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Pülashi – Graphic arts, music and creative work

Pülashi is an experimenter, a curious person, a son of myth, an old man and a child, a conjunction of two times and two worlds.

“At home there was always a link with various artistic expressions”.

When I was a child, my father painted in a self-taught way and allowed me to walk over the large canvases he had in process. I remember being all full of paint marking feet and hands on the canvases that were spread out on the floor. At home there was always a connection with different artistic expressions.

My first impression took place during my training at the School of Visual Arts at ULA. When I entered the engraving workshop I felt a deep affinity with the press and the ins and outs of this craft. Gradually I became aware that the graphic media was more familiar to me than the pictorial one.

“My father gave me Guerrilla Seca’s CD “La realidad más real”. This album had a great impact on me because of the rawness and transparency of its lyrics”.

It could be said that there were three milestones that brought me closer to the movement, the first was the fact that I lived near Plaza Sucre in the state of Merida, better known as Plaza de Milla, in this place a little more than 20 years ago the skateboarders, rollers, bmx, and rappers used to meet. When I was about 9 years old I was dazzled by their pirouettes and their attitudes to the point of trying to imitate them. Little by little I adopted their ways, until at the age of 14 I started skateboarding in a serious way; although it is not one of the elements of hip-hop culture per se, it is a street discipline very similar to it. The second milestone that I consider important was that one day, also between 9-10 years old, my father gave me Guerrilla Seca’s CD “La realidad más real”. This album had a great impact on me because of the rawness and transparency of its lyrics, although I did not understand many of them in full until years later, from that first moment I was hooked by the rhythms and melodies of the instrumentals. And finally in 2015, BlairOne a classmate and great producer from Trujillo dedicated entirely to this genre ended up encouraging me to create my own instrumentals. Since then I take the art of sampling much more seriously and no longer from the position of the listener.

I understand the term “graphic arts” as a spectrum of techniques that allows the creation of images from the direct or indirect impact on a surface. Although it is not strictly necessary for the image produced to be repeatable, it is characteristic of graphic techniques to allow multiple copies of the same design, as occurs in photography, silkscreen printing or engraving.

What has been your best experience in artistic participations?

To date, one of the most enriching experiences has been participating in the Amalgama Gráfica Internacional Contemporánea VI Portfolio, as it has allowed me to understand the technical rigor and commitment involved in the elaboration of a project of these characteristics. It is not at all easy to maintain the stability of an image throughout a handmade edition, where each time the process is repeated, it is necessary to ensure that the conditions do not vary, despite the very nature of life, which is unique and unrepeatable at every moment. It is a bit like trying to overcome the illusion of time, repeating particular conditions a specific number of times. Engraving is quite a magical craft.

“A shoutout to the people of Taller Orégano for their work of self-management and resistance in these times of superfluous immediacy”.

I have not yet had the pleasure of traveling abroad in a physical way, however during 2020 I had the opportunity to participate in a call for printmaking organized by Taller Orégano, located in Valparaíso, Chile. This was my first experience sharing my work with people from other places. A shoutout to the people of Taller Orégano for their work of self-management and resistance in these times of superfluous immediacy.
Also, during the year 2021 I was working on the edition for Amalgama Gráfica that I mentioned before, this Portfolio was coordinated and compiled by Ediciones Pata Negra in Oviedo, Spain.

Although my daily dynamics revolve around the graphic arts as a printer at Taller de Artistas Gráficos Asociados Luisa Palacios TAGA, I always find moments to experiment and communicate through rap under the pseudonym sieterayo. This discipline allows me to capture in a self-taught way through a sound format my perception of the world and myself.

Some artists that have influenced my artistic development are Wilfredo Lam, Mario Abreu, Oswaldo Vigas, Jose Maria Cruxent, Pier Alechinsky, Joseph Beuys and also the petroglyphs of Lascaux, Altamira, Chiribiquete, among others although their authors are unknown. Within the musical field some of my references are Illya Kuryaki & The Valderramas, Elphomega, Tr3s Monos, Gata Cattana, Kankick, Damu The FudgeMunk, Nujabes, Ka, Madlib.

Would you do this for the rest of your life?

Although I’m not closed to doing another type of profession or discipline, as this would be detrimental to the expansion and human development, for now I conceive all my growth around artistic expressions, either through a matrix, a paper, a camera or instrumentals.

Thank you very much to Pülashi for sharing this interview with us and telling us part of his artistic work, I invite you to follow him in his networks and enjoy his wonderful work.

https://m.youtube.com/@sieterayo

https://www.behance.net/pulashig

https://www.instagram.com/pudelatorre

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