Ememem has developed a unique approach to urban repair called "flacking," a term they coined themselves. According to Ememem, the artist's function is to exist to create things that are useless yet indispensable at the same time, and their mosaics perhaps embody this view of his role.

Who is Ememem?

The decision to remain anonymous inevitably sparks curiosity. When I asked them why choosing this path, the artist described how approaching to street art began with nocturnal experiments. "When I created the first flacking, there wasn't yet a name for this technique, and I had no idea where it would lead me. I naturally chose to explore this new creative avenue at night, allowing me to experiment without fear of interference from authorities. I found myself in the world of pure street art, like graffiti, where you need a "tag," to be invisible, untouchable..."

By staying out of the spotlight, the artist resists the cult of personality that often accompanies contemporary art. Ememem believes that this anonymity shifts focus from individual fame to the collective act of reclaiming public space. Ememem explains how anonymity adds a dreamlike dimension that creates curiosity about the work itself, highlighting that their mosaics, placed in the city’s cracks and potholes, invite the public to reflect and wonder.

What is Flacking?

“The world was so recent that many things lacked names, and in order to indicate them, it was necessary to point.” Ememem is the very one to create and name the technique of Flacking, which arose from a spontaneous desire to repair urban voids. Their first mosaic, created in 2012, laid the groundwork for a practice that combines a personal need with a desire to heal the wounds of the city.

Starting from experimentation and instinctual acts, the artist began filling cracks or potholes in urban spaces with mosaic tiles, injecting splashes of color into the city’s greyness. With this act, Ememem aims not only for aesthetic repair but also to carry forward a kind of caring gesture. The mosaics are "pieces of color that shape a concept." Each of their works is a form of repair, not just of the city's physical landscape but also of the connection between people and their environment. "I fill the voids for a determined period, and thank goodness. They are not definitive solutions but temporary, fragile gestures that reflect the transient and interpretative nature of life itself".

This fragility, combined with beauty, is what makes their art profoundly human. To Ememem, every filled crack is a small intervention that transforms a banal urban defect into a moment of reflection. They view art as a tool to intervene where others fail. The potholes and cracks they work on are “problems” everyone notices every day but chooses to ignore. The artist’s message is that even the smallest issues deserve attention; hence, they “solve those problems” and transforms them into artworks full of meaning.

Elitist Art or People’s Art?

Street art occupies a complex space in the cultural landscape. Some see it as a form of democratic art, while others argue it is becoming increasingly elitist. On this topic, the artist does not hold back: “The "world of street art" is so vast. I'm not saying that's bad, and its popular dimension is wonderful for its accessibility and its contribution to making artistic practice available to all. But not all street art works carry deep questions, technical or conceptual complexity, that spark which reveals the concept of art. Access to art through street art seems to me to be a question or a desire that can be considered elitist”.

However, their own art, born in the streets and hidden in plain sight, speaks to anyone who might come across it in their daily journey. The artist's work, though conceptually rich, remains rooted in the streets and accessible to everyone, and it may even become a tool to bring people closer to art.

Art, Tradition, and Technology

Flacking connects both the technological and human worlds. While the mosaics represent a manual and traditional art, their diffusion is amplified by modern technology. "My works also live thanks to the internet, social media, the ability of people to photograph them, geolocate them, and share the emotions that these small urban healings evoke" they said, noting how the interventions are photographed, shared, and experienced in a digital space. This duality mirrors their broader artistic philosophy: that art can exist at the intersection between modern and traditional, technological and manual, always maintaining a personal and human touch. There is no clear-cut separation between technological and human; technology amplifies the potential of art, allowing everyone to enjoy it.

Art or Vandalism?

Like many street artists, Ememem's work often walks the fine line between art and vandalism. Although some see their interventions as illegal, cities like Lyon have begun commissioning works, recognizing the value they add to urban spaces. "I see my art as an act of care, not destruction" insisted the artist. "When I intervene on a crack or a pothole, I'm not damaging but rather repairing. It's a way to restore beauty and dignity to a neglected place".

This shift in perception marks an evolution in how unconventional art is recognized by the public and authorities. While the debate over what constitutes vandalism versus art continues, the artist confidently claims that his work represents a “poetic resistance” and an invitation to the public to reflect on what it means to care for the city.

Beyond the Cracks

Flacking is not just a technique or an aesthetic gesture but an act of care, a symbolic repair of what is broken or neglected. Each mosaic is a silent message, an invitation to stop, observe, and reflect. What stands out most is the tension between the manual gesture and the digital spread of their works. In an era where technology has transformed even the way we experience art, Ememem reminds us that the heart of art remains deeply human. It is a direct, physical intervention in the places we inhabit daily, bringing a sense of urgency: a call to care for our space, not to ignore the cracks underfoot.

But flacking doesn’t just fill the city’s voids; it transforms defect into beauty, showing how even imperfection can become art. As the artist stated, the interventions are fragile, temporary, destined to change and disappear. This brings us back to the very essence of urban life: nothing is permanent, everything is in constant flux, and perhaps this is precisely why it deserves to be seen and experienced with greater attention.

In the end, what remains is not just the mosaic’s bright color, but the poetic act of resistance it represents. In a world that often ignores small problems to focus on big projects, this artist reminds us that even a crack can be significant, even a simple gesture can have a profound impact.

Through flacking, the anonymous artist invites us to slow down, to see the world in a different light, to find beauty where we least expect it.