed there, he rescues children’s drawings from ruined schools and makes a massive collage painting with them.
This marked the start of a brave adventure of commitment. His painting turns rebellious, anarchic and lucid, where color becomes a killer of the world’s pernicious morality. Dramatic monochromes and a raw expressiveness were to become two of the main features in his work. His vigorous, audacious and unpredictable paintings leave no one indifferent.
|Asalto en España / Wacom / 2014|
Fasim paintings show a frank depiction of the world’s virtues and disasters, where everything melts into a supreme expression close to weeping, to insanity, to the joy of life and to laughter, despite all.
Classical and contemporary at the same time, this brutal painter can’t be pigeonholed: for years he has been painting from his soul, and not from commercial strategies.
|Stop victim war's wall / 2010 / Valencia / Pic: Jordi Ferrer|
“In the course of making a photo-documentation of graffiti art in New York City and in other parts of the world over the last several decades, I have met many extraordinary and gifted artists. One who stands out is Fasim, whom I met in Barcelona in the mid eighties where I was exhibiting my photographs. Fasim, who was very young at time, has in the thirty years since, become a prolific, expressive artist, skilled painter and graphic designer. He is a true original and equally proficient, whether mining the rich vein of early modernism or burning up the walls with his wild style masterpieces. Fasim is one of those rare artists who paints while engaging his mind as well as his senses and emotions.
The police and city officials in New York City claimed back in the seventies, that Graffiti was an entry-level crime, leading down the slippery slope to a criminal career. How wrong they have proven to be. I have observed that an apprenticeship in graffiti has led more than a few adolescent taggers and bombers to find brilliant careers as painters, designers, publishers and filmmakers. I find no better example of this phenomenon than Fasim."
HENRY CHALFANT, Brooklyn NY 6/10/14
"For a number of years I had been aware of Fasim's 'Wild-Style' pieces on European city walls. For myself, having photographed some of the earliest masterpieces of New York subway art in the 1970s, I was intrigued to witness the powerful work of a young Spanish artist that demonstrated a genuine appreciation, understanding and fascination with New York subway graffiti.
In 2010 I saw Fasim's iconic wall painting 'Stop Victims of War'. A stunning, highly individual and powerful visual statement that cries out against injustice, following in the tradition of Picasso's 'Guernica' and Goya's 'The Disaster of War'. It was a pleasure to finally meet up with Fasim at the Montana Gallery in Barcelona in 2011. It was wonderful to see his exhibition 'I Was Here' ... showcasing an exciting series of vibrant new paintings that explored spontaneous self-expression with strong outlines and bold colours."
KEITH BAUGH, Bristol UK 22/10/2014
“Que nadie se lleve a engaño. Detrás de esa apariencia de niño malo, moderno y “graffitero”, se esconde un clásico, un tipo antiguo, un hombre del pretérito, un artista de los que hoy en día escasean. Fasim es un bohemio a la antigua usanza, uno de esos poetas borrachos de arte, un atormentado, un romántico más propio del XIX que del XXI, un pordiosero de las musas capaz de vender sus ropas por un pedazo de papel y un lápiz.
Ahora que todo es mentira, Fasim es un tipo auténtico, noble, pobre, sincero, inexacto, imperfecto, pretérito. Un niño que le ha tocado vivir un presente de hombres “listos” que son cada vez más incultos y ciegos. En un pasado y un presente donde no se reconoce a los genios hasta una vez muertos, el futuro es el pretérito imperfecto.”
|Fasim, "Lavoe's concert at 156th, 1989" / 50 cm x 65 cm / acrílico y aerosol sobre papel Canson / 2014|
2003, París, Taxi Gallery; “Expo Kosmopolite". Pintura sobre lienzo. Colectiva junto a Mac Crew, Loomit, T-Kid, Cope2, PornoStars, Ink76, Sonic Bad, Ket, Sixe, Lokiss, Popay...
2004, Barcelona, Iguapop Gallery; "39 artistas del graffiti sobre lienzo" y "Art is not a crime" exposición conjunta con Henry Chalfant. Pintura sobre lienzo y fotografía. Colectiva.
2006, Barcelona, Niu Gallery; “Pintures Salvatges des de La Makabra”. Pintura sobre lienzo. Colectiva junto a Blobs y Morgan (WildHeadz).
2007, Barcelona, Niu Gallery; "The jacket battle". Chaquetas pintadas. Colectiva.
2009, Sevilla, Montana Gallery; “Raíces”, colectiva junto a Logan, Suso 33 y Rosh. Pintura sobre lienzo. Colectiva.
2010, Bilbao, SC Gallery; “ReVelión”. Pintura sobre lienzo. Individual.
2010, Valencia, Pl. Del Tossal; “ Stop victims war wall”, pintura mural en directo durante 15 días. Realización del video con el mismo nombre junto a Jordi Ferrer y Diana Puertas y música de Dive Dibosso.
2010, Barcelona, Mtn Gallery; “Art transit”. Pintura sobre maquetas de vagones del metro de New York. Colectiva.
2011, Barcelona, Niu Gallery; "Niu 5,5". Colectiva