Bruno Alexandre Pereira Teixeira, artistic name Sepher AWK, was born on April 1997, in Amadora. A creator of various crafts, he moves from murals to illustration and animation in cycles of constant reinvention. He is sensitive to the journey through the stations in the area where he grew up, on the Sintra Line. He creates fictions and imaginaries from real contexts, imagined by us, visitors and lived by him, the artist. A trip carried out by the Sintra Line, in which it comes and goes again and again, being influenced by its surroundings and developing its artistic identity, in its shapes and colors, feelings and messages, takes us to the urban landscapes and the stories told by the your characters. Putting ourselves in the character’s view.
In 2014, he created the art collective ”Awake”, with Marco Boto and Nuno Trigueiros, an awakening to the possibility and reality of living what they like. They created and produced murals and videos, participated in cultural events at the local level. The artist focused on painting murals using the spray technique, built his own style, achieving an identity that brought opportunities and visibility at national events.
In 2019, he immersed himself in the world of illustration and animation, this being the focus of his professional life with collaborations with artists and entities such as Tristany, Julinho KSD, Instinto26, Câmara Municipal de Lisboa.
In 2020, he joined the collective “UniDigrazz”, composed by Tristanym Diogo “Gazella” Carvalho, Onun Trigueiros and Rappepa Bedju Tempu.
In 2021, he exhibits at the Crackids gallery with his first layered piece. He starts his first animated short for the musician Trista dos Instinto26; participates in the Festival Iminente with a live painting with the brand Bazofo Destu Zona, is present at the festival “Router Baum” in Berlin, where he made an installation for the entrance to the festival and painting a mural. Exhibits at MU.SA (Museu das Artes de Sintra) with the collective UniDigrazz at the collective exhibition Linha Imaginária, born as a rupture, the art produced from the urban periphery is plural, daring, beautiful and ephemeral, lives in anonymity and reinvents for itself the exhibition places. An art that grows and diversifies in the trace of the drawing, in the intervention of the letter, in the images that capture and appropriate walls, canvases, trains and paths, in an imaginary line that converges from the margin and moves it to another centrality.
In 2022, he is exhibiting at MAAT – Museum of Art, Architecture and Technology, with the collective UniDigrazz in the collective exhibition Interferences, curated by Carla Cardoso, Alexandre Farto and António Brito Guterres, in which he seeks to give visibility to other dimensions of city, Interferes brings together works by contemporary artists who use the streets as a context for expression and experimentation and works from institutional and private collections, highlighting alternative narratives that aim to challenge the public, inviting them to reflect on which city, urban spaces and artistic and cultural institutions can be built by adding new voices to this process. He exhibits at the IMINENTE Festival in Marseille, at the MuCEM (Museum of Civilizations in Europe and the Mediterranean), with the collective UniDigrazz with the installation “Kintal”, where the main and symbolic point to be celebrated is the clothesline. “In kintal, you play, you live, you resist. The Digra is dressed in resistance, protected and breathed. The drying rack is used to hang, show and reflect. Of the being that exists without being seen, dressed in love and soul”. The clothesline translates the identity of people, what they use, how they expose themselves and their connection with the space. On June 10th he participated in the mural ”48 artists, 48 years of freedom” that will be symbolically created in Jardins do maat, a collective mural intervention that reinterprets the People’s Market Panel carried out by the Democratic Movement of Plastic Artists on June 10 of 1974, in Belém.
Sepher AWK has illustrated the periphery and the reality of the Sintra Line in several places outside of it, this time he does not want to take this reality with him, but to represent in the same place that reality is felt. To be able to show those who don’t have the time or the possibilities to go to places other than home, transport, work, work, transport, home, to take an emblem to all seasons, built with techniques alluding to the area where these people live.
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