Creditos

Cliente: Sancal S.L

Fecha: 2014

Producción: Sancal

Artistas:

Zosen Bandido

Ricardo Cavolo

Agostino Arcuci

Dirección, edición y postproducción: 27P8 Studio

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40 faces for 40 years es un bonito y simpático regalo que Sancal se hace a sí misma por su 40 cumpleaños. Gracias a esta iniciativa, un muro de ladrillo gris que tradicionalmente había servido como apoyo y almacén de cristales, es ahora una deslumbrante y colorida pared que celebra el paso del tiempo y  alegra el día a día de los trabajadores de las secciones de lacado y montaje de muebles.

40 faces for 40 years is the pleasantly beautiful present Sancal has made itself for its 40th birthday. Thanks to this initiative, a grey brick wall, traditionally used as glass support and warehouse, is now a stunning colourful wall which celebrates the passage of time while brightening up the lacquering and assembling employees’ every day. Half Argentinian and half Catalonian, Zosen has travelled throughout the world and this clearly reflects in his style. He somehow gathers the folk elements of the diverse cultures he made contact with but revitalizing them through colour. His masks mix that of Mexican fighters and African sculptures, although less solemn, since his ironic view is reinforced by conferring living features to inert objects. As an urban artist, Zosen is out of the ordinary: his palette is far more intense and pure than that of traditional graffiti. Defined as New-Fauvist, his colours are a provocation in themselves. A passionate heart, a cash register, some little devils, an ice-cream cone, an igloo, a hamburguer, some pyramids and vegetables are only some objects created by Zosen and which express the various stages and moods experienced by the company along its history.

Zosen Bandido

Mitad argentino, mitad barcelonés, Zosen ha viajado por medio mundo y eso se nota en su estilo. De algún modo recoge aspectos folclóricos de diversas culturas y los moderniza a través del color. Sus máscaras son una mezcla de luchadores mejicanos y esculturas africanas, pero menos solemnes, ya que la atribución de rasgos animados a objetos inertes refuerza su irónica visión. Como artista urbano Zosen se sale de lo común, su paleta es más intensa y pura que la del graffiti tradicional. Catalogado como Neo-Fauvista, el colorido es en sí mismo una provocación.

Un corazón apasionado, una caja registradora, varios diablillos, un cucurucho helado, un iglú, una hamburguesa, pirámides y hortalizas, son algunos de los objetos a los que Zosen da vida y con los que expresa las diferentes etapas y estados de ánimo que ha experimentado la empresa desde su fundación.

40 faces for 40 years is the pleasantly beautiful present Sancal has made itself for its 40th birthday. Thanks to this initiative, a grey brick wall, traditionally used as glass support and warehouse, is now a stunning colourful wall which celebrates the passage of time while brightening up the lacquering and assembling employees’ every day. Half Argentinian and half Catalonian, Zosen has travelled throughout the world and this clearly reflects in his style. He somehow gathers the folk elements of the diverse cultures he made contact with but revitalizing them through colour. His masks mix that of Mexican fighters and African sculptures, although less solemn, since his ironic view is reinforced by conferring living features to inert objects. As an urban artist, Zosen is out of the ordinary: his palette is far more intense and pure than that of traditional graffiti. Defined as New-Fauvist, his colours are a provocation in themselves. A passionate heart, a cash register, some little devils, an ice-cream cone, an igloo, a hamburguer, some pyramids and vegetables are only some objects created by Zosen and which express the various stages and moods experienced by the company along its history.

Ricardo Cavolo

Los trazos de Ricardo Cavolo han reconducido el tránsito hacia lo que antes era un pasillo oscuro y aburrido. Además de un delicioso regalo de cumpleaños, el mural es un proyecto más completo, pensado para iluminar la entrada al remodelado comedor de la sección de tapizado.

El toque circense de sus personajes encaja perfectamente con el día a día de Sancal. Una empresa en la que trabajan 70 personas y que trata habitualmente con muchísimas más es lo más parecido a un circo que podamos imaginar. Magos del diseño, contables trapecistas, forzudos comerciales, obreros domadores o gerentes con dos cabezas…

En cuanto al color, la gama de azules seleccionada se inspira en la cerámica esmaltada tradicional. El azul es un color fetiche para Ricardo, pero en esta ocasión también conectaba perfectamente con los blancos ladrillos de la pared para conseguir una versión contemporánea de los clásicos azulejos portugueses.

Ricardo Cavolo’s lines have unveiled a previously dark dull corridor. Apart from being a delightful birthday present, the mural is a far more complete project thought to lighten the restyled dining-room entrance, at the upholstery section. The circus touch applied to the mural characters perfectly fits in Sancal’s every day. A company, with 70 workers and who regularly deals with a greater number of people, may be closer to a circus: Design magicians, accountants on trapezes, hefty brawny sales representatives, tamer workers or managers with two heads… In terms of colour, the chosen range of blue tones is inspired by the varnished traditional ceramics. Blue is a fetish colour for Ricardo but, on this occasion, it perfectly links to the white wall bricks, creating a contemporary version of the blue classic Portuguese tiles.

Agostino Arcuci

Las instalaciones de corte y confección han sido regaladas con un mural de 10 metros de alto por 40 metros de largo, uno por cada año de la empresa. Unas hábiles y sobredimensionadas manos tejen un tapiz en el que quedan representadas las tareas cotidianas de ambas secciones. Bobinas de hilo, metros de tela, patrones y tijeras son algunos de los elementos de una escena costumbrista y a la vez tremendamente contemporánea gracias al color y a unos trazos sintéticos. Los tonos cálidos y las formas redondeadas dan un aspecto amable a sus protagonistas y convierten la fábula en una narración bondadosa.

Debido a las monumentales dimensiones de los personajes que ha ilustrado Agostino, tenemos la sensación de estar frente a un altar pagano que rinde homenaje al trabajo artesano. Las costureras que trabajan próximas al muro parecen diminutas hormiguitas, aunque confiesan sentirse mucho más satisfechas que abrumadas por su esplendor.

The cutting and sewing sections have been given a gift in the shape of a mural of 10 meters high by 40 meters long, symbolizing the company age. Some oversized skillful hands weave a tapestry where the daily tasks of both sections are depicted. Spools of thread, meters of fabric, patterns and scissors are some of the elements of this scene based on local customs and manners but, at the same time, also on the contemporary thanks to the use of colourful synthetic lines. Warm tones and rounded shapes grant the characters a kind look and turn the fable into a generous story. Due to the enormous dimensions of the characters illustrated by Agostino, the spectator has the feeling of being right in front of a heathen altar that honours craftsmanship. The seamstresses working by the mural seem to be tiny ants, although they say to feel much more satisfied than overwhelmed by its magnificence.