If graffiti was a mathematic problem, Hopare would find a solution quicker than anyone by applying basic principles : a human vision of all things, the geometric sensuality needed to feel comfy with this shit along with a certain perspective of the urban environment which only tangible limits are the contours of the walls he uses as a support to express his emotions. Colors and joined pieces ain’t got secret to Hopare’s eyes, just as the finesse and precision of his lines. Every single thing this dude touches becomes an emotional and symmetrical shockwave, where a peak is reached in terms of symmetry and accuracy. Straight from Paris suburbs, it is in this city that Hopare first gained confidence before spreading his art around the world. Don’t forget his name Jackers, Hopare is doomed to a promising future.
J / What’s up homie ! Straight from Paris right ? Tell us how you started doing your shit there.
H / I started bombing when I was 12, in the region of Paris, in Limous precisely. Until the age of 15, I was painting in this area of the town on all kind of supports, and then I got caught. After that, I kept on painting with my crew LWA, while being a little bit more careful than before. Then, the mayor got in my way, but positively as he offered me to set up an expo and a workshop in Limours. This is the moment I found out about new supports to paint on while gaining another approach to the art.
J / From being a core Graffiti artist, you went to create more things defined as « Street Art », a wide rang of face and portraits for instance, any particular reason why you switched ?
H / Talking Graffiti, I still paint regularly. Basically, I write my name on different city surfaces. Although I am a core graffiti artist, it is true I also paint human faces aiming at conveying an emotion or simply getting reactions by displaying common and less common portraits. At the end, what does « Street Art » really means ? To my eyes, it is more a general term to describe art in its whole.
J / Since you started doing this, do you notice any difference in terms of sensitivity towards your art ?
H / I think so. The portraits and visual elements, which I use, are quite universal. I am not trying to give an intellectual aspect to my art, I do this for the sake of creating reactions, and in my opinion it can happen to anyone.
J / Tons of people think and state street art has lost a lot its authenticity since it was democratized, what would you say ?
H / Times change. A lot of galleries, photographs, collectors and festivals have risen to take this shit over because they saw there’s money to be earned. However, you can still find dudes keeping true graffiti festivals alive, carrying a proper mentality to the movement, just as this festival called « L’Art Au Gants », which to my eyes is a true access to Graffiti. Although I am part of this movement, a lot of people don’t know where to find me anymore, but at the end, what’s the point with all this categorization affair ? I paint on any kind of support, about any themes, in any country, so I just think I am an artist. Fortunately, there are still some guys there to respect the movement. I sometimes compare Graffiti to football hooligans, in the way that shit tons of money are injected to shove the working class out of the stadiums. Then it is easy to take the interest, passion and history away to leave consumption fuck it up.
J / How would you define your own style ?
H / Dynamic, futuristically figuratively abstract.
J / Some of your art can be seen on original supports such as Bentley cars, Harley-Davidson bikes and surfs of course, what do you appreciate in the approach of these new surfaces ?
H / Graffiti has always been a game to me, the best one, so I consider this part of my work as something fun to do, but mostly as a challenge, an exercise. Although I enjoy it, I try to choose supports I will be proud of introducing. A few brands came to me offering stuff, but I don’t have any interest in their products, plus, I would not recognize myself in this kind of business.
J / Is there any particular and innovative support you would like to start painting on ?
H / Everything’s good to be painted you know. I will appreciate painting on a special kind of support if it represents my art and I feel confident about it.
J / Let’s go back three years ago, you said in an interview that your final objective was to travel and show your work in galleries. Have you reached these objectives?
H / We always want more. But yes for 2 years, I traveled a lot and I hope it will continue.
J / What trip holds the greatest memories?
H / Tahiti was one of the most incredible human experience ever, a trip built around meetings and sharing.
J / What’s up with all your crews ?
H / LWA - 470 - TSF, all carrying different styles, movements, but one same sharing, creative mentality.