Interviews

jerry-rugg-mural-art

Fashioned by the hugely talented Jerry Rugg aka Bird0, a delightful range of brightly-hued, surrealistic geometric creatures have made their way onto Toronto’s visual landscape.  We were delighted to meet the artist while visiting Toronto and have the chance to interview him.

When and where did you first get up?

It was in 2002 in Toronto with a wretched, shitty, embarrassing tag.

What inspired you at the time?

The 90’s freight graffiti that I saw on the Canadian Prairies.

Do any early graffiti-related memories stand out?

Discovering that someone in my local town — Rove CBS — was a great graffiti artist and watching him paint.

Have you painted with any crews?

Six years of mayhem with the DMC crew!

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These days, would you rather work legally or illegally?

 I’d rather not be in handcuffs!

What is the riskiest thing you ever did?

Quit my day job.

What are your preferred surfaces?

I like painting outdoors – the bigger the surface the better.

Have you any thoughts regarding street artists’ engagement with the corporate world?

We have to pay our bills and we have to sleep at night. I guess it’s up to the individual to strike a balance.

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What about exhibits? Have you shown your work in formal settings?

Yes. I’ve participated in quite a few group shows.

Would you rather paint alone or collaborate with others?

I’m a lone wolf. But I like the concept of collaborating and I like interacting with others. It’s part of our evolution as artists.

Any thoughts about the graffiti/street art divide?

There is friction; they’re different mentalities painting the same surfaces. I’ve always believed that you gotta give respect to get respect.

What percentage of your time is devoted to art these days?

All if it!

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Do you work with a sketch in hand or do you let it flow?

I always have a sketch. I’m very strategic.

Have you a formal art education?

The graffiti culture has been my teacher.

Are there any particular cultures – besides the graffiti culture – that have influenced your aesthetic?

Not any specific cultures  — but movements, like Surrealism and artists like Escher and Dali.

Are you generally satisfied with your finished work?

People who know me best would likely say I’m rarely satisfied with anything.

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How has your work evolved through the years?

My style is similar, but my technique has evolved, particularly the way I work with shapes.

How do you feel about the photographers and bloggers in this scene?

I love it!  We artists are in the business of exposure.

What do you see as the role of the artist in society?

Artists are independent thinkers.  Our role is to mix things up.  Artists should challenge, disrupt, or beautify.

 What’s ahead?

Traveling, painting, drinking tea. Repeat.

Sounds good! We hope you make it to NYC soon!

Photo credits: 1, 3-5 courtesy the artist; 2 Lois Stavsky; interview conducted by Lois Stavsky with Tara Murray

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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Painted collaboratively by Queens-based Diego 127, FCEE and Whisper aka Chip Love, a fantastical alphabet mural has made its way onto a huge wall on 78th Street adjacent to the Garden School in Jackson Heights. While visiting the site as the mural was near completion, I spoke to classic graffiti writer, Diego 127, who had secured the space.

What an ideal spot for such a striking mural! 

Yes! I’d been eyeing this wall since I moved into this neighborhood in 2004.

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And how did you go about securing it for this mural?

I eventually connected with Dudley Stewart, an active member of the local community and the president of the Jackson Heights Green Alliance. And he was able to get us the support that we needed to make this happen.

How did you come up with this concept — this amazing alphabet?

Lots of text messages between Chip and me! And we loved the idea of playing with the letters of the alphabet — as we so often do — on a big wall.

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Why did you choose to work with white, black and grey? I love the effect. The impact of this mural is tremendous.

As an illustrator, I often work in black and white. And Chip, in particular, loves black and white.

Did you guys work from an initial sketch or did it all happen on site?

We had developed a loose plan. But the mural, itself, evolved organically. We free-styled, continually revising it and adding to it.

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How long have you guys been working on this mural?

We started in May; so it’s been two months.

How have the kids responded to it?

They love it and they’ve loved watching the process.

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Congratulations on this! I’m so glad I got to see it!  What a fantastical alphabet!

Interview with Diego 127 by Lois Stavsky; all photos by Lois Stavsky; photo #1 features FCEE; seated in final photo are: Whisper aka Chip LoveFCEE & Diego 127.

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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david-hollier-taylor-swift-art

I discovered David Hollier‘s distinctly provocative aesthetic a few years back when I came upon his huge murals of such luminaries as Nelson Mandela and John F Kennedy on the streets of Brooklyn.  Earlier this year, I saw his intriguing work on the 69th floor of the World Trade Center. And, yesterday, I had the opportunity to visit his solo exhibit, Ladies and Gentlemen, at Sideshow Gallery in Williamsburg, Brooklyn and pose a few questions to him.

When did you first start integrating text into your artwork?

I began in 2010.

What inspired you to do so?

Before incorporating text into my artwork, I was working with lines. I then started repeating words within the works. And when a friend commissioned me to create a portrait of her husband using words, I incorporated a brief biography into the portrait. The response was so positive that I continued working in this style. By 2012 I’d given the collection the name Imago Verbosa, meaning a picture made of words in Latin.

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What media or tools do you use in fashioning these portraits?

I sometimes use a vintage typewriter. I also use acrylic paint. Huge photographic images are often projected and copied onto a range of surfaces.

How do you choose the subjects of your work? Ranging from Susan B. Anthony to Jay Z, they cross generations, nationalities and sensibilities. Among them are many musicians and politicians. 

Yes! I generally select icons. But some are commissioned, and those are selected for me.

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We’ve come upon quite a few of your works on the streets of Brooklyn. Do you prefer working in your studio or working on the streets?

They’re different experiences, and I like both. But the streets can be more challenging.

Do you have a formal art education?

Yes. I studied Visual Art and Public Art at the University of Northumbria in Newcastle, and I earned a Masters degree in Computer Imaging and Animation from London Guildhall University.

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I’m fascinated by your choice of text infused into each portrait, as many have strong social implications. This exhibit is quite impressive. Do you devote yourself full-time to your artwork?

I divide my time between painting and teaching. I’ve taught at Parsons since 2006.

Congratulations on this! And we especially look forward to seeing more of your public artworks on the streets of NYC.

Note: A CLOSING RECEPTION takes place, tonight, Friday from 6 until 9pm. The show ends of Sunday, July 16th. Sideshow Gallery is located at 319 Bedford Avenue in Williamsburg, Brooklyn.

Images

1 Taylor Swift, Text: “Never Grow Up,” Acrylic on board, 48″ x 48″

2 Jimi Hendrix, Text: “Fire,” “Voodoo Child” and “Are you Experienced?” Acrylic on canvas, 60″ x 60″

3 Star Stuff, Text: from Carl Sagan’s “Cosmos,” Acrylic on canvas, 72″ x 60″

4 The artist with Susan B. Anthony, Text: from “Women’s Rights to the Suffrage,” Acrylic on board, 27″ x 40″

Photos by Lois Stavsky; interview by Lois Stavsky with Bonnie Astor

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I first encountered Vanessa Rosa’s mesmerizing aesthetic several months back in Lisbon, Portugal.  I was delighted to have the opportunity to then meet up with the wonderfully talented Brazilian visual artist and art historian here in New York City. 

When and where did you first hit up a public space?

Back in 2009 in a favela in Rio.

What inspired you at the time?

I’d always been interested in street art. I love the way it is accessible to everyone – not just to people who visit museums.  Most of my schoolmates back in Rio had never entered a museum or a gallery. But they were very ecxited to see the rise of street painting in Rio.

Have you any preferred surfaces?

I like adapting to different spaces. I’ve painted on a variety of surfaces from doors to boats.

Do you tend to paint alone or collaborate with other artists?

I almost always paint alone; I’m not much into groups. But I’m open to working with others. Collaborating allows us to learn from one another.

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What was the riskiest thing you’ve done?

Painting in precarious places – places without staircases, or just terribly bad improvised ladders.

Have you any thoughts about the graffiti/street art divide?

It used to be largely blurred in Rio, but that’s changing now. It’s very important to respect tagging. However, when we’re working with a community that does not like tagging, confusions and conflicts can arise. Confusion also arises between street artists and graffiti writers when we don’t know who really owns a particular wall — legally or symbolically.

Do you have a formal art education?

I studied Art in Rio, did an exchange in Paris and had the opportunity to take classes through fellowships in programs in NYC, as well.

Has your formal education been worthwhile?

I feel that it has positively affected the way I deal with colors, history and concepts.

What percentage of your time is devoted to art?

Everything I do is connected to art, including the academic research and publishing business that I do.

How do you feel about the engagement of the corporate world with street artists?

I’m most comfortable working with NGO’s. I will only collaborate with a corporate entity that adapts to my beliefs.

Have you shown your work in galleries?

I’ve exhibited in Brazil, Berlin, Paris, Basel and NYC. Now it’s changing, but many of the exhibits I’ve done were in very alternative places, like buildings occupied by artists or who knows what!

Do you work with a sketch in hand or do you let it flow?

It varies; often I don’t work from a sketch. Or I start with a sketch and then it becomes something else.

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Are you generally satisfied with your finished work?

I usually am. But sometimes it takes me awhile. When I just finish it, often I think it should be better. But then I realize it’s fine; it’s just different from what I had in mind. I’m often megalomaniac and I want to do too much — like too complicated, too many details, even bigger, more conceptually innovative from the previous works, or who knows what! At some point I end up accepting my limitations.

How has your work evolved through the years?

As I get deeper and deeper into research, my work continues to evolve reflecting a multiplicity of cultures. Personally, I’m the result of a very mixed cultural background, and my love for history and travel makes me always want to expand my worldview. Curiosity is essential, curiosity and affection, being interested in things and wanting to learn with them is a way of loving life.

Are there any particular cultures that have influenced your aesthetic?

Portuguese, Islamic, West African and Central European.

What inspires your work these days?

Transcultural exchange throughout history. What I’m studying now is a mix of Art History, History of Science and Post Colonialist Theory.

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How do you feel about the role of the Internet in all of this?

It is essential to the phenomenon of public art. The Internet is essentially a public space. And it definitely makes it much easier to travel around and know people.

What do you see as the role of the artist in society?

I feel that the artist has an ethical responsibility to help others become more humane. Or just to show people how interesting the world is. Or how it could be.

Note: Vanessa Rosa has begun a new huge work at the entrance of Pioneer Works, 159 Pioneer Street, in Red Hook, Brooklyn

Images:

1-3 Imaginary Tiles Project, Brooklyn Brush, Bushwick, 2017

Blue Wall Project, close-up, Lisbon, 2015 

Rio de Janeiro, 2016 

Photos: 1-4, Lois Stavsky; 5 courtesy of the artist

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ki-smith-with-Ryan-Bock-art-mana-contemporary-jersey-city

While visiting Ryan Bock‘s solo exhibit at Apostrophe NYC‘s Mana Contemporary studio space last month, I had the opportunity to speak to Ki Smith who — together with his brother Sei —  founded Apostrophe NYC  back in 2012. For the past several months Base 12, Apostrophe NYC‘s 12 emerging artists, have been working in a 8000-square-foot space through a one-year residency program at Mana Contemporary in Jersey City.

This is such an ideal space. How did this residency come your way?

Mana actually reached out to us after seeing the wide press coverage we received in response to our guerrilla-style pop-up exhibits.

Your pop-up shows were certainly unconventional! It’s not surprising that they — particularly your intervention at the Whitney Museum — generated so much media attention. It was your pop-up exhibits at the Kosciuszko Street stop on the J Line, in fact, that initially attracted my attention. When I first met you, you were based in Bushwick. 

Yes. But as a result of the opportunity that Mana offered us, several of us have since moved to Jersey City.  And we love it here! Mana is a very unique place and is located in a great area that’s just a short walk from Little India and all its great restaurants.

 

With your distinct styles and sensibilities, you guys all seem to work so well together. 

Since starting the Base 12 project we have all gotten to know each other quite well and I feel like every one has gained a lot of respect for each other’s work and practices. And with 12 of us working together to navigate the contemporary art world, we are able to accomplish so much more than if we were working individually — 12 times as much!

Here at Mana each Base 12 artist has been publishing a book to accompany his or her exhibit. That’s quite impressive.

I feel like making books and records of exhibitions is really important and something that very few smaller galleries do for artists, so we decided that we had a good opportunity to create a new company Apostrophe NYC Books. And in classic Apostrophe style we do everything in house, from printing to binding to working with the artists to designing and hand silkscreening the covers.  Making books is another great way to share art, and because of the especially quick turnaround on the shows we are currently doing, it’s also a great way to memorialize shows that people might miss the opportunity to visit.

What’s ahead?

The following solo exhibits are scheduled: Charlie Hudson on July 8th; Kolter Hodgson on July 22nd; Alana Dee Haynes on August 5th; Morell Cutler on August 19th; Julia Powers on September 2nd; Caslon Bevington on September 16th and James Reyes on September 30th. And next Saturday night, July 15th, is the opening of Base 12: Little Big Show, a group exhibit that critiques assumptions of virtual versus “real” representation with two allied narratives in sequential galleries: the first in an exhibition of miniature digital reproductions, the second in a series of original artworks.

That sounds very exciting! I can’t wait to see what’s ahead for you all!

Note: Tonight is the opening of  Charlie Hudson‘s solo exhibit.

Images

1 Ryan Bock artwork — with Apostrophe NYC co-founder Ki Smith

2  Julia Powers

3  Kolter Hodgson

4  James Reyes

5  Charlie Hudson

Photos and interview by Lois Stavsky

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Based in Johannesburg, UK native Sonny recently brought his extraordinary talents and passion for animals to NYC. I had the opportunity to speak to him when he took a brief break from painting a massive mural overlooking Allen Street on Manhattan’s Lower East Side.

What brought you to NYC?

I am here to launch my first mural in North America for the To the Bone project in partnership with IFAW, the International Fund for Animal Welfare.

What is the mission of the To the Bone project?

It utilizes street art to increase awareness of animal conservation and to raise funds to rescue animals in crisis throughout the globe.

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What spurred your engagement in the project?

Living in South Africa surrounded by animals, I developed a passion for them. And painting them on huge murals is a positive way for me to do street art and pay tribute to the beauty of these animals, while raising attention to their plight.

Where else will this project be taking you?

In the weeks ahead, I will be painting in Canada, Russia and in India.

What are some of the other animals represented in the To the Bone Project?

Among them are a rhino, a leopard, an elephant, a bear and a gorilla.  There will be a total of ten, with the gorilla the face of an upcoming exhibition in London.

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You’ve also painted several canvases and released prints in coordination with this project.

Yes. The original artwork will be exhibited and auctioned off, with prints of the works available online — with 10% of sales donated to South Africa landscape work and IFAW’s work with tigers in Russia. Among the original works are hand-painted skull replicas that showcase endangered animals from around the world. These paintings show the animals’ faces breaking away to reveal the raw skeletons underneath, symbolic of how these beautiful creatures are quickly fading away.

Can you tell us something about the patterns that adorn your works? 

They are tribal patterns from the animals’ countries of origin. When we lose these animals, we’re losing a part of our heritage too. That is the message conveyed by these distinct patterns.

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Your murals are stunning. Have you a formal art education?

No. I’m self-taught. I painted my first large-scale mural three years ago.

That’s quite impressive! Are there any muralists out there who have inspired you?

Among these whose works have inspired me are Case Maclaim and Faith47.

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How can folks support your project?

They can visit our website to learn more about the To the Bone project and buy artwork. And they can help us raise money for the IFAW, the International Fund for Animal Welfare by donating here.

Good luck with your project.  And we are thrilled that you launched the international tour of To the Bone here in NYC.

Images:

1-3 New York Lion

4  Jelani, Johannesburg

5 Grizzly Bear, Cambridge Street Art Festival, Ontaria

Photo credits: 1 Lois Stavsky; 2 & 3 Karin du Maire; 4 & 5 courtesy Tess Cunliffe

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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nda-mural-art-market-surplus-nyc

This past weekend, the now-abandoned Essex Street Market at 140 Essex was the site of Market Surplus, an exhibit featuring ten huge striking murals in a range of styles — from meticulously rendered photorealistic to brightly colored expressionistic. Largely site-specific, they were the perfect homage to a soon-to-be-demolished historic Lower East Side building.  While visiting late Sunday afternoon, I had the opportunity to pose a few questions to its curator, Adam Lucas aka Hanksy.

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This is quite impressive. When did you begin working on it?

It all started a week and a half ago.

That’s quite remarkable. It must have been quite an intense week and a half! What moved you to curate it? 

Essex Crossing has been committed from early on to bringing public art projects to this neighborhood. Awhile back, they tapped me to help them accomplish this. When they offered me this building as a site for this exhibit, I took the opportunity to curate Market Surplus.

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It seems like so much effort for a weekend event. It’s wonderful, but I wish it weren’t over so quickly!

Large murals like these generally have long lives.  But I actually like the twist on permanence. Bringing these kinds of murals indoors for this transitory exhibit turns the notion of permanence on its head.

How did you decide which artists to engage?

I reached out to artists I know and like — who were in town. And some of the artists recommended other artists.

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There are quite a few references to the neighborhood in these works.

Yes. Among them is NDA‘s painting of Luis and his son Felix of the Luis Meat Market that is housed at the Essex Street Market.  A key mission of the exhibit was capturing the spirit of the Lower East Side.

I love the variety of styles and sensibilities featured here. Each is distinctly wonderful!

My intention was to present a range of styles. That was one of my criteria in selecting artists.

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With Market Surplus behind you and now part of the history of the Lower East Side, what is next?

In two weeks, my work will be featured in a pop-up show at the Krause Gallery here on the Lower East Side. Later in the summer I will be painting a mural for the L.I.S.A Project. And there is much more to come!

It sounds great! And congratulations on this weekend’s exhibit.

Images

1. NDA

2. Adam Lucas aka Hanksy

3. Sonni

4. Faust

5. BK Foxx

Photo credits: 1, 2, 3 & 5 Lois Stavsky; 4 Karin du Maire; interview conducted and edited by Lois Stavsky

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Brazilian artist Marcelo Ment recently brought his infectious, spirited aesthetic back to NYC, where he painted in Bushwick for JMZ Walls, on the Lower East Side for the New Allen and at First Street Green Park for International Hip Hop Day. While he was here, I had the opportunity to interview him.

When and where did you first get up?

It was in 1992 in Rio. I was 15 at the time.

What inspired you back then?

I always loved graffiti. My friends used to bring back graffiti magazines from the States, and I loved what I saw. I wanted to do it too. And from the time I was a young child, my older sister had always encouraged me to draw.

How did it feel at the time – the first time you got up?

It was great! I was so excited, I had butterflies in my stomach. It was love at first touch.

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How did your family feel about what you were doing back then?

My mom didn’t understand it.  She said, “You have talent. So why are you doing this?” But now my entire family is proud of me.  They respect that I can make a living from what I love doing.

Yes, that’s the best! What is the principal source of your income?

Commissions, graphic design and canvasses.

What was the riskiest thing you’ve done?

Painting in high places that were not safe.

So then why did you?

I told myself that I have to.

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What about these days? Do you prefer to work in legal spots or in unsanctioned ones?

These days I tend to do more legal work. I’m 40. I’m not a kid anymore, and I have serious responsibilities. But I respect illegal art and I miss the adrenalin rush.

Have you any thoughts about the graffiti/street art divide?

I don’t feel it in Rio. There’s a sense of mutual respect.

Are there any particular cultures that have influenced your style?

My initial and principal influence was classic NYC graffiti. I love letters.

Do you have a formal art education?

No! I’m self-taught.

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What percentage of your time is devoted to art?

Almost 100%.

Have you any other interests? Passions?

Music is very important to me. I especially love reggae – all kinds of it.

Have you shown your work in galleries?

Yes, I’ve exhibited in Rio and in Amsterdam.

Do you prefer working alone or collaborating with others?

I love collaborating with friends.

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Are there any artists you would particularly like to collaborate with? Artists who have inspired you?

Among them are: Marko 93 from Paris, Germany’s Can2 and the Brazilian artist, Tarm.

What is your ideal working environment?

Anywhere I have access to paint!

Do you work with a sketch in hand or do you let it flow?

It varies. I prefer to freestyle.

Are you generally satisfied with your finished work?

I don’t think I am.  We are all so far from our best.

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How has your work evolved through the years?

It’s evolved from painting letters to painting women. Painting women has been particularly challenging. And as I continue to grow as an artist, I tend to fuse my various styles and skills.

How do you feel about the role of social media in all of this?

It’s good and bad. Some are too eager to share what’s not worth sharing.

What do you see as the role of the artist in society?

To share knowledge and awareness.

marcelo-ment-allen-street

Photos: Lois Stavsky; interview conducted and edited by Lois Stavsky

Note: Hailed in a range of media from WideWalls to the Huffington Post to the New York Times, our Street Art NYC App is now available for Android devices here.

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charlie-ahearn-in-scratch-ecstasy-PPOW

Scratch Ecstasy, an exhibition of  work in a range of media by visual artist and legendary filmmaker Charlie Ahearn, continues through June 24 at P.P.O.W in Chelsea. A chronicler of the rise of hip-hop and street art culture, Ahearn has documented the movement since the 80’s through photography, film and slide shows.  The following is adapted from an interview conducted by travel and street photographer Karin du Maire with Charlie at the gallery:

Can you tell us something about the title of your current show, Scratch Ecstasy? To what does it refer? 

Yes! The word “scratch” actually has a double meaning. It refers to scratching on a surface, but it also refers to a technique pioneered by Grand Wizzard Theodore of a needle going back and forth on a record — which creates a very jazzy, electronic effect.

Ectasy-Garage-flyer

And what about the word “Ecstasy” in the title? What is its reference?

It’s a reference to a real place in a real time — the Ecstasy Garage, where I was listening to not only Grand Wizzard Theodore scratch his music, but also to Chief Rocker Busy Bee on the microphone or Grand Master Cass, along with many other artists who were performing there. I spent a lot of time at  the Ecstasy Garage doing a slide show and watching different hip-hop performances, largely to an audience of high school kids. It was a very out-of-the-way place.

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What was your mission back then? 

It is similar to the mission of this show — to create a record of what was going on so that people today can pinpoint certain people and places that should get recognition and be remembered.

What about your own paintings that are on exhibit here? Can you tell us something about the process?

It started with me doing the painting on canvas with the forms that would be in it. The colors I chose reflect the bright fluorescent colors that were prominent in inexpensive flyers that the kids would hand out to get others to show up.

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And what about the slide show that is going on? 

It is the slide show that I gave at the Ecstasy Garage with Grand Wizzard Theodore as the DJ. As presented here with the music, it is a reflection of what was going on back there at the time. I gave it at the Ecstasy Garage as a kind of way of working on Wild Style — the slides in a particular order to tell a story, and it all ended up in the movie, one way or another.

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Thank you for preserving and sharing so much history with us.

Note:  P.P.O.W will be screening Charlie’s 1979 kung fu film, The Deadly Art of Survival, tomorrow, Friday evening, at 7pm. The gallery is located at 535 West 22nd St, 3rd Floor, in Chelsea.

Images

1  Charlie Ahearn at P.P.O.W — as interviewed by Karin Du Maire — with Data Rock, silkscreen on canvas

2  Scratch Ecstasy, silkscreen on canvas

3  The World of Hip Hop, silkscreen on canvas

4  Nathan, silkscreen on canvas

5  Howard the Duck, Lee Quinones, LES mural

Photo credits: 1 & 2 Karin Du Maire; 3, 4 & 5 (still from slide show) Lois Stavsky; interview conducted by Karin Du Maire and edited by Lois Stavsky

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Michael-alan-mom-and-child-portrait

The wildly imaginative and splendidly talented Michael Alan aka Michael Alan Alien is busily planning an artistic tribute to his mom, Raindrop, in his childhood Staten Island home this coming Saturday, June 17th.  What follows is a brief interview with him about it:

What spurred you to plan this tribute to your mom?

All that my mom has done — and continues to do — for me.  She saved me from the dark as I was growing up, and she inspired me to be the artist I am today. My mom is living art.

Michael-Alan-Mom-with-T-shirt-design

Can you tell us something about the role your mom played in your artistic career?

My mom was the first performer in my Living Installation projects. She helped me get started by modeling for my drawings at this very home and by modeling — clothed — at the early stages of Drawathon.  She has given so much to help me forge my career.

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What can visitors to her home — your childhood home — in Staten Island next Saturday expect to experience?

There will be a seven hour tribute — from 5pm to 12am — for my mom with music, models, comedy and a BBQ. It will be on her property, and she will be performing with her husband, Michael, and the cast of the Living Installation. Part of the house will be set up as an installation of my mom’s past memories.  Jadda Cat, Living Installation’s new leader, will perform in a kids’ pool and do face-painting for kids. And there will be a chance for everyone to make art.

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And what about your art? Will any of it be shown at this event? 

Yes, over 60 of my works will be on display, along with photos of my mom and her religious prophesies.

Michael-alan-living-installation-at-home

How can folks attend the event? 

Tickets are $20.00 and can be purchased here.  The address will be provided to ticket holders. It is just a 10-minute bus ride from downtown Manhattan and the perfect retreat!

Editor’s note: For an intimate look into the artist, check out the following video produced by Alan Ket.

Photos provided by Michael Alan; interview by Lois Stavsky

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