Said Dokins found a way to capture the essence of towns in their streets, acknowledging their problems and trends. He does it through a visual reinterpretation of words on big murals, through a calligraphy which combines styles from all over the world.
His strokes can be found in such diverse latitudes, as in San Juan Tilcahuaca, Azcapotzálco (Mexico City) or in the neighborhood of Calvairate, in Milano, Italy.
In late 2018, he intervened a storehouse in Stavanger, south of Norway, for which he was inspired in one of the most controversial phenomena nowadays: migration, subject he tackled from the perspective of those who arrive, and also, from those who host them.
The result was a huge mural where it could be read the word “Naerhet” (closeness in Norwegian), a concept that serves as a meeting point between locals and foreigners.
“Generally, the raw material is the context: how people relate to their own surroundings, the impressions that come to me while being in these places… the first hit that pops up of what is there in the city”.
This procedure changes according to the site where he works, but explains to a large extent, the creative process of the artist, where there are no coincidences, and that has a lot to do with one of the most frequent urban expressions: graffiti.
Dokins considers that creativity is “a moment that generates a thread towards knowledge. Is an interrogation, beyond methodology, that has the ability to produce knowledge”.
For this Mexican artist, next stop is the United Arab Emirates, where he’s preparing an interactive installation for the Sharjah Calligraphy Biennial, the most important event of its kind in the planet. Besides that, he’s working in a new conceptual phase of his work.