Watercolor has been a popular technique for artists since the 2nd century BC in China. Unlike Western painting, which uses layers to build an image, watercolor relies on the tension between pigment and water, and the freedom and straightness of forms. Removedor Valdés, a musician, designer, illustrator, and nomad, has been influenced by this technique and has been a part of the underground scene since the early 2000s.
Born on December 29, 1983, in Buenos Aires, Valdés was encouraged to draw and paint from a young age by his parents, who had a picture framing workshop. He studied watercolor technique between the ages of 11 and 17, learning about composition, color, and perspective. However, his real artistic training came later. He started attending concerts as a teenager and began creating album covers, cassettes, fanzines, patches, and posters for bands, which led him to study graphic design.
Valdés’ work is heavily influenced by the aesthetics of the concerts and festivals he attended in Buenos Aires in the 2000s. He worked with Pablo Hierro and Sylvie Piccolotto, developing graphics for their events and bands such as Dinosaur Jr., Jon Spencer Blues Explosion, and Off!. He believes that his work as a designer does not have a characteristic style, as he immerses himself in the world of each project or artist and tries to highlight what they want to communicate.
Valdés also works with watercolors, which he finds to be a difficult technique to control. He admits that it can be frustrating, as mistakes cannot be easily corrected. His references include artists such as David Carson, Art Chantry, and Obey, as well as friends and colleagues from the Argentine urban scene. He believes that artistic expression should be open to inspiration from various sources, including music and cinema.
While Valdés works digitally for most projects, he has recently returned to watercolor, creating portraits of musicians from Buenos Aires. He has captured the essence of the local music scene, portraying various musicians and bands that were key to the development of music in Argentina. His watercolors serve as a visual archive of a cultural movement that existed from 2000 onwards, leaving a lasting impression on the music scene.
Valdés’ work reflects the experiences of young people who found refuge in music during times of economic crisis and social condemnations. He believes that art can be rebellious, political, and down-to-earth, serving as an escape and a means to dream when reality is terrifying. His art portrays a past that filters into the present, making it a part of a musical culture that continues to look back while projecting a future.
In conclusion, Removedor Valdés’ watercolors are evidence that the underground music scene has always been present and continues to thrive. His work captures the indomitable spirit of art that cannot be erased, serving as a testament to the resilience of the cultural movement from 2000 onwards.
Entertainment, Art, World