PichiAvo: “Writing on walls is something innate to people; it’s a very basic form of expression that existed long before paper.“

2020 Metropolink Festival Heidelberg ©PichiAvo

PichiAvo: “Writing on walls is something innate to people; it’s a very basic form of expression that existed long before paper.“

Writing and drawing on exterior walls is as old as human civilisation itself. Even in the ruins of Pompeii, one can see that personal messages and spontaneous inscriptions coexisted quite naturally alongside classical architecture. The Spanish artist duo PichiAvo, who have been working together since 2007, use this living connection as the foundation for their art. They bring the gods of ancient sculpture back from the museums onto the streets and combine them with the dynamic energy of modern street art.

At the heart of this report is their latest major project, ‘An Offering to Athens’, which was completed on 24 April 2026 at 28–30 Pallados Street in Athens. For over two years, the artists planned this monumental mural independently and financed it entirely out of their own pockets to give the city a lasting gift. The work centres on the patron goddess Athena. The visual interpretation draws on the founding myth of the olive tree, which has stood as a symbol of peace and prosperity for millennia. For the duo, this work in Greece marked the fulfilment of a long-cherished dream, as ancient mythology is the deepest source of inspiration throughout their entire career.

As well as leaving their mark in Athens and Spain, the duo have also created lasting works in Germany – including authorised murals in Berlin, Wuppertal and at Heidelberg Central Station. A new major project in Kassel is already in the pipeline for after the summer. The following conversation documents the artists’ thoughts on the deliberate transience of street art, the stories behind their facades and the enduring value of genuine, handcrafted work in an increasingly digital world.

9 June 2026

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Name: PichiAvo

2021 Nalata Sao Paulo PichiAvo Cabrauu Henrique Cabral

“Writing on walls is something innate to people; it’s a very basic form of expression that existed long before paper.“

In a previous conversation, you mentioned that graﬃti and classical architecture already coexisted in Pompeii. Now, when you create a mural in Athens – the cradle of classical civilisation – do you see yourself as continuing an ancient tradition of “wall writing”, or rather as a modern counterpoint?

Writing on walls is something innate to people; it’s a very basic form of expression that existed long before paper. When we visited Pompeii, what struck us was that, despite being such a symbolic and heritage site of classical Roman civilisation, many of its walls were covered with spontaneous, personal messages—people writing their names or leaving phrases, very similar to what we now understand as graffiti. We found this approach to graffiti in the classical world really interesting, and closely connected to our work. What we do is take contemporary graffiti and incorporate it into our own visual language.

“We are fully aware of the importance of preserving heritage, and many of our studio works deal with that idea, for example, the restitution of artworks by museums or their absence, as in the case of the Parthenon Marbles in Athens.“

In Athens in particular, there is great concern for the historic built environment. How do you convey to critics that your large-scale murals are not a form of damage, but rather a ‘reactivation’ of the ancient heritage? Do you believe that your beautiful images on the walls of Athens help people to regain respect for the buildings and stop daubing everything indiscriminately?

Our murals are created legally, in spaces designated for that purpose, with all the necessary permits and procedures in place. They are professional projects that involve many people, so they can’t really be confused with illegal street tagging. We don’t believe our work can be interpreted as illegal graffiti or that it encourages others to do it. On the contrary, our murals pay tribute to classical art and help bring it closer to an audience that may feel more connected to graffiti. We are fully aware of the importance of preserving heritage, and many of our studio works deal with that idea, for example, the restitution of artworks by museums or their absence, as in the case of the Parthenon Marbles in Athens. We hope our work is seen as a way of supporting classical art, never as an attack on heritage.

©PICHIAVO CREMA

©PICHIAVO CREMA

“Our murals are also ephemeral! In fact, that’s something we like and accept as part of working in the street.“

In Valencia, the end brought about by fire was built into the work from the outset. Do you now appreciate the permanence in Athens more, or do you miss the ritual element of disappearance?

Our murals are also ephemeral! In fact, that’s something we like and accept as part of working in the street. Of course, they’re not as short-lived as the installation we created for the Fallas in Valencia, but we know that sooner or later they will disappear, that’s just how street art works. Pigments don’t last when exposed to the elements, and walls are painted over again and again. This constant process of repainting is actually something that inspires our work. We’ve sometimes been asked what it would mean to restore our murals in the future, and we’re not sure that would even be necessary.

You often describe your work as layers, much like city walls that are repeatedly painted over. If, in 50 years’ time, someone paints over your mural in Athens – how will you feel about that?

As we mentioned before, we fully understand the ephemeral nature of street art and we know that spaces are alive, they change and evolve. If our mural lasted 50 years, we definitely wouldn’t complain! It will probably be covered much sooner. Sometimes buildings are simply constructed in front of it, or demolished altogether (as happened to us in Bristol). All of these possibilities exist, and we’re prepared for them.

“From the very beginning, we’ve understood graffiti as part of art in a broader sense. We’ve always defended its place in museums, even though we’ve sometimes encountered people or institutions who don’t see it that way.“

You’ve been working together since 2007. Was there perhaps a moment in the Valencia graﬃti scene when you realised that the high culture of museums and the ‘subculture’ of the street actually speak the same language?

From the very beginning, we’ve understood graffiti as part of art in a broader sense. We’ve always defended its place in museums, even though we’ve sometimes encountered people or institutions who don’t see it that way. For us, what really matters in an artwork is the message, the concept, and the quality of its execution, not whether it is associated with graffiti culture or not. Art in museums should be evaluated on those terms, in a more objective way, rather than being judged subjectively due to the negative perceptions that still surround graffiti.

Our studio work, which is made for collectors, also includes elements of graffiti, even when we’re painting in oil. We believe graffiti can stand at the same level as fine art and has a strong place in contemporary art, we’ve been working towards that for years.

Berlin is regarded as the Mecca of graﬃti in Germany. How do you rate the German street art scene compared to what you’ve experienced? Do you have any plans to bring your art to a German façade soon?

Germany has been, and still is, a major reference point in the graffiti world, especially during the 1990s and 2000s. Some of the most important artists and crews come from there. We’ve been influenced by artists ranging from Case Maclaim to 1UP, their quality and creativity have been a key reference for us. We’re planning to return to Germany in the coming months, and if everything goes well, we’ll be painting a mural in Kassel (the city of Hercules) after the summer. We travel to Germany every year and already have murals in Berlin, Wuppertal and Heidelberg, including one inside the DB train station.

Art in the age of AI is hard to imagine: what is your view on the fact that AI can generate perfect images? Does this make the physical act of spraying on a real wall an even more important human message?

AI is a new tool and, when used properly, it can be very helpful for artists. We do think that, in a way, it makes the human message even more important, handmade work will gain more value and be seen as higher quality. Manual skills are already considered something special today, and this tendency will likely become even stronger with the rise of AI and other digital technologies.

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