The Temporary Impact of Reverse Graffiti

A highway tunnel, years of soot buildup, and a damp cloth. For visual artist Alexandre Orion, those three things were enough to produce powerful artwork, and make a powerful statement. 

For over two weeks back in 2006, the reverse graffiti artist scrubbed selectively away at a São Paulo tunnel's walls to reveal his imagery of hundreds of skulls, diligently working despite the Brazilian police force's effort to stop him. Then again, the artist did have an advantage over other graffiti makers: he wasn't painting city property, he was cleaning it. 

Orion's encounters with local law enforcement were frequent and frightening, but never damning. Even after training guns on his face and shouting, the police could do nothing to stop the art from forming. After all, Orion's methods and media were both environmentally and legally sound. 

He continued the project, called Ossario (ossuary), every night, resisting the harsh interference of the police. But why spend hours and hours creating something that could (and later, would) be so easily washed away? What statement did the artist feel so strongly needed to be made? The artist's explanation is heavier than the soot he cleaned away:

"The skulls belong all to us. I wanted to bring a catacomb from the near future to the present, to show people that the tragedy of pollution is happening right now. I try to remind people of things they are trying to forget."

Unfortunately, Orion's haunting artwork didn't last long. On July 26, 2006, workers came early in the morning to clean the tunnel completely, leaving no trace of the skulls. However, the project gained the attention of the government and the people, even if for a short time, and brought light to an issue that was relevant eight years ago and is still relevant today.