Sumo is a Luxembourg-based urban artist and creator of the iconic “Crazy Baldhead” character
Please tell us the story of your life journey so we better know who you are
I was born in 1976 in a small town called Rustington, on the south coast of England. My parents were both working in the hotel industry in London at the time, but their passion for traveling across Europe eventually led us to Luxembourg. My father had received a job offer there just before I was born, and soon after my mother and I joined him. I grew up in Luxembourg and attended public school there.
From as early as I can remember, I was always drawing. Art was my first language. I was deeply influenced by pop culture—music, skateboarding, cartoons, TV shows, mascots, packaging, and advertising. These early inspirations naturally led me to switch to an art-focused education at the Lycée des Arts et Métiers, where I studied fine arts.
Around the age of 16, I discovered graffiti—not for the first time, but in a way that finally clicked. It combined everything I loved: typography, color, rebellion, and expression. It quickly became my obsession. However, our teachers made it clear that a career in art wasn’t considered realistic, so I pursued graphic design, which felt like the closest path to my creative passions.
In 1996, I moved to London to study at college, staying until 2000. That period was pivotal—I painted graffiti every chance I got, met fellow artists and writers, and built friendships that still matter to this day. It was also during that time, in 1999, that I created the first Crazy Baldhead. After graduating, I returned to Luxembourg with the intention of relocating to Amsterdam, but I eventually ended up staying.
By day, I worked as a graphic designer. By night and on weekends, I painted graffiti under the pseudonym Sumo—a nickname I received in my first year of high school. People who knew my identity started asking for canvases. I was reluctant at first but agreed to exhibit my work in 2002 at a gallery in Bettembourg. The show was a success, and I decided I would keep painting as long as people were interested. And I never stopped.
I spent six years in the graphic design and advertising world before realizing that wasn’t the life I wanted. I didn’t want to sit behind a screen all day—I wanted to be my own boss. I took evening courses in business and eventually quit my job to launch Extrabold, a concept store on Avenue de la Liberté with two friends. We curated a space that brought together everything I loved but couldn’t find in Luxembourg: streetwear, art and design books, and a gallery for urban art. Many of the artists we featured were old friends from my college days—some of whom had by then become stars in the scene.
After four exciting years, I sold my shares to pursue life as a full-time independent artist.
My big break came in 2013, with a major solo show at Banque Internationale à Luxembourg (BIL). It was a turning point that gave me the confidence and visibility I needed. In 2018, I opened Gallery 1:1 on Rue de Strasbourg, combining a showroom with my studio in the back.
Then COVID hit. Everything stopped—shows were canceled, the gallery was closed, and support was nonexistent. With no income, I had to get creative again. I taught myself e-commerce, launched an online store, and developed merchandise featuring my character, The Crazy Baldhead. Products were printed on demand and shipped directly to customers—allowing me to survive the pandemic and sparking a new direction: turning The Crazy Baldhead into a brand for collaborations and licensing.
That pivot led to partnerships with Luxair, Porsche, Bram, and later many more.
Today, I focus on three main pillars:
- Studio creations and fine art
- Brand collaborations and licensing
- Digital art
What are your core values and beliefs which guide your life and decision-making?
My core values are:
- Integrity – staying true to myself and my artistic vision.
- Authenticity – creating from a place of honesty and emotion.
- Freedom – to choose how I live and create, on my own terms.
These values reflect directly in my work. At its core, what I create is about loving life and celebrating freedom. That energy is what I hope people feel when they see my art or wear my designs.
Quitting my job and walking away from a stable career in graphic design was the most radical and scariest decision I’d made at the time—but also the most liberating. That moment was a turning point. I made a promise to myself: from now on, I would only pursue things that bring me joy, things that feel right in my gut.
I realized then that my integrity is not for sale. If something doesn’t align with my values or feels off, no matter how well-paid or prestigious it is, I won’t do it. That kind of mindset isn’t always easy—especially when you’re just starting out and trying to make ends meet. But those moments taught me to stand my ground, to negotiate with confidence, and to find compromises that respect both my principles and the needs of others. They helped me define my standards.
Today, I’m fortunate to be in a position where I can choose the people and projects I work with. I value genuine collaboration, mutual respect, and creative freedom. My work has to feel meaningful—not just visually, but in its purpose and the people involved.
What was your initial inspiration to pursue a career as an artist?
It all just happened organically.
Funny enough, I never set out to become an artist. My plan was to paint graffiti, stay anonymous, and live that underground life. In school, our teachers basically told us it was impossible to make a living with art—especially with those “weird” drawings I was doing at the time. So I never really saw it as a realistic path.
Things started to shift when I opened the concept store Extrabold. People would come in and ask, “Sumo, when are you going to exhibit your own work?” It felt like 2002 all over again. I hadn’t shown my work for a couple of years because I was so focused on running the shop—but I thought, why not?
The show was another success—and more importantly, it felt right. It felt like I was finally doing what I was born to do. So I made a bold decision: I sold my shares in Extrabold, left my passion project behind, and took the plunge into becoming a full-time artist.
I remember thinking, “If those old Luxembourgish artists can make it in the art world, maybe I can too.”Later I realized most of them had day jobs and painted as a hobby—but luckily, by then, I was already in too deep. And I’ve never looked back.
Did you have a teacher or mentor and what did you learn from him/her?
Oh, how I wish I had a mentor. Someone to lead the way, show me the shortcuts, point out the mistakes before I made them. But I didn’t. Especially during my graffiti years, I had to figure it all out on my own—or better said, with my peers. I learned a lot through traveling and painting with others. We all taught each other along the way.
That said, in the graffiti scene, you had to develop your own style to be respected. Copying—or “biting”—someone’s style was a big no-go. So even when we learned from one another, it was always about adapting and evolving, not imitating.
Later, when I shifted to becoming an independent artist, I still didn’t have a traditional mentor. But I became a student in my own way. I researched iconic artists, studied their biographies, listened to interviews, and followed their careers. Podcasts, travel, specialized books, and eventually even online courses became my teachers.
In a way, my mentors have been scattered all over the world—some I’ve met, most I haven’t—but they’ve all helped shape the artist I’ve become.
What was your first success?
It was getting the recognition of my idol.
When I was 16, just getting into graffiti, I discovered a fanzine from London. Every photo in it blew my mind. The pieces were on another level. It felt completely out of reach. I had no one to show me how it worked, there was no graffiti scene in Luxembourg, and I genuinely believed that no one would ever see or care about my work. But I was hooked.
Some of the more well-known artists even had multiple pieces featured in that same issue. I looked up to them as untouchable legends.
Over the years, I had many small wins—painting in new cities, connecting with other writers, getting recognition here and there. But one of the moments that truly felt like a success was when one of those artists I had admired from that magazine—someone I used to study and try to learn from—mentioned me in an interview years later, saying that he loved my work.
That artist probably doesn’t know how much impact it had on me. That kind of recognition, from someone who once felt lightyears ahead of me, meant the world.
Tell us about a failure you have had and what you learned from it.
I once watched an entire painting dissolve right in front of me.
It wasn’t the first time I’d failed—and definitely not the last. The paint reacted badly with the background layer, turning into a strange, unworkable mess. I’ve had colors go transparent when I needed them opaque, smudges appear out of nowhere, and even tears show up in what I thought were pristine canvases.
But what I’ve learned over time is that failure is not just part of the process—it is the process. Once I started reverse-engineering those mishaps—figuring out how to recreate the “mistakes” on demand—they became part of my style arsenal. Smudges, chemical reactions, unexpected textures: all of it turned into tools I could use intentionally, not accidents to avoid.
That same mindset has shaped everything I do—from launching a merchandising line during the pandemic, to creating Sumo Chocolate, to opening a gallery and collaborating with brands. There have been stumbles at every step, but I’ve learned to treat them as lessons, not setbacks.
To me, failure is just another form of experimentation. And I truly believe there’s no success without it.
How has your artistic style evolved over time?
Figuring out how to paint has been a crazy journey.
When I first started using spray cans to paint on walls, it felt like rocket science. The challenges were endless—from finding spray cans to discovering which colors worked well together, and then learning which brands reacted poorly when layered. One of my first breakthroughs was priming a wall with white paint—it felt like discovering fire. Then came adding color to that base and using rollers or brushes to paint shapes behind my pieces, moving away from the simple rectangle shape I was used to.
These trials and errors have shaped my journey from my humble beginnings to where I am today. I still experiment with different mediums, seeing what comes out of the process.
One significant shift came when I started experimenting with stickers. Back in the day, we would tag on stickers to quickly apply our marks when it wasn’t ideal to bomb city walls. But all the stickers looked the same, so standing out was a challenge. I decided to make them look different—by coloring them in. I remember one graffiti writer asking me, “Why waste your time making them look nice if they’re just going to be removed anyway?” That moment made me double down. I created massive stickers with intricate Sumo letters and characters, and that’s when they really started to stand out.
From there, I began drawing on envelopes and sending them around the world to other writers who wanted to swap artwork. Eventually, this evolved into painting small canvases, which led to bigger canvases. The style of those early works was much simpler than what I do now, but it laid the groundwork for everything that followed.
Over time, I had plenty of “failures”—paintings that got damaged, or didn’t turn out how I expected. One day, I decided to paint over a damaged piece, and two things happened: it turned out to be one of the most beautiful paintings I had ever made, and I discovered the power of transparent paint. The layers underneath added incredible depth to my work. I realized it was easier to paint over discarded pieces than on a pristine new canvas.
From there, I started to create canvases that resembled walls that had been painted over multiple times. That’s when my approach shifted from imitating graffiti to translating an idea into my paintings. It wasn’t about graffiti anymore; it was about capturing the passage of time. Time and space became recurring themes—something that has fascinated me since my school days.
After my exhibition at BIL in 2013, I refined this idea. I wanted to create a single masterpiece, where every painting I created afterward was a puzzle piece of a larger concept. This concept links all my paintings together in a sort of video installation, where each piece zooms into another, revealing a hidden detail within the larger whole. This endless zoom has become the unifying concept of my work.
Today, I’m also exploring wood pieces and installations made from layers of wood, but my next goal is to bring this concept into the digital realm. I want to create an endless journey through my “Sumoverse,” allowing my art to be experienced in a new way, not just seen.
What messages do you send through your art?
Although the concept behind my work is time and space, the message I aim to translate through my art is a celebration of life and freedom. I’ve always wanted my paintings to make people feel good. After all, I’m surrounded by my art every day, and I know how much bright colors, positive messages, and humor can impact your well-being.
I believe that being positive is just as contagious as negativity, which is why I choose to focus on the brighter side of life. My hope is that my work has a positive impact on my surroundings, helping to shift energy in a more uplifting direction. Even if it’s just about making one person’s day a little nicer, I see that as a step toward changing the world for the better.
Are you happy with your art and success or in what way are you inspired to further climb the mountain?
I’m happy and incredibly grateful for the journey I’ve had so far. But at the same time, I still feel like I’m in the starting blocks. There’s so much more I want to achieve—projects to finish, new ideas to explore, and creative boundaries to push.
I have set goals that might be just out of reach, but I enjoy hitting the milestones along the way. It’s not just about the destination, it’s about the process and the growth that comes with it.
There’s a quote by Norman Vincent Peale that sums it up perfectly: “Shoot for the moon. Even if you miss, you’ll land among the stars.”
Tell us about your partnering with the raincoat project we recently visited at the Popup store.
Elena from NoRainer approached me with the idea of collaborating on a series of raincoats featuring my artwork as an all-over print. I immediately loved the concept. The idea of literally wearing one of my canvases—especially on grey, rainy days—made me smile. It ties perfectly into my mission of bringing color, joy, and a bit of fun into everyday life. A raincoat to turn that frown upside down.
What advice would you give to a younger version of yourself if you could?
- Decide what you want from life. Aim high, and stay focused on that goal.
- Be kind to yourself—don’t feel sorry for yourself.
- Knowledge is king. Stay curious and keep learning.
- Have fun. If it’s not fun, make it fun—or get someone else to do it for you.
- Surround yourself with great people. Avoid negative ones at all costs.
- When you’re facing a big life decision, ask yourself: What’s the worst that can happen? Most of the time, the worst-case scenario really isn’t that bad.
- Don’t worry about what others think.
- You can do it!
What are the three most important things you have learned during your life and career
- Always Keep Learning
School gives you a broad foundation and a taste of the world, while college dives deeper into the specialized skills needed for your chosen path. But life itself teaches you lessons in ways that formal education never could—often slowly and sometimes painfully. I’ve found that reading books and taking courses has been indispensable, especially since I didn’t have a mentor to guide me early on. Whether it’s learning about marketing, sales, money management, strategy, or even overcoming personal fears, continuous education has helped shape me into the independent artist I am today. With a hectic schedule, I often turn to non-fiction audiobooks that I can listen to while painting, feeding my mind and broadening my perspective.
- The Law of Attraction
This might sound esoteric, but it’s a simple yet powerful idea in my life. When I put my mind to something and can clearly envision it, I’ve found that I’m more likely to notice opportunities and take the steps needed to make it real. Focusing on what you truly want not only sharpens your awareness, but it also attracts the necessary people, ideas, and experiences to help you reach your goals. In short, your dreams start to materialize when you’re consistently aligned with them.
- Trust in Yourself and Tune Out the Naysayers
If I had listened to every bit of doubt or all the “wise” advice telling me not to follow my art, I’d probably be doing something entirely different today. Learning to trust my instincts—and to know when to ignore negative influences—has been a crucial part of my journey. Believing in myself allowed me to take creative risks, pivot when needed, and ultimately stay true to my passion for art.
Please share with our readers any further information you would like them to have
Thank you for your interest in my art. I hope my journey inspires you to live life like it’s the weekend!
For a deeper dive into my work, the easiest way to find all the details—including social media links—is to visit sumoartwork.com. There, you can also subscribe to my newsletter for exclusive news, updates, and invitations to my shows. And if you’d like to bring a piece of the Sumoverse into your home, you can explore my collection and purchase artwork by visiting the Art Shop on the website or reaching out directly at info@sumo.lu.