December 8, 2020 • 56 mins
Atentamente Una Fresa is an artist based in Mexico City. We discuss the new normal for mural installations, how she started doing public art, how music affects her work, the benefits of art in public space, the benefits of doing art with community, and how and why she makes creative briefs for clients.
Follow First Coat on Instagram: @firstcoatpodcast
Follow First Coat on Twitter: @firstcoatpod
Follow First Coat on Facebook: https://www.facebook.com/FirstCoatPodcast
Subscribe to our YouTubeChannel
Learn more about Distill Creative’s services for real estate developers.
Are you an artist? Sign up for our Distill Directory and you’ll be considered for art commissions and future projects.
Find more episodes at https://distillcreative.com/firstcoat
Instagram @distillcreative
Are you an artist? Sign up for our Distill Directory.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Stephanie Eche (00:02):
Welcome to First Coat. Where we explore public
realm art, how it's made and whyit matters. I'm your host,
Stephanie Eche, an artist andentrepreneur based in Brooklyn,
New York. I run DistillCreative, where I curate and
produce site-specific artprojects for real estate
developers. I focus on creatingmore equitable and inclusive
projects and I want to get moreexposure for the artists and
(00:23):
developers doing this work. Thisweek on First Coat, we have
Atentamente Una Fresa.
Atentamente Una Fresa is anartist based in Mexico City. We
discuss the new normal for muralinstallations, how she started
doing public art, how musicaffects her work, the benefits
of art in public space, thebenefits of doing art with
community, and how and why shemakes creative briefs for
(00:44):
clients. When we recorded thisinterview, Atentamente Una Fresa
was actually on site working ona mural for a company in Mexico
City. So check out the DistillCreative YouTube channel to get
some behind the scenes look ather install. Here's our
conversation.
That's so awesome!
Atentamente Una Fresa (01:02):
Yes, we just started on Monday.
Stephanie Eche (01:06):
Oh my gosh.
Atentamente Una Fresa (01:07):
Hopefully we finish it on Friday. So I was
a little bit nervous if I shouldstart now or should get the job.
Because I was at my house allthese months and I didn't know
if to accept it. But well, I haddecided to go for it with
precaution. And I'm using like,all my protection stuff. So
(01:29):
yeah. Yeah, yeah, yeah. So letme go over there. We have here,
other workers and they might getinto our noise.
Stephanie Eche (01:41):
Yeah, no problem. This is awesome.
Welcome to First Coat. I'm soexcited to talk to you and see
you on site.
Atentamente Una Fresa (01:50):
Thank you very much.
Stephanie Eche (01:51):
We have Atentamente Una Fresa on today
as a guest from Mexico. You'rein Mexico City right now, right?
Atentamente Una Fresa (01:58):
Yes, yes.
Stephanie Eche (02:00):
Welcome. So, what is this project you're
working on right now? Where areyou?
Atentamente Una Fresa (02:05):
Well, Im in the top of a building, and
let me show it to you, here isMexico City, in the center of
Mexico City, and right now I amworking on a, it is a package
delivery store. And these aregoing to be their new offices
(02:26):
and they took advantage thatthey are closed right now. So
they decided to set up themural, so here we are working
over there.
Stephanie Eche (02:37):
Wow. Thats so cool. I just got off the phone
with a client, they're working,I'm overseeing a project that's
going up in DC, and there's allthese, you know, all these
little things that on top of thenormal issues with installing,
it's like you have to have amask now and you have to know
where to use the restroom,that's like, who used that lift,
(02:59):
and just there's just all theseother complications that you
don't normally have to thinkabout, you know?
Atentamente Una Fresa (03:03):
Yeah, definitely. I am always carrying
my disinfectants. Thanks so Idont touch anything and like,
oh, no, I forgot this and I'malways wearing a mask and if I
see some worker coming by I golike no, I cant talk to you.
Well, I think this is going tobe like the new type of work.
(03:24):
Because I was doing some Canvasin my house and I did have a lot
of illustration, like mycomputer and but I really miss
doing a mural and when the offercome by, well, I didn't, I
didn't know I was reallydoubtful, but now, I think if
(03:44):
you follow all the securityprocedures that are now well,
you maintain safety and withthat, I think that might work.
Stephanie Eche (03:57):
That's awesome.
Can you tell us a little bitabout the kind of work you're
making right now?
Atentamente Una Fresa (04:01):
Yes.
Actually, I sold my mural stuff.
I do realism, I develop acharacter which is like creepy
eyes but colorful backgrounds.
And that is like my main essenceso I try to add fun stuff to it,
like all my life I tried to dothese things because I think
(04:25):
they, they're a little bit deep.
You know if you see those sides,they might be a little bit
melancholic. No, no sad but morelike in a deep thought. But if
you see all the colors in thebackgrounds are very colorful
and very joyful and some addweird stuff, like this is like a
(04:48):
cuckoo bird from like a clock.
And I think I try to add thosethings to my work because I
think life is like that, no?
That you have a balance betweenthe sad stuff and melancholy and
deep feelings, but you havelike, a lot of joyful and
(05:12):
cheerful stuff, which I like, weall have backgrounds and have
another. So when you, I want toinspire that in my work, that
when you see my work, you canget those mixed feelings, right?
You're like, you're not surethat if you are awkward with
(05:33):
the, with the two characterslike in the main set up, and
they're delivering stuff, andthis is going to be a ship. But
right now, its nothing, rightnow is just white, but tomorrow
will be a ship. And it's goingto be like an adventure time,
adventure for deliveringpackages, because this is the
(05:54):
main brand that I'm right nowworking with that it's a
delivery package. So I wanted torepresent how mazing and
adventurous can be a delivery.
Stephanie Eche (06:07):
That's so interesting, because are they
considered essential workers inMexico right now?
Atentamente Una Fresa (06:12):
Yes, that is like the main companies that
are working right now. Thatbecause everything is closed,
the delivery, and people areright now getting away from
their phones. So in Mexicodeliveries, all delivery
companies are working a lot. Soyeah, they are essential.
Stephanie Eche (06:34):
How do you prep for this type of project? It
looks like a pretty long wall.
Do you project on the wall or doyou grid or do you just
freestyle?
Atentamente Una Fresa (06:43):
I just freestyle. Well, first I make a
sketch, a digital sketch, and Itake a picture of the wall with
my iPad, and on my iPad, I startsketching on digital and with
colors, so I have the finalwork, but I never project in a
(07:03):
project. Yeah, I know, and also,I don't, because I like to be a
little bit, I maintain myproportions when I do my
sketches, but my style is veryfreehand and I like that of my
art that if I have an arm goingvery straight and when I am
(07:26):
painting I need to twist it alittle bit, I like to be free to
do it. So I always start withpencil, all my murals start with
pencil, so let me show you, if Ilike if you see all my my
sketches are with pencil. Sobefore I start to paint, I do it
(07:49):
with pencil and I guide myselfwith things that are to being on
the top, when you have a pictureof the wall and I do my sketch
with a picture, I can have allthose references so I do it like
oh, I think here's the main faceand then I change and for
(08:12):
example in my sketch, the boatwas a little bit shorter.
Stephanie Eche (08:15):
What inspires your work?
Atentamente Una Fresa (08:17):
Well, mainly, I go firstly, how am I
feeling right now? And how do Iget to express what I I feel? So
first are emotions and sometimesI am a little bit melancholic
kinda a little bit, as I wassaying, but also, I have many
(08:39):
artists inspiration that throughall of my life they have been a
great value for me, such asRemedios Varo, I don't know if
you know her, if you don't golook for her. Because Remedios
Varo is a lot of, I love herwork, she has a lot of details
(09:00):
and she pictures herself inamazing worlds, she'd be very
surreal with all the charactersand she tries to put out of
context everything and I like, Ireally like that, no? You break
the context of things that youare using. So if you have like
(09:21):
say then put on the face or putthe nose to be different.
Stephanie Eche (09:28):
I definitely see Remedios Varo in your work.
That's really interesting.
Atentamente Una Fresa (09:33):
Sometimes she can do the impossible. So
that is a compliment,definitely. Shes a really
powerful inspiration for me. AndI also love the work she does on
her hands and she, the way sheadapts architecture on her
compositions. I think, I wish Ihad a little bit, that actually
(09:55):
is something I want to work onmy work to put powerful
backgrounds because sometimes Iput too much on my characters
and I get a lot of days workingon every detail on the
characters and sometimes I missthe backgrounds, the importance
of the backgrounds. That'ssomething I am working on right
(10:17):
now.
Stephanie Eche (10:18):
How did you first start making art in public
spaces?
Atentamente Una Fresa (10:21):
In the beginning, I was doing as I hope
every artist did, just for fun.
And I started painting when Iwas a teenager. At the
beginning, I was doing with myfriends and doing it for fun and
after repeating when I was inuniversity, well in college, I
used to paint with a lot offriends in parties and that's
(10:46):
when I met a lot of graffitipainters and I always liked
graffiti, but for me being,well, a girl, it was difficult
to do graffiti, because I neverliked to do illegal paint on
streets. Because as a girl,sometimes here in Mexico City,
(11:10):
it's a little bit dangerous tobe all by yourself and
sometimes, graffiti is kind ofrisky. So, I started to do it on
the legal stuff, so afterpainting on my university,
college, to my old friendshouses, and I think all artists
(11:30):
know that when you do something,that work will take you to
another place. So everythingtook me to one place and another
and recommendations one fromanother until I was finally
doing what I love. As I, I wasvery fortunate because I had
(11:52):
many clients at the beginningand that allowed me to never to
do illegal graffiti because Inever liked illegal graffiti.
Stephanie Eche (12:07):
I think that's a really good point you bring up.
That's part of why I haven'tdone work in public. I'm so
jealous of people who grow upworking with a crew or doing
graffiti around town with theirfriends. It takes a certain
amount of courage for sure, butin some places it just actually
is very dangerous for women andI think it's something that we
don't talk about that much butthere's a reason why there are a
(12:27):
lot of men in the street artcommunity because they kind of
grow with these crews and growup with this community that is
completely different for awoman.
Atentamente Una Fresa (12:37):
Exactly.
Yeah, and sometimes there aremore graffiti girls and from in
these times, but it's alwaysrisky. You know, I've never
liked to, I have done a lot ofoutdoor works, but I always are
very, I have a lot ofprecautions and I try never to
(12:57):
be, like to wear things that mayattract attention to me, I try
to be very discreet. And I thinka lot of boys are fortunate to
have that, you know a crew whenyou go and you, I don't know, go
with your boys and that's fun,but I didn't grow with that. You
(13:22):
know and but I like that becauseI never start doing bumps, like
I never have my tag name likeAtentamente Una Fresa bump, no,
you never, I never did that, Ialways painted my character, I
did it like that like startingfinding my opportunities at my
(13:43):
college with my friends and withthe time I have met a lot of
graffiti artists and I amgrateful that now I have a
community and I love them and weare very united and we look
after each other but it wasafter many years of being on the
field.
Stephanie Eche (14:05):
Do you keep a sketchbook?
Atentamente Una Fresa (14:07):
Yes, yes I do, but right now I don't, I
don't got it with me, but I,it's difficult for me sometimes
to have it. I have sketchpapers, one for each other. Like
I never could have a sketchbookbecause sometimes my ideas are
very horrible. Oh, I need to putthis down and I have like I put
(14:34):
any number on my beautifulsketch and I'm like, oh no, I
ruined it. So because I like tobe very freestyling on my work.
And when I have a sketch Ireally really like I rip it
apart and I immediately put iton a frame because I know it
might get ruined by another ideaof mine.
Stephanie Eche (15:00):
So you work on loose leaf paper and then, save
the things you like and get ridof the things you don't like.
Atentamente Una Fresa (15:06):
Yes, exactly. I have an amazing idea
on a napkin. There's a chance tomake an amazing thing because
you have two hours that youdont have to do anything, just
wait and then I have a guy thatworks with me that I have loved
the way he frames. So I, I amvery close to him. And he's, I
(15:29):
have been working with him alot. So every time I do
something I like, I frame it.
Stephanie Eche (15:37):
I love that.
Atentamente Una Fresa (15:39):
Yes.
Stephanie Eche (15:41):
This podcast is sponsored by JPG Legal. File
your trademark application withan experienced trademark
attorney. They have flat feeservices so there are no
surprises. You have no excusenot to register your trademark.
Just go to jpglegal.com. Fulldisclosure, JPG Legal is run by
my husband. When we first met,he had a solo practice and now
he has five employees.
Everyone's safely working fromhome right now, so I miss seeing
(16:02):
them in person. If you need atrademark go to jpglegal.com.
Can you explain how you startedgoing by Atentamente Una Fresa?
Atentamente Una Fresa (16:15):
Well, actually, atentamente una fresa
in Spanish means sincerely astrawberry. But I've always
looked at all the artists have asurname you know, like you have
your real name and you have yourgraffiti bump name and
(16:35):
Atentamente Una Fresa comes fromwell, developing a nerd but it's
a little bit sarcastic, youknow, cuz I always wanted to be
like, I have a name that refersto something that I never wanted
to be that it's a myth inSpanish and in Mexico. A fresa,
(16:59):
that is a strawberry, it alsogoes for a preppy girl, you
know. And my family is veryconservative and we're like, my
mom was always trying to teachme to be a preppy girl and a
decent girl. And I always have alot of rules of how to be and I
(17:22):
never was like that. I alwayslike very, not that I'm not
decent, I am very decent. But Ialways wanted to be, I don't
know, I think my beauty isdifferent. Like my art, I like
weird stuff and deformed facesand I think that's, that's where
(17:45):
beauty is. And that's I thinksometimes we confused what is
beauty and Atenta Una Fresa,also, it was a fruit. I had a
dream that this was this girlthat had a heartache of love and
she wanted to take away theheartache, so she took away her
(18:07):
heart and put it in astrawberry, in the dream. I was
dreaming about this girl thattook away her heart and instead
she put a strawberry on it. So Iliked that really much because I
imagine that I was a fruit. Andwhen I started drawing, I never,
(18:29):
I always paint what I wasdreaming and I like to imagine
that I never was the one thatwas painting, it was something
else that put that image in mymind. So I'd really like to know
that if not me the one ispainting, is it that strawberry
girl? So we'd go for those twothings to be known to be a
(18:55):
preppy girl inside my head. Andthat's it.
Stephanie Eche (18:59):
That's awesome.
I was wondering if you werereferring to fresa like the
connotation of fresa or not.
Does music inspire your work?
Atentamente Una Fresa (19:10):
Well, music for me is everything. I
can never work without music. Ireally love that it really
reflects what you think. Forexample, I love Radiohead, its
one of my favorite bands. Thefirst song I heard was I'm a
(19:34):
creep and I was like oh my god Ifeel like that, I am a creep and
I love that song because you canappropriate, the lyrics, the
music and I just believe inmyself and I am that. And it's
very crazy that someone elseinvented that. It is very
(19:55):
special for me when that happenswith my art. Because it happens
to me like the way I felt withmusic that we are sometimes seen
as my collective of ideas andwhen you are similar to other
(20:18):
feelings, that's when you somesort to feel like a relief. I
don't know when you hear areally cool song that you are
like, well, this is me. This isdefinitely me. So I love music.
Stephanie Eche (20:34):
What do you listen to when you're working?
Atentamente Una Fresa (20:36):
I love Cuban music. My favorite is
Buena Vista Social Club. If youtry to hear it, it's awesome.
Because it, I love Cuban musicbecause it is very, it's very
cheerful and it is, it has a lotof instruments and it's very
(20:56):
complex and very warm, becauseall their rhythms and their
trumpets and the flutes and it'svery, very, very complex music.
But I love, what I've learnedmore from Cuban music is that
the lyrics are very, verysimple. You have all the array,
(21:18):
instrument arrangement, verycomplex, but they are saying
that they are going to eatchicken. I love that and I
really, really love this ofCuban music, more of Buena Vista
Social Club, because I love theway they talk about simple
things, you know, and they just,they're just saying whatever
(21:41):
happens to them that whateverything happened, like, I
went from outside and I went toa store and I found an apple and
then there was a tree, you know?
So simple. But when the lyricsare so simple, and the music
arrangement, you hear the like,behind those hearings, it is
like, outstanding, it's like,this is amazing. That is a
(22:04):
feeling I like very much whenpeople are, and that is
something I really try to put onmy art, that I try to put a lot
of details and I have, a lot ofcomplex things. But just to
express a very simple idea, no?
Like I'm wearing a sock. Therewas one day, a few days ago, I
(22:32):
make canvases that are just twocharacters wearing, like a stock
thing, you know, like sockpuppet. And yeah, and it took me
days and days and daysdeveloping that piece just to be
a character with a sock. Andthat thing is, that really I
(22:54):
don't know, fills my heart.
Stephanie Eche (22:57):
I love that about Buena Vista Social Club.
I've never thought about it thatway. It's such a nice way to
read.
Atentamente Una Fresa (23:02):
Yes.
Stephanie Eche (23:04):
Can you share a bit about how you document your
work and why?
Atentamente Una Fresa (23:07):
How you document as in pictures or how?
Stephanie Eche (23:12):
Or if there's other ways that you document
your work.
Atentamente Una Fresa (23:14):
Well, I always work with my boyfriend,
that was over there. I tried tomake a lot of videos and time
lapse and pictures of my work.
Sometimes I try to develop timelapse but sometimes videos are
kind of awkward for me becauseeveryone pictures that the time
(23:35):
of mural painting is like, ohits outstanding and amazing,
but sometimes you're like, Idon't know, you fail in
something and then you have, Idon't know, like the worst hair
and you're all tired, and youlook awful. Like right now my
face is awful, and my hands areall dirty and sweaty and not all
(24:00):
of the things are right, a fewminutes ago I was painting and
then I fell with my pencil and Ididn't know, I imagined I was
recording that. I like to putthe process, I always try to
(24:21):
take pictures of my sketches andthe main ideas. I always, before
I do a mural, I do a sketch, apencil sketch, and I share the
most important ideas where themural was born during that time.
Before there was this giantmural coming to life, there was
(24:43):
me, there was me at my desk,just figuring out what to do,
and then a pencil sketch camethrough and I love, I love
pencil sketches. I think thoseare my favorite, because that
time is when I am moreconcentrated and I am in my
(25:04):
house, comfortable, listening tothe music that I love, and
everything is cool. So that iswhen the ideas
[INDISTINGUISHABLE]. Murals area little bit tough. And when
you're on the streets, it isnice to share. I love when
people come by, but sometimesit's difficult that you're
(25:27):
painting and someone come in,what is it? Is that a dog or a
mountain? That is his nose. Youknow, sometimes its tricky, but
it's nice. When you're in thestreets sharing art with people.
It's crazy.
Stephanie Eche (25:48):
How do you think art can create or strengthen a
community? And do you have anyprojects that you've done in the
past that have done that?
Atentamente Una Fresa (25:55):
Well, I think art, it's really become,
gets community together. And Ihave done many works for little
towns here in Mexico. One thatit was very special to me was I
did it in on top of a mountainin the state that is called
(26:17):
Quertaro. And it's on the topof the mountain where there's a
little, little, little townwhere they have a community
Cultural Center. And I developeda mural with the help of the
children in there and it wasvery nice because the children
came and expressed what theywanted to show in the mural.
(26:41):
Like, they were telling me Iwant to put a bird and trees and
the clouds and I was drawingwith them and trying to, all the
feelings they wanted to express.
And finally we painted with allthe kids in the town. And they
really love my mural. I reallylove the way they accept my
(27:03):
work. And they, instead ofseeing my work as Atentamente
Una Fresas work, they see it astheir own work, you know, there
was their feelings, their ideas,the way they see the world, in
that mural through my work. Soit was very, very special to me
(27:25):
that all the ideas wereinspiring the community. And
when when you paint a wall, agrey wall, it changes the
surroundings automatically. Itdoesn't have to be collaborative
with all the people around. Ifit is collaborative, it is even
(27:47):
more special, but even to be outthere on the street, I like
that. I like very much streetart because it's different from
what we are used to seeing inmuseums because it's art for
everyone, you know? The art isfor you, whoever you are. It
(28:08):
doesn't matter what political orreligious or social class are
you or what's your, if go buyfruit or if you go to school in
that way, and you see my mural,it is for you. So many people
sometimes get to, to love theirsurroundings and when it is
(28:31):
colorful, and you inspire themto be in a different way. It is
very important that art existsin every corner of the world
because we're very, urbanism, itis a lot of gray walls and gray
walls sometimes they inspire, Idon't know, divisions and when
(28:54):
you get to put some color intheir lives changes and you can
change a whole community just tobe there and being more colorful
and changing to go to school,store, because that is what
street art is supposed to be.
Stephanie Eche (29:20):
Are you an artist? Submit your portfolio at
distillcreative.com/artists.
You'll get on our DistillDirectory, our artists database
and be considered for upcomingart commissions.
What tips do you have for otherartists who are working with the
community collaboratively?
Atentamente Una Fresa (29:38):
First of all, to keep doing it. I always
say never stop and never die.
And of course one day we willall die. When you get to work
with community, you expandyourself and you expand the way
you work. I was fortunatelyrecently to work with a Jewish
community. I am not Jewish, Ihave no religion, I am not a
(30:01):
religious person. But it wasvery special to me that I can,
that I could work with theJewish community. And I was
working with, for a school thatthere were teachers, parents,
kids, and all the people thatwanted to think, you know? And
it was very interesting, the wayeveryone work. You know,
(30:23):
sometimes, when you get to sharethe way other people are
thinking, and when you'repainting, you're like
meditating, you know, becauseyou're, you don't need to be
very concentrate, like I amdoing this line. No, it's not
like that. You are going with alot of things in your mind,
(30:43):
you're talking, you're listeningto music, you're remembering
other things, you're watchingthe moment, talking to others
and it is a very intimate space,when you can communicate with a
lot of trust. I don't know why.
(31:05):
I don't know why is the reasonbut when I was working on that
project, I could talk with manyother of the parents that were
there, and they, they open tome, you know, with their, what's
going on with their lives, withtheir children. And not that I
care really, because sometimes,I always care for people. But
(31:29):
I'm not a very askful person. Ifyou want to share with me
something I'm always open, butart opens a place to be very
trustful with others and to openyour heart and your feelings
because it's a very intimatespace, when you're just painting
(31:51):
and thinking, and then it, youjust pop your ideas. And those
ideas are very special. Very,very special. So yeah, if you
are an artist, and you love tocollaborate, well art is for
that, art is for sharing, art isfor others, because there's no
(32:12):
art with no hater, you know?
There's, art is a dialoguebetween the one who's seeing it,
and the one who is getting allthe feelings and the one who is
expressing and without twopeople, there's not an
expression of art.
Stephanie Eche (32:31):
How do you balance your fine art practice
with your public art practice?
Or do you see them as differentthings?
Atentamente Una Fresa (32:36):
Some, I wish, I wish it was the same
thing, of course. You know,because sometimes the limits are
the ones that you in publicspaces, sometimes you don't have
your, your intimate space. Youknow, sometimes, when you are in
your house, as I was telling youbefore, when you're in your
(32:59):
house, very comfortable, and noone is disturbing you and you're
in your safe, comfortable place,ideas grow there, you know, and
it's very inspirational whenyou, when you do that. And when
you're outside, well, sometimesyou're not comfortable at all,
(33:19):
you're tired and sometimes youhave the sun. I used to live in
Playa Del Carmen and I paintedin a few murals in Tulum and I
remember I was sweating a lotand I was really hot and I was
all burned in my skin and I waslike, but that is why I always
try to develop my digitalsketches at home. You know, so
(33:44):
when I have, I have all myconcentration and all my power
and all my heart doing that, theplanification and when I am
painting the mural, well, now isnot the time to feel or express,
its the time to work. You know,so I tried, I always try to do
the best of me and if I'm doingsome graffiti thing to a
(34:09):
tortillaria, I try to do mybest.
Stephanie Eche (34:12):
Do you show work in art galleries?
Atentamente Una Fresa (34:16):
Yes, I do. Because as an artist, you
have to explore all areas. Ilike galleries, because the
opportunity they offer. It isalso very classic stuff when you
put your work and everyone goesand chat with you and it is very
(34:37):
special and you have cocktailsgoing on. Well, who wouldn't
like cocktails and appetizers.
But I always, I don't know, Idon't like the preppy stuff, you
know, I don't like really, Ilove more going on the streets
and going with people and Iusually don't, don't really like
(34:57):
the silent art show. You know,you go into a museum room and
you cannot touch, you canttouch anything and you must be
silent. And I think street artand graffiti contradicts a
little bit that idea. We go formore touch everything, be as
loud as you can. But everychoice is, is good. So I, I am
(35:23):
never closed to anything. Infact, if you offer me to go in a
taqueria and put my art withtacos, I will do it.
Stephanie Eche (35:36):
That'd be awesome. I want to see that. How
do clients find you?
Atentamente Una Fresa (35:42):
I think I am a very reachable person. Most
of my clients come from socialmedia, that is something that
artists should know. That socialmedia sometimes is horrible, or
the most amazing thing there is.
It has those two faces, becauseI've seen that you can go into
(36:04):
the marketing thing, instead ofthe art thing and you should
never go on that, becausesometimes that is very, very
tricky. You know, I have workedwith many brands and sometimes
it's hard, because you alwayswant to, well, myself, I always
(36:29):
want to, to represent the realart thing, the real concept of
my art, and not just somemarketing, going thing. But it's
always a balance, you know, if,I have myself very clear that
(36:50):
that is something that is veryfortunate for me, and I never, I
said something that it doesn'tgo with my style, or it doesn't
go with my flow, because thenit's not since I, I've done it
before, many years, because wellbefore, I didn't have that much
(37:12):
work chances when I started,when I was a beginner, well I
needed to eat and pay my lunch,so I accepted all kind of works,
but with plans I always try toput, to express, I try to always
make like a brief now. What doyou want to show in the mural,
(37:37):
what do you want to express,what are the values of the
brand, what the brand wants toget into the clients and we do a
briefing, everything is writtenand after we have everything
written with clients and me, weread them, and then I do a
sketch with my art, with mystyle, representing all of the
(38:01):
ideas. So if we have likelogistics, now we have, we have
a client that wants to expresslogistics, I try to put like a
weird, a character with a lot ofthings of logistics. Then I try
to explain every point of my artto a client. And I will like
(38:25):
look, these express logistics,these express the valuable with
our clients, these express, sothey, the client knows that
everything he or she told me inthe brief is expressed. And now
then we can arrange things so wecan change the details. So now
(38:47):
instead of putting the phone,put I don't know, you know, but
it is very important thatclients do a guideline, but not
to change the art concept andnot and never to get into what
is marketing and maintain whatit's art. Because these have
(39:10):
nowadays is more, it's almostinvisible. What is marketing and
what is lying, and I don't likethat.
Stephanie Eche (39:23):
Yeah, for sure.
You talked about a creativebrief. Is that something that
the client provides you or thatyou, or do you ask questions to
the client?
Atentamente Una Fresa (39:31):
That's something I always does. It
really doesn't matter if it's abrand or a person, I always do a
brief because I like the art toexpress exactly what the client
wants. You know, sometimes, forexample, if, and I make some
questions, and it's, it dependsif it's a person or if it's a
(39:54):
company. You know, becausesometimes when it is a company,
I base all my questions to havewith the client, and what does
the brand want to express to theclient, you know, but to
understand who is the finalcustomer, what does the final
customer want from the brand andwhat does the brand is different
(40:17):
offering that to the customer?
Right? So that is one brief andfor the brief for the people is
different, I try to vary, I goto very deep questions like,
what are their hobbies? What arethey passionate about? What they
don't like, what they are afraidof? Or if they have any goals?
And I always had a trickyquestion like, why are you here
(40:42):
in life? Just to be like, Idon't know, to be a little bit
tricky, and to try to have thosedeep feelings of people and to
express them. And also I touchthe topics of what is the things
they don't like or what they areafraid of to understand what are
(41:03):
their contrary things they'reseeing. So, I always make a
brief no matter what, becausebefore making any sketch, I make
concepts of idea, I develop amental map, and I put concepts
first. Because first I have mywords, so you imagine Im,
(41:28):
before making the art Im sayinglike, okay, I want to express
architecture, but family, butmindfulness, and that client
doesn't like extravagance, soyou know, then you can mix the
(41:48):
concepts and then appears intofigures. So that is always my
structure of work.
Stephanie Eche (41:57):
Thank you for sharing your process, that's
really interesting.
Atentamente Una Fresa (42:00):
Thank you.
Stephanie Eche (42:02):
Do you do that over a period of time? Or do you
start on the concept and then godirectly into drawing in one
day? Or does it depend?
Atentamente Una Fresa (42:10):
Well, in the beginning, when I was
painting, not to clients, butjust for myself, I started,
first I started with no conceptsat all. I was just like, what do
I feel, this, go ahead. And thenI was always freestyling you
(42:33):
know, like I have a round balland then it's going to be a head
and now it's going to carry anice cream, I mean, the top of
ice cream is going to be amermaid with a house and with a
gnome. And it developed a lot ofideas, and I still do that but
(42:54):
not for clients. You know, when,I always try to make work for me
because sometimes you as anartist need that, you need to
express what you feel withoutknowing if it's going to sell or
is not or if it's going to befor someone or not because the
(43:16):
art that is for ourselves ismore special and you can take
weeks in developing that and youdon't have the pressure of time
and the results of that are, thework for me are my favorite
pieces because they express whatactually I am feeling. That is
(43:37):
very important for me to makeand I always try to make art for
me because that is why Istarted, I started making that
to express myself and tounderstand my ideas and the way
I am feeling and to have abalance on my life. But after a
few years when I started to be alittle bit more known, I had
(44:03):
often projects and often workprojects with clients and
sometimes there is not too muchtime for me, but I always have
to have the time.
Stephanie Eche (44:16):
What's one thing you wish you had known before
you started your career as anartist?
Atentamente Una Fresa (44:20):
First of all, to have a good exercise
condition. I have, I have had alot of injuries in my hands and
on my back because of too muchpainting. And then that there
should be always securityprocedures, you know? I hurt my
(44:43):
hand after one mural that it wasvery, very tall and I didn't
follow the security proceduresthat I needed and I fell. But
not too high. Not too high. Butif I was, if I was using my rope
and my helmet and all thesecurity procedures. After, I
(45:06):
always have my like an insuranceand now I hire all those
services that are essential fordoing a job, because you can, it
is risky, you know, sometimesdoing high murals, it is a sport
and it has to have the safetypatterns to develop something
(45:29):
that is safe and I didn't knowthat at the moment. And I was
young and really like nothing isgoing to happen to me because I
am strong and young. And nowthings happen, you know, and
there's, you always have to becautious and always have safety
(45:50):
first, that is what I shouldhave. I wish I knew that before
because now I sometimes I get myhand pains when I paint too
much, and that is something Icould avoid it if I did it in
the beginning.
Stephanie Eche (46:08):
Hmm. That's a really good thing to keep in
mind because I think, like youwere saying earlier sometimes if
you're looking at street artonline, it looks really
glamorous. Because you're seeingthe final project or the work in
progress on a time lapse videoof someone doing it but it
actually is a lot of hard workand it's physically hard. It's
physically strenuous on yourbody, it takes a lot out of you.
Atentamente Una Fresa (46:32):
Yes, yes.
You need to have very good aexercise condition to develop
higher murals, because if not,you die. Once, many, many years
ago, I painted hungover, it wasthe worst thing I ever did in my
life, I would never, never gohungover again to work. Because,
yeah, you need to be good, youneed to be strong and you're
(46:56):
going, like you're back at theend of the day is in pain and
your everything is in pain. So,you need to be strong.
Stephanie Eche (47:12):
Are you a real estate developer looking for a
unique amenity for your site?
Get our free guide (47:14):
10 Tips for Commissioning a Site-Specific
Artwork at our websitedistillcreative.com.
Is there anything you're readingor listening to that's inspiring
you right now?
Atentamente Una Fresa (47:29):
Actually, I really like Mafalda, I don't
know if you know the comics ofMafalda. One of my favorite
authors is Quino, which isArgentine, Argentina. He's from
Argentina. And I really likeMafalda because talks about
(47:52):
politics and social movementsand it criticize the way social
models or social roles areplayed, like the way girls need
to be, to form a family and not30 and take care of their homes
and Mafalda is always, I don'tknow, arguing with the entire
(48:17):
world about that. But it is avery childish point, you know,
well not childish, but likevery, very young, and it is the
world seeing through a child'seyes. So I love the way he
works. And I love comics. I'vealways read novels and that but
sometimes it's hard for me toread a lot of stuff because I am
(48:42):
more, I like to watch picturesand I always have books with
pictures. And well Quino, he'smy favorite. He has done a lot
of criticism and socialcriticism but in a very original
way. I totally recommendMafalda.
Stephanie Eche (49:03):
Awesome. I'll link to it in the show notes.
Atentamente Una Fresa (49:05):
Yes.
Stephanie Eche (49:07):
What are the best resources that have helped
you in your career?
Atentamente Una Fresa (49:11):
I really like Marx. I am very socialist,
well not socialist like that.
But I'm really into socialmovements. I'm also a big fan of
Malala. Malala is a biginspiration of mine. I have done
art company, an art company forher with other girlfriends. It's
(49:34):
really inspiring for me. I willchoose Malala as my first
resource inspiration. Because,as we were saying before, being
a girl sometimes is not easyfor, well in graffiti, and I
have been challenging a lot withthat. A few years ago I went to
(49:56):
a Meeting of Styles which is afestival that, it's in a lot of
parts of the world. And I wentto Brazil and we were, I think
40 artists, and I was the onlygirl. The only woman between 40
artists. And it was verychallenging and it was very
weird for me. I traveled all theway to Mexico, expecting, I
(50:20):
don't know, other company, andnone of the boys were
disrespectful to me or anythinglike that, all of them were
great, but it was weird thatthere was no other girls. And
sometimes it's difficult to, toexpress your opinion, as a woman
(50:41):
and in society and to be strongand powerful. And I think that
the ones as Malala and myself,not that I'm comparing to Malala
because Malala is way tougherthan me, I love her. She's the
best. But I think we need to bestrong in those cases, you know,
(51:07):
when you are representing your,well, your girl gang, you need
to be strong, and you need to beclever, and very, very loveful,
very full of love. I don't know,I think that's it, the strength
of us. Like, as women, we're nottough at all. Well, not me, but
(51:29):
our toughness is our love, youknow, like to be passionate to
be caring for others to beunlike, I don't know, that's our
mother nature to love the onesthat surround us, to care about
the people, to look after them,to be loveful, and that is our
(51:49):
toughness, you know, so that,that's why I also mentioned
Marx, because he talks about aproduction, change of
production. And I really likethe bee, bee working thing. Like
be the bee, because teamwork isthe key to success, as I see it.
(52:16):
And all of us are teamwork, as asociety its a teamwork, and we
should help the ones that haveless, and we should create
opportunities for them and artshould inspire that. So I always
try to put like a littlediscreet social message in my
(52:38):
art, but it's very discreet,because I don't want to be like,
I think Atentamente Una Fresais a social artist now. But I
want to make people consciousabout that. They should be
respectful to others, to otherkind, also, not to humankind
(53:00):
only but to animals, to plants,and to everything. So yeah, I
think Malala is the toughestresource of everything.
Stephanie Eche (53:14):
Yeah, for sure.
What's something you wish I hadasked you?
Atentamente Una Fresa (53:18):
Maybe I would like to ask me just to say
a message to other artists, andthat is just to keep going.
Well, for first artists that arenot like out of the closet yet,
that I wish to talk to them. Andto say that all of us have been
(53:41):
like inside the closet artistsand it's difficult sometimes to
have criticism, and to go outand share your work, but
criticism is awesome. You know,when you learn how to take it
and how to grow with it and howto share it and when, sometimes
(54:04):
when some bad comment comes toyou and you're like, I hate that
comment, but that is a veryinteresting part when someone
says a hurtful comment andyou're like, no, this is my art,
I don't want to be hurt becauseit is very intimate. But no, you
(54:28):
know, when you go out you're,out of your comfort zone and
share and get criticism, it isvery powerful. I don't know, I
love that and I think thatbeginner artists are always
tricky with that part in theirlives. But if I could tell
something to them its go for itand never go, never look back
(54:54):
and just keep going and believein yourself, believe in your art
and that will take you to themost amazing places. So yeah, I
think that's it.
Stephanie Eche (55:04):
Where can our listeners connect with you
online?
Atentamente Una Fresa (55:07):
Well, I am on Instagram, on Facebook as
Atentamente Una Fresa. And thereyou can talk to me and I love
weird comments and I love deepcomments, also. So you can talk
to me and say anything that'sgoing on your mind that is
(55:29):
tricky or weird. I love weirdthoughts. Yeah, I'm very open to
talk to anyone. I love to talk.
Stephanie Eche (55:40):
Well, this has been really awesome. Thank you
so much for sharing. It's reallynice. I mean, I just messaged
you on the internet and we'retalking now.
Atentamente Una Fresa (55:49):
Yes.
Thank you, Stephanie, for theopportunity and for believing in
this and making your program andto listen to what I'm saying and
to share with me. This isawesome.
Stephanie Eche (56:01):
Thank you. And good luck with your project. I
can't wait to see when it'sdone.
Atentamente Una Fresa (56:05):
Yes.
Thank you, Stephanie.
Stephanie Eche (56:07):
And take care.
Atentamente Una Fresa (56:08):
Thank you. You too, take care.
Stephanie Eche (56:10):
Alright. Bye.
Atentamente Una Fresa (56:12):
Bye bye.
Stephanie Eche (56:17):
Thanks for listening to this episode of
First Coat. If you liked thispodcast, please leave a review.
Make sure to subscribe to theFirst Coat podcast wherever you
listen to podcasts, and followus on Instagram
@firstcoatpodcast or@distillcreative. First Coat is
a production of my company,Distill Creative. Check us out
at distillcreative.com.
Welcome to First Coat. Where we explore public
realm art, how it's made and whyit matters. I'm your host,
Stephanie Eche, an artist andentrepreneur based in Brooklyn,
New York. I run DistillCreative, where I curate and
produce site-specific artprojects for real estate
developers. I focus on creatingmore equitable and inclusive
projects and I want to get moreexposure for the artists and
(00:23):
developers doing this work. Thisweek on First Coat, we have
Atentamente Una Fresa.
Atentamente Una Fresa is anartist based in Mexico City. We
discuss the new normal for muralinstallations, how she started
doing public art, how musicaffects her work, the benefits
of art in public space, thebenefits of doing art with
community, and how and why shemakes creative briefs for
(00:44):
clients. When we recorded thisinterview, Atentamente Una Fresa
was actually on site working ona mural for a company in Mexico
City. So check out the DistillCreative YouTube channel to get
some behind the scenes look ather install. Here's our
conversation.
That's so awesome!
Atentamente Una Fresa (01:02):
Yes, we just started on Monday.
Stephanie Eche (01:06):
Oh my gosh.
Atentamente Una Fresa (01:07):
Hopefully we finish it on Friday. So I was
a little bit nervous if I shouldstart now or should get the job.
Because I was at my house allthese months and I didn't know
if to accept it. But well, I haddecided to go for it with
precaution. And I'm using like,all my protection stuff. So
(01:29):
yeah. Yeah, yeah, yeah. So letme go over there. We have here,
other workers and they might getinto our noise.
Stephanie Eche (01:41):
Yeah, no problem. This is awesome.
Welcome to First Coat. I'm soexcited to talk to you and see
you on site.
Atentamente Una Fresa (01:50):
Thank you very much.
Stephanie Eche (01:51):
We have Atentamente Una Fresa on today
as a guest from Mexico. You'rein Mexico City right now, right?
Atentamente Una Fresa (01:58):
Yes, yes.
Stephanie Eche (02:00):
Welcome. So, what is this project you're
working on right now? Where areyou?
Atentamente Una Fresa (02:05):
Well, Im in the top of a building, and
let me show it to you, here isMexico City, in the center of
Mexico City, and right now I amworking on a, it is a package
delivery store. And these aregoing to be their new offices
(02:26):
and they took advantage thatthey are closed right now. So
they decided to set up themural, so here we are working
over there.
Stephanie Eche (02:37):
Wow. Thats so cool. I just got off the phone
with a client, they're working,I'm overseeing a project that's
going up in DC, and there's allthese, you know, all these
little things that on top of thenormal issues with installing,
it's like you have to have amask now and you have to know
where to use the restroom,that's like, who used that lift,
(02:59):
and just there's just all theseother complications that you
don't normally have to thinkabout, you know?
Atentamente Una Fresa (03:03):
Yeah, definitely. I am always carrying
my disinfectants. Thanks so Idont touch anything and like,
oh, no, I forgot this and I'malways wearing a mask and if I
see some worker coming by I golike no, I cant talk to you.
Well, I think this is going tobe like the new type of work.
(03:24):
Because I was doing some Canvasin my house and I did have a lot
of illustration, like mycomputer and but I really miss
doing a mural and when the offercome by, well, I didn't, I
didn't know I was reallydoubtful, but now, I think if
(03:44):
you follow all the securityprocedures that are now well,
you maintain safety and withthat, I think that might work.
Stephanie Eche (03:57):
That's awesome.
Can you tell us a little bitabout the kind of work you're
making right now?
Atentamente Una Fresa (04:01):
Yes.
Actually, I sold my mural stuff.
I do realism, I develop acharacter which is like creepy
eyes but colorful backgrounds.
And that is like my main essenceso I try to add fun stuff to it,
like all my life I tried to dothese things because I think
(04:25):
they, they're a little bit deep.
You know if you see those sides,they might be a little bit
melancholic. No, no sad but morelike in a deep thought. But if
you see all the colors in thebackgrounds are very colorful
and very joyful and some addweird stuff, like this is like a
(04:48):
cuckoo bird from like a clock.
And I think I try to add thosethings to my work because I
think life is like that, no?
That you have a balance betweenthe sad stuff and melancholy and
deep feelings, but you havelike, a lot of joyful and
(05:12):
cheerful stuff, which I like, weall have backgrounds and have
another. So when you, I want toinspire that in my work, that
when you see my work, you canget those mixed feelings, right?
You're like, you're not surethat if you are awkward with
(05:33):
the, with the two characterslike in the main set up, and
they're delivering stuff, andthis is going to be a ship. But
right now, its nothing, rightnow is just white, but tomorrow
will be a ship. And it's goingto be like an adventure time,
adventure for deliveringpackages, because this is the
(05:54):
main brand that I'm right nowworking with that it's a
delivery package. So I wanted torepresent how mazing and
adventurous can be a delivery.
Stephanie Eche (06:07):
That's so interesting, because are they
considered essential workers inMexico right now?
Atentamente Una Fresa (06:12):
Yes, that is like the main companies that
are working right now. Thatbecause everything is closed,
the delivery, and people areright now getting away from
their phones. So in Mexicodeliveries, all delivery
companies are working a lot. Soyeah, they are essential.
Stephanie Eche (06:34):
How do you prep for this type of project? It
looks like a pretty long wall.
Do you project on the wall or doyou grid or do you just
freestyle?
Atentamente Una Fresa (06:43):
I just freestyle. Well, first I make a
sketch, a digital sketch, and Itake a picture of the wall with
my iPad, and on my iPad, I startsketching on digital and with
colors, so I have the finalwork, but I never project in a
(07:03):
project. Yeah, I know, and also,I don't, because I like to be a
little bit, I maintain myproportions when I do my
sketches, but my style is veryfreehand and I like that of my
art that if I have an arm goingvery straight and when I am
(07:26):
painting I need to twist it alittle bit, I like to be free to
do it. So I always start withpencil, all my murals start with
pencil, so let me show you, if Ilike if you see all my my
sketches are with pencil. Sobefore I start to paint, I do it
(07:49):
with pencil and I guide myselfwith things that are to being on
the top, when you have a pictureof the wall and I do my sketch
with a picture, I can have allthose references so I do it like
oh, I think here's the main faceand then I change and for
(08:12):
example in my sketch, the boatwas a little bit shorter.
Stephanie Eche (08:15):
What inspires your work?
Atentamente Una Fresa (08:17):
Well, mainly, I go firstly, how am I
feeling right now? And how do Iget to express what I I feel? So
first are emotions and sometimesI am a little bit melancholic
kinda a little bit, as I wassaying, but also, I have many
(08:39):
artists inspiration that throughall of my life they have been a
great value for me, such asRemedios Varo, I don't know if
you know her, if you don't golook for her. Because Remedios
Varo is a lot of, I love herwork, she has a lot of details
(09:00):
and she pictures herself inamazing worlds, she'd be very
surreal with all the charactersand she tries to put out of
context everything and I like, Ireally like that, no? You break
the context of things that youare using. So if you have like
(09:21):
say then put on the face or putthe nose to be different.
Stephanie Eche (09:28):
I definitely see Remedios Varo in your work.
That's really interesting.
Atentamente Una Fresa (09:33):
Sometimes she can do the impossible. So
that is a compliment,definitely. Shes a really
powerful inspiration for me. AndI also love the work she does on
her hands and she, the way sheadapts architecture on her
compositions. I think, I wish Ihad a little bit, that actually
(09:55):
is something I want to work onmy work to put powerful
backgrounds because sometimes Iput too much on my characters
and I get a lot of days workingon every detail on the
characters and sometimes I missthe backgrounds, the importance
of the backgrounds. That'ssomething I am working on right
(10:17):
now.
Stephanie Eche (10:18):
How did you first start making art in public
spaces?
Atentamente Una Fresa (10:21):
In the beginning, I was doing as I hope
every artist did, just for fun.
And I started painting when Iwas a teenager. At the
beginning, I was doing with myfriends and doing it for fun and
after repeating when I was inuniversity, well in college, I
used to paint with a lot offriends in parties and that's
(10:46):
when I met a lot of graffitipainters and I always liked
graffiti, but for me being,well, a girl, it was difficult
to do graffiti, because I neverliked to do illegal paint on
streets. Because as a girl,sometimes here in Mexico City,
(11:10):
it's a little bit dangerous tobe all by yourself and
sometimes, graffiti is kind ofrisky. So, I started to do it on
the legal stuff, so afterpainting on my university,
college, to my old friendshouses, and I think all artists
(11:30):
know that when you do something,that work will take you to
another place. So everythingtook me to one place and another
and recommendations one fromanother until I was finally
doing what I love. As I, I wasvery fortunate because I had
(11:52):
many clients at the beginningand that allowed me to never to
do illegal graffiti because Inever liked illegal graffiti.
Stephanie Eche (12:07):
I think that's a really good point you bring up.
That's part of why I haven'tdone work in public. I'm so
jealous of people who grow upworking with a crew or doing
graffiti around town with theirfriends. It takes a certain
amount of courage for sure, butin some places it just actually
is very dangerous for women andI think it's something that we
don't talk about that much butthere's a reason why there are a
(12:27):
lot of men in the street artcommunity because they kind of
grow with these crews and growup with this community that is
completely different for awoman.
Atentamente Una Fresa (12:37):
Exactly.
Yeah, and sometimes there aremore graffiti girls and from in
these times, but it's alwaysrisky. You know, I've never
liked to, I have done a lot ofoutdoor works, but I always are
very, I have a lot ofprecautions and I try never to
(12:57):
be, like to wear things that mayattract attention to me, I try
to be very discreet. And I thinka lot of boys are fortunate to
have that, you know a crew whenyou go and you, I don't know, go
with your boys and that's fun,but I didn't grow with that. You
(13:22):
know and but I like that becauseI never start doing bumps, like
I never have my tag name likeAtentamente Una Fresa bump, no,
you never, I never did that, Ialways painted my character, I
did it like that like startingfinding my opportunities at my
(13:43):
college with my friends and withthe time I have met a lot of
graffiti artists and I amgrateful that now I have a
community and I love them and weare very united and we look
after each other but it wasafter many years of being on the
field.
Stephanie Eche (14:05):
Do you keep a sketchbook?
Atentamente Una Fresa (14:07):
Yes, yes I do, but right now I don't, I
don't got it with me, but I,it's difficult for me sometimes
to have it. I have sketchpapers, one for each other. Like
I never could have a sketchbookbecause sometimes my ideas are
very horrible. Oh, I need to putthis down and I have like I put
(14:34):
any number on my beautifulsketch and I'm like, oh no, I
ruined it. So because I like tobe very freestyling on my work.
And when I have a sketch Ireally really like I rip it
apart and I immediately put iton a frame because I know it
might get ruined by another ideaof mine.
Stephanie Eche (15:00):
So you work on loose leaf paper and then, save
the things you like and get ridof the things you don't like.
Atentamente Una Fresa (15:06):
Yes, exactly. I have an amazing idea
on a napkin. There's a chance tomake an amazing thing because
you have two hours that youdont have to do anything, just
wait and then I have a guy thatworks with me that I have loved
the way he frames. So I, I amvery close to him. And he's, I
(15:29):
have been working with him alot. So every time I do
something I like, I frame it.
Stephanie Eche (15:37):
I love that.
Atentamente Una Fresa (15:39):
Yes.
Stephanie Eche (15:41):
This podcast is sponsored by JPG Legal. File
your trademark application withan experienced trademark
attorney. They have flat feeservices so there are no
surprises. You have no excusenot to register your trademark.
Just go to jpglegal.com. Fulldisclosure, JPG Legal is run by
my husband. When we first met,he had a solo practice and now
he has five employees.
Everyone's safely working fromhome right now, so I miss seeing
(16:02):
them in person. If you need atrademark go to jpglegal.com.
Can you explain how you startedgoing by Atentamente Una Fresa?
Atentamente Una Fresa (16:15):
Well, actually, atentamente una fresa
in Spanish means sincerely astrawberry. But I've always
looked at all the artists have asurname you know, like you have
your real name and you have yourgraffiti bump name and
(16:35):
Atentamente Una Fresa comes fromwell, developing a nerd but it's
a little bit sarcastic, youknow, cuz I always wanted to be
like, I have a name that refersto something that I never wanted
to be that it's a myth inSpanish and in Mexico. A fresa,
(16:59):
that is a strawberry, it alsogoes for a preppy girl, you
know. And my family is veryconservative and we're like, my
mom was always trying to teachme to be a preppy girl and a
decent girl. And I always have alot of rules of how to be and I
(17:22):
never was like that. I alwayslike very, not that I'm not
decent, I am very decent. But Ialways wanted to be, I don't
know, I think my beauty isdifferent. Like my art, I like
weird stuff and deformed facesand I think that's, that's where
(17:45):
beauty is. And that's I thinksometimes we confused what is
beauty and Atenta Una Fresa,also, it was a fruit. I had a
dream that this was this girlthat had a heartache of love and
she wanted to take away theheartache, so she took away her
(18:07):
heart and put it in astrawberry, in the dream. I was
dreaming about this girl thattook away her heart and instead
she put a strawberry on it. So Iliked that really much because I
imagine that I was a fruit. Andwhen I started drawing, I never,
(18:29):
I always paint what I wasdreaming and I like to imagine
that I never was the one thatwas painting, it was something
else that put that image in mymind. So I'd really like to know
that if not me the one ispainting, is it that strawberry
girl? So we'd go for those twothings to be known to be a
(18:55):
preppy girl inside my head. Andthat's it.
Stephanie Eche (18:59):
That's awesome.
I was wondering if you werereferring to fresa like the
connotation of fresa or not.
Does music inspire your work?
Atentamente Una Fresa (19:10):
Well, music for me is everything. I
can never work without music. Ireally love that it really
reflects what you think. Forexample, I love Radiohead, its
one of my favorite bands. Thefirst song I heard was I'm a
(19:34):
creep and I was like oh my god Ifeel like that, I am a creep and
I love that song because you canappropriate, the lyrics, the
music and I just believe inmyself and I am that. And it's
very crazy that someone elseinvented that. It is very
(19:55):
special for me when that happenswith my art. Because it happens
to me like the way I felt withmusic that we are sometimes seen
as my collective of ideas andwhen you are similar to other
(20:18):
feelings, that's when you somesort to feel like a relief. I
don't know when you hear areally cool song that you are
like, well, this is me. This isdefinitely me. So I love music.
Stephanie Eche (20:34):
What do you listen to when you're working?
Atentamente Una Fresa (20:36):
I love Cuban music. My favorite is
Buena Vista Social Club. If youtry to hear it, it's awesome.
Because it, I love Cuban musicbecause it is very, it's very
cheerful and it is, it has a lotof instruments and it's very
(20:56):
complex and very warm, becauseall their rhythms and their
trumpets and the flutes and it'svery, very, very complex music.
But I love, what I've learnedmore from Cuban music is that
the lyrics are very, verysimple. You have all the array,
(21:18):
instrument arrangement, verycomplex, but they are saying
that they are going to eatchicken. I love that and I
really, really love this ofCuban music, more of Buena Vista
Social Club, because I love theway they talk about simple
things, you know, and they just,they're just saying whatever
(21:41):
happens to them that whateverything happened, like, I
went from outside and I went toa store and I found an apple and
then there was a tree, you know?
So simple. But when the lyricsare so simple, and the music
arrangement, you hear the like,behind those hearings, it is
like, outstanding, it's like,this is amazing. That is a
(22:04):
feeling I like very much whenpeople are, and that is
something I really try to put onmy art, that I try to put a lot
of details and I have, a lot ofcomplex things. But just to
express a very simple idea, no?
Like I'm wearing a sock. Therewas one day, a few days ago, I
(22:32):
make canvases that are just twocharacters wearing, like a stock
thing, you know, like sockpuppet. And yeah, and it took me
days and days and daysdeveloping that piece just to be
a character with a sock. Andthat thing is, that really I
(22:54):
don't know, fills my heart.
Stephanie Eche (22:57):
I love that about Buena Vista Social Club.
I've never thought about it thatway. It's such a nice way to
read.
Atentamente Una Fresa (23:02):
Yes.
Stephanie Eche (23:04):
Can you share a bit about how you document your
work and why?
Atentamente Una Fresa (23:07):
How you document as in pictures or how?
Stephanie Eche (23:12):
Or if there's other ways that you document
your work.
Atentamente Una Fresa (23:14):
Well, I always work with my boyfriend,
that was over there. I tried tomake a lot of videos and time
lapse and pictures of my work.
Sometimes I try to develop timelapse but sometimes videos are
kind of awkward for me becauseeveryone pictures that the time
(23:35):
of mural painting is like, ohits outstanding and amazing,
but sometimes you're like, Idon't know, you fail in
something and then you have, Idon't know, like the worst hair
and you're all tired, and youlook awful. Like right now my
face is awful, and my hands areall dirty and sweaty and not all
(24:00):
of the things are right, a fewminutes ago I was painting and
then I fell with my pencil and Ididn't know, I imagined I was
recording that. I like to putthe process, I always try to
(24:21):
take pictures of my sketches andthe main ideas. I always, before
I do a mural, I do a sketch, apencil sketch, and I share the
most important ideas where themural was born during that time.
Before there was this giantmural coming to life, there was
(24:43):
me, there was me at my desk,just figuring out what to do,
and then a pencil sketch camethrough and I love, I love
pencil sketches. I think thoseare my favorite, because that
time is when I am moreconcentrated and I am in my
(25:04):
house, comfortable, listening tothe music that I love, and
everything is cool. So that iswhen the ideas
[INDISTINGUISHABLE]. Murals area little bit tough. And when
you're on the streets, it isnice to share. I love when
people come by, but sometimesit's difficult that you're
(25:27):
painting and someone come in,what is it? Is that a dog or a
mountain? That is his nose. Youknow, sometimes its tricky, but
it's nice. When you're in thestreets sharing art with people.
It's crazy.
Stephanie Eche (25:48):
How do you think art can create or strengthen a
community? And do you have anyprojects that you've done in the
past that have done that?
Atentamente Una Fresa (25:55):
Well, I think art, it's really become,
gets community together. And Ihave done many works for little
towns here in Mexico. One thatit was very special to me was I
did it in on top of a mountainin the state that is called
(26:17):
Quertaro. And it's on the topof the mountain where there's a
little, little, little townwhere they have a community
Cultural Center. And I developeda mural with the help of the
children in there and it wasvery nice because the children
came and expressed what theywanted to show in the mural.
(26:41):
Like, they were telling me Iwant to put a bird and trees and
the clouds and I was drawingwith them and trying to, all the
feelings they wanted to express.
And finally we painted with allthe kids in the town. And they
really love my mural. I reallylove the way they accept my
(27:03):
work. And they, instead ofseeing my work as Atentamente
Una Fresas work, they see it astheir own work, you know, there
was their feelings, their ideas,the way they see the world, in
that mural through my work. Soit was very, very special to me
(27:25):
that all the ideas wereinspiring the community. And
when when you paint a wall, agrey wall, it changes the
surroundings automatically. Itdoesn't have to be collaborative
with all the people around. Ifit is collaborative, it is even
(27:47):
more special, but even to be outthere on the street, I like
that. I like very much streetart because it's different from
what we are used to seeing inmuseums because it's art for
everyone, you know? The art isfor you, whoever you are. It
(28:08):
doesn't matter what political orreligious or social class are
you or what's your, if go buyfruit or if you go to school in
that way, and you see my mural,it is for you. So many people
sometimes get to, to love theirsurroundings and when it is
(28:31):
colorful, and you inspire themto be in a different way. It is
very important that art existsin every corner of the world
because we're very, urbanism, itis a lot of gray walls and gray
walls sometimes they inspire, Idon't know, divisions and when
(28:54):
you get to put some color intheir lives changes and you can
change a whole community just tobe there and being more colorful
and changing to go to school,store, because that is what
street art is supposed to be.
Stephanie Eche (29:20):
Are you an artist? Submit your portfolio at
distillcreative.com/artists.
You'll get on our DistillDirectory, our artists database
and be considered for upcomingart commissions.
What tips do you have for otherartists who are working with the
community collaboratively?
Atentamente Una Fresa (29:38):
First of all, to keep doing it. I always
say never stop and never die.
And of course one day we willall die. When you get to work
with community, you expandyourself and you expand the way
you work. I was fortunatelyrecently to work with a Jewish
community. I am not Jewish, Ihave no religion, I am not a
(30:01):
religious person. But it wasvery special to me that I can,
that I could work with theJewish community. And I was
working with, for a school thatthere were teachers, parents,
kids, and all the people thatwanted to think, you know? And
it was very interesting, the wayeveryone work. You know,
(30:23):
sometimes, when you get to sharethe way other people are
thinking, and when you'repainting, you're like
meditating, you know, becauseyou're, you don't need to be
very concentrate, like I amdoing this line. No, it's not
like that. You are going with alot of things in your mind,
(30:43):
you're talking, you're listeningto music, you're remembering
other things, you're watchingthe moment, talking to others
and it is a very intimate space,when you can communicate with a
lot of trust. I don't know why.
(31:05):
I don't know why is the reasonbut when I was working on that
project, I could talk with manyother of the parents that were
there, and they, they open tome, you know, with their, what's
going on with their lives, withtheir children. And not that I
care really, because sometimes,I always care for people. But
(31:29):
I'm not a very askful person. Ifyou want to share with me
something I'm always open, butart opens a place to be very
trustful with others and to openyour heart and your feelings
because it's a very intimatespace, when you're just painting
(31:51):
and thinking, and then it, youjust pop your ideas. And those
ideas are very special. Very,very special. So yeah, if you
are an artist, and you love tocollaborate, well art is for
that, art is for sharing, art isfor others, because there's no
(32:12):
art with no hater, you know?
There's, art is a dialoguebetween the one who's seeing it,
and the one who is getting allthe feelings and the one who is
expressing and without twopeople, there's not an
expression of art.
Stephanie Eche (32:31):
How do you balance your fine art practice
with your public art practice?
Or do you see them as differentthings?
Atentamente Una Fresa (32:36):
Some, I wish, I wish it was the same
thing, of course. You know,because sometimes the limits are
the ones that you in publicspaces, sometimes you don't have
your, your intimate space. Youknow, sometimes, when you are in
your house, as I was telling youbefore, when you're in your
(32:59):
house, very comfortable, and noone is disturbing you and you're
in your safe, comfortable place,ideas grow there, you know, and
it's very inspirational whenyou, when you do that. And when
you're outside, well, sometimesyou're not comfortable at all,
(33:19):
you're tired and sometimes youhave the sun. I used to live in
Playa Del Carmen and I paintedin a few murals in Tulum and I
remember I was sweating a lotand I was really hot and I was
all burned in my skin and I waslike, but that is why I always
try to develop my digitalsketches at home. You know, so
(33:44):
when I have, I have all myconcentration and all my power
and all my heart doing that, theplanification and when I am
painting the mural, well, now isnot the time to feel or express,
its the time to work. You know,so I tried, I always try to do
the best of me and if I'm doingsome graffiti thing to a
(34:09):
tortillaria, I try to do mybest.
Stephanie Eche (34:12):
Do you show work in art galleries?
Atentamente Una Fresa (34:16):
Yes, I do. Because as an artist, you
have to explore all areas. Ilike galleries, because the
opportunity they offer. It isalso very classic stuff when you
put your work and everyone goesand chat with you and it is very
(34:37):
special and you have cocktailsgoing on. Well, who wouldn't
like cocktails and appetizers.
But I always, I don't know, Idon't like the preppy stuff, you
know, I don't like really, Ilove more going on the streets
and going with people and Iusually don't, don't really like
(34:57):
the silent art show. You know,you go into a museum room and
you cannot touch, you canttouch anything and you must be
silent. And I think street artand graffiti contradicts a
little bit that idea. We go formore touch everything, be as
loud as you can. But everychoice is, is good. So I, I am
(35:23):
never closed to anything. Infact, if you offer me to go in a
taqueria and put my art withtacos, I will do it.
Stephanie Eche (35:36):
That'd be awesome. I want to see that. How
do clients find you?
Atentamente Una Fresa (35:42):
I think I am a very reachable person. Most
of my clients come from socialmedia, that is something that
artists should know. That socialmedia sometimes is horrible, or
the most amazing thing there is.
It has those two faces, becauseI've seen that you can go into
(36:04):
the marketing thing, instead ofthe art thing and you should
never go on that, becausesometimes that is very, very
tricky. You know, I have workedwith many brands and sometimes
it's hard, because you alwayswant to, well, myself, I always
(36:29):
want to, to represent the realart thing, the real concept of
my art, and not just somemarketing, going thing. But it's
always a balance, you know, if,I have myself very clear that
(36:50):
that is something that is veryfortunate for me, and I never, I
said something that it doesn'tgo with my style, or it doesn't
go with my flow, because thenit's not since I, I've done it
before, many years, because wellbefore, I didn't have that much
(37:12):
work chances when I started,when I was a beginner, well I
needed to eat and pay my lunch,so I accepted all kind of works,
but with plans I always try toput, to express, I try to always
make like a brief now. What doyou want to show in the mural,
(37:37):
what do you want to express,what are the values of the
brand, what the brand wants toget into the clients and we do a
briefing, everything is writtenand after we have everything
written with clients and me, weread them, and then I do a
sketch with my art, with mystyle, representing all of the
(38:01):
ideas. So if we have likelogistics, now we have, we have
a client that wants to expresslogistics, I try to put like a
weird, a character with a lot ofthings of logistics. Then I try
to explain every point of my artto a client. And I will like
(38:25):
look, these express logistics,these express the valuable with
our clients, these express, sothey, the client knows that
everything he or she told me inthe brief is expressed. And now
then we can arrange things so wecan change the details. So now
(38:47):
instead of putting the phone,put I don't know, you know, but
it is very important thatclients do a guideline, but not
to change the art concept andnot and never to get into what
is marketing and maintain whatit's art. Because these have
(39:10):
nowadays is more, it's almostinvisible. What is marketing and
what is lying, and I don't likethat.
Stephanie Eche (39:23):
Yeah, for sure.
You talked about a creativebrief. Is that something that
the client provides you or thatyou, or do you ask questions to
the client?
Atentamente Una Fresa (39:31):
That's something I always does. It
really doesn't matter if it's abrand or a person, I always do a
brief because I like the art toexpress exactly what the client
wants. You know, sometimes, forexample, if, and I make some
questions, and it's, it dependsif it's a person or if it's a
(39:54):
company. You know, becausesometimes when it is a company,
I base all my questions to havewith the client, and what does
the brand want to express to theclient, you know, but to
understand who is the finalcustomer, what does the final
customer want from the brand andwhat does the brand is different
(40:17):
offering that to the customer?
Right? So that is one brief andfor the brief for the people is
different, I try to vary, I goto very deep questions like,
what are their hobbies? What arethey passionate about? What they
don't like, what they are afraidof? Or if they have any goals?
And I always had a trickyquestion like, why are you here
(40:42):
in life? Just to be like, Idon't know, to be a little bit
tricky, and to try to have thosedeep feelings of people and to
express them. And also I touchthe topics of what is the things
they don't like or what they areafraid of to understand what are
(41:03):
their contrary things they'reseeing. So, I always make a
brief no matter what, becausebefore making any sketch, I make
concepts of idea, I develop amental map, and I put concepts
first. Because first I have mywords, so you imagine Im,
(41:28):
before making the art Im sayinglike, okay, I want to express
architecture, but family, butmindfulness, and that client
doesn't like extravagance, soyou know, then you can mix the
(41:48):
concepts and then appears intofigures. So that is always my
structure of work.
Stephanie Eche (41:57):
Thank you for sharing your process, that's
really interesting.
Atentamente Una Fresa (42:00):
Thank you.
Stephanie Eche (42:02):
Do you do that over a period of time? Or do you
start on the concept and then godirectly into drawing in one
day? Or does it depend?
Atentamente Una Fresa (42:10):
Well, in the beginning, when I was
painting, not to clients, butjust for myself, I started,
first I started with no conceptsat all. I was just like, what do
I feel, this, go ahead. And thenI was always freestyling you
(42:33):
know, like I have a round balland then it's going to be a head
and now it's going to carry anice cream, I mean, the top of
ice cream is going to be amermaid with a house and with a
gnome. And it developed a lot ofideas, and I still do that but
(42:54):
not for clients. You know, when,I always try to make work for me
because sometimes you as anartist need that, you need to
express what you feel withoutknowing if it's going to sell or
is not or if it's going to befor someone or not because the
(43:16):
art that is for ourselves ismore special and you can take
weeks in developing that and youdon't have the pressure of time
and the results of that are, thework for me are my favorite
pieces because they express whatactually I am feeling. That is
(43:37):
very important for me to makeand I always try to make art for
me because that is why Istarted, I started making that
to express myself and tounderstand my ideas and the way
I am feeling and to have abalance on my life. But after a
few years when I started to be alittle bit more known, I had
(44:03):
often projects and often workprojects with clients and
sometimes there is not too muchtime for me, but I always have
to have the time.
Stephanie Eche (44:16):
What's one thing you wish you had known before
you started your career as anartist?
Atentamente Una Fresa (44:20):
First of all, to have a good exercise
condition. I have, I have had alot of injuries in my hands and
on my back because of too muchpainting. And then that there
should be always securityprocedures, you know? I hurt my
(44:43):
hand after one mural that it wasvery, very tall and I didn't
follow the security proceduresthat I needed and I fell. But
not too high. Not too high. Butif I was, if I was using my rope
and my helmet and all thesecurity procedures. After, I
(45:06):
always have my like an insuranceand now I hire all those
services that are essential fordoing a job, because you can, it
is risky, you know, sometimesdoing high murals, it is a sport
and it has to have the safetypatterns to develop something
(45:29):
that is safe and I didn't knowthat at the moment. And I was
young and really like nothing isgoing to happen to me because I
am strong and young. And nowthings happen, you know, and
there's, you always have to becautious and always have safety
(45:50):
first, that is what I shouldhave. I wish I knew that before
because now I sometimes I get myhand pains when I paint too
much, and that is something Icould avoid it if I did it in
the beginning.
Stephanie Eche (46:08):
Hmm. That's a really good thing to keep in
mind because I think, like youwere saying earlier sometimes if
you're looking at street artonline, it looks really
glamorous. Because you're seeingthe final project or the work in
progress on a time lapse videoof someone doing it but it
actually is a lot of hard workand it's physically hard. It's
physically strenuous on yourbody, it takes a lot out of you.
Atentamente Una Fresa (46:32):
Yes, yes.
You need to have very good aexercise condition to develop
higher murals, because if not,you die. Once, many, many years
ago, I painted hungover, it wasthe worst thing I ever did in my
life, I would never, never gohungover again to work. Because,
yeah, you need to be good, youneed to be strong and you're
(46:56):
going, like you're back at theend of the day is in pain and
your everything is in pain. So,you need to be strong.
Stephanie Eche (47:12):
Are you a real estate developer looking for a
unique amenity for your site?
Get our free guide (47:14):
10 Tips for Commissioning a Site-Specific
Artwork at our websitedistillcreative.com.
Is there anything you're readingor listening to that's inspiring
you right now?
Atentamente Una Fresa (47:29):
Actually, I really like Mafalda, I don't
know if you know the comics ofMafalda. One of my favorite
authors is Quino, which isArgentine, Argentina. He's from
Argentina. And I really likeMafalda because talks about
(47:52):
politics and social movementsand it criticize the way social
models or social roles areplayed, like the way girls need
to be, to form a family and not30 and take care of their homes
and Mafalda is always, I don'tknow, arguing with the entire
(48:17):
world about that. But it is avery childish point, you know,
well not childish, but likevery, very young, and it is the
world seeing through a child'seyes. So I love the way he
works. And I love comics. I'vealways read novels and that but
sometimes it's hard for me toread a lot of stuff because I am
(48:42):
more, I like to watch picturesand I always have books with
pictures. And well Quino, he'smy favorite. He has done a lot
of criticism and socialcriticism but in a very original
way. I totally recommendMafalda.
Stephanie Eche (49:03):
Awesome. I'll link to it in the show notes.
Atentamente Una Fresa (49:05):
Yes.
Stephanie Eche (49:07):
What are the best resources that have helped
you in your career?
Atentamente Una Fresa (49:11):
I really like Marx. I am very socialist,
well not socialist like that.
But I'm really into socialmovements. I'm also a big fan of
Malala. Malala is a biginspiration of mine. I have done
art company, an art company forher with other girlfriends. It's
(49:34):
really inspiring for me. I willchoose Malala as my first
resource inspiration. Because,as we were saying before, being
a girl sometimes is not easyfor, well in graffiti, and I
have been challenging a lot withthat. A few years ago I went to
(49:56):
a Meeting of Styles which is afestival that, it's in a lot of
parts of the world. And I wentto Brazil and we were, I think
40 artists, and I was the onlygirl. The only woman between 40
artists. And it was verychallenging and it was very
weird for me. I traveled all theway to Mexico, expecting, I
(50:20):
don't know, other company, andnone of the boys were
disrespectful to me or anythinglike that, all of them were
great, but it was weird thatthere was no other girls. And
sometimes it's difficult to, toexpress your opinion, as a woman
(50:41):
and in society and to be strongand powerful. And I think that
the ones as Malala and myself,not that I'm comparing to Malala
because Malala is way tougherthan me, I love her. She's the
best. But I think we need to bestrong in those cases, you know,
(51:07):
when you are representing your,well, your girl gang, you need
to be strong, and you need to beclever, and very, very loveful,
very full of love. I don't know,I think that's it, the strength
of us. Like, as women, we're nottough at all. Well, not me, but
(51:29):
our toughness is our love, youknow, like to be passionate to
be caring for others to beunlike, I don't know, that's our
mother nature to love the onesthat surround us, to care about
the people, to look after them,to be loveful, and that is our
(51:49):
toughness, you know, so that,that's why I also mentioned
Marx, because he talks about aproduction, change of
production. And I really likethe bee, bee working thing. Like
be the bee, because teamwork isthe key to success, as I see it.
(52:16):
And all of us are teamwork, as asociety its a teamwork, and we
should help the ones that haveless, and we should create
opportunities for them and artshould inspire that. So I always
try to put like a littlediscreet social message in my
(52:38):
art, but it's very discreet,because I don't want to be like,
I think Atentamente Una Fresais a social artist now. But I
want to make people consciousabout that. They should be
respectful to others, to otherkind, also, not to humankind
(53:00):
only but to animals, to plants,and to everything. So yeah, I
think Malala is the toughestresource of everything.
Stephanie Eche (53:14):
Yeah, for sure.
What's something you wish I hadasked you?
Atentamente Una Fresa (53:18):
Maybe I would like to ask me just to say
a message to other artists, andthat is just to keep going.
Well, for first artists that arenot like out of the closet yet,
that I wish to talk to them. Andto say that all of us have been
(53:41):
like inside the closet artistsand it's difficult sometimes to
have criticism, and to go outand share your work, but
criticism is awesome. You know,when you learn how to take it
and how to grow with it and howto share it and when, sometimes
(54:04):
when some bad comment comes toyou and you're like, I hate that
comment, but that is a veryinteresting part when someone
says a hurtful comment andyou're like, no, this is my art,
I don't want to be hurt becauseit is very intimate. But no, you
(54:28):
know, when you go out you're,out of your comfort zone and
share and get criticism, it isvery powerful. I don't know, I
love that and I think thatbeginner artists are always
tricky with that part in theirlives. But if I could tell
something to them its go for itand never go, never look back
(54:54):
and just keep going and believein yourself, believe in your art
and that will take you to themost amazing places. So yeah, I
think that's it.
Stephanie Eche (55:04):
Where can our listeners connect with you
online?
Atentamente Una Fresa (55:07):
Well, I am on Instagram, on Facebook as
Atentamente Una Fresa. And thereyou can talk to me and I love
weird comments and I love deepcomments, also. So you can talk
to me and say anything that'sgoing on your mind that is
(55:29):
tricky or weird. I love weirdthoughts. Yeah, I'm very open to
talk to anyone. I love to talk.
Stephanie Eche (55:40):
Well, this has been really awesome. Thank you
so much for sharing. It's reallynice. I mean, I just messaged
you on the internet and we'retalking now.
Atentamente Una Fresa (55:49):
Yes.
Thank you, Stephanie, for theopportunity and for believing in
this and making your program andto listen to what I'm saying and
to share with me. This isawesome.
Stephanie Eche (56:01):
Thank you. And good luck with your project. I
can't wait to see when it'sdone.
Atentamente Una Fresa (56:05):
Yes.
Thank you, Stephanie.
Stephanie Eche (56:07):
And take care.
Atentamente Una Fresa (56:08):
Thank you. You too, take care.
Stephanie Eche (56:10):
Alright. Bye.
Atentamente Una Fresa (56:12):
Bye bye.
Stephanie Eche (56:17):
Thanks for listening to this episode of
First Coat. If you liked thispodcast, please leave a review.
Make sure to subscribe to theFirst Coat podcast wherever you
listen to podcasts, and followus on Instagram
@firstcoatpodcast or@distillcreative. First Coat is
a production of my company,Distill Creative. Check us out
at distillcreative.com.
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Therapy Gecko
An unlicensed lizard psychologist travels the universe talking to strangers about absolutely nothing. TO CALL THE GECKO: follow me on https://www.twitch.tv/lyleforever to get a notification for when I am taking calls. I am usually live Mondays, Wednesdays, and Fridays but lately a lot of other times too. I am a gecko.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.