Olaola's Wall Graffiti

I have returned to Paris, the City of Light remains as enchanting as ever; springtime Paris is still so flamboyant. The art capital of Paris has so many major and minor exhibitions that it dazzles the eyes. The air of Paris is still so different; Paris is still Paris with its unique scent and scenery. Whether returning to Paris or returning to Taiwan, I feel deeply fortunate—home and homeland, family and those far away who care for me are all indispensable enzymes of life, profound affection and love.

On this fine, sunny May day, Paris, I have returned. The next evening, I accompanied my wife for a walk, strolling from our home towards the Grand Moulin—the emerging university district (which is not yet marked on the current newest maps of Paris). Along the way, we observed the urban transformations of this newly developed area in recent times: the completion of new buildings, the naming of new streets, and the ongoing construction of the new zone.

When passing through the area covered by railway tracks, specifically on the walls and new surfaces at the fringe near the architecture school, I saw several unconventional, self-mocking, and highly sexually charged graffiti pieces—truly images by Olaola. The self-liberation of men, sexual impulse as a primal driving force of life, and humanity's most original vitality. Is sexual love a matter of two sexes? Or is it bisexual, unisexual, or something else? Under what circumstances and in what contexts does one engage in self-mockery and self-satisfaction? As one image proclaims: "As long as I still can, there is still hope." Or "Only a madman doesn't deceive." Indeed, when people feel lonely and helpless, self-mockery is the best remedy for relieving both body and mind. Thus, Olaola is also a reflection of contemporary society, existing right beside us, not so marginal after all. Through these vivid graffiti pieces, I share with everyone and probe into questions of the self.