Interviewing the renowned Russian artist Pokras Lampas
Pokras Lampas is one of the most distinguished modern graffiti x calligraphy representatives from Russia.
Pokras was into Graffiti in 2008 but was soon inspired and joined the “calligraffiti” movement, switching his focus to street calligraphy. He combines his knowledge of street culture, design and typography of different nations and generations. Pokras also works with main Russian and international fashion brands. In 2015, he created the world’s largest calligraffiti on the roof of a building in Moscow: the artwork can be seen from a satellite and on Google Earth.
Few days ago, I had the pleasure to interview him when he was exhibiting his latest works at the Opera Gallery in Hong Kong.
Is this your first time in Hong Kong? What’s the first impression?
Yeah, this is my first time here. I like the way it’s so dynamic, lively, how
the urban buildings meet the nature. I am inspired by the Asian culture and now I’m here to explore.
How do you think your exposure to Asian cultures influenced your calligraphy?
Before I visited Seoul, to study Korean alphabet Hangul — how the shape works, how the transformation of it can be employed to other alphabets. This exhibition was designed specifically for Hong Kong, though all the writings are in Russian, each letter is shaped according to the form of the Cyrillic letters — though the influence from the Arabic and Latin can be tracked as well.
And the most common question, what is written there?
I write my thoughts on culture, technology and art are influencing the future -
for example,
“Культура открывает для тебя новые границы, позволяет совместить прошлое и настоящее” [Culture opens new scopes for you — it can combine past, present and future].
Calligraphy is not only about art, it is the way to pass the message — so, just imagine, in hundred years’ people will realize that they actually need the way to communicate with each other — and to provide humankind with the lingua franca, where all the languages are evenly represented. Here we will need to find new letter shapes, because everyone would want to see their country represented in the new alphabet. That’s why I combine all the writings I have learned so far, and invent new letters which would follow the common rules.
Different writings have same forms of the letters and characters, and the base could be of any native language of the artist — finally, the emerging result will be of a perfect shape. I call this calligrafuturism.
Do you include the sound of the phonemes and what will the new language be like audially in your project?
No, because I have no idea of what the actual base language will be used — while on writing the transformation of same shape is easily tracked in most of known languages. The language itself is not important — but the way how people are searching for the unified language and what guides will they use to transform written languages is. In the movie “Arrival” they came across with the completely unknown language and started learning it — comparing it to their language and finding equivalents. I imply to the way how should we construct and understand this brand-new language.
Does the current exhibition connect to the calligrafuturism
and what impact should it have on Hong Kong?
All the pieces are circles, everything is related to circles. All my thoughts, the process of writing is a flow — you don’t ever think of it, you just need to
write and never to stop the flow of one’s mind. I want to show the concept to people and see their emotions — they have no idea of what are they reading, but when put a second to observe — and all the connections to any language they read is out there. The concept itself is so new, that people can’t be aware what are they looking at anyhow — they come blank and see the transformation of something they know from childhood.
Is it the form of your personal monologue or more of the
speaking with exhibition visitors?
My personal role, each piece and exhibition here are single steps for one big goal. People are brought here for inspiration and co-creativity, that’s the big goal. My promotion, effort, planning are single steps. Of course, out of that inspiration potential there are many parodists — if you go on Instagram there will be 3,500 #calligrafuturism posts. For now, I can’t present the idea itself in a sophisticated manner — with a book or manifest — to probably guide them into emerging our effort into the big goal. This is a long way.
In your numerous lectures you always talk about division of labor and art. Labor is the way one produces something
invaluable for himself without putting much thought into it. Art is creation of a high-quality product you love. Does this refer to artists only or all the spheres overall?
Since I tried to make something valuable in Russia, I had to imply regular values themselves as well. It’s even not about the society or other people or
philosophy — that is mostly about you, the designer, being successful. That’s why I try to share as much as I possibly can. People of 35+ age are always repeating “Do your job well” and no revolution can come from it. I push designers and artists — they are so talented and not concerned of how to make money on their talent apart from regular work. They must be dragged into real world of creativity — and that’s applicable to everyone, who can invent something before others.
Okay, if you are addressing to designers and artists successfully,
but do you though talk to them of other aspects apart from art that could maybe move them together even faster?
If I’ll talk how to make everything well altogether, people will get distracted from one most important idea — you got to commit as much as you can all the time, learn everything by yourself, and artists precisely are not doing it. No one will lead you, and it’s up to you only.
Which country do you prefer working at mostly? Because you address to the Russian design community, but there are not so many young people doing their own artwork.
You know, every country has its own difficulties. In Russia, you teach clients how to work — you got to be patient and strict, and then you get your own great live performances, fashion shows and exhibitions. There I just do what I would love to do on my own. Abroad it is much more difficult — art directors are much stricter, you have to do your best. Money and time consumption is different though — in Europe I set the trends two years ahead.
So, you’re promoting this division to other Russian artists as well?
I’ll give you an easy example. Yearly I get more and more projects, clients and media coverage. I try to set an example to others — just keep your concept and struggle forward. None of the calligraphy artists did anything valuable in Russia in these years. When I did a Red Oktober Factory rooftop,
I did it just because I wanted to, not because I had money or friends. The project was very popular abroad, not in Russia! I receive job offers from brands all over the world to mala a same project, but not Russia! Market doesn’t work with this stuff — and that is not the reason not to do it.
Because of the risks?
Of course.
Which countries would you call the most risky, investing much into projects then are not that sure about?
For me it depends on your connections — now I can find a client or a project of any preference of mine. Europe seems the most open so far — like Portugal for example. It’s all up to people. Offers are never made to you just because you’re so sweet and funny.
Pokras’ works will be on display now in Hong Kong at the Opera Gallery, W Place, 52 Wyndham Street, Central, Hong Kong. For more details, please contact the gallery here.
