Punk is Not is a series that explores the evolution of the punk movement across its key cities and iconic dates. It aims to capture the essence of punk in London, New York, Berlin, and São Paulo, highlighting the unique characteristics and historical moments that defined punk in each of these metropolises. Utilizing digital collage, typography and image editing techniques to create dynamic compositions, this series adopts a visually dense approach, juxtaposing historical and cultural elements to craft a rich and evocative narrative. It tries to connect the viewer to the energy and rebellion of punk as embodies the impersonality of digital art and the DIY concept. The overall aesthetic is cohesive, with colors and symbols reinforcing punk's enduring and relevant spirit, regardless of time or place.

 

London, 1976: Punk is Not a Cry Me. London is the birthplace of punk, where it all began. The British capital in the 70s was a melting pot of creativity and rebellion, reflected in fashion, music, and art. I capture the vibrant and chaotic atmosphere of the London scene, with its iconic cultural and visual references, such as Big Ben and The London Gazette, permeating the art and connecting the past to the present.

 

New York, 1978: Punk is Not the Ad. In the 70s, New York was the stage for the emergence of American punk, with CBGB being the epicenter of this movement. The city that never sleeps provided fertile ground for bands like The Ramones, Blondie and The New York Dolls, which took punk to new heights. Here, I emphasized the raw energy and defiant attitude of that era, with visual elements evoking the intensity and grittiness of New York's streets.

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Berlin, 1982: Punk is Not for Sale. With its underground scene in the 80s, Berlin became a convergence point for artists and musicians seeking to escape conventional norms. The city divided by the Wall became a symbol of resistance and experimentation. In my representation, Berlin's punk aesthetic is intensified by visual contrasts and symbolism that reflect the tension and hope of an era marked by political and social changes.

 

São Paulo, 1982: Punk is Not Conformity. In the 80s, São Paulo brought punk to Brazil, with local bands adapting the sound and attitude to the Brazilian context. The cosmopolitan and chaotic city became a stage for expressing the frustrations and dreams of São Paulo's youth. I celebrate the vitality and rebellion of São Paulo punk, highlighting the influence of the urban landscape and the inexhaustible energy of Brazil's largest metropolis.

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Hey, ho, let's go!

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​Roger Monteiro