The face of Italian street art
Raptuz, born Luigi Muratore, born in 1968, was born and raised in the Milanese hinterland until, in 1987, he became one of Italy’s most successful street artists and one of the founders of the TDK crew, a landmark of Italian writing, and, together with J Ax, of the historic Spaghetti Funk.
His pieces are born among the suburbs, on walls, trains, and bridges, and speak through classic techniques and materials of the writing tradition: spray paint, acrylics and enamels, and water paints, but he does not disdain the use of objects that have symbolic meaning and are part of his experience, such as paintbrushes, mason’s pencils, cans, bullets, and bandanas. Between painting, graphics and design, Raptuz creates a surreal spatiality with a graphic decorative aspect. A narrative chaos enhanced by color combinations. Recurring are the large gothic lettering created and realized with a raw, linear and sharp lettering, a recognizable mark that becomes a symbol of the direct and concrete character, just like his paintings.
Raptuz, armed with his own unique blend of enthusiasm and professionalism, answered a few of our questions:
Raptuz: a name, a guarantee. But what is the story behind your writer's name?
Actually, in the beginning (1987) the name was KLONZ, taken from a story within a comic strip by the great Giorgio Cavazzano (Altai & Jonson). Later, it was a legendary writer and companion of a thousand adventures, ASSO, who gave me the name “RAPTUS” (later evolved into RAPTUZ) during a tent vacation in Romagna, in which we were driven, by more or less irresistible urges, to commit acts that could at least be called “vandalism,” or at least illegal.
Spaghetti Funk and TDK crew: group of friends, artists, colleagues or family? Tell us a little about these two badass groups.
All these definitions added together represent exactly and perfectly both SF and TDK (and CBS Los Angeles) crews. The only difference is that while TDK and CBS are exclusively about the “writing” sphere, when talking about SF we are talking about an environment connected to music, to rap, to Italian hip hop. I could tell a thousand anecdotes and stories, but in order not to dwell any longer I will only say, not without pride, that indistinctly all my crews have written and are still writing pages upon pages of writing and hip-hop history, in Italy and worldwide.
Your graffiti from the 1990s attracts young writers on a “pilgrimage” through the streets of Milan: what would you like to tell them?
Maybe they “attracted,” since by now there is practically nothing left of mine on the public walls of Milan … the walls and halls of fame fade or rightly give way to new things. It evolves, styles and points of view change. What remains forever, however, is the greatness of those who were “pioneers,” the air you breathe near those walls is still steeped in blood, tears, concrete, paint and history. I can only say to those who appreciated and still appreciate my stuff — that they have great taste, and to keep following me.
We fucking love your latest murals, the ones where the subject appears dissected, deconstructed, almost futuristic: how did you go from old style to this very particular own style of yours?
After years of “canonical” writing, I started to research and try new ways. The usual stuff had bored me and I needed to find a recognizable style that was just mine, even going outside the usual patterns of the underground circuit. Inspired by some of my idols (such as Fortunato Depero, Tullio Crali, Giacomo Balla) I just took up and developed a path I had already taken (and given up) in some pieces from ’92, and then arrived, of course after various steps, at the current style.
What subjects do you prefer to draw?
I draw everything I have seen and experienced, from metropolitan frames, to the nature I love and that surrounds me, to cult works and characters that have remained in my heart.
What plans do you have in the future?
Paint, work, live… worldwide!!! (not exclusively in that order)
Will writers in Italy always have a hard time? Should we resign ourselves to seeing them disappear overseas?
It doesn’t seem to me that writers have a particularly difficult life. Now they have spaces, materials, opportunities and recognition that “in my time” we dreamed of. Compared to before, the market and the scene are global, you can do everything and more. The difference, as in all things, is PASSION, WILL TO WORK, and above all QUALITY.
From the 1990s to today, what has really remained of street writing?
Since the advent of the Internet and social networks, very little! Above all, one almost no longer starts out of pure passion, but begins with a goal well in mind, with a road already mapped out to go down… it just so happens, however, that in the end those who really come out of the fray (with the exception of crystalline and irrepressible talents) are almost always those who have paved that road from nothing, with the sweat of their labor, believing in it and never giving up.
What is the opportunity that young people should seize today?
WORK HARD, TALK LESS, and GET OUT THE BEST OF WHAT THEY HAVE TO GIVE (if they have it-but it is not mandatory to be a writer).
You can challenge someone “to the death,” decide the weapons and the terrain of the challenge. Do you want to go for it? Who would you challenge?
I don’t challenge anyone, at the very least it’s others who have to challenge me-if they really don’t have a fucking better thing to do.
Of the people you know who is ... “so Notorious”?
MARCO and LISA….who else? (damn Mouse). – Thanx Guys
Raptuz exhibits his works in major galleries and museums, such as the PAC in Milan, La Triennale di Milano, Museo d’Arte Contemporanea di Trento e Rovereto, Galleria Civica di Monza, Museo e Galleria Civica di Bolzano, and Crewest Gallery in Los Angeles.
www.raptuz.com
