Eduardo Kobra é um expoente da neovanguarda paulista. Seu talento emerge por volta de 1987, na periferia de São Paulo, e logo e espalha pela cidade. Seguindo os desdobramentos que a arte urbana ganhou em São Paulo. Nesse caminho, ele desenvolve o projeto “Muros da memória” que busca transformar a paisagem urbana através da arte e resgatar a memória da cidade. Síntese do seu modo peculiar de criar, por meio do qual pinta, mas também adere, interfere e sobrepõe cenas e personagens das primeiras décadas do século XX, esse projeto é uma junção de nostalgia e modernidade, resultando em pinturas cenográficas, algumas monumentais. Através delas cria portais para saudosos momentos da cidade.

Kobra apresenta obras ricas em traço, luz e sombra. O resultado é uma série de murais tridimensionais que permitem ao público interagir com a obra. A idéia é estabelecer uma comparação entre o ar romântico e o clima de nostalgia, com a constante agitação característica dos grandes centros, como é São Paulo hoje.

Paralelamente, Kobra realiza exposições dentro e fora do Brasil, além de pesquisas com materiais reciclados e novas tecnologias, como a pintura em 3D sobre pavimentos. O artista realizou na Praça Patriarca, no centro de São Paulo, a primeira pintura em 3D sobre pavimento do Brasil. A técnica anamórfica consiste em “enganar os olhos”, a pintura pode parecer distorcida em certo ângulo, mas, vista do ângulo correto, estipulado pelo artista ela se “torna” 3D, apresentando uma incrível variação de profundidade e realismo. O mais recente projeto do artista, chamado “Green Pincel”, visa combater artisticamente os vários tipos de agressões do homem a natureza e ao meio ambiente.

Inquieto e irrefreável em suas buscas criativas, Kobra é hoje, um fenômeno da arte brasileira da neovanguarda que “já” não se permite ignorar.

Art Bigger Than Life

Whether traveling to New York, Moscow, or Los Angeles, pedestrians take notice of huge wall murals painted on predominant buildings, deemed artwork for the public. Portraits bigger than life with colorful spectrums and nostalgic reverence bare his signature. The extraordinary artist is Eduardo Kobra. Most people simply call him Kobra, raised in a low income neighborhood of San Paulo called Clear Field. As a 12-year-old, never taking a liking to school, he started tagging in schools and streets with an older group known as “Hip Hop.” Poor neighborhoods lacked youth activities, parks, and community cultural events, so joining a graffiti crew was commonplace. While most of his friends got involved with drugs, stealing, or vandalism, Kobra’s passion of tagging or graffiti resulted in expulsion from school.

His parents moved to Bauru, away from the big city, where he resumed his formal education. While others studied, his textbooks quickly became full of artful sketches. His love was drawing either on paper or in the streets. Moving away from graffiti to street art, his first critics were people, walking along the sidewalk and watching him draw, who often commented “Get a job, you bum.” Determined to prove everyone wrong, the young rebellious artist, always carrying a backpack of spray paints, continued to paint anything that wasn’t moving. Often chased by authorities, he was arrested several times for vandalizing property. The turning point in his career occurred after one of his arrests, when the judge was so impressed by the wall paintings that Kobra’s sentence was to paint a mural on the police station wall.

Street art was becoming respectable. Today, property owners actually commission artists to create distinctive artwork for their businesses and some communities promote street art by hosting street art festivals such as Wynwood Art District in Miami. In December of 2013, Kobra, along with his crew members, some having been together for 15 years, was commissioned to paint two murals creating portraits of legendary contemporary artists such as Salvador Dali and Andy Warhol, along with music icons like Tupac and Biggie. While Kobra and his team worked for three weeks painting the two murals, thousands of onlookers watched, some for a few minutes, many for hours at a time, and some returning every day until the art was completed. Speaking very little English, the friendly artist always managed to say “Hello” and sign autographs for his fans. Television personnel from PBS were always in view, filming and recording any conversation involving Kobra and his crew. The cameras followed Kobra and Cliché’s Terry Check to a restaurant, and filmed a luncheon meeting with discussion of Kobra’s gallery exhibitions and street art for the USA in 2014.