Text by Irina Rusinovich
Nikita Nomerz transforms urban decay into vibrant, living canvases. Known for his unique approach to street art, this Russian artist breathes life into abandoned structures by turning them into expressive faces and characters, often using windows and cracks to form eyes and mouths. Nomerz’s journey, which began in Nizhny Novgorod, has taken him around the world, where his work interacts with the environment in ways that blend art, architecture, and storytelling. His internationally recognized Living Walls project is a testament to his ability to fuse street art with the history and spirit of the spaces he occupies.
In this interview, Nomerz talks about his creative process, his philosophy on bringing forgotten spaces back to life, and how street art serves as a dynamic conversation between artist, architecture, and the public.
Street Artist Nikita Nomerz
Your journey into street art began in 2005. What initially drew you to this medium, and how has your approach evolved over the years?
Like many street artists, I began my journey through classic graffiti. During my school years, I became fascinated with hip-hop culture, and its visual aspect—painted walls—captivated me. I loved to draw and was intrigued by the idea that large urban surfaces could serve as canvases. Initially, I created sketches in graffiti aesthetics in sketchbooks, and then, starting in 2005, I began experimenting on walls. At first, I often worked with a collective, creating collaborative graffiti productions that mixed graffiti letters and characters. I was usually responsible for the characters. Later, I transitioned into street art and started working on personal projects.
You emphasize the importance of site-specificity in your work. Can you share the process you go through when choosing a location for your pieces? How do you ensure that your art is connected to its environment?
When working with urban art, I don’t see myself as a city invader; rather, I aim to fill urban voids. I strive to choose locations for my work harmoniously, often utilizing abandoned and neglected sites. Some of my projects are completed legally within the framework of public art festivals, but I always strive to work with the context of the place. I believe it’s important to consider the history and architectural features of the wall when developing an idea. Sometimes the place itself can inspire and suggest an image, while other times, I have an idea and spend a long time searching for the perfect location. Occasionally, ideas are stored for years until that magical moment when the right wall is found.
In addition to street art, you create assemblages, easel paintings, and graphic works. How do these different practices influence each other, and what themes or concepts are you exploring through them?
Urban space remains an important platform for artistic expression for me. However, I also actively work in my studio, where I can present canvas works, wooden panels, and graphic art at various exhibitions. The studio offers an additional opportunity for street artists. My studio practices are closely connected with what I do in the urban environment, as it is where my style, techniques, and artistic language were formed.
copyright Nikita Nomerz
You founded the MESTO international street art festival in Nizhny Novgorod. What inspired you to create this platform, and what goals do you hope to achieve through the festival?
For me, the Mesto Festival is a significant and integral part of my project activities. I hope it’s not only important for me but also for my hometown and the culture as a whole. The main goal of our project is to rethink the urban spaces of Nizhny Novgorod and showcase the full diversity of urban art. We invite artists with various styles, techniques, and concepts. It’s incredibly rewarding to feel a sense of belonging to the works created at the festival—each piece represents a lived experience. Over the past seven years, more than 250 street art pieces have been created within the festival, with around 150 artists participating. The project encompasses many practices of street art—graffiti, street art, neomuralism, urban interventions, street performances, micro street art, and more. Many of the works are characterized by the “site-specific” category—artistic practices inspired by a particular location, its architecture, and functionality. When preparing sketches, artists study the historical context and make references to it in their work. The festival has also organized exhibitions, documentary screenings, tours, workshops, and lectures by notable representatives of street art and graffiti.
Your documentary films, such as “Pasha 183” and “Out in the Open: Street Art from Russia,” illustrate the relationship between art and society. What motivated you to explore street art through film, and what messages do you hope to convey?
Street art often disappears quickly: it can be painted over, demolished along with buildings, damaged, or altered. This fleeting nature is a striking aspect of contemporary culture, and I believe it’s important to document these layers of history. This led to the idea of the documentary film Out in the Open about graffiti and street art in Russia. The film features interviews with prominent street artists, the process of creating works, and exhibition and festival practices. Over 60 artists participated in the project, reflecting the full diversity of styles, techniques, and directions in street art.
copyright Nikita Nomerz
Your research on the local street art scene culminated in the publication of the “Encyclopedia: Urban Art of Nizhny Novgorod (1980–2020).” What prompted you to document this history, and why is it important for future generations?
Urban art is a crucial part of modern cities. By studying it, we can better understand how cities are structured and what people think and talk about. Nizhny Novgorod deserves exploration; today, it is one of the main centers of urban art in Russia. The city boasts many talented artists, and festivals and exhibitions are held regularly. Nizhny Novgorod has a rich history of street art that is fascinating to showcase. My deep love for my hometown makes this project especially significant for me.
Having participated in street art festivals around the world, how do you think different cultural contexts influence your work and the reception of street art as a whole?
Each city and country is unique in its history and culture. Sometimes it’s interesting to observe cultural contrasts, while other times you find common ground. I believe it’s important to study and consider this when creating public art projects at international festivals.
In your opinion, what role does street art play in social and political discourse today, especially in your home country of Russia? How do you see this evolving in the future?
Street art has always been one of the most independent and free forms of art. Street artists can convey their messages without galleries, museums, or other institutions. You create art on the streets without censorship or curators, in front of hundreds and thousands of people. The entire city becomes a gallery. I think this is where the main strength of street art lies. Despite all the risks and dangers that inevitably accompany artists, street art retains its authenticity and relevance.
