Artsy: Your work first became known on the streets of São Paulo—and later on Brazilian trains, and now scales public walls and galleries and museums all over the world. What are some of the most memorable works you’ve made in São Paulo—from your earliest days painting in the streets to more recent projects?
OSGEMEOS: We believe that everything we do—from a simple drawing in a notebook, a giant on the outside of a huge building, to our work in institutions such as galleries and museums—it is all connected, part of a balance, of a bigger context. It is almost like we live in a big stage, and we consider all the elements memorable and important. In a museum, between white walls, we can open a window to our universe and completely transform the space without sculptures and installations. For us, our universe is playful and we are very happy to be able to translate it to everyone else in a palpable way. This is such an important goal of our art, to allow people to forget for some time about the real life problems, and dive into our universe. We believe that everyone has a playful side, which sometimes life just takes away from us. For this reason, every work and exhibition we have done in São Paulo is very important to us. Our last exhibition in the city for example, “Vertigem,” in 2009, brought so many people to the museum—people of all tribes and social conditions.
Artsy: What is it like to live in São Paulo as an artist? Where is your studio located?
OSGEMEOS: To live in São Paulo means to survive every day, to absorb the city and give back to it what it offers us. São Paulo made us what we are—we chose to use the city, instead of allowing it to use us. We see it as our extended studio.