César Malfi, a street artist from Nice, returns to Shopping Promenade this week. From July 7 to 11, he will create a new monumental work inspired by the myth of Galatea. The artist reflects on this work, his inspirations, and his creative process for Nice Premium.
After the success of “Hera and Hermes” in 2024, here we go again. César Malfi returns to the Shopping Promenade shopping center with a new mural inspired by the myth of Galatea. On this occasion, he reinterprets the nymph as a protector of the Riviera in a friendly setting. An interview with a street artist who juggles between the Renaissance, modernity, and above all, generosity.
How did the desire to mix the past and present in urban art come about for you?
“I had a revelation after an accident that could have been fatal, a graffiti accident while painting a train at Nice Ville station. I electrocuted myself by touching the electric catenaries. It took me several months of recovery and psychological trauma, which I managed to overcome since then. But it was during this recovery period that I turned to classical art and trained in its execution, lying in bed and creating classical art pieces with a pencil. As soon as I could walk again, I wanted to fight against the trauma, so I picked up a spray can again and went back to the street. But I wanted to change the subject and paint the works I learned to reproduce during this period. From 2020, I started creating these works on the streets, and gradually, I wanted to expand my knowledge. Enrich my works, too, concerning the place where they were located. So, to conduct more in-depth research on the myths and artworks I could bring back to life in our society. And that is what led to the style I have today.”
And why street art initially?
Street art naturally imposed itself because I loved the public space, being in contact with others. In adolescence, we often seek recognition and visibility, and at that time, it was a way for me to paint right under everyone’s noses and demonstrate that I existed. It was a real way for me to be in contact with others.
Throughout your journey, which artists have inspired you the most?
If I don’t mention the Renaissance artists, I would really be a thief (laughs). I would say Leonardo da Vinci, Michelangelo, Caravaggio, without a doubt. Then, more locally, because the Azorean culture is very rich, I think of Matisse, Fernand Léger, Cocteau, Bernar Venet, Ben Vautier. All these artists have inspired me.
You are presenting a work this week at Shopping Promenade, inspired by the myth of Galatea. Why this choice, this representation?
I researched several different influences, and when I stumbled upon this myth, I thought that with the wall on a blue azure background, there was this idea of bringing the sea into the middle of the shopping center to refresh the space, enliven it. I find that the myth of this nymph illustrates the management of instant passion. An instant passion one can have in a store when having a crush, when seeing a work of art, or when meeting a pretty young woman or man. It’s that powerful moment, that instant, that seizes us. It made sense to explore that sensation.
How does this thought process develop in your mind?
I think in a funnel shape. I always start from afar. I ask myself where I am going to create this work, what I can make it say, what the sensation is in the place, on the spot. What do I feel, and what do I want to convey? That’s how I told myself that the sensation of immediacy and a crush is very strong in a shopping center. I thought of Galatea, I did research to see if her story matched what I imagined. Then once all that was done, I moved on to the graphic phase where I start constructing the piece.
Speaking of constructing the work, how long will it take you for such a piece?
A big week, I’d say, all included. There are two days of workshops, of models, then four days on site.
And why have you chosen this shopping center for the second time?
I have a particular attachment to this center, and this idea of it being reborn aligns with my artistic concept of rebirth. There is this transition from a shopping center that aimed for elitism to something more convivial. It is also something I identify with; it corresponds to the humanism I advocate in my works. The locality is something I liked too. We remain by the sea, on the shores of the Mediterranean, which has undergone this Greco-Roman influence, so it made sense.
Is it important for you to stay connected to your origins by exhibiting in Nice and its surroundings?
It is a real pleasure for me, yes. I enjoy it; I will never lose these roots. There are other places that bring me other sensations, but being at home, it’s also this sentimental attachment with which I grew up and all the artistic education I could receive here.
If you had to describe this work representing the myth of Galatea in one word?
I think I would say vibrant, surprising. One of the two.
And you?
That’s always a super complicated question (laughs). Let’s say Generous!
Do you have any other works planned for the coming months?
There is a lot happening in this second part of the year. I will install my first monumental sculpture around Paris for a very large, well-known foundation, but I can’t say more because we are still in production. Then, I have a big exhibition in Fontainebleau in September. In November, I have a major exhibition in Paris as well. And in December, I’ll return to Nice for an exhibition close to my regular collectors and to kick off the holiday season.
Finally, is there a gallery or city in the world where you would like to exhibit your work?
I’ll give you an impossible place, so it feeds the dream. A place like St. Peter’s Basilica in Rome, that would be one of the most beautiful life goals, even though it will never happen. I’m throwing a line, in case the Vatican is reading.
