Xupet and Camil

—Hello, I'm Montesinos and I paint as Camil. I spent many years painting trains and streets, up to 2007; these days I paint very few trains. In 2010 I made a change: from doing letters to doing drawings. And my greatest influence is Javier Mariscal: I love him, I'm mad about him, and I honestly think it shows in my work. I would describe my style as naïve, simple, colourful and fun, to put it one way. I already have my style and my line settled, and I don't think I'll be moving from there: it is the hardest part and I have already managed it.

—Hello, I'm Elxupetnegre, a graffiti and street art painter. I started in 1987 in Barcelona and since then I have been painting all over Spain and all over the world; it's been more than 25 years and I haven't stopped. What I do is called Logo Art —I gave it that name— and it consists of, instead of signing a tag, always drawing a logo or an icon that is always the same, very repetitive. Although lately I have been changing its shape and colours quite a lot, but keeping it easily recognisable to everyone.

—This mural came out of an exhibition I held a month ago, which I invited Xupet to come and see. He liked it enormously, he came with another guy who paints with him and the project was originally theirs. They asked if I wanted to join in and I said yes, delighted, because I had never had a wall this big: it is my first wall this big, with a crane. It is a very interesting wall because we are two writers from completely different generations: there are twenty years between him and me, and being able to paint this wall with him today, side by side, is like a dream come true.

—With the mural we have done here with Camil we tried to bring the two styles together, and we managed it, because it looks as though the same person had done it. We adapted to each other, and you can clearly see the idea is Barcelona: there is an attack by monsters —part Xupet, part Godzilla, part spray can and part vampire— attacking the city with paint and with power rays.

—In recent years graffiti has turned into street art, urban art, and it is very good that artists are reaching galleries and that their art is recognised. And that comes down to several factors. One is that the people painting in the street are taking great care over their work, they are working very hard. And the other is that it is a very large social and artistic movement which I think is on a par with the Renaissance, in the sense that art has gone from being in museums and being for people with money, to being in the street and being for ordinary people. It is a huge revolution.

—And what I wanted to say is that many people try to stop it being just a fashion, but a competition also builds up over everyone wanting to paint. We should be a bit more together and believe in one another, instead of destroying each other, when we already have enough with the obstacles the council has put in our way so far, or with the laws that were against this art.

Abridged version: direct quotes are kept; repetitions, overlapping speech and passages unrelated to the project are left out.