Perrine Honoré is a French illustrator and graphic designer. She studied Fashion Design in Sweden, Graphic Design in Paris, and Design and Communication in Barcelona. Her work is characterized by a fresh, colorful, and festive aesthetic, often accompanied by an underlying critical perspective.
Although she works across a variety of disciplines, illustration is the medium in which she feels most comfortable, as it provides complete freedom to express her ideas and emotions. Her inspiration comes from contemporary artists and designers, art history, and everyday life. Perrine is also highly versatile in terms of formats, having worked on small- and large-scale murals, fanzines, jewelry, and other creative supports.
You studied Fashion Design and Graphic Design before working as an illustrator. What motivated you to begin working in the field of urban art?
I had always wanted to paint on a large scale. It is a unique experience to engage your entire body in the creative process and feel physically immersed in the artwork.
In fact, I first became familiar with mural painting through indoor projects, and little by little I began taking on more and more interventions in public space.
You currently live in Barcelona, but you have also lived in France and Sweden. How has living in different countries and cultural contexts influenced your artistic style?
Visually, it is difficult for me to identify specific influences, but what is certain is that traveling, living within different cultures, and meeting very different people broadens your perspective and stimulates curiosity.
In my case, these experiences helped me understand myself better and gave me the confidence and resources to take risks both personally and professionally.
Your works often feature a variety of characters and vibrant color compositions. What are your main artistic references and sources of inspiration?
My inspirations are a combination of scenes from everyday life and artistic references.
I am deeply inspired by the Memphis movement, as well as by artists such as Modigliani, Matisse, and Picasso. I am also fascinated by Art Brut, Aboriginal art, so-called primitive art, and Egyptian art, among many other traditions.
At the same time, I try to continually nourish my imagination by visiting exhibitions and following contemporary artists and craftspeople whose work I admire.
You have worked in illustration, small- and large-scale murals, sculptures, and even jewelry. What does working across different formats bring to you professionally and personally? Is there a medium you would still like to explore?
I really enjoy exploring different media because each one presents a new challenge.
Working across formats allows me to discover new ways of expressing my ideas, which I find incredibly stimulating.
There are still many formats I would like to experiment with, and recently I have been thinking seriously about beginning to work with ceramics.
What is the process of translating an illustration onto a medium- or large-scale wall?
I usually begin with a small sketch in a notebook.
Once I am satisfied with the composition, I transfer it into Photoshop and experiment with different color palettes.
Then comes the moment of moving the design onto the wall. I generally draw directly with spray paint without using stencils.
I always leave room for improvisation because my style is quite loose and organic, and I enjoy allowing the mural to evolve during the painting process.
When you paint in public space, do dialogues emerge with local residents? Do you consider this direct contact an added value in your experience as an artist?
Absolutely.
Interaction with people is probably the aspect I value most about working as a muralist, whether the project is participatory or not.
Urban art creates strong social connections and has a very generous quality because residents not only witness the process but are also left with the finished artwork in their streets and neighborhoods.
Although women artists are becoming increasingly visible, true gender parity still does not exist. Do you think there is still a stigma surrounding women artists in urban art? What has been your personal experience?
I am very happy to see more and more women artists gaining visibility, but I believe there is still a long way to go before their work is valued equally to that of men.
For example, it is still common to see the most ambitious projects—such as the largest building façades—being assigned predominantly to male artists.
More and more brands are investing in urban art projects. In 2019, you created a mural in Salamanca for Mixta. Why do you think there is a growing trend toward incorporating urban art into public and commercial spaces?
I genuinely believe that urban art is an extremely powerful communication tool.
It is accessible, close to people, and human in a way that many other forms of communication are not.
