Etienne Cristoffanini Ros @cristoffanini-ros - Tumblr Blog

ABANDONED PLACES. 2025–26. Germany. A series of paintings created in various abandoned sites across Germany.

Hidden Eyes & Feline Sketch. Cold War Bunker.

Portrait on Plastic. Abandoned Chemical Lab.

Gazing Upward. Former GDR Hospital.

At the Window. Historic Thread Factory.

The Cavern. Ancient Railway Tracks.

INFRARREALISMO. 2023/2025/2027 Catalonia, Barcelona, Spain.

"This project began during an artistic residency at B-Murals in Barcelona, where I conducted a visual survey across the region as an aesthetic research process to understand 'what the Catalan streets were talking about.' Using this material, I created a mural within the studio at the Nau Bostik facilities, along with a series of small-scale interventions in public spaces to refine and outline the project's subsequent stages.

Once this phase was completed, the intersection of themes such as migration, the environment, feminism, recycling, and the independence movement led me to the figure and literary aesthetic of the writer Roberto Bolaño. With this focus established, I applied for a competition in El Raval, Barcelona—an area where Bolaño lived and developed part of his work. My proposal aimed to finalize the second stage of the project, which was carried out in November 2025.

Currently, I am coordinating with the public library in the city of Blanes, Catalonia, to create a mural depicting a scene from one of his books. A few years ago, this library was named after the writer; the city served as his refuge during his final years and is the place where his ashes were scattered following his death in 2003.

LA FAUNA. 2017–2025. Chile, Brazil, Portugal. A series of animal portraits representing the local wildlife of the areas where the murals were installed.

Andean Condor, Cartagena, Chile. 2020.

Pelican, Valparaíso, Chile. 2028.

Ñandú, Darwin’s Rhea (Patagonian Ostrich), Valparaíso, Chile. 2017.

Mallard Ducks, Central Coast (Litoral Central), Chile. 2020.

Magellanic Horned Owl (Tucuquere), Cartagena, Chile. 2017.

Black-tufted Marmoset (Mico-estrela), Rio de Janeiro, Brazil. 2018.

Loggerhead Sea Turtle (Tartaruga-cabeçuda), Florianópolis, Brazil. 2018.

Iberian Lynx, Porto, Portugal. 2023.

Southern Right Whale, Santiago, Chile. 2021.

Black-fronted Piping Guan (Jacutinga), Florianópolis, Brazil. 2028.

South American Gray Fox (Chilla), Atacama Desert, Chile. 2025.

Maned Wolf (Lobo-guará), São Paulo, Brazil. 2021.

Cuca Heron, Central Coast (Litoral Central), Chile. 2023.

STUDIES OF LAUGHTER. 2021/2022 Brazil, Portugal, España. A series of portraits centered on the human expression of happiness. I have developed this series in Rio de Janeiro, Porto, Barcelona, and Valencia.

ARTIVISMO. Chile, Argentina, Brazil, Germany. A series of portraits created in different cities to denounce the murders and forced disappearances of environmental and social activists in South America.

Victor Jara, Mil Guitarras para Víctor Jara Festival. Rosario, Argentina. 2018.

Julia Chuñil, Live painting session at Teufelsberg. Berlin, Germany. 2025.

Marielle Franco, Lapa. Rio de Janeiro, Brazil. 2019.

Camilo Catrillanca, Graffiti contra Enchente Festival. Taboão da Serra, São Paulo, Brazil. 2018.

Alejandro Castro, Barrio Puerto. Valparaíso, Chile. 2019.

LA RESISTENCIA. 2019, Valparaíso, Chile. Amidst real estate speculation and gentrification in the city of Valparaíso, neighbors have organized to reclaim spaces left behind by the destruction of their homes—whether caused by intentional fires or the authorities' neglect of heritage protection and housing rights. In this mural, I painted a portrait of "Tía María," the former owner of the large heritage house that once stood on this specific site. Today, the space serves as a playground, garden, and platform for self-managed artistic performances. The site remains "in resistance," with the hope of raising funds to rehabilitate the home for the family who lived there. Valparaíso is a Chilean city that holds the title of UNESCO World Heritage Site.

ENTROPIA III. 2021, São Paulo, Brazil. In this final stage, I worked on an urban wall marked by pixação—tags synonymous with Brazilian street identity. I used adhesive tape to mask the existing spray-painted lines, then painted the silhouette of an ocelot over them. Upon removing the tape, the final composition revealed a dialogue between two distinct layers of time. This intervention marks the conclusion of the independent ENTROPIA series.

ENTROPIA II. 2019, Valparaíso, Chile. Located in a high-traffic urban area, this mural was documented over five months as clandestine interventions organically shaped the final composition. Without a formal open call, the project relied on the spontaneous contributions of the public to complete the work. This stage represents the inverse of ENTROPIA I. The mural was eventually removed by the local municipality.

ENTROPIA I. 2018. Valparaíso, Chile. A series of pictorial interventions in architectural spaces and pre-existing graphic expressions.

LA PROVINCIA II 2015. Cartagena, Chile. Light intervention in a heritage house and a former cinema. In this stage, the buildings—which had been boarded up for decades—were opened to the community.