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‘tooth’, created via a mixture of silica, pumice or glass ‘popcorn’. These materials are mixed with paint or a water-based adhesive. Carpet and dirt are two types that cannot be used.

GH: What aspect of your work causes you the most trouble?

KW: In the beginning, the work had to be ephemeral, meaning it needed to wash away without a trace. The ephemeral aspect of street painting was most important when it was a religious art form. The 3D street paintings do not necessarily need to be ephemeral, as they would make fantastic permanent works of public art. The problem of maintaining a work on a horizontal surface is not an easy one, and only very recently has it become possible to use digital technology to create permanent pieces from the designs.

GH: What materials and tools do you use, and how do these vary from surface to surface?

KW: Traditionally the work has always been done in pastels, many of which I make myself. I prefer the look of pastel on the pavement to other media. I like the fact that once a person has seen the illusion, they can also enjoy the artistry of the execution. The technique does not need to change much with different surfaces, but sometimes I use the colour and texture of the flooring surface to add to the illusion.

GH: How is your art removed?

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KW: If there is any question of damage, I use a canvas material that can be applied with carpet tape, or has its own adhesive qualities.

GH: Where in the world have you shared your art?

KW: I did a huge work for Greenpeace in Belgium that measured 22m in diameter. Last year I did a work for the National Geographic Visitor’s Centre at the Grand Canyon, USA, that was very popular at the site and on the Internet. Most of the

works are big and seen by many people by most standards. My best-attended event was in Kaohsiung, Taiwan. 250,000 people viewed one work entitled ‘The Sea Dragon’ over five days. The work also drove over three million visitors to the client’s web site during the event.

GH: Can you tell me about the effects outside influences such as weather and human traffic have? KW: Pastels on the

pavement are very delicate, and susceptible to all kinds of damage. When the works are interactive and people need to pose on top of them, I switch to the large-scale digital printing for the areas that need to withstand feet and traffic.

GH: Which of your pieces are you the most proud of?

KW: One of my first anamorphic works was the Dies Irae, which established the new art form. Later I did a trilogy of ‘modern hells’ entitled, Gluttony, The Ghetto, and Office Stress. I really like to put rather ominous works in public places because I like the juxtaposition of the superficiality of everyday street scenes with images of great distress.

GH: What about the future of flooring and your art?

KW: A few companies are starting to make permanent flooring materials from the designs, and materials have included vinyl, carpet and tile. I suspect this will become increasingly popular in the future.

GH: If you could create a piece of permanent work on any surface, anywhere in the world, where would it be?

KW: I would choose the Vatican Museums. They have a modern art section that could really use a work!

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