Marat ‘Morik’ Danilyan is an artist from Russia who was born in 1982 in Novosibirsk. From a young age, Marat showed a great interest in drawing, developing his artistic skills in a children’s art school. Although he obtained degrees in philology and economics from Novosibirsk State University, his true passion has always been art. In 1998, with the advent of the Internet, Marat discovered hip-hop culture and became fascinated with graffiti. This led him to master spray paint techniques and experiment with letter formation.
Morik has a unique ability to balance gestural and geometric forms in his work. With a strong foundation in graffiti, his recent work explores abstract and figurative elements. Experimentation is evident in every wall or painting he creates, constantly pushing the boundaries of his art. Morik exemplifies the evolution of a graffiti artist who finds new sources of inspiration and themes. Using his established skills and background in graffiti, he has created a contemporary aesthetic that combines realism, cubism, and expressionism.
Marat Danilyan has exhibited his art in prestigious street art galleries and has left his mark on murals around the world. His work not only beautifies spaces but also invites viewers to explore new dimensions of urban art.
Mural: Alfarería de Faro
The ceramics of Faro are the most important and ancient of the traditional Asturian pottery. Faro
is a small village near the city of Oviedo, which was one of its main markets, although its
distribution covers the entire northwestern region of the peninsula. Faro is also one of the
ceramics most studied by historians and archaeologists. The earliest documents mentioning it
date back to the 11th century, and its production has been constant up to the present day. Its
characteristic and oldest production is made from black clay, while the use of red clay and white
glaze with decoration became widespread from the 16th century. The 17th century marks the
peak of Faro ceramics, with 72 workshops recorded in a small village specialized in pottery
production, which never abandoned its dual agricultural and livestock orientation. The
emergence of earthenware factories marked the beginning of a slow decline, although Faro
ceramics maintained its production until the 20th century, being the main dishware of the
popular classes and competing with industrial productions thanks to the quality of the clays and
the craftsmanship of the potters who continued to make pieces with wood-fired kilns and the
traditional potter’s wheel for nearly 1,000 years. Lito and his son Selito kept the Fornaxe
workshop running, with their workshop being the last active one and Selito the last great potter
fighting to keep the tradition alive by passing on his knowledge to a new generation so that Faro
ceramics continue to thrive.
( Orlando Morán, Archaeologist and potter. )
Inspired by his visit to Selito’s workshop, the last great potter of Faro, Marat has captured the essence of a tradition that has shaped Asturias’s history and culture. Faro pottery, born from the region’s soil, has symbolized resilience, creativity, and the struggle to preserve local identity.
The mural is a call to protect cultural heritage at risk of disappearing. Marat Morik’s work captures the warmth of the wood-fired kiln, the hands that shape the clay, and the wisdom passed down through generations.
We are deeply grateful to Selito and Milita for sharing their home and wisdom, and to everyone who made this connection between urban art and pottery tradition possible. Special thanks to the Xunta for the Defense of Faro’s Traditional Pottery, Xosé Ambás, and Orlando Morán.
This mural is a window into the past, a reflection of Asturian identity, and a bridge to the future. May Faro pottery remain alive in collective memory and continue to inspire future generations.
Instagram: https://www.instagram.com/maratdanilyan/
Mural: Madreña
Marat Morik pays tribute to the tradition of the madreña (traditional wooden clogs), an ancient craft threatened by extinction due to the lack of generational renewal. In his mural, he captures the essence of this art, blending abstraction and figuration to depict the traditional tools used in their making.
The work is based on a historical photograph from 1927 by German ethnographer Fritz Krüger, who documented the landscapes and traditions of northern Spain. Krüger was a pioneer in linking language with the material culture of rural areas. This mural not only honors the tradition of the madreña but also connects us to an essential part of our cultural history.
Marat expressed his deep satisfaction with the result, highlighting how special this experience has been. Painting two large-scale murals so close to each other was a unique opportunity, allowing him to relish the technical and architectural challenge of working on these surfaces.
