VERA BUGATTI'S 3D STREET ART

Raft of human rights

Bang in the middle of the asphalted street in Sarasota, USA, was the raft carrying Mahatma Gandhi, Martin Luther King, Nelson Mandela, Aung San Suu Kyi, Gino Strada, Rigoberta Menchu and the young Malala, fighting a storm. They seemed real — almost! At a vantage point was a camera mounted on a tripod and a line of people snaking behind it; they were queuing up to see the historical figures — in 3D. Created by Italian street painter, Vera Bugatti, The raft of human rights was inspired by the 19th century French artist Theodore Gericault's work, Le Radeau de la Meduse.

Vera, born in Brescia, Italy, comes from the land of street painters or madonnaris (called so because of their practice of drawing images of the Madonna or Mother Mary). The 35-year-old artist has been painting the streets — of Italy, Netherlands, France, Germany, Ireland, Croatia, USA and Mexico — with captivating art for the last seven years, and winning numerous awards and prizes.

The Circus

Though there are no artists in her family, Vera's interest in art began when she was knee-high; she enjoyed creating "characters". She says she still follows her imagination and see faces everywhere — "in nature and landscapes." She later obtained a degree in liberal arts and researched XVI century art. "In everyday life, I work as a librarian," she says. But like some of her countrymen of yore, the madonnaris of Italy, every few weeks, Vera takes off — carrying her satchel of chalks, colours and measuring tape — to paint the streets and sidewalks with spectacular, short-lived, portrayals.

Street painting/art originated in Italy in the 16th century. The madonnaris went from town to town painting religious pictures on beaten earth and public squares using chalk, brick, charcoal and coloured stones. They made a living with the coins that were flung on the drawings. During the Second World War the madonnaris suffered great hardship, but a small group of artists continued working. In 1970, there was a revival of street painting due to the efforts of the International Street Painting Festival in Grazie di Curtatone in Northern Italy. Soon, European art students joined the surviving madonnaris. (Source: The art and history of street painting, by Kurt Wenner).

Alice in Wonderland

And like all works of art, street-painting too evolved — into 3D artworks on the sidewalks. American artist Kurt Wenner is credited with the evolution of this art form, which requires mathematical precision and drawing of grids. Vera was attracted to street painting because, she says, she was "enchanted by the poetic appeal of this big ephemeral way to communicate feelings and important issues. It stimulates righteous indignation." 

Vera, in the background, with one of her creations. 

Her first 3D pavement painting was Don't be afraid of the gypsy's tale (4x4 mts) made at Wilhelmshaven Street Art Fest, Germany. "It took me 24 hours of non-stop drawing to complete the work," she recalls. At the end of it Vera was not tired, but "in awe".

However, the biggest 3D street painting she did was a stunning circus-themed one with Kurt Wenner's crew in Sarasota in 2012. "I was one of the 13 international artists chosen to collaborate with Wenner to create this large 3D masterpiece," she says with pride. It took the group five days; people had to climb onto a 5mt platform to photograph it.

Vera does about 15 street-paintings a year. Only a few are commissioned pieces. "Though it is a lot of hard work, the love for this kind of art is the motor that keeps me going," she says. "I usually feel empty and sad when I finish a painting."

Vera creates a detailed black and white pencil sketch of what she is going to paint. She mainly uses chalk, but sometimes prepares the dark background with pigments and binder. She says 3D street paintings are more difficult to create than 2D. "Even if a minute detail goes awry, the final piece will not work," she explains. Also, one can see the tri-dimensional effect only with the help of a camera or lens. "But 3D works are more powerful mediums to convey important issues."

The transient nature of this ancient Italian art form is at the heart of Vera's work. "My work will disappear as soon as the wind blows," she says, "as fast as the rain comes. It's a fight with time as in life!" Yet, it has the power to embed itself in the consciousness of those who chance upon it, long after the painting is 'gone'. The early madonnaris were aware of it — the enduring quality of this transitory art. And so is Vera