17. Britto-geuse, the Supergiant

Flying around in space is already exciting, but today Gem and Em become human canvases for the most licensed artist of all time: Romero Britto. From selling art on the street, to having a castle filled with his art, Britto shares his unbelievable life story and deep love for his craft. How did he break into the art scene? Dropping out of law school, the art of happiness, moon trees, and more. Come one, come all to explore the colorful journey of art, inspiration, and imagination with one of the brightest stars in contemporary art. 

Featuring: Romero Britto

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Episode Transcript

Speaker 1 (00:05):
I hate you the same. Let's go to man ready for.

Speaker 2 (00:25):
Launch.

Speaker 3 (00:28):
Greetings earth lings, you are joining us on yet another
unbelievably special flight. Here we have today not only one
of the most influential and important artists of our entire world,
but the most licensed artist of all time, an incredible
human being who has beat all odds to become who

(00:52):
he is today, gives back to the community, is constantly
just filling the world with love and passion and all
good things. So we have the one and only Romeo.

Speaker 2 (01:06):
To be for introduction. Thank you so much. I'm like
about to cry.

Speaker 3 (01:10):
No, I feel all of those things about you, and
thank you. Anybody that you've been in their orbit, no
pun intended, I'm sure it feels the same way.

Speaker 2 (01:18):
So welcome, Thank you, Thank you so much. A great introduction.

Speaker 3 (01:21):
Again, thank you for being here. Before we started the podcast,
we actually were talking a little bit about outer space,
and I know that you have a little interest in
it in your maybe.

Speaker 2 (01:30):
Oh yeah, no, definitely, I'm always very curious. Actually, I
did the whole series of you know, paintings and drawings
inspired on that because Lucas was you know, we were
having a conversation about space it's all Amara. You definitely
should do some paintings about that. So I did, you know,
like space ships and I did aliens. It was very interesting,
very beautiful. Yeah. I would love to show you both

(01:52):
when you come to visit me. Yeah, we haven't.

Speaker 4 (01:57):
And we are going.

Speaker 2 (01:58):
Yes.

Speaker 3 (01:59):
So for those of for those of you out there
that maybe don't know a little bit about your younger life,
do you mind sharing how you got started? Because I
know that you started painting drawing when you were eight
or something.

Speaker 2 (02:10):
Yeah, I mean I was so long ago, but you
know I do remember. And well, I mean I grew
up in Brazil. My mother was pregnant twelve times. I
think it's incredible that she did that. I mean, I
don't know. My mother was definitely a hero. I will
give in the stat of the super Home women. Yeah,
and the pregnant twelve times. She was a single mother.

(02:33):
Can you believe in.

Speaker 4 (02:33):
Them like mine?

Speaker 2 (02:34):
Unbelievable? Wow. And then but only nine of us survived,
and I'm the number eight and it was me and
my younger sister. She was the youngest of all. And
then she passed away last year and oh thank you.
And then I grew up in a big you know,
a big family, you know, big problems, you know. We

(02:55):
my mother was the mother, the father, everything, and she
always wanted to keep us together in one place. And
I always love to do drawings, you know, when I
was a kid in whatever could put my hand on
paper or the wall. In my mother's house, going to
school is to be so boried. And I saw the
drawings and my notebooks and one they my mother told me, oh,

(03:18):
you can't do drawings on those paper because the would
be there's no money in buying the ball and buy more,
you know, like a paper for you do your homework,
and all those books for you do homework, noeoks and
notebooks and anyway. So it always growing up in Brazil
that and but something that really happened very special was
that we leave in the same street. Imagine if you

(03:39):
are like you know, Lincoln Road, and there's the water,
the ocean, and then you'll go to the bay. The
bay would be like where the poor people lives. And
the street was very long. The beach was where everybody
that has beautiful homes, you know, like amazing howse and
the beach was like open to everybody, and you know

(04:02):
we you know, I used to go to the beach
quite a lot. And then one day we made this
family from England. And this family from England was this
the daughter and the son and my sister and I
became friends with them, and the mother was very happy
because probably they wanted to have friends from Brazilian. Yeah,
and there, you know, I asked her where they live,
and they live the same street, you know, we're in

(04:25):
different stream. And then one day we go to visit
and I became like I always wanted to go to
their house and I was wishing one day they would
adopt me and take me to England or something like that.
I way from my house, you know, because I loved
going there. My sister and I we love going Then
the father of my my friend was a diplomat. And
that's how the idea of being a diplomat, because the

(04:47):
god I could travel the world, that could go everywhere,
and I could live in this beautiful home.

Speaker 3 (04:51):
With that you thought it was your take out me.

Speaker 2 (04:53):
Yeah, that was my thing, you know. And so I
drew so much. I would alway to law school. But
when I went to your sore semester, my four semester,
and then I was like I was so miserable. I
was very young and I was I don't know how
I did such a decision. I was like, this is
not for me. And I had a change through this family.

(05:14):
You know, I met so many people, and one of
them I asked. At that time, I used to ask
things to people. I don't ask anymore. I'm there. So
I told them, oh, my god, I would love to
learn English. And one of the families say, oh, I
have a school for Youlis. I have a class there.
So I learned English in Brazil. You know, I was
not I think I speak a little bit better now exactly.

(05:37):
And then I was able to spend one year in
Europe in different people's house that I met, and everybody
wanted to host to Brazil.

Speaker 4 (05:45):
Yeah, and I.

Speaker 2 (05:46):
Had to go back to Brazil and then but I
was always like like, I always tried to do something.
I was not the kind of person that is still
without doing anything. And I wanted to make money. And
I'm sure when you went to Brazil kids selling.

Speaker 3 (06:00):
Stuff, oh yeah, yeah, So I was like that.

Speaker 2 (06:03):
I was always trying to figure out something. Selling your art, yeah,
I sold my art and I sold like there was
a time I wanted to do a nursery and then
I in the backyard of my mother's house. I wanted
to take out plans, so I did you know I'd
also bring those plans to a supermarket to sell.

Speaker 3 (06:20):
You're an entrepreneur.

Speaker 2 (06:21):
Yeah, I was always doing something. And then I was
able to buy my ticket to go to Europe. I
spent one year there, like I went in the airline
from airpart guy from my town to Madrid and then
from Madrid to Paris and train.

Speaker 3 (06:36):
I was like everywhere, how did you make money? And
you're that year that we I.

Speaker 2 (06:41):
Mean, I came with like a thousand dollars and then
I used to show my work around and then I
sold my work to whoever I would meet. I had
a show actually in a place called Caso do Brazil
in Madrid, and I made some money there. My work
I was selling for less money. But you know I
used to say, really well, I mean for me to
eat a burger. I used to think like ten times

(07:04):
for me to buy the burger or something like that.
But you know one thing that was very good is
like whatever house that I was stay in people's house,
I made myself like not one of those guests that
is a pain. But I used to make like I
was to clean their houses, to wash their car, whatever
I could do good guests to stay there, and they
would let me stay longer, so make a good Yeah,
when I was a Sweden to stay in the house

(07:25):
with this family that I met, the son and then
the father was in the military and really high up there,
like some sort of a general. And then I stayed
there for the longest, almost four months, you know, and
my friend was working in Vienna, and I stayed. The
parents loved me and I used to you know, I

(07:45):
did so many I like again, wash their cars, watch
the basket around. I did everything that could do to
stay there. And the mother loves my art and she
showed to a bunch of people in this because it
was outside Stockholm. And I sold a lot of my
work in Sweden and I saved a lot of money,
so it was good.

Speaker 3 (08:02):
You still talk to any of those people, Yeah, I've.

Speaker 2 (08:03):
Be in touch, like Henry. The parents died so like
from Sweden some of them. Yes, I still in touch,
not as much, but you know, so I so many
things changed, you know, I would love to be in
touch with everybody, but it's really.

Speaker 4 (08:15):
Hard too so hard.

Speaker 2 (08:17):
Yeah. And then I went back to Brazil. And then
a friend of mine came to study here in Miami, Leonardo,
and I came to visit him here, and that's when
I decided about quitting law school and I wanted to
go back to Europe. But I came to Miami and
I just stay a little bit, like very much. I
didn't realize how much I love it. Yeah, And then
what I did was like when I went to Europe,

(08:39):
I was like, god, me, I love Europe, but the
Europe is so like old World. I was like, you
want to brand a place more dynamic, and Miami had that.
This was like in the eighty five eighty six nice
And so I came here and I never left. I
thought I would leave one day Los Angeles in New York.

(09:01):
But I love Miami a little bit little, just like
the city is being amazing to me and the people.
And then I live ever since. I go everywhere, you know,
and the you know. I used to have a house
upstate New York that used to go every summer my
son was growing up. We used to go there because
his mother was from there, and we used to have,
you know, the whole summer spending that painting. There was

(09:23):
the housing country, and but Miami is being like I
always whatever I travel, I feel like I'm coming back.

Speaker 3 (09:29):
You know, Miami. Miami loves you and I feel like
you are in a way like Miami is your canvas.
And even just Chris, our producer, one of our producers,
we were talking to him and he's like, he has
a double heart transplant and he said, at the time
I was rolled into surgery at Jackson, I would he
would see one of your pieces. Yeah, and you know

(09:50):
brings a smile maybe in a dark time. Do you
feel like you've been able to play with Miami as
a city with your art? Like how do you these
big peace and you know buildings and how did you
get to that?

Speaker 2 (10:03):
Well? I mean it's so special because my town is
a big city that I grew up and I didn't
grow up in the city, were outside suburbia, but Miami.
I always thought about the buildings, you know, the buildings
and the roads and so wide. And I remember getting
inspiration about when there was you know, rainy days driving

(10:26):
in the evening and you see the reflection of the
buildings that like the cars and everything. So I mean
I was always sort of inspiration for me, and it's
been ever since, you know. And they call the ocean
and the blue sky all the time, and very rarely
we have a great day here in Miami and it's
always sunny, and the beaches and the people. The vibe

(10:47):
of Miami is always so up because I think I
think it's because Miami is such a young city and
there's a flow of people constantly coming over here, and
the people come over here with the very high spirits,
you know, they come for viction, having a good time,
and the people who lives here really get into this
mood about because the temperature, the weather and every single

(11:08):
people that you feel like you in vacation year round
because whatever you turn around looks like paradise, water, green everything.
It's like, I love it.

Speaker 3 (11:16):
Yeah, that's I feel like people either love it or
they have some issues with it. I love Miami, but
you know, it is really hot these days.

Speaker 2 (11:26):
But listen, you know, Miami definitely gets warm warm. Yeah.
Well yeah, I used to be. I used to be
super annoyed about because the sweat, but I got used to,
you know, and I think you know what happened because
we spend so much time inside air conditioning. And but
as you keep it, like if you if you open
more the door of your car and you have more

(11:48):
outdoors activities, you end up getting used to it, you know.
But you have to wear a very few clothes, not
a lot. Basically go to the office in the biginning
or something.

Speaker 3 (11:56):
I mean Miami. You see another plus of Miami.

Speaker 2 (11:58):
Yeah, incredible place. I don't need to have a lot
of clothes to you. Also, you know I do have
a lot of clothes. But when you come to the Palace,
you know, my studio, I'm going to show you my closet.

Speaker 3 (12:08):
Speaking of if you're out there and you're watching us
right now, we are wearing some crispy white jumpsuits and
it is the only time we're going to do so
tell them why I jump.

Speaker 5 (12:19):
Well, because this is a very special day for us,
and we figured we would provide you if you wanted
a canvas.

Speaker 2 (12:26):
Yeah, I was definitely thinking about whatever I want to
put color.

Speaker 3 (12:30):
Yeah that one day you should like mark my whole
body like skin.

Speaker 2 (12:37):
We do photos in the studio.

Speaker 3 (12:39):
Oh yeah, both of you guys, no clothes in honor
of Miami.

Speaker 2 (12:44):
Yeah, I don't know if it's so. I did paint
the belly of Mark's white Oh yeah, we saw that.

Speaker 3 (12:50):
It was amazing.

Speaker 2 (12:51):
I can pay you too.

Speaker 3 (12:54):
Well, the top part is pretty flat, so I don't
have anything your flat canvas for you. Okay, Speaking of
your art style, I'm really curious about this because a
lot of people I've heard call your style pop art, right,
or you know, trying to kind of classify you in
some kind of genre. And I hear you constantly say
I just paint, you know, I just paint. And I'm

(13:14):
wondering if you, over the years have either thought of
a word that describes your style. I know people say
Rometto style or Brito style. But I'm wondering what you
think when you see your art, how you would describe it.

Speaker 2 (13:26):
Oh my god, Well that's a really amazing question for
me to describe myself my style. Yeah, a lot of
people say the Brito style.

Speaker 4 (13:37):
Yeah, you've developed your own style.

Speaker 3 (13:39):
I don't think.

Speaker 2 (13:40):
I don't know if you know. But one other thing
that I did was I'm the founder of the happy
art movement, because there was a time that many artists
that really didn't paint anything happy or about around love.
With the exception Robbie Indiana that he became really famous
to create that piece of art called love. But most
artists was like, you know, creating so many dark in

(14:03):
many artists. And but I've really throughout the years, I've
seen the side of people get inspired in my work,
but also artists, you know, putting more love into what
they do and whatever dark experience they were having, whatever
darkness is in the world, instead to you know, multiply
darkness date they kind of make a little switch, you know,

(14:26):
like when you change something to something else, what do
you call that transformation? Some Yeah, there's yeah, transformation, you
transform something like from dark to beautiful and in a
message more positive. So anyway, but you know, I I
you know, people say all kind of stuff. My art

(14:46):
is a good question. I really don't know if I'm
going to be able.

Speaker 3 (14:50):
To you as as the question deserves, which I definitely wrong.

Speaker 2 (14:58):
I think more because you know, a lot of time,
what does happen is that art critics and people like
in the arts they keep like eventually come out it's like,
oh this guy did whatever, you know what I mean.
So it's like I hope that my art would remind
people about being positive and happiness. The art of happiness.

Speaker 1 (15:18):
Yeah.

Speaker 2 (15:21):
Yeah, actually, like I got the answer for you, the
art of happiness, because we need that. I mean it's
hard enough. I mean even if we have everything, but
not everything is enough to make you happy. Yes, there's
more than everything.

Speaker 3 (15:36):
And even in music, like there's room for all kinds
of music, dark music, you know. But I feel also
a responsibility. I want people to feel joy, you know,
and like invoke that feeling of when you're watching a
movie or you're looking at a piece, you're listening to.
Something happened to me yesterday. We're watching The Little Mermaid. Yeah,

(15:56):
and she is singing, and her voice just got to
this transcendental thing that my whole body change. My energy
went up, you know, my temperature. It's like, can really
make you.

Speaker 2 (16:11):
Happy in a way that nothing can do it but music. Yeah,
And that's one thing that I always wanted was my
art to be like music for people's eyes, because music
definitely can teach you in a way that you're just
like I was like my dream. I wanted my art
to be like music for people's eyes because when you
look at you just just for yourself to a place

(16:33):
that is really special.

Speaker 5 (16:35):
Yay, all right, So we were talking about the happy
art movement.

Speaker 6 (16:53):
Yes, and I wanted to kind of just elaborate on.

Speaker 4 (16:55):
That a little bit because you know, now.

Speaker 5 (16:58):
That I have my own and I'm thinking more about
myself and what kind of space is conducive to me
and what brings me joy. Like we were talking about
before we started the podcast about the pink toilet paper
in the bathroom. I've been approaching life this way, like
choosing things around me that just bring joy, bring happiness,

(17:20):
because I think it just transforms like every part of
your day, your interactions with other people, and just who
you are in general. So I can just imagine that
when you're creating these art pieces, you're fueling that energy
into into your work.

Speaker 2 (17:34):
No, definitely, I put everything in my work. I love
what I do. I really don't know what I would
do if I didn't have.

Speaker 6 (17:41):
It, basically, so you could do a lot.

Speaker 2 (17:45):
No, I'm doing so likely to you know me wake
up in the morning with the purpose. You know, I
can't stay in my house without doing anything. Yeah, A
long time ago is to read a lot. I don't
read as much. I mean I read things on my phone. Yeah,
I don't go to the computer. About reading the phone
but anytime that I have, I go to run to
the studio. I was traveling this weekend and I arrived

(18:05):
and I just went straight onto my studio, you know,
to paint Saturday. And I go there Sunday, and I
could there, like I could stay there even longer. But
you know, actually, since Lucas started running the business, maybe
became the CEO, I was able to spend more time
with my art because before I was having meetings and
I was painting, and I was traveling promoting my work.

(18:26):
So now I'm doing the painting and I do the traveling,
and yeah, the business side, you know, Lucas to handle
that with the entire team, and I've been very lucky
to have a great team, and I love Lucas.

Speaker 3 (18:36):
Yeah it's important to have tea.

Speaker 2 (18:38):
Yeah for sure. Yeah, And but yeah, I think it's
so important to find your purpose. But back to what
you say, it's also very important for people to surround
yourself with things, with people and things that bring you
joy and I and many times people end up hiring
an architect, you know, and then they leave everything for
an architect if you can afford to do that, and

(19:00):
you end up leaving a place that doesn't look like you.
You know, you don't feel like comfortable in your house.
And that's why many times you see somebody say, oh,
so it's about their house, but they just sold it,
you know, like celebrities or somebody you know, because you
clearly don't have a feeling about the home. Because if
you shoes, everything is a collection of things, of things

(19:21):
that you really enjoy and there's a story. Like you travel,
you see something, you bring your home, and all that
you know can't tell a story, can tell a story
to you, to your siblings, to your family, you know,
and you know it's a great thing. I definitely suggest
for people to select what they have around for sure.

Speaker 5 (19:41):
Look like last week or two weeks ago, I was
at home Goods. I can shout out good and I
see this pink light. It was a light in the
shape of a mushroom. Like does it match with my house?

Speaker 4 (19:53):
Not at all? Do I need it? Not at all?

Speaker 5 (19:57):
But I love it so much, so cute, and now
I had it. Yesterday my sister came over, my friend
came over.

Speaker 4 (20:07):
She was like, Uh, where'd you get that light?

Speaker 2 (20:09):
I'm like, I don't know.

Speaker 4 (20:10):
I got it at Home Goods.

Speaker 6 (20:11):
I saw it, and I just felt like I needed
to take home with me.

Speaker 4 (20:13):
And every time I see it, like.

Speaker 3 (20:14):
Marie Condo said, little sparks, joy, it does, it does screw.
So this is I've been wondering this for a while,
and now that you're here, I can ask you. Okay,
I want the real answers. Okay. So I know that
you do a lot of limited edition prints and a
lot of different mediums that you make your art, and

(20:36):
I think the process is fascinating, because correct me if
I'm wrong. But even the prints start with painting, right, yeah,
I mean the print, right, and then you render it
or whatnot, and and you can tell me more about
that process. But in that process, I saw, which is
something that I've always wondered. Your style in the background
a lot, right, I've noticed that there are these wiggedly lines.

Speaker 1 (20:59):
Right.

Speaker 2 (20:59):
It's kind of like this is my signature. I mean,
I do a lot of patterns on my work, and
one of them, many years ago, I started incorporating my
signature Brito many times, that's your signature signature.

Speaker 3 (21:10):
Yeah, oh, oh my god. I thought this whole time
that it was like a secret language.

Speaker 2 (21:15):
Oh no, no, I thought you were.

Speaker 3 (21:17):
Creating like a secret language and hiding messages back there.

Speaker 4 (21:20):
Yes himself.

Speaker 2 (21:22):
I mean, well, what happened when you observed it's really
my signature many many times, like the portrague of your mother. Yeah,
I know your father and mother together. Yeah, then I did.
You can see that. You can spot them britles many times.
And it happened because many years ago I was waiting
for the CEO of Absolut Vodka to come to visit,

(21:42):
and I was like, what should I give it to? Michelle?
His name was Michelle Rue. He commissioned Andy Warhole, Keith Harry.
And then I was like, I saw a bottle empty
there of absoult vodka, and then I filled in with
paint and a shake and I put to Michelle. But
britle came out so bad, and then brito you know

(22:03):
when you write something that didn't come out and you
and then I wrote a few times and I was like,
I start writing all over the bottle and I was like,
oh my god, I love it. I'm going to do
my work. I started putting my name everywhere I love
and it became like something really cool because like people
that copy my work, like people that cot my work,
tried to say it's me, but they cannot copy my name, right,

(22:24):
So it's a really good thing for like copyright. It's correct.

Speaker 4 (22:27):
How do they try to copy your work?

Speaker 2 (22:29):
I mean with the canvas and paint.

Speaker 4 (22:32):
Like hilarious, you know, like really make a fake. I
want to grab the same thing.

Speaker 2 (22:38):
No one thing is like somebody trying to fake some style.

Speaker 4 (22:41):
Yeah, I imitate yourself to me.

Speaker 2 (22:43):
Take you one thing, because sometimes people want to me
take but you write something.

Speaker 3 (22:47):
But I've seen that.

Speaker 5 (22:48):
You know, there's like a video of a woman she's like,
let's we admire the pop artist Brito.

Speaker 4 (22:52):
Let's do a heart in his style. Yeah, that's not
what you mean.

Speaker 2 (22:55):
Yeah, what I mean is that somebody gets something exactly
like somebody get you to make a copy of you.
I know, it's like freaking right and sell it like
as if there put your name there, you know, like
put rameiro breedom.

Speaker 3 (23:08):
No, yes, that's great.

Speaker 2 (23:09):
So anyway, it was good. You know, like the whole
process for me to develop my style was something like
very spontaneous, nothing like premeditated, just with the flow. Yeah,
it was the flow because first, you know, there was
a time when I couldn't afford to buy paint I
did work on finger paint, you know, the other the time,
it's just black and white on newspapers, new paper twos

(23:33):
and then newspapers to show on the streets of Miami.
I did a lot of I mean quite not. I
wish I had done more, because there's work, and I
was like, so valuable and people pay so much money.
I don't have. I have very few of those. But yeah,
I was just showing the streets for thirty dollars fifty dollars.

Speaker 3 (23:52):
And now you have diamond dust. By the way, what
the hell is diamond dust?

Speaker 2 (23:57):
Well, diamond dust is a synthetic diamond dust, you know.
And and there's a great story. I was in one
of my collectors in Europe. I was having a show
in Munich, and Munich is very close to in this
you know state of Austria called tiro Is, where the

(24:17):
factory of Swatowskar is. And then this moment comes and
she reminds me of Grace Kel very beautiful person, you know.
And then she said, Romero, I have so much of
your work. I would love to do a party for
you one day when you come to Austria. I would
love to host you. And then she said, and she said,
I'm going to send you a picture where I live.

(24:38):
And when she sent to me, I was like, I
was floored. She lived in a castle.

Speaker 3 (24:43):
Was beautiful castle, full of your art.

Speaker 2 (24:45):
Yeah, full of my art, like a very big castle,
like eleven thousand acres on the top of a hill.
And I was like, there's no way I can paint
those walls. And I thought about projecting my art in
the because as you have the driveway going up and
then projecting on the wall there, this huge wall there,
this main wall there, and then in the courtyard also.

(25:08):
And I stayed there three days. I couldn't see the
whole place. I've been several times. I could never say everything.
And a lot of people came and anyway, but this story.

Speaker 3 (25:16):
Is we're there. I'm not the castle winding.

Speaker 1 (25:25):
No.

Speaker 2 (25:25):
No, it's funny because we have an idea that she
drink water with in a picture and she gets pebbles
from the castle from surrounding put in the water to
drink water with the minerals. Minerals rocks from there. Anyway,
So you know, her name is Katherine in one day,
if you guys want to go there visit, I definitely.

Speaker 4 (25:44):
Call her and we're just gonna splent of room.

Speaker 3 (25:49):
Yeah, three year free assistance, thank you.

Speaker 2 (25:52):
And then and then she took me to visit the
sask Factory. And as we are going through the factory
that the people from showing everything, how they do everything,
and so of asking. And then she asked me a question, Romero,
do you know why we all love sparkle? And I
was like I don't. I didn't know. And then she say,

(26:12):
it doesn't matter with a kid or grown up. We
all love sparkle, firework, everything that spark we love, right,
it doesn't matter from where in the world. We love sparkle,
we love light. And then I say I don't know,
and then she said, because sparkle remind us where it
came from. Light, So like people love that, like stars anything. Yeah,

(26:33):
we're started who loved Who doesn't love sparkle in light?

Speaker 3 (26:39):
Yeah?

Speaker 2 (26:39):
Anyway, So that's how I started doing putting a spark
into my work.

Speaker 3 (26:43):
I love that all of the new things that you
add were either like an exploration or a happy accident
or revelation.

Speaker 2 (26:50):
Yeah, it happened. You just had to be aware, like
this was one there was very special. You know, this
visit that I did for Catherine and her family, and
I start adding sparkan to my work. But you know,
a long time ago, I used very primary colors, and
then I start adding pastels and then start adding you know,
the metallic colors. So I started on like that, many

(27:13):
many colors, and I used those colar for many many years.
When I adopt the color, I never get rid of them.
I keep them, you know what I mean. So, and
then I also in your palette, in my palette, and
it's also very easy for the future even now for
me to do any sort of restoration anything that happened
with the painting, you know, because you know, as a
paint goes there in a journey in people's lives, you know,

(27:37):
they travel and film, I think it happens, and so
to restore the pieces are very easy. And then I
also many times I go to places and I see
something throughout the years and I like it. And I
sent to a place that they mix my painting coloria.

Speaker 3 (27:53):
I was going to say, which I thought was the
coolest thing I'd ever heard. I saw that some of
the colors you've chosen, you said, were inspired by your
son's children.

Speaker 2 (28:00):
So yeah, yeah, like lego pieces I was saying, what
toys legos. Yeah, like many pieces you know, like to
be very very those colors are so happy, ye, pigmented
flowers and sometimes I send think flower in the box
with eyes to California. That's so they could mix my
color's funny things that I used to have an assistant

(28:21):
used to do all that for me. And one day
my assistant you know, had to go to another state.
And then I never realized because he named all the
it was his name was was what can I see?
But you know, and then it was so and so
this color. So now I'm changing everything the colors.

Speaker 4 (28:41):
Yeah, yeah, yeah, wow. So have you ever restored your
own work? Like two people come and I mean it's brito.

Speaker 2 (28:50):
I I don't feel but I'd rather have them to
send to other people like it dependings in Europe, age
or something like you know, I don't know. Yeah, so
it's just like you know, and then I think it's
better for them to find that somebody who does restoration.

Speaker 4 (29:04):
Or because it's a different yeah, different world.

Speaker 3 (29:07):
I saw that a part of your process is that
you have strategy meetings for naming certain paintings.

Speaker 2 (29:15):
Yeah, I mean there's certain painting that I definitely talk
to you know, I have you know. You know, sometimes
I ask to look at sometimes I ask my son
or some people around me, I ask, you know, and
then I find a name. You know. It's not very
difficult for me, but it's always good to hear other
people too. It's great.

Speaker 3 (29:30):
Do you feel like the name of the painting is important?

Speaker 2 (29:33):
Oh, it's very important, because then you have because sometimes
people made okay, every painting you can see totally different times. Yeah,
but at least we have some sort of direction with
the thought of the artists as well.

Speaker 4 (29:45):
Right, you know what I mean, at least the attention.

Speaker 2 (29:47):
The intention. Yeah, because then you then you say, well,
I don't see that. I see something else. Like I
was in a show in Germany and the woman come
and she a vase of flower and say, oh my god,
this is my husband and I leave on her because
she bought it. Now she say, I love it. This
is my husband. I can see my husband this wow,
and was a vis of flowers. I was like, that's incredible.

Speaker 3 (30:10):
You're like, you're right, it is right for you. You
can't leave here without.

Speaker 2 (30:19):
Oh, Emily, are good?

Speaker 5 (30:21):
Do you have any so of course you've developed your
voice as an artist, and you are probably the most
recognizable artists in the world, maybe I being with Emily
being an artist in my own right, there's two kinds.

Speaker 4 (30:35):
Of art that I make.

Speaker 5 (30:36):
There's the art that's for the public, and there's the
stuff that maybe she's heard because she lives with me.
I do you know, some special people may may not exist,
but for the most part, people don't know exist.

Speaker 4 (30:48):
Is there a part of the art that you keep
just for you.

Speaker 5 (30:51):
You have like a special sketch book at home that
you like draw only black and white and pan or
you know, anything like that.

Speaker 2 (30:58):
Well, I have a lot of things that people never saw,
you know what I mean. Like, for instance, you know
that I kept on my collection I give to my son, right,
you know. And but one thing I really learned really early,
and I don't know where this came from, that I
know that I cannot keep everything from me, you know
what I mean? I mean, I keep for now, you know,
I think that nobody ever saw. But I'm you know,

(31:20):
I always wanted my art to just start their journey.
Some pieces I have, right, but I know that one
day they have to go. It's like hanging a pin
on the wall. And you know that this said the
story that one day you have to take it down.
You know. It's just like, does.

Speaker 6 (31:35):
It feel like you're giving away a little piece of yourself?

Speaker 3 (31:37):
Yeah?

Speaker 4 (31:38):
Every time.

Speaker 2 (31:39):
Yeah, but it's just you have to learn how to
deal with that and just leave the moment enjoy everything
right now, you know, because eventually everything is evolved, so
you can't stop evolution all that, and but yeah, I
mean for now, I do have pieces that I have
in my place that I have for years, you know,
and but it is time back my mind. I know

(32:01):
that eventually everything is going to have to go somewhere.
I don't know where.

Speaker 5 (32:05):
There's a Romero Brito quote that you may not have heard,
but he says art is too important not to share.

Speaker 6 (32:13):
So I think that that's that's really cool.

Speaker 5 (32:16):
It's something that when learning more about you, I was like, wow,
that's I've been thinking about that, especially over the past
couple of years.

Speaker 3 (32:22):
I need to learn that lesson. Yeah, because I feel
like I've become my own worst enemy. And then I
feel like the art isn't ready, it can be better,
this isn't my best, like challenging myself, and then in
that process, I feel like I lose some of the
magic of it. It's kind of like an immature way
of thinking about art.

Speaker 2 (32:41):
Yeah, I mean, I'm not saying you immature is not that,
but I'm saying, but I do say one thing that
sometimes it's very hard because we are our first.

Speaker 4 (32:51):
You know, biggest critics.

Speaker 2 (32:52):
Yeah, and then and sometimes you have to accept you
with all your that Sometimes I'm not saying about you,
I'm just saying in my part to accept me first.
Whatever you know is about that piece of art that
make unique, like even because there's no mistake, that's not
right or wrong. You know, because if you do, like

(33:13):
say a dot, but the dot has a little crack,
and because you didn't finish, it could look very cool
to you, you know what I mean. But you just
have to think about where is the time to finish
because a lot of them. I have a friend of
mine that she started painting and then she keep going.
The painting can be like totally let's say green, and
become totally brown and because she keeps sweet, sweet sweet.

(33:36):
But I told her once said like, maybe you need
to know this is the moment stage. If you don't
like you keep adding more, get another paper, get another
people because now you're gonna do it instead to do
one ten painting. In one painting, you can do ten
different versions of what you want. But you're just stopping
there and then just like it looks very cool. It's
almost like, for instance, as we grow older, people start

(33:58):
shaking their hands and they're sitting. Sure, it's still you
even if you shake a little bit, you know what
I mean. So ideally it's for you to say, oh
my god, it looks so you say, if she wants
to do something odd, oh my god, it looks so great,
looks odd, but I love it. And there you don't,
you know what I mean? Like if you like, there
was a guy somebody a collector. Then he said that

(34:21):
he was tired about everything. Right in his wall he
started putting all the painties crooked. But it's a look, yeah,
you know what I mean.

Speaker 4 (34:28):
Yeah, there's a.

Speaker 2 (34:29):
Bit of a total look. You know, it's a look.
It's like you have a look with your hair like that.
She has a look with her hair like with all that.
It's a look. And that's the same thing. Go to
a painting, yeah, and you have to say, you know
what I love? I mean, part of being a maid
don't like you know the other thing. You know, I
did this myself, Like I love glasses and then one
day I put a pair of glass that I feel
so uncomfortable. But I say, I need to wear this

(34:51):
glass because I feel uncomfortable.

Speaker 4 (34:53):
And I need kind of like working through it.

Speaker 2 (34:55):
You know, working through it. I'm gonna wear something that
don't think goes right right just to just to do it.
Try it.

Speaker 4 (35:02):
Wow, that's like what I'm doing with my brow.

Speaker 2 (35:04):
Do you know what I mean? Like things that you
don't feel comfortable and then you go, I mean I'm
all going to jump out of a plane wait without
embarrass No, but you know what I mean. But yeah,
I mean doing this little thing that is not going
to hurt me on nobody else.

Speaker 3 (35:20):
So I think that people are intimidated right by people
who can play in that territory. Like everybody is always
giving people flack for you know, wearing the weird glasses
or having a mullet or rocking your unibrow or whatever.
And it's like, yeah, because you want to do it too,

(35:40):
you just won't. It's like maybe not because that choices
that we would make. But I feel like ultimately we
all need to and should play with our comfort zones
with like so many good things come out of that,
and uncomfortable things like I remember when I was younger,
like even just wearing my hair down. I talk about

(36:01):
this a lot because it was such a formative thing
for me. It made me feel like I was on
fire because people were already comparing me to my mom
or wanting me to be super feminine. But now they're like, oh,
you look so great with the hair down. Why don't
weigh your hair down? And I was like, because you're
telling me to, and because I feel uncomfortable. And so
one day it was pointed out to me that it's like,

(36:24):
you know, you're trying so hard to not you're trying
so hard to like be invisible and lay under the radar,
that you're actually sticking out like a sore thumb. And
I was like, WHOA, Yeah, that's true. In my own way,
I was receiving attention, seating attention, but in the opposite
way that was healthy for me. So I think sitting

(36:48):
here and talking to you has also made me realize
how much as artists like you need to have a
relationship with yourself. I think one thing that I'm learning
sitting here talking to you is that I need to
have a better relationship with me and my own art.
Like I feel like sometimes I need an external motivator
or what you call like external validation. And I see

(37:08):
you here and it's just like you and your art
have a relationship, you know, and I need to work
on that.

Speaker 2 (37:16):
Take my art and and the other thing is to
share your art with people that you love, you know
what I mean, like people that you you people that
it's close to you, and then you go you know,
and just and then you know, like listen, I mean
it takes time. You very young, I'm much older than
you could be your grandfather. No, but I think it
takes time and all that you know, even though they

(37:38):
never really pay attention about people say anything about because
you know, there's a lot of people that like my art,
but there's a lot of you know, jealous, you know,
people that you know come out with and say whatever.
So when you're an artist, you know, because you you
expose yourself to people, you know what I mean, like people,
you know, somebody can really kind of decipher what you're doing.

(37:59):
They can and tell what you're trying to say on
your art. I've done so many projects dancing. Oh I did,

(38:20):
I did. Actually, I did a bunch of stuff. Actually
recently I opened two stores here in Miami, one city
Center and the other one Alvinto Ramon in the airport too. Yeah,
and I have these dancers, you know, dancing with my
jumpsuits we have. It was so much fun. Everybody love it.

Speaker 3 (38:37):
I want you to be what about you?

Speaker 1 (38:38):
I mean, oh I.

Speaker 2 (38:40):
Did in my Instagram. Oh Carnival in Brazil, Oh my god,
yes we should go one day. But anyway, Carnival the
organized all the carnival in Brazil. They asked me. They
came to me and they said, listen, we want to
do owner still work. And I was like, my god,
people do that when people are dad. And then they

(39:03):
got they create a samba and then they also rested
five thousand people. The whole school. The whole school is something.
And they opened Conabout and Realdition area, which was like
the biggest owner I could have. I mean, you know,
I mean I left brazilal but they knew me. And
then one day the whole country because it was televised
by Global TV, but the biggest network in Brazil, so

(39:24):
everybody saw it. Was incredible. Wow. So theres like some
of the highlights that I can think about, Yeah, that
I did.

Speaker 3 (39:30):
Just a little just a little something, a little super Bowl,
a little dedication. You deserve it all.

Speaker 2 (39:37):
Thank you.

Speaker 5 (39:38):
Like Emily mentioned at the beginning, an other part of
the reason why we admire you, we're so grateful that
you're here sitting with us. One of the things that
I want to focus on especially more is giving back
to the community. And I know that, and I'm just
curious and I'm happy I have you here. One of
the charities you work with over two hundred and fifty
that you work with a lot is Best Buddy.

Speaker 2 (40:00):
Yes, I used to be actually for more than twenty
five years. I was on the board of Bestudies. And
it's such a great organization because when you think about,
you know, for people that we think that we kind
of you know, we have everything now, our body working,
it's not that easy. Imagine for you to have a
child that has some some sort of deficiency. So it's

(40:21):
even harder. I would imagine being a parent of a
child that you know, have some sort of deficiency, And
how would you feel about living this world and leave
your child? You know, like I worry about my son.
You know, he's almost older than me. He's older than
telling him August, he's older than me, and I worried
for him because he's here because of me.

Speaker 3 (40:43):
You know.

Speaker 2 (40:43):
I mean to imagine if I leave my son or
a daughter, that they have some deficiency in the hands
of somebody else anyway. So that's one thing about the
Best Bodies that I always was very appreciative about what
you know, Anthony did with the organization. So I mean,
growing up in Brazil, I couldn't do anything even to myself.
In Miami, I was able to do things for all

(41:04):
the people we think that I was doing with my hands.
So I felt like, so like, wow, that's amazing. I
can definitely help people creating art, and I you know,
I started donating my art to charity is the Best
Buddies and you know, and to invite me to be
on board, and I said, oh this hear, but yeah,
I work. I help more than twenty fifth charity throughout

(41:24):
the years everywhere, and it's very hard to say no.
And sometimes one of my stuff told me, you should
turn the studio into a foundation, which I do have
a small foundation, but my foundation is more about education,
but I work more with other charity organizations. But it's
really special for anybody that can do something for community work, volunteer,

(41:47):
do something and could be with animals, could be nature, anything,
could be the smallest thing you can do. But it's
a nice thing. Give back, give it back. And that's
one thing about America that's so special that people go
through whatever in their lives and they open a foundation.

Speaker 5 (42:02):
Yeah, it's true you mentioned that you focus a little
bit more on education. I was very lucky that when
I was growing up here in Miami, they have a
lot of different kind of art schools. So being a musician,
being a violinist, I went to schools that focus on art.
How do you feel I feel like, you know, we're
starting to understand now, but how do you feel arts

(42:23):
plays a role in the education of any young child?

Speaker 4 (42:26):
How important is it?

Speaker 2 (42:28):
It's so important because it is the moment that you start,
you know, developing things that you you do. You know
what I mean? Is a way that you can find
you do, you know what I mean? Like you can
find so many things, you know, you can find a
child can find things that they like to do. It
express themselves and the people around there and they're like,

(42:49):
they're like, you want to have great parents. The parents
can see, oh my god, you know my kid. And
there's also a way of you to think things differently
because you know, we grew up in the world that
things pre dawned, you know. But it's like see something
that nobody's see. You can evemagine something like if you
think about, like before we have light, can you imagine

(43:11):
somebody about thinking about how to produce light or go
to space? So all this beautiful.

Speaker 3 (43:16):
To think of a color, think of a color that
doesn't exist. You can be a mix of other colors,
or a color you've seen before, or like think of
an animal. It's a horse with a horn. That's a exactly.

Speaker 2 (43:28):
It's like heavy imagination because once you're open to dream
about anything. I think the most, think about the most
unusual thing that somebody will say, are you crazy? Like
imagine somebody two hundred years ago, I don't know, like
cave Man or somebody say we canna fly, and people say,
are you out of your mind? I'm sure we fly,

(43:48):
but there you go. But it's all about imagination. There's
one thing about that Einstein said that I like very
much is that imagination is more important than knowledge, you know,
because knowledge is something that people came out already now
is established. But now imagination, how can you do something
totally different.

Speaker 3 (44:05):
You can sit and read twenty books, but I don't
know if you can teach somebody how to dream, how
to create.

Speaker 2 (44:12):
Yeah, you can nurture that, you know. Yeah, yeah, nurture,
but not teaching.

Speaker 3 (44:17):
So I think what you're saying, Jim, about the importance
of an education. Like even when I was growing up,
and I'm very blessed, you know, my parents, you know,
got me the best education and anything that I was
interested in, they would support me, especially in the arts,
you know, And even I would notice that from the
time that I grew up, Like I talked to Sasha,

(44:37):
now my brother's son, and he's you have to go
out of your way to have arts as a part
of your program. And when I was a kid, I
remember being the opposite. You have to do music, you
have to do art. Maybe you're not necessarily the best,
but you had to have time of the day where
you're focusing on imagining things and creating and exploring, you know,

(44:58):
like ask Jem, even now, terrible, I don't know it's
not I'm terrible to.

Speaker 5 (45:03):
Sneak some pictures, and she has done an artistic voice
as a visual artist.

Speaker 3 (45:08):
Yeah, but if his joy and mine is doom because
it's still you.

Speaker 2 (45:12):
It's you.

Speaker 3 (45:12):
It's you, exactly weird.

Speaker 4 (45:14):
It's beautiful.

Speaker 3 (45:15):
Sometimes when I feel like energetically blocked, it's not even
music that I go to, it is drawing.

Speaker 2 (45:21):
I'll like sit and starting to cool.

Speaker 3 (45:23):
I mean, I guess I didn't really realize how, you know,
like you know, I'll just sit and it's like, why
are you drawing. I'm like, I don't know. I guess
I felt like I needed to.

Speaker 2 (45:32):
Yeah, it's great, it's great. I mean, like listen, I mean,
at the end of the day, I do color, but
you could do like Grace, you could do purples, you
could do you know. The most important thing is keep
doing something.

Speaker 4 (45:42):
Yeah.

Speaker 2 (45:43):
Yeah, so you you know it's you.

Speaker 3 (45:45):
I'm gonna make you a DRAWNK love to have.

Speaker 4 (45:48):
Oh, it's they're so special.

Speaker 2 (45:51):
I'm gonna put next door to another another talented young lady.
Yeah you know, I mean Virginia the daughter, little thing,
and then I'm gonna put next to her perfect.

Speaker 3 (46:03):
Yeah, I'm gonna when we go visit you in the studio,
I'm gonna bring you. Speaking of guys, remember we have
where you leave us. Do you want to mark us?

Speaker 2 (46:13):
Oh my god, I've been waiting for the moment. Are
you ready?

Speaker 3 (46:16):
Yeah, I start do whatever you want.

Speaker 2 (46:19):
Okay, I'm gonna start you guys.

Speaker 3 (46:24):
Is literally right now.

Speaker 2 (46:25):
So what I'm gonna do. I'm gonna do this sketchy
all right, and then I will feel the colors.

Speaker 3 (46:34):
Yeah we can help. There we go. I love this,
My goodness.

Speaker 5 (46:40):
So while you're doing this, where is it that you
usually draw your inspiration from?

Speaker 4 (46:44):
Is it just all your surroundings?

Speaker 5 (46:45):
Well?

Speaker 2 (46:46):
Is everything like trouvel like news? Like people? Friends? And uh,
I'm geting.

Speaker 3 (46:54):
I mean like this is like a once in a
lifetime moment. How many people can say that they've had
this done?

Speaker 6 (47:00):
The sparkle, Look at the sparkle. I love it on
his watch.

Speaker 3 (47:04):
I'm going to buy diamond dust now.

Speaker 2 (47:05):
Oh yeah, you don't have to buy when you come
to the.

Speaker 3 (47:11):
We have so many plans I have.

Speaker 5 (47:13):
I have.

Speaker 2 (47:13):
I have this diamond desk that if you breed your
house with you forever because you stay everywhere the stick
it is fine.

Speaker 3 (47:20):
I can always remember that's look at that. It's already
Oh no, that's already going to be assessed with this.
Oh man. That's another thing I love about you that
he's doing collaborations constantly. And I think that's so awesome
because one thing that I don't like about certain artists
when they get to a level is I feel like,

(47:42):
you know, maybe they close off the collaborations and things,
and I think your art only grows when you collaborate with.

Speaker 2 (47:49):
I mean, one of the reasons that somehow I I
have this in my mind, I said, how I'm going
to be able to share my work with so many people?
I mean, like unless with corporation that I was able to,
you know, do like like when I did the ad
campaign from Slovaka Hello see Disney, I did cocka Coo.

Speaker 3 (48:12):
We went in Japan, right.

Speaker 2 (48:13):
Japan, everywhere, I mean's unbelievable. It's like do sculptures, you know,
So I do so many sculptures with you know, for
different places like Singapore, like so many places in Asia's amazing, right,
So it's great. I mean, I've been very blessed and
Bentley I just did the oh you know this collaboration

(48:36):
was Bentley. I didn't drove the car to the the
car okay, so in the area, okay, or.

Speaker 4 (48:44):
Hear your pants here now, okay, this is amazing.

Speaker 2 (48:47):
You can pull like here. Okay, I'll do like like
a tree.

Speaker 3 (48:54):
Now. I shove up at your studio and I tattooed
all this on me.

Speaker 2 (48:58):
You know a lot of people do that too, right.

Speaker 3 (49:00):
I was about to say, it seems like an amazing
style for a tattoo.

Speaker 2 (49:03):
Yeah, it's pretty amazing. The other day I was in
Baull Harbor and this lady came to me and said, oh,
when I was sixteen, I did a tattoo on me.
And I was like, usually I don't ask because I
have a meaning. And then she was right here on
her neck. I was like, how on crab? I mean,
she was sixteen she decided about doing that.

Speaker 3 (49:24):
I was she was ahead of the curve.

Speaker 2 (49:26):
I was like, I couldn't believe.

Speaker 3 (49:28):
That's fire. I think one of the most beautiful things
about like that. I love about visual art.

Speaker 2 (49:34):
I'm going to do another here.

Speaker 3 (49:36):
Oh my god, but he's going all out.

Speaker 5 (49:38):
He's so you know what I love is that the
confidence with which you moved.

Speaker 3 (49:43):
Oh, it's perfect.

Speaker 4 (49:45):
It's like, yeah, I know what I'm doing.

Speaker 3 (49:46):
He's been doing it for a lifetime, I know, a
long time. He's like, don't remind me.

Speaker 4 (49:54):
Yeah, and I'll.

Speaker 2 (49:55):
Do my signature very big.

Speaker 5 (49:56):
Hell yeah, pull like there.

Speaker 2 (50:00):
Yeah, of course I'm surprised.

Speaker 3 (50:05):
I'm failing at this job. I've had to do it
for my mom.

Speaker 4 (50:07):
So oh wow, man, that's a cool signature.

Speaker 2 (50:13):
Okay, and then I'll bring more.

Speaker 3 (50:20):
Loom here.

Speaker 2 (50:20):
Okay, let me move your hair.

Speaker 5 (50:21):
Yes, yes, yes, you just adopted me, like, yeah, exactly,
come to my daughter.

Speaker 3 (50:29):
Oh my god, guys, we are art. Wow.

Speaker 4 (50:36):
What a cool sound too.

Speaker 2 (50:37):
You know.

Speaker 3 (50:38):
Now I'm nervous. I have to think about what I'm
gonna paint him.

Speaker 2 (50:42):
Anything.

Speaker 3 (50:42):
You gotta be special.

Speaker 4 (50:44):
You could do it.

Speaker 2 (50:44):
You can do it. I can do it. Yeah, one
of your portray Yeah, I'll be great a lot.

Speaker 3 (50:49):
And it's so so if I do a portrait of him,
he'll never talk to me again.

Speaker 5 (50:54):
What do you mean?

Speaker 1 (50:55):
Do you know?

Speaker 2 (50:55):
Do you know I have a lot of portrait in
my studio that people give it to me artists. Yeah,
and I put it on the wall. Yeah, it's really great.

Speaker 5 (51:02):
That's one thing that I that I wanted to talk
to you about.

Speaker 4 (51:06):
Is you have such an iconic look.

Speaker 5 (51:08):
I mean as a human, as a human being, I
mean the the hair, with the glasses.

Speaker 2 (51:15):
Style.

Speaker 3 (51:15):
He's got styles, got style.

Speaker 4 (51:17):
You've got sound.

Speaker 6 (51:18):
Was that a conscious decision or was it kind of
like I like this and I'm.

Speaker 4 (51:21):
Gonna stick with it.

Speaker 2 (51:21):
It just happened.

Speaker 3 (51:25):
Looks like I'm just rock and roll. It's that's happened.

Speaker 2 (51:28):
I didn't have nobody this time. It was did not
my own style.

Speaker 4 (51:32):
You're just like, all right.

Speaker 3 (51:34):
I called jem My moonflower.

Speaker 2 (51:36):
Yeah, oh that's nice.

Speaker 3 (51:39):
Look, Oh my god. Literally when I said that, he
was trying to.

Speaker 4 (51:44):
That looks like a moonflower.

Speaker 2 (51:46):
Yeah, look at that. Okay, let's sit here. The other
one here, This is a this iconic. Your credentials here
is like an officer for space. Yes, I give it
to you. I'll give another one.

Speaker 4 (52:05):
Commander of space supporting for These are so dope. The
white and the black is so cool.

Speaker 3 (52:14):
And we're gonna frame them and we're going to hang
them up, or we're going to put them on mannequins
and find where you live and put them in your window.

Speaker 4 (52:23):
We're going to play a prank game with you.

Speaker 2 (52:25):
Yeah, let me do, let me do a hard for
Emily here on her back too.

Speaker 3 (52:34):
I got my heart on my front and oh this
is so cool. The space can add I cannot.

Speaker 2 (52:41):
But please please will send to me or you take it.

Speaker 5 (52:46):
You give it to you right now and then when
we come, we're going to take you up on the offer.

Speaker 4 (52:51):
Well you in the palace.

Speaker 5 (52:53):
I just have a maybe two more questions I wanted
to ask you. You're somebody that's worked with you know,
the traditional materials for the most part of art when
you create your pieces.

Speaker 6 (53:04):
But now we're moving into the digital world.

Speaker 5 (53:08):
And I have friends who have sent me concepts for
films that it's a whole visual like a like a
whole visual creation based off of AI art.

Speaker 4 (53:22):
So she's putting.

Speaker 5 (53:24):
Words into a system and that system is producing.

Speaker 2 (53:28):
Art visual visual amazing.

Speaker 6 (53:31):
What I was going to say, what do you think
about that?

Speaker 1 (53:33):
Oh?

Speaker 2 (53:33):
My god? Actually, I do have some friends of mine,
friends that they create this whole persona about me. But
they didn't do me as a guy. They did me
as a ramatter a superwoman. Wow, it's a couple and
it's both of them. No, No, he's French and she's

(53:53):
from China, but she liveing in Paris. They live in
Paris and both together collaborate and uh and they do
this beautiful digital thing. I'll send it to you a
copy when I got and the other day I posted
my Instagram and it's really cool and I was like,
if it was Romera, I would be the type like
Pega Gogut him.

Speaker 3 (54:12):
Oh.

Speaker 2 (54:16):
I had to read the book of.

Speaker 3 (54:18):
Maybe we'll do a couple a couple of drinks come.

Speaker 2 (54:22):
Out to you. That'll be funny. We laughed so much
about it anyway, But I think it's very interesting, uh all,
I mean all this new thing that you can do.
Of course that I always wanted my art to look
like something that computer could do, even though there was
hand done, because but I once because I was I

(54:42):
always want to have some sort of perfection or going
to see black line, the black line that looks like
nobody touched that, you know, because I think it was
more something that was going on in the mind of
me growing up in Brazil, where there was chaos everywhere.
I don't want to bring some sort of or organization,
perfection and harmony to my art. And something very interesting

(55:05):
happened many years ago. I was having some collectors come
to visit my studio Windwood. I had this beautiful studio there. Yeah,
the outside, yeah, the outside. And then but before I
never painted because you know, I hard enough time to
paint my art and imagine to paint a wall.

Speaker 3 (55:19):
My god.

Speaker 2 (55:20):
So one day those collectors were coming. I was thought,
people should paint everything black. And then I had huge
stickers of flower and hearts, you know, with the outlining white.
So it was a beautiful contrast between the black, the
white and the colors. And somebody decided about throwing you know,
graffiti paint all over my and then I was so taken.

(55:42):
I went to Home Deepot and I bought I filled
up my car. I never put paint in my car.
Is to have this beautiful Bentley like yeah, I like
the home Depot and Soraday because I didn't want my
friends to come over and see that horrible thing. And
I created my first graffiti art, which was the first
time I mixed the perfection with like whatever freedom wasn't

(56:05):
it was like the fluid and the hard edges together.
You have to come and see. I would show to
you my new work that you know it Actually it
came from that moment, you know, because I did my graffiti.
It was a mix between like everything so perfect. And
then I created and I wrote words like respect, you know,

(56:25):
we're all together, the love, messages of inspiration, dream, big
things like that. So I did my first you know
wall in wind Wood, and then I photographed and I
had this idea about creating like a print called the studio,
and I did a thousand and we sold out quickly.
I would get one of those, I believe it. So Ever,
since this happened, I did so many works with a

(56:48):
little bit of graffiti on.

Speaker 3 (56:49):
It, so so cow So who knows what the next
ten years.

Speaker 2 (56:53):
I know I'm looking forward to see holograms, holograd Yeah,
holograms cool, Yeah.

Speaker 4 (57:00):
Really cool. Wow, thank you so much.

Speaker 5 (57:02):
I've been doing all of this, just meeting you and
spending this time with you.

Speaker 4 (57:06):
And learning from you.

Speaker 6 (57:07):
You know, you're an incredible inspiration.

Speaker 2 (57:10):
No, thank you so much. It's a huge responsibility. Every
time I hear beautiful comments like yours and Emily Early,
when I hear that, the responsibility I have is very
big because I definitely don't want, you know, for you
to change the way you see me. No, I'd be
very lucky. I'd be very lucky. To wake up in
the morning and be able to change my clothes, you know,
do my bad and get ready to go to work

(57:33):
and do my art, because I mean, there's so many
people that's not doing what they love, so I'm sure
happy to do that.

Speaker 3 (57:39):
The reasons why you are where you are are obviously
in part because of your amazing art, but also because
of the amazing man that you are. And that's something
that I see being blessed in, you know, growing up
in the entertainment, art and music world. When you meet
somebody who has a good soul and who loves what

(58:00):
they do, their art is only that much more important,
you know, So I wouldn't be worried. You've already done
your time. You can't mess it up, you can't do
what you've already done. But you haven't all finished your
time here yet, because you are gonna hear everybody's favorite
segment about what's going on out of space this week,
Space News. All right, Earthling today on Space News. Things

(58:23):
just keep getting more and more interesting up in this universe.
We have now seemingly had a close encounter with alien
bodies in Mexico. For hai Ma Musang, a Mexican journalists
and longtime UFO enthusiasts. They are one of the most
important discoveries of the history of humankind. I think he
might be full of papou, but they were actually found

(58:45):
in Peru, according to him, known to many other worldly phenomena.
We gotta give it because stuff be happening in Peru,
so they almost got me there. The bodies appear ancient
in shape, and they have characteristics like humans, with two
eyes of mouth, two arms, two legs, but are much
much smaller in size. So if anything, this doesn't prove
that aliens exist, but more that I am more closely
related to them because of my size. And there's so

(59:08):
let's hope to see you soon, guys. So the jury's
out on the on the alien people or cake. Some
people were showing that it was cake. I thought it
was cake. It wasn't cake, all right? Can we make
space telescopes less expensive? The JWST is barely a year
into its mission and we're already anticipating the next space telescopes.
They're planning on developing the Nancy Grace Roman Space Telescope.

(59:31):
These scopes are extremely extremely expensive, you guys, but don't
worry because a team of researchers think there are ways
to bring down the cost of these space telescopes. What
do I say to this, Well, they have written a paper,
a very long paper, presenting their thoughts titled Approaches to
lowering the cost of large space Telescopes. This is all

(59:54):
great and all, but I'm going to bring these people
together and make them write a little paper on how
to bring down the cost of gas eggs than Taylor
Swift tickets.

Speaker 2 (01:00:01):
HAA.

Speaker 3 (01:00:02):
So if you want to join the petition, let me know.
For a long time now, we humans have been conducting
experiments up in space, some cool, some scary, Some that
advanced the field of medicine and science, and so much more.
One that has perhaps been long forgotten, But I think
one of the most unique was the Moon Tree mission.
Just as we once did to know how space would

(01:00:23):
affect aminals, we were also unaware of its effect on plants.
So when the Apollo fourteen mission landed on the thirty
first of January nineteen seventy one, its cargo contained something
we might now consider a bit peculiar, roughly five hundred seeds.
You guys, scientists from the Forest Services wanted to know
if Tree seeds that had flown into this micro gravity,

(01:00:45):
had been exposed to it and subjected to space radiation
and gone around the Moon a few times, would sprout
and grow the same as trees that never left Earth. Well,
by nineteen seventy five, the moon trees, as they had
come to be known, were large enough to be traded,
its planted, and they were shipped all over America. Well
guess what, my god, there are also now hundreds of

(01:01:07):
thousands of moon trees among us and.

Speaker 2 (01:01:09):
We don't even know it. Oh my god.

Speaker 3 (01:01:12):
So go look online and see if we can find
a location.

Speaker 2 (01:01:14):
Oh my god, I didn't know that. It's so cool.
There we go.

Speaker 3 (01:01:17):
Maybe we can get rometto space moon tree in Earth. Yes,
and this has been space news. Listen. I backed what
Jem said. Oh thanks, really, it was a true honor
to have you here. You're welcome anytime.

Speaker 2 (01:01:34):
We have very honored to be here with you. Guys.

Speaker 3 (01:01:36):
We'll be in the studio soon.

Speaker 2 (01:01:38):
Perfect. I'll send you a date so you can pick
up before the next flight.

Speaker 3 (01:01:41):
Perfect. And you guys, thank you, see you next week.

Speaker 5 (01:01:49):
Bye.

Speaker 2 (01:01:51):
Nice.

Speaker 5 (01:01:54):
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