Kamil Escruela was born in Barcelona in 1990. He has developed a distinctive style through which he illustrates everyday scenes, often drawing inspiration from the world of graffiti writers. One of his greatest artistic references is Picasso, although the influence of Javier Mariscal is also clearly visible in his work. Kamil creates highly dynamic, colorful compositions characterized by a free and spontaneous line, reflecting the improvisational nature of his creative process. With what he defines as a contemporary naïve pop style, Kamil has become one of the key voices of the millennial generation within urban art.
What influence did Barcelona’s graffiti scene have on your beginnings in the art world in 2004?
A huge influence. I remember seeing countless murals along Diagonal Avenue, around Glòries, and on the factories in the Llacuna area, all covered with spectacular paintings. I remember people from everywhere—Germany, France, Italy—coming to paint in Barcelona.
I even remember a massive mural created for the Forum of Cultures that brought together a huge number of graffiti artists. At that time, Barcelona was, unfortunately, an incredible city for street art. The city center was covered with stickers and stencils. I remember the street art boom, with artists like Nami, El Pez, Cráneo, and many others. Those are the artists who influenced me the most.
Some people associate your style with Javier Mariscal, but you have developed a very distinctive visual language that also reveals references to Cubism and even abstraction. Who have been your main influences?
Yes, Mariscal is my greatest influence, but Picasso absolutely blows my mind too. For me, he is the god of art—the ultimate artist.
Lately, I have become very interested in figurative surrealism. Hieronymus Bosch fascinates me, and I would love to create surrealist paintings using my own style. I have also been deeply inspired by Matisse recently, especially his cut-out period.
At the same time, I am constantly experimenting with 3D animation and design to create plastic art toys. I also design for clothing and work across many different formats.
How would you say your style has evolved since your beginnings in graffiti?
It has evolved more than a Pokémon.
When I started, my main goal was painting letters and as many trains as possible. I traveled, painted, made many friends, and had unforgettable experiences. But eventually I became tired of painting just three letters.
Then I met my girlfriend, who is an art historian, and I started attending art history classes with her as a listener. That introduced me to countless artists and gradually shifted my style toward figurative work applied to graffiti.
That was when I began painting only drawings instead of letters—a path that very few artists were taking at the time. Edjinn and Ibie were among the first. I was fascinated by the simplicity and effectiveness of their approach and began drawing what I considered an infinitely richer and more complete world than traditional graffiti lettering.
Murals, digital illustration, fanzines, exhibitions… What does working across different formats and creative media bring to your practice?
It allows me to play many different keys and work in different ways for different purposes, whether that is music, illustration for brands, or designing lighters.
The best part is that everything carries my visual language, and the people I work with usually give me a lot of creative freedom. That means my style remains recognizable no matter what medium I am working in, and I find that amazing.
In 2016, you painted a mural addressing energy poverty and criticizing the energy oligopoly. Do you think urban art, because it exists outside traditional institutional circuits, is a more direct channel for giving visibility to social issues?
Absolutely.
Urban art provides public visibility and is perfect for this kind of action. It is like having a giant advertisement denouncing a problem. It is incredibly powerful.
In 2018, you created a participatory mural with students from Pau Vila School in the La Florida neighborhood of L’Hospitalet de Llobregat. Do you think it is important to bring this artistic discipline closer to younger generations? Why?
Yes, it was fantastic.
Children realize that art can actually be a profession, and they are amazed by that. They also contributed ideas to the mural itself. The final result was really great, and the children were thrilled.
It was a top-tier experience. Thanks to Marc and the whole team—absolutely brilliant!
Throughout your career, you have collaborated with many artists. Do you think it is important to work in synergy with others? How does collaboration affect your creative process?
Yes, I think it is fundamental for both personal and artistic growth.
Collaborations open many doors, which is especially important in a field as challenging as art. It is also wonderful when artists you admire and who are already well established help you along the way. Artists like El Pez, Xupet Negre, and Nami have been incredible.
My creative process is quite simple because I generally improvise. I actually enjoy receiving a work that is already halfway done and then finishing it myself.
You are very active on social media, particularly Instagram, where you frequently share humorous illustrations depicting everyday life in the graffiti scene. Do you consider social media a tool for activism?
Yes, absolutely.
For me, social media is both a platform for expression and a work tool that allows me to reach more people. I enjoy that very much.
I try to create one illustration every day to maintain momentum and discipline. Some days it is difficult, of course, but I still enjoy the process.
What impact do you think those illustrations can have on society’s perception of graffiti and urban art?
It depends on who sees them.
Most of my audience comes from graffiti culture and train-writing culture, so they understand the references and connect with them. People outside that world often do not fully understand the humor because you really have to experience that environment to appreciate some of the jokes.
Perhaps in ten or twenty years, these illustrations will acquire a more serious and historical significance because they will have documented Barcelona’s underground graffiti scene during a specific period (2017–2020).
All of the illustrations are based on real photographs sent to me by graffiti writers themselves.
Finally, what is your opinion on the growth of legal walls in Barcelona and the increase in urban art projects at local and international levels in recent years?
I think it is fantastic.
Little by little, these initiatives are helping to create a more artistic graffiti scene, generating jobs, opportunities, and meaningful projects while bringing graffiti closer to the general public as an art form.
Projects focused on neighborhood improvement and community engagement are especially valuable. In the long run, all of this will help graffiti and muralism be recognized as legitimate art in every sense of the word.
