Interview with The Photographer
Written by Diego Lopez
Published on May 7th, 2026
It’s a pleasure to interview you again and catch up. Let’s begin…
I see that the book “THE PHOTOGRAPHER: Arte Urbano Furtivo”, with an insightful foreword by Belén García Pardo, PhD in Philosophy and member of ACVA, documents and explores ten years of your street interventions with The Photographer in Valencia and Barcelona.
What was the origin of your book?
This book is the result of a convergence of intentions: the proposal from the publishing bookstore El Doctor Sax to compile a decade of interventions, and my personal desire to project the figure of The Photographer beyond the walls.
Why did you choose this format or style of quotes and photographs?
My aim was not to create a conventional book, but rather to conceive another piece of urban art—this time printed on paper and “pasted” into the reader’s hands.
My aim was not to create a conventional book, but rather to conceive another piece of urban art—this time printed on paper and “pasted” into the reader’s hands. To achieve this, I relied on an overall aesthetic based on The Photographer’s three “corporate” colors: black, red, and white.
The book’s 158 pages are designed for non-linear reading, like an interconnected labyrinth that the reader can wander through randomly, evoking the experience of strolling through the city streets.
The book contains my own texts—fears, reflections, and strategies—in dialogue with quotes signed both by colleagues and contributed by my audience. The visual section draws mainly on my own photographs, selected from an archive of more than 20,000 images on my Instagram account.
What was the creative process like, and how long did it take?
My intention was to conceive a work that balanced the weight between image and word while harmonizing my own reflections with external collaborations.
This work is the culmination of ten years of urban interventions, expressed through a careful selection of texts and visual records. It took its final shape with the guidance of Gabriele Nero and the exceptional design of Pamela Vargas. My goal was always to avoid well-trodden paths, seeking to connect with the urban art community while also appealing to those encountering this world for the first time.
What do you want to convey to the reader?
I want to present this practice as an ephemeral public space where creation and destruction engage in dialogue, without dictating “what to do,” while also revealing hidden facets of my street work.
I aim to convey that this character—although anonymous and secret—is everywhere: it breaks age stereotypes, creates emotional connections, and moves people, reminding us that the street belongs to everyone, though not just anyone.
I want to spread the idea that furtive urban art should not only be striking and sexy—something that makes you exclaim “wow!”—but also deeply passionate, like being in love. It’s something that absorbs you, something you prioritize, something that multiplies your energy and keeps you in a state of boldness and enjoyment that is hard to explain beyond the why or the what for.
The work carries a fundamental message: “creativity has no expiration date.”
Why is this book special?
What makes it unique is its essence as a collector’s piece, designed by and for lovers of urban art. In these pages I have poured my philosophy of “visible anonymity”: an intimate and sincere journey where images and reflections reveal not only how I intervene in public space, but also what happens inside me while I do it.
Unlike other publications that function merely as photo catalogs, this book seeks to show what lies beyond the lens: the hidden face of the artist that gives meaning to the image.
Do you have more books in mind?
Of course. At the end of 2026, “The Epic of Furtive Urban Art” will be released, conceived as a complement to this first book so that both together consolidate the written legacy of my trajectory. This new work will include previously unpublished visual documentation of my nighttime interventions, captured by photographer Isabel Valentín, along with a deeper theoretical foundation. It will also compile my most recent essays and articles, published on platforms such as UP Magazine, Calameo, and Academia.edu.
The street is an inexhaustible source of stories that deserve to be told with the pause and reflection that only paper allows.
How can someone obtain your book depending on where they are located? Is it also available outside Spain?
It can be purchased at El Doctor Sax Beat Books, Calle Quart 21, Valencia, Spain (eldoctorsax.blogspot.com). For locations within Spain, contact them directly; outside Spain, it is available through Amazon.
Why do you think so many people dedicate phrases to you that are worthy of being compiled in a book?
The Photographer has become an icon that sparks surprise, a sense of belonging, and an ongoing dialogue.
The Photographer has become an icon that sparks surprise, a sense of belonging, and an ongoing dialogue. The city has made it its own: people discover it, photograph it, carry it with them, collect it, even steal it. Some hang it in their living rooms, stick it on their motorcycles, or tattoo it on their skin. In the end, it generates an internal reaction that completely transcends the author.
This happens for two fundamental reasons: first, because by focusing attention on my work rather than on my person—keeping my identity hidden—I fuel the fascination with the clandestine; and second, because of the emergence of a seventy-year-old street artist who shatters any predictable scheme. And those two things resonate deeply.
What other projects are on your horizon?
At the moment, my projects and collaborations flow in an almost organic way. In the near future, my participation stands out in the collective exhibition “Del mur al llenç” in Barcelona, curated by Digerible.com. At the same time, I’m strengthening my presence in Valencia with new Art Drop actions, starting with the deployment of 300 cards across the city, while continuing to explore the possibilities of AI and maintaining a steady rhythm of bombing with stickers and paste-ups.
My more conceptual side continues to inhabit the “third landscape”: interventions in hard-to-reach places designed to be discovered exclusively from a train window. This is complemented by the development of my recent zen iconography of the three red dots and the multiplication of the Quimera icon, that hybrid between The Photographer and the author himself. All of this is accompanied by ongoing theoretical and photographic documentation, without forgetting my educational commitment to raising public awareness about the value of furtive urban art.
Who goes against what you do and opposes it?
The trail of The Photographer faces different fronts. There are those who clean as part of their job and those who cross things out out of ignorance, but there is a more voracious figure: “raptor culture.” These are the people who steal the pieces to collect them as hunting trophies, breaking the vital dialogue between the work and the city. Alongside them are the “guardians of the norm”—people who see only vandalism and whose urge to censor what they do not understand ends up attacking the piece and hastening its end.
Closing note
After walking through the pages of your book and sharing this conversation, I’m left with the feeling that I’ve walked a stretch beside you through the streets of Valencia. We now better understand the inner workings of your nocturnal adventures, some of the sharp edges of street art, and above all that vital impulse—mysterious and honest—that drives you to intervene in the city.
This book is not just a compilation; it is an extension of the street itself, a piece of urban art “pasted” into the reader’s hands so that they stop being a passive spectator and become part of the labyrinth.
As one of the quotes in your book says: “Once you see the Photographer, there’s no turning back.” Thank you, The Photographer, for showing us that anonymity can be the purest form of visibility and that, as long as there is an empty wall, there will always be a story that deserves to be told through furtive urban art.
And as you say, that’s what we’re doing.
See you on the walls.
Diego López Giménez is the author of books such as “Street Art by Women” (ed. Hoaki) and “Valencia in Graffitis” (ed. Dilatando Mentes)
Surrealism, Identity, and Playful Experimentation with Okuda San Miguel at Underdogs Gallery in Lisbon
Written by Bree Chapin
Published on May 27th, 2025
Okuda San Miguel’s work is visually unmistakable—boldly experimental figurative and abstract geometric forms intermingling in a bright ecstasy of color. But the legendary surrealist digs deeper than aesthetics through his artistic output—exploring a range of compelling concepts from individual expression to cultural heritage, from traditional roots to optimistic futurism.
Originally from Santander Spain, Okuda has developed his signature visual style while exploring the shifting nature of shared reality, individual identity, and the dynamics of an ever-changing world. From his early works adding his mark to public spaces, Okuda has cemented his place in the world of urban and contemporary fine art.
In Interdimensional Landscape—his most recent collaboration with Underdogs Gallery in Lisbon—the artist aims to create an immersive experience realized through a variety of mediums and artistic approaches. The exhibition asks us to consider how our shared reality connects us individuals and through playful experimentation pushes us to imagine a brighter future together.
Interdimensional Landscape is a kaleidoscopic dream. Throughout the gallery space, Okuda is a surrealist world-builder—shaping his big, bold ideas through traditional and non-traditional techniques delivered at human scale. “His works depict landscapes and figures in a vibrant universe where ethnicities, genders, and identities coexist in psychedelic harmony” (Underdogs Gallery) The totality of the works together excite us, then we get lost falling through layers of delightful and imaginative details.
Interdimensional Landscape brings the artistic style that Okuda has developed over the years as a technically-precise art-maker and forward-thinking innovator. The immersive exhibition features a mix of sculptural works and paintings that blend the traditional and digital, the realistic and the surreal, human and artificial intelligence. To gain more perspective on this body of work and to get a hint of what’s next, we were thrilled to get some answers and insights from the artist himself.
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Bree: Firstly, it’s great to see you back in Lisbon and exhibiting again with Underdogs Gallery. Could you tell us a bit more of how this body of work and exhibition came about?
Okuda: This exhibition is an exploration of deconstructing my own artistic practice through experimentation with new techniques, formats, and textures. I’m currently experiencing a pivotal moment—both personally and artistically—as society transitions from a predominantly physical world to an increasingly digital one. This shift deeply influences how we communicate and connect as human beings, and I’m interested in capturing and reflecting that transformation in my work. The exhibition moves between the digital and the physical, the real and the surreal, exploring the tensions and harmonies that emerge in that space.
Bree: The previews for the exhibition are so visually stunning and the images I’ve seen are really intriguing. What do you want people to experience with Inter-dimensional Landscapes?
Okuda: With Interdimensional Landscape, I hope visitors feel inspired. I believe art is meant to be felt—it should stir emotions, create impact, and spark something within the viewer. But more importantly, I want people to experience the work in their own way, to interpret it through the lens of their own lives. My hope is that it encourages them to search for their own artistic path, whatever form that may take.
Today, many people hold back from expressing their true selves—out of fear of judgment or simply because they feel they can’t. Through my work, I want to inspire others to reconnect with their authenticity and embrace who they truly are.
Artistically, I’ve reached a point in my journey where I feel I’ve developed a unique visual language. Currently, I’m interested in breaking it apart, deconstructing it, and pushing beyond it to create something new. This process of transformation—both personal and artistic—is at the core of this exhibition.
Additionally, I’ve started exploring the use of AI as a tool to spark the initial stages of an artwork. I see AI not as a replacement for artists, but as a creative instrument—one that can open up new paths and possibilities. In the exhibition, there’s a video piece that illustrates this evolution: it shows how my early graffiti letterforms from the ’90s and 2000s have been transformed into one of my most recent works featured in the show. This new piece blends the structure of the chromatic wheel with my signature Kaos Star, representing both continuity and transformation in my artistic journey.
Bree: Your work is synonymous with vibrancy and bright color—what inspires you about color that is such a signature of your style?
Okuda: Color and geometry are my signature. They’re not only formal elements in my work, but also carry deeper meaning. For me, they symbolize diversity, the richness of cultural heritage, and the value of tradition. I often mix vibrant colors with shades of white, black and grey to create a visual balance that reflects these essential values.
Bree: As a street artist / urban artist, what do you see as the role of public art and street art? How do you want to engage with the people who see your work “out in the wild?”
Okuda: In my earlier work, I often created scenes centered around main characters, usually women, set within natural landscapes. However, during the pandemic, my focus shifted toward interior spaces. For this exhibition, I wanted to move beyond both nature and domestic interiors. Instead, I’ve created surreal, dreamlike spaces, otherworldly environments that exist somewhere between the real and the imaginary, the digital and physical world.
I want people to connect with my work not only as contemporary art, but as something that carries the echoes of ancestral wisdom, traditions, and cultural practices from different civilizations and moments in history. While the visual language may feel modern, its roots are deeply tied to the past. Much of my inspiration comes from my travels, experiencing diverse landscapes, cultures, and rituals. These journeys have profoundly shaped my creative process, allowing me to blend the natural, the spiritual, and the contemporary into a body of work that feels both grounded and forward looking.
Bree: What would you say has been the greatest challenge you’ve faced in realizing your work over the years?
Okuda: One of the main challenges I’ve faced throughout my career has been working within classical or heritage-protected spaces. These buildings often come with strict regulations due to their historical value, and I’ve always approached them with deep respect. The challenge has been finding a way to create a meaningful dialogue between these classical environments and contemporary painting. Over time, I’ve learned to transform that challenge into an advantage using the contrast to enhance the impact of the work and to create a bridge between tradition and modernity.
For example, when I painted a chapel in Denver, I wasn’t allowed to use lifts to reach the ceiling, I had to complete the work entirely from scaffolding, which made the process physically and technically demanding. But in the end, those constraints pushed me to adapt and innovate, making the final result even more rewarding.”
Bree: I’m curious about your use of artificial intelligence for this body of work. What got you interested in experimenting with AI? Do you see it as a tool… or a muse or perhaps something else?
Okuda: For me, AI is not a threat but rather a tool, one that opens up new and exciting possibilities. I enjoy experimenting with AI, using it to explore fresh and innovative paths that would be more challenging or time-consuming with traditional methods. AI enables artists to push boundaries, create new ideas, and achieve things faster and in ways that weren’t possible in the past.
Bree: How do you see this technology shaping your work in the future?
Okuda: I believe my artwork is highly impacted by the new tools that are appearing. Artists are created by their surroundings and environment and I believe it is important to include the daily basis experiences. Why wouldn’t I include technology in my creation process if I use it for other tasks.
My artwork continuously evolves alongside technological advancements. For instance, I began incorporating kaleidoscopic elements into my work, and when NFTs emerged, I embraced them as a new way to expand my artistic expression. Currently, I’m developing a video game that merges both physical and digital artworks, creating an exciting intersection of technology and creativity. These advancements offer new tools to enhance my creative process, and I’m eager to see where they take me as technology continues to evolve.
Bree: UP is a magazine especially for graffiti, urban and street art creators and fans—could you share any advice or words of wisdom to our readers?
Okuda: My favorite pieces of advice is to encourage people to search for their own path. One of my most iconic elements, the Kaos Star, represents the many different paths one can take in life, with the understanding that no two paths are the same. Each person has their own unique journey. I believe that daily experiences and one’s environment are powerful sources of creativity, whether it’s visiting exhibitions, exploring murals in different places, or simply being open to new perspectives.
For creatives, finding one’s own identity is key, even though it can be one of the most difficult things to achieve. It’s not relevant to be placed within a movement or to listen to criticisms. Furthermore, to use social media wisely, focusing on the positive and ignoring those who try to tear others down. The goal should always be to stay true to yourself and your vision, and to enjoy the process. In my case, the greatest joy comes from being able to evoke emotions and feelings through my artwork and being able to connect with audiences through art.
Bree Chapin is a studio artist and muralist. She is also co-founder and co-producer of the New York Underground Art League and an occasional writer. Having passed several thrilling decades in New York City, she has found a second home in sunny Lisboa.