When we talk about graffiti on the subway, all those images of convoys painted in the dark immediately come to mind; photos with a dreamy atmosphere and even the adrenaline that writers give off while painting on the platform with the trains running. However, this selection leaves aside, for the most part, all those writers who paint not on the moving metal but on the subway facilities themselves.
Estoy 87, whom we interviewed a couple of years ago, is no longer a child. He doesn’t seek fame or confrontation. The only thing he looks for are those corners within the facilities that no one pays attention to. Tunnels, closed rooms; an underworld that we can only access through the window that his Instagram account opens for us.
Take a breath, say goodbye to the sunlight and enter the labyrinth of Estoy 87 with us.
Hi, we’ve seen on your Instagram that you’ve been making a lot of pieces in subway spaces. What kind of places are we talking about?
Hello. Often these are metro tunnels, but sometimes I paint in cable ducts, ventilation shafts or technical rooms.
“I don’t care if anyone sees my pieces or not. I’m not chasing fame, I’m not 20 years old anymore.”
How many pieces have you made in these conditions more or less?
It’s difficult to calculate, but I think about 40.
“If you get in unnoticed, you can draw for a long time for your own pleasure. This is a kind of solitude or meditation.”
Why have you chosen these locations?
I like bombing, but in Barcelona there are a lot of buffs, metal doors of garages and storefronts do not interest me, as they are too small. sometimes I make hofs, but only when my friends call me to spend time and draw together.
Do you not mind that the piece doesn’t get so much visibility? Do you intend for them to last as long as possible or are they just made only to be found by a specific type of writer?
Yes, you are right… perhaps no one will see them except metro workers and metro bombers, but I did not set a specific goal for myself. 4-5 years ago I did about 20 productions in the tunnel with Bored. at that time this was relevant, since many metro bombers could see it. Now I see everything differently, with the new system of hidden cameras and sensors, metro people practically do not draw (paint). That’s why I do this only for myself. I don’t care if anyone sees my pieces or not. I’m not chasing fame, I’m not 20 years old anymore.
What are the disadvantages of painting in these types of locations?
It can be difficult to get into the tunnel due to sensors in the ventilation shafts. Also, from the entry point to the planned drawing (painting) location, sometimes up to 5 kilometers or more. Once, in order to draw at the airport station, Bored and I walked almost the entire line on foot during traffic. This is about 5 hours of walking, despite the possibility of being noticed from passing trains. Also, while drawing, you have to hide from each train so that they don’t see you or just don’t get hit by a train… there were many different cases and situations. It happened that they noticed me, they reported to the center, and turned off the light in the tunnel in my area, letting me know that I had been noticed. Because of the darkness, it was not possible to finish painting, I had to leave and go the same way a few days later. Also, in order to paint in the ventilation shaft, you need to bypass the sensor, you had to jump from the station. I was caught on CCTV and traffic was stopped. They turned on the light in the tunnel, security arrived and tried to find me.
Another time: I got into a ventilation shaft, painted over the CCTV camera, but did not notice a hidden sensor in one of the corners… everything seemed calm. I marked out a piece, rolled it up with latex and all of a sudden I heard the click of the ventilation hatch cover. It was security. They quickly and efficiently descended the ladder, swearing loudly. I rushed through the door towards the tunnel, but it was blocked. I threw all my paint and started climbing the cables into the ventilation pipe. I got through the pipe into a neighbouring room with a door behind which was security; at that moment they opened the door with keys and rushed towards me. I started going down the stairs into the tunnel; the guards were 2 meters behind me. To avoid being caught, I jumped off of the stairs on the way and began to run along the tunnel towards the station. While running through the station, I saw 2 more guards on the platform.. they opened the evacuation door to the tunnel, but fortunately they did not run after me.
A couple of months later there was a similar situation on another line… I ended up in the technical room. I laid out my paints and was ready to sketch, but I noticed that the tunnel was quiet. I decided to go check the tracks. They cut off the traffic. I decided to go pick up the paint and go into the tunnel to wait to avoid a similar scenario. But I didn’t have time to get to my paints. Something happened that I did not expect at all. They came through the emergency exit from the street. The evacuation door simply opened in front of me and I saw 3 guards. They jumped on me. I climbed up the cables to the roof of the transformer rooms and from there I jumped off the other side of the path from a height of 5 meters. I miraculously didn’t break my legs, but naturally there was a big bruise, with the flow of adrenaline in my blood, I ran into the tunnel. They shouted after me that I was stupid, that trains have no driver and I would be hit by a train… They started traffic back up after 20-30 minutes. All this time I was experiencing the stress of being found. I sat in the tunnel for 2 hours. By this time my foot had swollen almost double its normal size. It was then very difficult to climb out and return home.
“I love old cartoons. I prefer the characters and style of cartoons from a century ago. I don’t want to argue or prove anything about this. It’s just a matter of taste.”
Half a year later, I decided to return to the same place, but in a different way. I was very surprised – I found my paints in the same place with a huge layer of tunnel dust on them. Security didn’t take anything. I don’t know why. perhaps because they initially did not know who got into the tunnel, a graffiti artist to paint a wall that no one needed, or a gypsy to cut wires into copper. Or it was just a ridiculous coincidence.
And the advantages?
Atmosphere, virgin walls. If you get in unnoticed, you can draw for a long time for your own pleasure. This is a kind of solitude or meditation.
Let’s talk about the characters. Are the classic characters taken from analog or digital media? What is it about the classic cartoon style that modern cartoons don’t have? Are there any cases where the characters add meaning to your pieces?
Yes, I love old cartoons. I prefer the characters and style of cartoons from a century ago. I don’t want to argue or prove anything about this. It’s just a matter of taste. Perhaps because I grew up watching these cartoons. It’s like with music. I don’t like a lot of modern music. I still listen to the music of my generation.
Do you sketch first?
Yes, naturally this involves a lot of sketches. I have not yet reached that level of freestyle drawing. I don’t draw color sketches, only rough versions with a regular pencil.
Let’s talk about lettering style… what you do is a very elegant interpretation of classic wildstyle that reminds us of cool legends like Pure TFP, Diego FMK or Pubes. Is it a calculated style or does it come out unconsciously?
I lovingly revisit the New York subway panels from the 1975-1980s. Lee, Dondi, Kel, Shock, Seen, Kase2, Shy147, etc…these are masterpieces of the metro gallery. Their works contain a lot of energy and message even after 50 years…
I am also inspired by the works of: Noee, Sabe, Beast, Aster, Vents, Fra32, Mike, Hotdog, Jeico, Bored, Azen/Loak…because these people use characters in their works..
2 What do you think?
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