Graffiti artist Dennis Bato provides valuable insights into the distinctions between graffiti, street art, and vandalism while shedding light on the true purpose of art as a means of expression. Despite the unique and personal nature of every artwork, societal norms and fabricated rules often limit artistic freedom and hinder recognition for talented artists. Graffiti and street artists, in particular, face disapproval and legal repercussions for their work. Bato believes that it is time for these art forms to be acknowledged and appreciated for their legitimacy.
Bato, who was born in 1989, draws inspiration for his graffiti art from his personal experiences and observations of human behavior. He holds a Bachelor’s degree in Architecture from the Far Eastern University and is currently pursuing a Master’s degree in Fine Arts at the University of the Philippines, Diliman. Bato is based in Baraks, an artist-run space that hosts various artistic events and exhibitions.
What sets Bato’s art apart is his ability to push the boundaries of material exploration without being constrained by aesthetic norms and principles. As a graffiti and street artist, as well as an architect, he seamlessly integrates different artistic disciplines into his work. Silhouettes and shadows play a significant role in Bato’s art, symbolizing one’s alter-ego and secondary identity outside of everyday life.
In an exclusive interview with Lifestyle.INQ, Bato discusses his artistic journey and challenges preconceived notions about graffiti and street art. Initially denied the opportunity to study Fine Arts due to his parents’ belief that it lacked financial prospects, Bato pursued Architecture instead. However, he soon realized the stark differences between the two disciplines. Feeling stifled, he turned to graffiti and street art for the freedom it offered, allowing him to create without being bound by standards and regulations.
Vandalism acted as Bato’s gateway into the art world, as he joined nightly missions and eventually connected with other artists. This led to group exhibitions and, ultimately, his first major show under Vinyl on Vinyl, catapulting him into a full-time career in art. Bato admits that the decision to pursue art full-time was not easy, as his career was initially focused on architecture. However, he found true satisfaction and happiness in creating art, despite the risks involved in pursuing a field he had not formally studied.
Bato distinguishes between his gallery work, which explores meanings and contexts, and his street art, which continues to be an integral part of his practice. Despite the different mediums and approaches, both are rooted in his interest in space, its relationship with society, and how individuals exist within these spaces. His foundation in architecture also informs his craft, as he views the process of taking over and transforming a space as an integral aspect of graffiti and street art. Bato has also ventured into installations and sculptures, driven by his interest in materials and construction methods.
One of the major distinctions Bato makes is between graffiti artists and vandals. He believes that graffiti artists and street artists, when respectful of the space and previous artwork, contribute to the art ecosystem. In contrast, vandals engage in mindless destruction and defacement. Bato dispels the notion that graffiti and street art are synonymous with vandalism, urging a reconsideration of the stereotypes associated with these art forms.
Dennis Bato’s work challenges traditional notions of art and brings attention to the creativity and talent found in graffiti and street art. Through his unique perspective and skillful execution, he adds depth and legitimacy to these art forms, deserving of recognition and respect.
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