Noise Propaganda is the wearable extension of a poetics that refuses silence. His work is born from a physical, visceral need to create. To be an artist—not merely to make art.

My way of creating lies in seeing the potential for art in everything. This goes far beyond making; it is a state of being, a biological imperative. There are no forbidden techniques or mediums, and no possibilities of reusing elements that are ever discarded.

My Multiple Languages—which include photography, video art, stencil, collage, graffiti, and tagging—are the tools of this impulse. Photography, my first visual practice, takes on unexpected and surprising textures, exploring ambiguities between the tensions of chaos and moments of lyricism.

The result engages, among other aspects, with complex dualities:
The lyricism of love and the appropriation/destruction of elements.
The protagonism of uncommon individuals, such as homeless people, and the theme of female emancipation.

My poetics—restless, provocative, and at times sarcastic—seeks to spark reflections and dialogues with the same disarming sincerity that I carry within me.

Dialogue with Art History

My trajectory is entirely authorial, yet in constant dialogue with art history:

The Philosophy of Being: My journey aligns with the concept of performer Marina Abramović regarding the difference between making art and being an artist.

Stencil and Impact: The urgency and graphic force of my urban art communicate directly with the aesthetics of Jean-Michel Basquiat and the power of Obey Giant.

The Forbidden Medium: My use of reused and unconventional materials echoes the experimentation of artists such as Kurt Schwitters (Merz) and Robert Rauschenberg.

Trajectory and Validation: The Artist’s Archive

Since 2020, the profusion of my production has attracted the interest of galleries, curators, and collectors. This entire trajectory is the hardware that fuels Noise Propaganda.

Institutional and Global: Exhibitions in galleries in São Paulo (WG Galeria, Galeria Recorte), participation in the Re:Karya International Video Festival (Indonesia), and features in publications such as Plastikcomb Magazine (USA).

Cultural Authority: Production of documentaries (“Make Noise,” “Walls”) funded by Lei Paulo Gustavo, and leading stencil and analog collage workshops at Sesc Consolação and other cultural centers.

Noise Propaganda: The Wearable Gesture

Noise Propaganda is the faithful translation of this manifesto. It is where the visual artist takes full control of both product and communication:

I created the logo, conceived the Urban Pigeon as a symbol of resistance, and chose the Futura typeface as the voice of the brand.

I decide the colors, the prints, and direct all the photography and video art content you consume.

You don’t receive a package—you receive the Gesture. The A5 print (a fragment of the work) and the custom Propaganda Box are my final signature.

You don’t buy a product. You collect a Gesture by Danilo Cunha—a manifesto to wear.