AVIAIR: René, you started with graffiti and now master a wide variety of techniques. What initially drew you to spray painting?
RENÉ TURREK: I grew up in the hip-hop scene, and graffiti was our way of expressing creativity. We created some amazing sketches, but mastering the spray can was a whole new challenge that captivated me. Plus, I was into skateboarding and snowboarding – this entire scene was a huge part of my life.
You’ve mentioned that despite your range of techniques, you still enjoy working with spray cans. Why is that?
It’s simply fun! The spray can offers a freedom and speed that other techniques can’t match. Even though I use brushes a lot these days, the spray can remains a crucial part of my artistic process. I spent years as a commissioned artist, traveling from city to city to paint. But eventually, I realized I needed more creative freedom and wanted to evolve further.
You have an impressive range of artistic techniques. How do you decide which medium or format best suits a particular project?
It often depends on the project and the challenge it presents. With a canvas, you have a limited, flat surface. On the other hand, working on a car means dealing with edges, curves, and different levels, which requires a completely different approach. I love the variety, the different challenges each medium brings. It would be boring to always work on canvases.
You’ve also worked on some iconic buildings, like the Empire State Building. What was the biggest challenge there?
The Empire State Building was a massive challenge, especially because of my fear of heights. It’s pretty terrifying to work on a structure that size, especially one that sways. But projects like this excite me because they push me beyond my limits. It’s not just the physical challenge but also the mental one that drives me.
You’re known for your work on luxurious automobiles, turning them into your canvas. What’s the difference compared to working on a canvas?
The difference lies in the object’s form. A canvas is flat and limited, but a car has edges, curves, and levels that you need to consider. This requires a different technique and a lot of planning. But that’s exactly what makes it so exciting. It’s a challenge that fascinates me every time.
You emphasized how important creative freedom is to you. How do you handle it when a commission restricts your creativity?
Creative freedom is essential for me. I spent many years doing commissioned art where clients dictated exactly what they wanted. After a while, that just didn’t feel right anymore. Now, I only take on projects where I have a lot of creative freedom. When I can be creative, the best work emerges. One example is a luxury motorhome I designed – the client only provided the color scheme and let me handle the rest. The result was fantastic, and the client even said that next time, I should have complete creative control from the start.
You’re someone who oft en decides what to create only when you’re in front of the wall. How does such a piece come to life?
When I’m standing in front of a wall, I sit down, listen to some music, and let my mind wander. I don’t plan in advance; I let the moment and the surroundings inspire me. Then I pick up the spray can and start sketching something out. Sometimes it turns into a Marvel image, sometimes it’s something completely unexpected – it depends on what’s on my mind at that moment.
How important is it to you to exchange ideas with other artists?
The exchange is nice and sometimes inspiring, but what really matters to me is my son’s opinion. He sees things from a completely diff erent perspective, and his insights oft en help me gain new perspectives. That’s more valuable to me than the opinions of art critics.
You’ve also commented on the increasing commercialization in the art world. What’s your take on that?
I’m critical of the media because I’ve oft en experienced my statements being twisted in interviews. Art should be honest and not distorted by commercial interests. It’s important that we artists stay authentic and don’t sacrifice our values to commercial pressure.
Sustainability is a big topic in both art and fashion. What’s your stance on it?
Sustainability is important to me, and I try to incorporate it into my work. That means reusing materials and trying to minimize my ecological footprint. But it’s also about creating works that endure – art that doesn’t just exist for the moment but has a lasting impact.
Where do you see the future of your art? Is there a city or location where you’d love to exhibit?
New York is definitely a dream. It’s the art capital, and exhibiting there would be a highlight. But I’d also like to have a major exhibition in Germany where I can give people the chance to experience art up close. It’s about making art accessible and creating a connection with people.
René, thank you for the conversation. It was inspiring to get a glimpse into your world.
5 QUICK QUESTIONS
Beer or Wine?
Recently, wine.
Miami or…
Miami!
Oil paint or Spray can?
Spray can.
Grilling or Cooking?
Definitely grilling.
Superman or Batman?
Batman.
