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A few years ago, I wanted
to get closer to children.

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Not just through my paintings
in toys or books,

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but being there, face to face,

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giving workshops, painting
with them, seeing them create.

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In addition to this, and for some time,
I wanted to be helpful,

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but I didn't know how.

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If I should support a NGO
or should work on my own project.

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One night,

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I was waiting for a bus
that wasn't arriving,

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and suddenly, not thinking
about anything in particular,

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I had a vision of a bright ad

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that read:

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"Travel around the world
giving free art workshops for children."

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It was crazy.

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I didn't know where to start
organizing something like that,

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I didn't have the money, 
I had nothing.

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But I thought it was
the best plan in the world.

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By the time I got on the bus,
I already knew that I'd do it.

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I had faith and worked
very hard in this project.

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I decided that I'd design it myself.

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To imagine and to organize it,

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I thought about what I would have liked
to attend when I was a kid.

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This way I thought about
every workshop, every detail.

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I'd start from the north of Argentina,

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and I'd continue through
Latin America, Africa,

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Asia, and Europe.

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Giving workshops in schools,
children's hospitals, orphanages,

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libraries, markets,

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and on the streets.

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In the jungle, in the mountains.

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In big cities and in very tiny
and remote villages.

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Places that were not even
included in travel guides

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or travel agencies.

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I feel that we underestimate...

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that we underestimate children

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in their abilities
to feel, think, and say.

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We think they are some kind
of container that we have to fill up

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with things and information.

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Obviously, they are in their early
stage of development,

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but they also have things to say.

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I feel that generally, they aren't granted
this space where we should listen to them.

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This is my main goal:

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give children a space
to express themselves

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so that later, children from other places,

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get to know these other children.

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From what I have seen, wherever they are,

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they watch the same movies,

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the same cartoons,

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play the same games,

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but what do they know about each other?

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What does a child in Argentina
knows about a child in Ecuador?

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Or a child from France
about a child from Kenya?

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The truth is, nothing.

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Before we start painting in the workshops,

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we always show them videos of children

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from previous countries we've visited.

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For example, in an afternoon, in Tokyo,

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tons of Japanese kids were able
to learn a bit more about Argentina,

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Peru, Mexico.

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From this same desire
to get them connected,

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we created another part of the project,

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the gift chain.

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We create a video where a child
introduce him or herself,

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and tell us something about their lives.

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About their families,
the place where they live.

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They tell us about their favorite toy,
their favorite food,

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and they tell us about a dream.

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Then I ask them to pick something

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from their own things to give
to a boy or a girl in the next country.

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And they also paint something

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for that child in the next country.

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The chain started in Argentina,

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continued in 15 more countries,

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and there's still a lot ahead.

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This way, through the eyes
of other children,

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they learn about new realities.

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It's not the same William's life,
who has 9 siblings,

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compared to Tzo Luo's who is,
like most Chinese, the only child.

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It's very different for Christopher's,

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who lives surrounded by rabbits and cows,

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compared to Simone's,
who is growing up in a mega city.

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Life is very different for Mikija,

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who after school can go
and play with his friends,

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compared to Mario's,
who has to go to work.

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I always develop emotional attachment,
and it's hard to leave each place.

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But I think I have accomplished my mission

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if I can at least leave a mark,
a small footprint.

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Look.

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(Video) 1st child: 
What I feel when I paint

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is that I'm an artist.

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2nd child: It's when someone
frees their ideas.

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3rd child: This way
I can release my feelings.

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All my feeling I express them
through my painings

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and this way I feel better.

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4th child: You are in a world
where you can do whatever you want.

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5th child: My paintings express
my happiness and everything that I'd want.

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My paintings are my imagination.

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Japanese: When I paint,
I feel like I enter a new world,

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where everything that I'm painting lives,

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and I have a lot of fun in that world.

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6th child: When I drew
the superhero, I felt brave.

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I felt...

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that I was in the company
of other people.

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7th child: We can paint on a tree trunk,

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on stones, on sticks,

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on wood, on the sidewalk,

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anywhere.

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7th child: (Japanese) Sometimes, there are
things that I don't know how to express.

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so I paint them.

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8th child: When I paint, it's a dream.

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(Applause)

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I feel that it's a pity

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that in schools, generally,
art is considered secondary,

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something less important,

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just for recreational purposes,

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and not something educational.

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I wished that at school
they'd dance more,

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sing more and paint more.

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In all the places we visit,

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I suggested to the kids to invent
a superhero, something local.

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I encourage them to think
about what they wish for,

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and moreover, about
the needs of their communities.

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In the north of Colombia

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there was a terrible drought,

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it had not rained in months,

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they had lost their crops,

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and they really needed water.

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But a boy draw the solution:

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he created a superhero
who could shoot lightnings

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to the sky,

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and make it rain.

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Later, in Ecuador,

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we went to the Amazon,

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we were in the jungle,
with a indigenous community.

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It was incredible to see them paint
for the first time in their lives.

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You can't imagine their reaction
when they discovered

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that by mixing blue and yellow

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they could get the green of their trees.

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A daily occurrence for some people

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could be something totally new for others.

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Then we arrived in Guatemala,

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and we painted with children
working in the main market.

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Children who don't go to school

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because they have to work there
helping out their parents.

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Those fruits and vegetables
that were part of their daily duties,

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at least during that afternoon,

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turned out into characters and animals.

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It's about giving a new meaning,

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and that's what I try to do all the time.

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In Mexico, during the Day of the Dead

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when all the community gather 
to be with their departed loved ones,

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we went to the cemetery

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and found a lot of children
wandering around.

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We created a group with a few,

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and I asked their opinions

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and what life and death were for them.

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Then, we took out our crayons
and sheets of paper and started to paint.

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They did one drawing related to life,
and one related to death.

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And everything was good,
the way how they flow,

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the things that the children said,

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that made me think how much
we continue to underestimate them.

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How there are still topics that are taboo

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at school and even at home.

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I think it'd be great
to be able to talk to them

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about sexuality,

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gender violence,

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-- which was quite present
in all the places we went to --

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or even death.

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What we're doing through silence

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is raising children

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who will keep on repeating the same model.

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I'd like to share with you
some of the things I learned.

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From the beginning of this project

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a lot of people have offered to help me.

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In every country,
and in every little town we'd go

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they open up the doors of their house,

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they invite us to eat, to stay,
they give us materials.

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Actually, they make me feel
I'm home even when I'm so far away;

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I'm a little bit at home.

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But most of the time
I hear people saying the opposite.

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But I don't think the world
is that horrible and unsafe place

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where nobody cares about the other.

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I also learned that trust is
the most important thing

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that a child needs to be able to create.

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It's all about giving them trust.

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So that they can enjoy what they do

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instead of doing it like a test
and then getting stuck.

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And this is the case
of any artistic activity.

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Even for me, for you,

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who think that you are no able

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to paint, to write, to sing, to dance.

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The children taught me

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that when they can find
joy in only walking the walk,

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without much judgment or
comparing themselves to their neighbors,

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they are much happier.

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We know children who have a hard time.

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Who suffered from abuse, violence,

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abandonment, extreme poverty.

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Children who cannot go to school

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because they have to work.

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But even so, in our workshops,
when they paint their dreams,

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I find out that they want to be
singers, architects, teachers, doctors,

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like any other child.

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It's very easy to tag and stigmatize.

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But no child is born evil,

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no child is violent per se.

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All they need is an opportunity.

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In the jungle, in Peru,

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we also went to the Amazon,
with the Awajun community,

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and I remember
the school principal telling me,

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"Don't expect great things

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because these children know
handicraft but they never paint."

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Well, they painted the most amazing
paintings in all my trip.

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It was incredible the power of observation
these children of the jungle had,

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and how they were able to draw
their surroundings, just as they are.

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Every detail, every bird, and every tree.

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I had a similar experience in a school

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where there were blind children
suffering from the Down syndrome

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and brain damage.

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One of the things
we create in the workshops

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are self-portraits.

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I never thought about
underestimating them.

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We did what we always do.

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And if someone has any doubts
about their ability to express themselves,

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look at these amazing
drawings they created.

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Just as I feel that I can teach
these children,

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I also learn from them.

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I also learn from them.

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Not long ago, in Thailand,
I was walking on the street,

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met with some children,
and we started to paint.

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I met a little girl
I got a special connection with,

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and for a little,
we were inseparable.

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I looked at her painting
and I saw two people.

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I asked her who they were
and she pointed at herself and at me.

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At me, a guy she had never seen before,
someone that she has just met,

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and possibly would never see again.

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It's incredible how children
can open up so much.

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And so it's our responsibility as adults.

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Just one word can open them up a lot

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or close them up a lot.

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If we tell them that the sun
has to be yellow,

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that grass has to be green,

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that their characters
need to be leaning

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or otherwise, it'll look
as they are flying;

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instead of helping them to be creative,

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we are curbing their imagination.

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In Asia, even with the help
of an interpreter,

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we can't chat like in Latin America.

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So we use games,

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songs, videos and, of course, paintings.

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I think it's key, when you're
in front of a group of children,

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to be able to reinvent yourself,

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to be creative, to absorb
what's happening.

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Not all the children are the same,
not even among siblings.

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It's the adult who should adapt

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instead of having a formula

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and expect always the same result.

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More than a year ago,

259
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I said goodbye to my dog, Tai,

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and left home.

261
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I have already traveled
all Latin America and most of Asia,

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in fact, I just flew here from India today

263
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and the day after tomorrow
I'll be going back.

264
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And there's still a lot ahead.

265
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Soon, we will meet with children
from the Gaza Strip, in Palestine.

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With refugee children, African children.

267
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ONU and UNICEF invite us
to give workshops,

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something that I'd have never imagined.

269
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After these two years,

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I'd have painted with more
than 10,000 children from 40 countries,

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And there's still a lot ahead.

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But we'll be back,

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and we'll do the same here,
in Argentina, from Ushuaia to La Quiaca,

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from coast to coast.

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We are going to create moving exhibitions
with these children's paintings.

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And a book, full of children's pictures,
stories and of course, paintings.

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We are making a movie,

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a documentary, so that we can share this
with many more people.

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All of this is called "Small Big Worlds"

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and what started as the trip of my life

281
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turned out to be the project of my life.

282
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But it started as a dream.

283
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And talking about dreams,
I want you to meet Elizabeth.

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(video) Elizabeth:
When I was small, very small,

285
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I wanted to be a singer,

286
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a sanitation worker, work with my dad;

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but my dad used to say no,
that the job wasn't for me.

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My father is an engineer.

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He used to say no,
that I wouldn't know how to do it.

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But I kept on telling him,
again and again...

291
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My advice to all the children in the world

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is that they should follow their dream.

293
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Don't let anyone get in your way.

294
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If your parents don't support you,

295
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you should fight for your dreams!

296
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What I want now is to be a gynecologist.

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To help all women have children.

298
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But sometimes, I feel
that that's not my dream,

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that I have another one.

300
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I don't know what it is.

301
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So I have to go searching for it,

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let it come to me or I'll go to it.

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Together: Small Big Worlds!

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Argentina!

305
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Bolivia!

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Peru!

307
00:16:16,353 --> 00:16:17,790
Ecuador!

308
00:16:17,791 --> 00:16:19,205
Colombia!

309
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Guatemala!

310
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Mexico!

311
00:16:23,874 --> 00:16:25,539
Cuba!

312
00:16:25,540 --> 00:16:27,299
Japan!

313
00:16:27,300 --> 00:16:29,694
China!

314
00:16:29,695 --> 00:16:32,653
Vietnam!

315
00:16:32,654 --> 00:16:35,412
Laos!

316
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Thailand!

317
00:16:37,913 --> 00:16:40,079
Burma!

318
00:16:40,080 --> 00:16:42,339
Cambodia!

319
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Indonesia!

320
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Nepal!

321
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India!

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[Small Big Worlds
pequeniosgrandesmundos.org]

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(Applause)

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Every day I'm grateful that I got inspired

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to create "Small Big Worlds",

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and that I can paint with children
from all around the world.

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The other day, a boy from a village,
in the middle of the mountains in Nepal

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wrapped it up it perfectly.

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00:17:19,905 --> 00:17:22,179
He painted the Earth and wrote:

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"I also live on this planet."

331
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Thank you very much.

332
00:17:25,512 --> 00:17:26,803
(Applause)