Nature is the path of humanity #1
Kaká Chazz

Light has always been present in how I see the world — and how I paint it. It doesn’t only show what’s in front of you. It changes the shapes. The colors.

In my work there’s a particular relationship with natural light. The colors I choose are meant to be seen especially at sunset, when the light pulls out their most beautiful nuances, deepens the tones, and reveals relationships between colors that simply don’t appear at other hours.

That’s why I feel such a strong connection with the Street Lamp. The project treats light as a material of creation. Each artist can put their language through it. The lamp stops being only an object — it becomes a medium for an experience.

For me, art can be a light in the middle of darkness. It shows what stays hidden. And more than that: it builds an atmosphere that can move whoever is looking — and change how they see.

I’ve been drawing since I was a child. Art was never something I “started.” It was already there. I carried it with me. I never really stopped creating.

Over time I understood that art could also be my profession. In 2005, I began taking my work into the streets. In 2008, I made my first graffiti piece on my own. From that moment, I didn’t stop putting art into the street.

Today I’m a muralist. My work lives in different parts of Brazil — and in different parts of the world. Art isn’t only my job anymore. It’s my mission on this planet.

That’s a hard question for an artist. I don’t think a work is ever completely finished. There’s a moment when you know it’s time to stop — but stopping isn’t the same as being done.

When I can return to a painting, especially on canvas, I often feel there’s still something to explore or transform. Maybe we know the moment to pause… and later, another moment arrives to continue.

With large murals it’s different. The scale, the conditions — often you can’t go back. But with smaller work, I believe a piece is never fully closed.

I also see painting as study. Every canvas is a chance to experiment, to understand, to grow past what you’ve already done. So when is it finished? Perhaps only when we decide, for now, to let it exist as it is.

Perhaps the most misunderstood part — and also what draws the most attention — is my use of color.

I work with highly saturated, intense, contrasting colors. For some people they feel excessive, even discordant. For others, that intensity is the first impact — the curiosity about how those relationships were built.

None of it is accidental. There’s an ongoing study of color, contrast, and harmony behind the choices. I’m looking for balance inside the intensity — combinations that catch the eye and land as a sensation.

My work is inspired by Brazilian Baroque and by the culture of the region where I live. That richness of contrast and information is part of the language I’ve developed. I don’t soften the intensity just to make it comfortable. It’s identity. Art can enchant — and it can also provoke, challenge, and ask questions. That ability to open different perceptions… for me, that’s one of its greatest strengths.