Ten years after the streets of Pécs first lit up with the magic of contemporary light art, the 10th anniversary edition of the Zsolnay Light Festival is bigger and more spectacular than ever before: over four nights from July 2 to 5, it will bathe the city in light with more than thirty installations. Moreover, its theme pays tribute to Pécs’s world-famous native son, Victor Vasarely, as part of the Vasarely Memorial Year. 

The event has grown into one of Europe’s most spectacular urban festivals, attracting more than 100,000 visitors each year. The 2026 anniversary edition will mark two exceptional milestones: Pécs native and father of optical art, Victor Vasarely 120th anniversary of his birthare commemorating him, and the Vasarely Museum in Pécs is celebrating its 50th anniversary this year. 

This year's theme for the Light Festival is therefore Vasarely PLASTI-CITÉ // COLORFUL CITY its concept—which invites visitors into the world of optical illusions and the sensory experience of movement, space, and light.

The cathedral's facade is the festival's largest screen

The most anticipated event of the festival, the Zsolnay Light Art Video Mapping Competition every evening, the facade of Pécs Cathedral is transformed into a canvas of light. This year, artists from Italy, China, and Bulgaria are competing for the public’s votes—their works are imbued with a visual style inspired by Vasarely’s op-art legacy. In addition to the competition, a special work will also make its debut: as part of the Irish focus program, the Kiégő Izzók team will pay tribute to the life’s work of Ferenc Martyn with a tribute screening.

The Path of Light: More Than 30 Stops at the Edge of Imagination

The Path of Light, the centerpiece of the festival, features 15 venues in the city center and 19 in the Zsolnay Quarter, where visitors can discover works by Hungarian and international light artists.

The Zsolnay Quarter and the Kodály Center will be the festival’s main venues this year, the entire area the Light Festival MAX becomes part of it. The venues accessible with the wristband feature the festival’s most exciting installations; the interactive and immersive works offer such a rich experience that they can easily fill an entire evening. A taste of what’s to come:

Where Soul and Light Meet at the Kodály Center: The Latvian Those Guys Lighting his team will bring the Divine Geometry, that is Divine Geometry titled art. This essential light show, accompanied by a unique 30-minute soundscape created by 24 lasers, is so captivating that at previous performances spectators moved the crowd to tears.

At the waterfall woven from light by the Spanish artist Marc Vilanova visitors can walk through the Zsolnay Quarter Lab, while in E78, the Playmodes team uses laser beams and robotic mirrors to create dynamic, floating light sculptures. The installation on display in the Pirogránit courtyard of the Zsolnay Quarter Vasarely brings his op-art legacy into three-dimensional space, a geometric illusion that constantly shifts with the viewer’s movement invites active participation—movement and discovery.

A unique exhibition is debuting within the walls of the m21 Gallery: the Hommage á Vasarely by light the light art exhibition titled marks a milestone in the festival’s history. This is the first time an exhibition has been created that extends beyond the event itself and spans the entire summer, allowing visitors to experience this unique visual journey at any time until the end of August. In addition, young, up-and-coming artists from the Light Art Colony will also be presenting their works in the Zsolnay Quarter.

The city center’s iconic squares are also being transformed: At the Cella Septichora Visitor Center, a a pulsating creature trapped inside a glass cube struggles to escape...like a kind of digital organism.

Széchenyi Square is monumental 360-degree light painting envelops the area, and the festival’s mascot, the Pixel Bug. Inside Árkád, technology and nature come together: on a giant LED wall, the the memory of water.

Back to the Back to the hippie era of the ’70s! The Színház Square, New York’s Liquid Light Lab brings back the legendary analog light shows of that era. Imagine Kandinsky’s colors, the vibrancy of Jimi Hendrix and early Pink Floyd concerts—this floating, sensory universe will captivate visitors over four evenings. The Path of Light station at Színház Square is part of the USA250 commemorations. DJs from Tilos Radio will crank the atmosphere up to the max: this isn’t just a projection, but a shared, psychedelic journey into the realm of light. 

According to Vasarely’s philosophy, art is a common language that, once it steps outside the confines of exhibition spaces, must become part of everyday life. This resonates with the concept of The Path of Light: it transforms urban space into an open gallery where, through interactive installations, visitors themselves become part of the creative process and the communal experience, said Márk Hummel, managing director of Zsolnay Heritage Management Ltd., the festival’s organizer.

More Than Light: Street Theater and Celebration

In addition to the light installations, fire jugglers, acrobats, and street theater troupes will fill the streets throughout the festival’s four days. Families can look forward to interactive children’s programs and light-themed craft workshops, while concerts and electronic music parties will keep the festival pulsing late into the night.

This year’s program also features a special Irish theme: in addition to the screening of the Martyn Ferenc tribute film at the Cathedral, there will be an Irish “Path of Light” station, and an Irish food court on Káptalan Street. The festival’s atmosphere is further enriched by the music and dance culture of the island nation.

The programs and light installations in downtown public spaces are free to visit. The special installations in enclosed spaces, the Zsolnay Quarter, and the Kodály Center can be viewed with a Light Festival MAX wristband, which will be available for purchase starting May 7.

Pécs is the highlight of the summer!

🌐 Join us

www.fenyfesztival.hu

www.facebook.com/zsolnayfenyfesztival

Urban art took on new meaning during the COVID-19 pandemic: while traditional cultural systems ground to a halt, street art continued to be present in urban spaces. It was in this context that the Urban Art Association Te8 was founded, not merely out of inspiration, but as a conscious response. The founders recognized that an isolated artistic presence was insufficient to achieve a genuine impact, so they created a structured yet free and original form of operation.

Led by Predrag Radovanović, this international and multidisciplinary community aims to interpret urban art not merely as a visual element, but as an active social dialogue. Te8’s projects follow this approach: they do not think in terms of isolated works, but rather in terms of systems that continuously reinterpret the relationship between the city, the community, and art.

This interview presents not only the history of an organization, but also a way of thinking—about what urban art means today and what role it can play in the urban culture of the future.

When and under what circumstances was the Urban Art Association Te8 founded?


Urban Art Association Te8 was founded during the COVID-19 pandemic — a moment that disrupted every layer of society. While most cultural systems collapsed or froze, urban art remained present. It was one of the rare forms of expression that could still exist in public space. In that moment, it became more than art — it became a necessity, a form of relief, even a kind of psychological survival. That realization forced us to take responsibility and move from individual action into a structured association.

What inspired the founders to create an association dedicated to urban art?


It was not inspiration in a romantic sense — it was a reaction. We saw clearly that fragmented individual efforts had limits. If we wanted continuity, visibility, and real impact, we needed structure. Te8 was created as a way to organize what already existed, but without losing its rawness.

What role did the pandemic play in the association's formation?

The pandemic acted as a catalyst. It was a kind of global pressure test. Instead of allowing that pressure to suppress expression, it pushed us to recognize the importance of what we do. Street art, in its essence, carries freedom of thought — and that was something we were not willing to let disappear.

Who was the key figure in its founding, and what was their background in the world of street art?


The founder and central figure is Predrag Radovanović, who initiated the process and brought together a wider circle of collaborators. Alongside a multidisciplinary team, the goal was clear — to establish an international-level association rooted in Belgrade.

Belgrade has always been a cultural reference point for this part of Europe, especially within the context of the former Yugoslavia. That position carries responsibility. Our role is not just to maintain it, but to push it further.

How did the association's international team and creative community come together?


The foundation was already there — built through previous collaborations, projects, and informal networks. Te8 simply gave structure to those relationships. What defines us is not just international presence, but a multidisciplinary approach. Different perspectives — artistic, cultural, and professional — create a more complete understanding of both art and its environment.

What is the most important mission of the Urban Art Association Te8 in the field of street art and urban art?

To build structure without killing authenticity. To create conditions where urban art can grow, evolve, and be taken seriously — without becoming sterile.

What does urban art mean to you in today's urban culture?

Urban art is one of the last forms of expression that exists directly in real life, not behind institutional walls. It interacts with the city in real time, without filters.

How would you like to shape society's relationship with street art?


By breaking the idea that it is just decoration. Urban art is often reduced to “beautification,” which is a superficial reading. It should communicate, provoke, and sometimes create discomfort. If it doesn’t create any reaction, it becomes irrelevant.

Why is it important for you that urban art steps outside the boundaries of subculture and reaches a wider audience?

Because the label of subculture is limiting. Urban art is already a complex system — a mix of visual language, social context, architecture, and public interaction. It is not a niche anymore. It is a complete cultural form that needs to be positioned as such.

What values does the association represent in the contemporary art scene?

Clarity, independence, and openness. At the same time, we actively push into spaces that are not traditionally connected to urban art — testing its limits and expanding its field of action.

What types of projects and programs does the Urban Art Association Te8 organize?


We develop projects that go beyond production — murals, public interventions, exhibitions, residencies, and cross-disciplinary formats. The goal is always to create a system, not just isolated works.

Could you tell us about the mural festivals and community painting events you have organized?


Our festivals are very deliberately positioned. One of our key focuses is education — especially working with schools. We organize mural festivals in different schools across Belgrade because we believe it is essential to introduce urban art at the earliest stages. If there is no connection at that level, the gap only grows later.

Alongside that, we develop individual and experimental projects. One of them is Wall Mall Urban Art Space, our original and protected concept, where we bring urban art into shopping centers — spaces that are structurally central to contemporary city life.

For us, it is not about where art “should” be — but where it can exist meaningfully.

Which international artists have you worked with over the years?

Over the past five years, we have collaborated with many artists across different projects and roles. Some of the names include Rafael Stone, Bilos, Pedja Te8, Mink, and others.

At the same time, we prefer not to create hierarchies between artists. What matters to us is not only professional quality, but also human connection. Most of our collaborations develop into long-term relationships based on trust and mutual respect.

Why do you think it is important to engage with young people and students?


Because they will shape how public space is understood in the future. Without early exposure, urban art remains distant and misunderstood.

How do you try to bring street art culture closer to the younger generation?

Through direct involvement. Not only showing finished works, but opening the process — workshops, school projects, conversations. Making it accessible and real.

How do local communities respond to urban art projects?

Reactions are not always uniform — and that is important. Support, curiosity, resistance — all of it creates dialogue. Urban art without reaction is just surface.

The association works with artists from several countries. How did these international relationships develop?


They developed organically, through years of collaboration. Today, our network includes artists and organizations from France, the UAE, Spain, Italy, Japan, and beyond. Te8 builds continuity from those connections.

What role does international cooperation play in the development of the organization?

It is fundamental. Every scene and every culture carries its own values, and working in isolation has clear limits.

Belgrade has always had a cosmopolitan character, especially within the context of the Balkans and the former Yugoslavia. Maintaining that openness is not optional — it is a responsibility.

How do you see the relationship between the Serbian and international street art scenes?


The Serbian scene has strong potential, but it still needs stronger positioning. International exchange is key to that — not as imitation, but as dialogue.

What role do you think street art plays in shaping urban spaces?


Street art can redefine how a city is experienced — but only if it is done with awareness. Not every wall is meant for intervention. Uncontrolled or unconsidered work can damage both the city and the movement itself.

Urban art must exist in dialogue with architecture, urban planning, and the identity of a place. Otherwise, it becomes noise.

Can street art be a tool for social dialogue or change?

Yes — but only when it engages with reality, not just aesthetics.

How important is it to you that artworks convey a message?


It is important, but not in a simplified way. Every work should carry intention — without that, it becomes empty.

What projects is the Urban Art Association Te8 team currently working on?


We are developing both ongoing and new projects this year. Given our strong connection with sports, especially football, this is a dynamic period due to major international events.

At the same time, one of our goals is to establish collaboration with the Hungarian scene, opening a new direction for future projects.

What are your future plans for the development of the association?


To grow internationally, develop more complex formats, and continue building a stable platform that can support artists in a serious way.

Would you like to launch projects in new cities or countries?

Yes — and not only in expected places. We are particularly interested in regions outside the usual urban art circuits, where there is strong potential but less exposure.

We are always open to collaboration and invite partners to reach out. At the same time, we approach new contexts with the intention to learn, not just to impose.

Where do you see urban art fitting into the future of contemporary art?


Urban art is already both the present and the future of contemporary art. The line between studio practice and urban expression is becoming increasingly irrelevant. Artists are already moving freely between those spaces.

At some point, that division will disappear completely. Theorists and institutions will have their work — to define, categorize, and analyze. That is their role.

Ours is different. We are focused on creation and production — not on divisions.

The association's website

🌐 www.urbanartte8.org

For a long time, the underpass at the Iváncsa train station was just another one of those familiar, functional, yet impersonal spaces. A place people pass through but don’t linger in. Today, however, it offers a completely different experience: colors, shapes, and stories accompany travelers along the way. The decoration is not only a visual renewal but also an imprint of a community-oriented vision—the identities of three towns converge here with László Varga’s unique perspective.

Laci tells us about his latest work

When I first encountered the space of the Iváncsa railway underpass, I saw a typical, sterile transit corridor. However, the opportunity to fill this space with new meaning arose from a local initiative: someone saw in it what had previously existed only as a possibility. I became involved in the project through a friend’s recommendation, and it soon became clear to me that this would be more than just decoration.

During the development of the concept, the direction was shaped by the collaborative vision of three towns—Iváncsa, Beloiannisz, and Besnyő. It was important that each town’s unique character be reflected on the walls. For me, finding that balance is always an exciting challenge: how can I shape my own visual world while ensuring that the local identity remains recognizable?

The motifs on the walls are linked to rural life and nature. Scenes from the Danube riverbank, boats, agricultural landscapes, haystacks, plowed fields, and one of the area’s distinctive symbols, the stork, have all found their place—the latter not only as a motif but as part of the community’s daily life, since residents follow their lives via webcam. I deliberately gave the compositions a slightly more fairy-tale-like, illustrative feel so that they would be accessible and enjoyable for people of all ages.

Before starting the project, I digitally mapped out the entire space. I photographed the underpass and then created the visual designs on a tablet, which evolved continuously throughout the planning phase. To create the emblems and finer details, I used a projector and stencil technique, while for the painting I mainly used Loop spray cans—nearly 80 of them. For the finer details, I used a paint marker, which allowed for precise execution.

The use of color played a decisive role in shaping the overall look. The base colors—shades of green and blue—were applied by a painting company and had already proven effective in similar settings. I built upon these with natural tones: browns, greens, yellows, and various blues. The Greek temple motif was given a more distinctive, high-contrast color scheme, while the coats of arms appeared in their original colors, reinforcing the authentic look.

The creative process began months earlier. Following consultations in the fall, the winter was devoted to planning, while the actual work took place in the spring. I started on March 20 and finished on April 2. The nearly 190-square-meter surface area posed a significant physical and mental challenge, so I had to carefully pace myself. Although the weather interfered for a few days, the entire painting was completed in 9 days overall.

For me, one of the most important aspects of creating art in public spaces is the immediate feedback. People’s reactions, the conversations, and their curiosity are all part of the process. In Iváncsa, I received a particularly large amount of positive feedback—many people stopped, asked questions, watched me work, and often asked if I really was doing it all by myself. These moments reinforce my belief that art has the power to create connections, bring joy, and add real value to everyday life.

Today, this underpass is more than just a passageway. It has become a space where the community’s history, the beauty of nature, and a creative vision come together—and where every journey is a little more than just getting from one place to another.

Adam Illes, an artist with Hungarian roots living in the United Kingdom, has established an increasingly prominent presence on the international street art scene in recent years. Although he has been painting murals professionally for 5–6 years, his story began much earlier: he picked up his first spray can back in 2012. Today, his works can be found not only in London, but also in Ireland, the United States, and Hungary.

His work titled “Reflections,” installed on the wall of Stratford Junction, explores a theme that is both personal and universal: connection. Not a superficial encounter, but that rare and elusive moment when two people truly see one another.

A quiet conversation on the wall

Two figures stand facing each other. They say nothing, yet something is happening. “Reflections” does not tell a story in the traditional sense—rather, it captures a state of being. A moment where attention, acceptance, and self-awareness converge.

The title—“Reflections”—does not merely refer to visual reflections. Rather, it is an imprint of an inner process. An emotional reflection that arises when someone does not turn away from what they see in another person—even if it is not perfect.

According to the central idea of the work, true connection does not begin with understanding others, but with understanding ourselves. Until we connect with our own inner world, other people will remain merely superficial to us. “Reflections” brings this realization to light.

From the personal to the universal

This work was born out of a deeply personal experience. The inspiration did not come from an abstract concept, but from a real, lived relationship. Behind the work lies a story, a presence, the influence of another person—a relationship that not only inspired but also shaped the artist.

In this case, art is nothing more than a means of making the invisible visible. Feelings that often remain unspoken take shape here on an urban wall.

„I have the utmost respect for Dave Plants for the invitation, and for the organizers for their support, especially for providing the paint. I would also like to thank my partner, Yas, and our long, enduring relationship. It’s no secret that her presence in my life is one of the deepest sources of inspiration behind this work.” – says Adam.

On the border between design and spontaneity

Although “Reflections” was conceived with a clear concept in mind, the work evolved continuously during its creation. The wall, the surroundings, and physical conditions—such as the London wind—all influenced the final result. Some elements were modified, others took a new direction, but the central idea remained intact throughout.

The entire technical execution was done freehand, using spray paint. Masking tape was used to help with the outlining, but every other stroke was applied directly to the wall without the use of tools. This immediacy is also one of the work’s greatest strengths: there is no distance between the artist and the surface.

A more intimate atmosphere, even in an urban setting

Although the work is set in the bustling London neighborhood of Stratford, its meaning is not strictly tied to the location. It is not about the city, but about people. It is about something that is present in every environment: the need for connection.

Interestingly, the noise and bustle of the city do not detract from the work’s tranquility but rather highlight it. Amid the hustle and bustle, it functions as a frozen moment—a visual reminder that genuine encounters are not loud.

Between Light and Darkness

Ultimately, “Reflections” does not provide clear-cut answers. Rather, it leaves us with questions. What do we see in others? And what do we actually see in ourselves?

One of the work’s most important assertions is simple, yet difficult to accept: there is no light without darkness. The way we perceive ourselves is the way we interpret the world.

Reflection, then, is not merely a visual phenomenon. It is a kind of inner map—one that shows where we currently stand in relation to ourselves.

For more than two decades, this company—which blends shadow play and dance—has been captivating audiences with its diverse productions. Now they are preparing a new project that is even more unconventional than their previous ones: the team is responsible for creating an international experience brand called SAHAR, which will launch in Budapest and is expected to be followed by dynamic international expansion. 

SAHAR is a concept offering an exclusive, immersive experience at a permanent venue, taking storytelling to a new level both in terms of form and technology, with its visual world and entire creative concept created by Attraction. The company, which constantly reinvents itself and presents innovative productions, has come a long way since its launch in 2004; significant challenges and milestones provide continuous inspiration for renewal and the creation of new productions.  

What milestones have shaped and inspired the company?

The group achieved their international breakthrough in 2013 by winning Britain’s Got Talent, which brought them worldwide fame. In 2014, more than a billion television viewers watched their live performance for the Chinese New Year, while in 2015, they put together a custom-made production for Queen Margrethe II of Denmark’s 75th birthday at the invitation of the royal family. 

The British public hasn’t forgotten them either; based on the audience vote on Britain’s Got Talent, the group won the BGT World Cup in 2018. This was followed in 2019 by a two-month tour of China, where, having expanded their capabilities, two teams toured major cities simultaneously with an identical, precisely choreographed performance. The 90-minute full-length show subsequently captivated audiences in Mexico and England as well.

In 2024, the troupe received further international recognition when Zhang Yimou—the world-renowned director and producer, an Oscar nominee, and the director of the Beijing Olympics opening ceremony—invited the company’s founder, Zoltán Szűcs, to create the choreography for the opening number of MGM Macau’s permanent show. 

What is the source of unceasing motivation, and what is the secret to success?

Every production requires precise and time-consuming preparation from the team. “The essence of Attraction is teamwork. It’s what allows us to tell stories together that audiences anywhere in the world can relate to.” – said Zoltán Szűcs, known as Szücsi, founder of Attraction. – “We convey our messages nonverbally; we communicate not through words, but through emotions. In addition, a constant drive for growth is essential—an unceasing desire to always create something new and unique in terms of content, form, and technology, while paying attention to the ever-changing world around us and the needs of our audience. This is what propels us forward, enabling us to bring new and innovative creative projects to life.”

It means a great deal to the company that it has achieved both domestic and international success with Hungarian members. Contributing to this have been the company’s commitment to renewal, the resulting diversification, and organizational development, which create a wide range of opportunities and motivation for Hungarian dance artists. 

What can we expect in the future? What kind of project is SAHAR?

The team has not been idle over the past two years; Attraction developed the entire visual framework for the SAHAR project—from concept development and visual design to the choreographic and dramaturgical execution. The brand was created based on a global concept that will be implemented in several major cities, adhering to consistent quality and visual standards. 

The production’s first stop is Budapest, followed by Dubai and then Las Vegas as the next steps in its international expansion. 

“We are proud to have created the visual identity for the first SAHAR station, and we are confident that Budapest will be the starting point for yet another international success story.” – added Szücsi. 

🌐 Contact us:

www.facebook.com/AttractionLatvanyszinhaz/

www.saharglobal.com/

Street art is often about quick gestures and raw energy, but there are works that speak more of patience, precision, and a carefully constructed visual experience. CSM’s work titled “Glass Angel” is the final piece in a four-part mural series that not only posed a serious technical challenge but also holds personal significance for the artist. The transparency of the glass symbolizes fragility, the angel represents beauty and love, while the dark and light tones in the background symbolize the duality of the world.

How did the idea for “The Glass Angel” come about, and why did you choose to depict the figure using a glass-like effect?

The concept is actually the final piece in a series of four murals. The entire project was inspired by an exceptionally talented and, to me, dear and inspiring woman. The glass effect symbolizes fragility, the angel symbolizes beauty and love, while the background symbolizes duality: dark, deep reddish tones at the bottom and, at the top, a kind of divine light effect in the sun’s rays that illuminates the angel. I love this theme, and this image is the crown jewel of the series.

The glass effect is one of the most difficult textures to paint. What visual elements (streaks of light, distortions, transparency) were key to this piece?

In fact, every single highlight is just as important. It’s an extremely complex texture, and if I don’t paint something the way it should be, it won’t produce the effect I need.

To what extent was the system of refractions and reflections planned in advance, and to what extent did it develop spontaneously during the painting process?

The entire painting was planned out in detail, but while painting, I can only capture the composition and essence of the texture to ensure that the overall effect is preserved. Going into greater detail would have taken too much time, which I simply didn’t have at the moment.

How can you create such sharp, thin streaks of light and subtle transitions using spray paint? Did you use any special caps or techniques?

To be honest, it’s really just a matter of routine. There are roughly 10 different hand-holding techniques in painting, and with the right combination of them, you can create just about anything. This requires a certain amount of experience. Also, for very fine details, I usually use my own stencil caps and sheets of paper to ensure the lines remain nice and sharp even up close. For this painting, due to its size, I only needed to use a minimal amount of stencil cap.

Did you plan the placement of the lights and shadows in advance, either digitally or on paper, or did it take shape on the wall as you were painting?

I plan everything carefully in advance using digital tools. There’s no time to experiment with this kind of thing on the wall. It’s challenging enough to execute this with a spray can. I usually leave 10–20% of the design open; this allows me to enhance the image’s cohesion through spraying, compared to the digital design.

What was the most difficult part of this piece: conveying the sense of transparency, the lighting, or maintaining the proportions?

This is a consistently difficult and complex texture; it’s equally intricate throughout, but the wings were perhaps the hardest part for me to figure out. Fortunately, with time, I got the hang of putting it together.

To what extent did the texture of the wall or the location influence the creation of the glass illusion?

It would look better on a completely flat wall, but as long as there’s no glare, I don’t think it’s distracting at all.

Was “The Glass Angel” more of a technical challenge for you, or did you also want to convey a deeper meaning through your choice of materials?

It was certainly a technical challenge, but as I mentioned at the beginning, the image has a deep symbolic meaning for me. It symbolizes fragility, beauty, and love.

How long did it take to complete the painting "Glass Angel," and where is it located?

The mural took four days to complete due to the complexity of the effect, and it is located on the legal wall in Szemeretelep, in Budapest’s 18th district. I’m confident that it will remain there for a long time to come, and that no one will deface any of my four murals. 😊

Wanda Hutira is one of those artists for whom the city is not merely a backdrop, but an active partner in dialogue. Using murals, illustrations, and experimental visual techniques, she creates images that respond both to their surroundings and to the stories of the people who live in them. Her works are often based on small observations of everyday life and social and psychological issues, while her unique technical experimentation—from "impressionistic" distortions created with a paint roller to typographical references—creates a unique visual language. With more than a hundred murals behind her, Wanda Hutira now not only paints pictures on walls, but also initiates quiet conversations between the city and its people.

Could you give us a brief introduction about yourself?

I’m Wanda, a multidisciplinary artist working mostly with murals, illustration, and various experimental mediums. I’m interested in how images and simple messages can change the way people experience a space, especially in cities where everything moves fast and walls often become just background noise.

I started drawing quite early, which eventually led me to study art in high school and later at the University of Art and Design in Cluj-Napoca. I spent about a decade working in advertising, which is a great place to learn how images persuade people. After a while I just wanted the conversations to happen somewhere other than PowerPoint.

Over the years I moved more and more toward murals and public art. I’ve created over a hundred murals across different cities and countries, often working with communities, organizations, and festivals. Many of my projects touch on themes like resilience, identity, or social issues, and sometimes involve collaborative workshops where people contribute ideas or even paint parts of the work themselves.

Alongside murals, I also work on editorial illustration, experimental projects, and occasionally in film or other collaborative contexts. What connects all of these is the same curiosity about storytelling and about how to open small conversations in public space.

My work is really about that — opening small conversations in public space.

I know my work won’t change the world overnight. At best, it might change a few minds. One. Two. Three. Who knows?

How did your style develop and how would you describe it?

My style developed through experimenting with tools that introduce a bit of unpredictability — scanners, photocopies, paint rollers, risograph printing and digital tools. I’m interested in the small distortions that happen when an image passes through different processes.

One direction that became central to my work is what I call paint roller impressionism. In classical Impressionism, painters explored light and color through visible brushstrokes. In my work, the roller creates a more contemporary version of that idea — distortions of light and color that feel closer to film stills or snapshot photography, slightly blurred, imperfect, caught in motion.

Probably the only art movement inspired equally by Hollósy and construction supply stores.

Typography is another important layer. Many of my letterforms are inspired by editorial design and printed media, especially classic typefaces like Janson Antiqua, often associated with the punchcutter Miklós Kis, who was born not far from my hometown.

Even though many works eventually become large murals, the process itself remains very analogue, which also feels like a distant and natural echo of the Impressionist tradition of Baia Mare, my hometown.

What does your creative process look like?

My creative process usually starts with a brief — sometimes from a client, sometimes from the context of a place. From there it moves into concept development and then the artwork itself. It is a very form-follows-function system.

The context of the wall often dictates the visual solution. Over time I moved away from spray cans and started working mostly with water-based paints and rollers, mainly because they have a much lower carbon footprint.

The painting style is also shaped by the realities of the urban environment. Many buildings are covered in polystyrene insulation and decorative plaster, often finished in pasteloza — an enthusiastic explosion of pastel colors that sometimes looks suspiciously inspired by used makeup removal pads. Cities have their own aesthetic surprises.

The heavier strokes and slightly low-resolution imagery work better with those surfaces and colors, so the aesthetic becomes a practical response to the architecture around it.

Painting murals also means negotiating scale with your body — ladders, rollers, long hours on a wall. The image becomes something you physically move through rather than something you simply draw.

In that sense, the process is less about imposing a style and more about adapting the image to the wall, the story and the city itself.

And sometimes things fail. Some ideas look great on paper and behave very differently once they hit a wall. That’s part of the process too.

Where do you get most of your inspiration from?

Honestly, from everything. Literally everything. Humans are a very reliable source of strange behavior.

I’m very interested in the strange little things we do as humans: the habits, the gestures, the objects we carry around, the way we interact with each other without even noticing. A lot of inspiration comes from simply paying attention to those details.

I like romanticizing everyday life a bit. A random phrase overheard in a conversation, the way someone waits for the bus, a small awkward interaction between strangers, the objects people keep on their desks or in their pockets, a newspaper headline, the quiet routines that make up most of our days.

Those small observations often become the starting point for an idea. Sometimes they turn into images, sometimes into text, sometimes into a mural. It’s less about searching for inspiration and more about noticing what is already there.

What is your favorite topic?

Generally, I try to focus on topics that might create a small shift. Social, ecological, psychological things — the kind of issues most of us actually care about, but often don’t have the time or space to really think about.

Through my work I try to bring those subjects back into attention, even if just for a moment. A mural or an image won’t solve a problem, obviously, but it can act as a small reminder or a gentle push to notice something we usually overlook.

I’m interested in those quiet nudges — the kind that make someone pause for a second and maybe look at something a little differently.

Sometimes that’s already enough.

How do you see the current situation of subculture in Romania?

I think it’s evolving in a really nice way. Over the past few years there’s been a visible growth in independent initiatives, artist-run spaces, festivals, and communities that are building things from the ground up.

What I find interesting is that a lot of it happens outside traditional institutions. People organize events, exhibitions, concerts, and cultural platforms often with very limited resources but a lot of energy and collaboration. There’s also more dialogue between different scenes — visual art, music, street culture, design — which keeps things dynamic.

In the specific context of street art, it’s also very encouraging to see the scene slowly shifting from what used to be a very male-dominated environment toward something much more balanced. More women and non-male artists are visible, active, and shaping the conversation, which makes the whole scene richer and more interesting.

Of course there are still challenges, especially when it comes to funding and long-term infrastructure, but overall the scene feels alive, experimental, and increasingly connected.

What does street art mean to you? Do you see it as a hobby or a source of income?

It’s definitely both. It’s my profession and main source of income, but at the same time it still has the energy of a hobby — something I genuinely enjoy doing.

Some projects are commissioned murals, others sit closer to street art in the traditional sense. I enjoy moving between those worlds.

Street art sits in that strange space where passion and work overlap completely. On one hand, there’s that famous saying: do something you love and you’ll never work a day in your life.

On the other hand, when your passion becomes your job, you also start taking everything very personally. You obsess over details, you overthink projects, sometimes you develop a little anxiety around it.

So it’s a mix. It’s work, deadlines, logistics and responsibility — but it’s also still the thing I would probably be doing anyway, even if it wasn’t my job.

If you weren’t involved in art, what profession would you choose?

Well, recent political developments sometimes make me consider if assassin could be a fair career option. No, I’m joking I wouldn’t do that. I’d probably become a forensic doctor just to cover my tracks.

Joke aside, I think I would still end up doing something hands-on and problem-solving. Maybe running an animal shelter, learning car mechanics, or opening a small print shop. I’ve always been curious about how things work and I enjoy learning practical skills.

Also, having ADHD means my interests tend to expand in unexpected directions. I’m the kind of person who suddenly dives deep into a new field just because it became fascinating overnight.

So honestly, I’m not sure what the alternative career would be — but I’m pretty certain it would still involve making, fixing, or building something.

I’m always surprising myself.

What is the most memorable story that happened to you while creating?

I don’t have a dramatic, life-changing story to confess here, so I’ll stick to a small moment that stayed with me.

It happened during my first year of painting murals. A little girl passed by with her grandmother and she became very fascinated by what I was doing. At some point she told her grandma that she also wanted to paint walls like this when she grows up.

Her grandmother was not impressed. She started explaining to the girl that if she became a house painter she would always look like a man, be covered in paint, and never be able to wear “proper girls’ clothes.”

The little girl thought about it for a second and then said something along the lines of: well, if there are already girls doing it, then you can’t say it’s only for boys anymore.

That small conversation stayed with me because it made me realize how important representation is. And ever since then I sometimes make a point of painting in a skirt or a dress — just to make it clear that those things are really not mutually exclusive.

What has this subculture given you over the years?

Experience. You know the saying: sometimes you win, sometimes you learn. I’ve definitely learned a lot.

Over the years it gave me the chance to travel, meet incredible people, and build friendships with artists and communities I probably would have never encountered otherwise. Being part of this scene changed the way I see cities and public space — you start noticing walls, stories, and possibilities everywhere.

It also taught me resilience. Working in public space means adapting constantly: to the wall, the weather, the context, the people passing by.

Murals also live with time. Unlike studio work, they slowly change with weather, pollution, and the rhythm of the city around them.

And maybe the most special part is the chance to interact directly with people while you’re creating. You’re not hidden in a studio — people stop, ask questions, share opinions, sometimes tell stories from their own lives. That direct dialogue with the street is something quite unique.

What message would you give to those who are just getting acquainted with the genre?

For those who are starting to make street art: keep doing it, especially when it becomes tough. That’s usually the moment when the interesting things start to happen. Sometimes things can be frustrating, but persistence is a big part of the process.

And for people who are just starting to explore and appreciate the genre: support artists in your local community. Artists who are still alive. Buy their work, follow what they do, help them keep going. Dead artists are already doing pretty well historically — the living ones are the ones who actually need the support.

What do you think street art can offer the world and people?

I think street art can first of all offer questions. Sometimes a bit of discomfort — the kind that quietly torments you with thoughts you weren’t expecting. Sometimes reflection, and occasionally a sense of balance.

Because it exists directly in public space, it becomes a very immediate way to communicate with people. You encounter it while going to work, walking the dog, waiting for the bus — it interrupts daily routines just enough to maybe make someone pause for a moment. Sometimes they love it, sometimes they hate it, sometimes they just ask why you’re painting someone’s wall instead of getting a “real job.”

Street art also says a lot about a city and the people living in it. In many ways it reflects the mood, concerns, humor, and tensions of that place. When you look at the walls of a city, you often get a pretty honest glimpse of what that community feels like as a collective.

Who would you thank for helping you stick with your art?

Honestly, my dogs.

They’ve been the backbone of my mental health over the past few years, and they’ve done a very good job at it. When you work in a field that can be quite unstable and emotionally demanding, having that kind of constant, uncomplicated presence helps more than people might realize.

At the same time, they also made me much more aware of how animals are treated in different parts of the world. Once you experience that bond daily, it becomes very difficult to ignore the cruelty or neglect that animals often face.

They remind me every day that empathy is actually very simple — we just tend to complicate it.

Dogs figured that out a long time ago.

So yes — a big part of me continuing to do what I do is thanks to them.

Wanda's official website:

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