Films

Brooklyn Art Haus Presents Exclusive “Sticker Movie” East Coast Premiere This Weekend — January 12-14

January 9, 2024

The following guest post was submitted by street art enthusiast, arts writer and photographer Kristy Calabro

A delightfully versatile and accessible form of artistic expression, sticker art is documented and celebrated in the groundbreaking, AXS Film Fund-winner, “Sticker Movie.” Spanning 23 countries and over 80 artists, “Sticker Movie” offers an intimate glance into this beloved graffiti/street art subculture.

In anticipation of its East Coast premiere this weekend — January 12, 13, and 14 — at Brooklyn Art Haus, I had the opportunity to talk to its director, Will Deloney aka Chilly Willy’s Igloo and producer/writer Sha-Risse Smith aka Agent5Smith.

When did you first come up with the idea of making a documentary on sticker culture?

Will: The idea for “Sticker Movie” started during a serendipitous sticker trade with Sha-Risse Smith aka Agent5Smith. As we chatted, I discovered that she had written a feature film, “Strive,” starring Danny Glover. In pitching the idea of the documentary to her, instantly it became clear – we were the dream team for ““Sticker Movie.” Sha-Risse not only possessed exceptional writing skills, but also proved to be an outstanding producer with an extensive network in the sticker community. Agent and I embarked on a journey that felt truly magical.

Sha-Risse: The idea was swirling around in my head for some time. I knew the work it would take, and I could not do it alone. After trading stickers and vibing over Hendrix, Will messaged me about a collaboration, and I agreed. That was January 3rd, 2021.

What do you think is the main appeal (‘appeel’) of stickers?

Sha-Risse: Stickers appeal to different people for different reasons, but the common factor is that they are low-risk. When getting up, stickers are quick and easy. People are less likely to get caught. But risks can also be financial. Stickers are relatively inexpensive. Someone may not be able to afford a canvas or print, but they can buy a sticker. Artists may not have money for spray paint or supplies, but they can grab a handful of label 228s for free. With stickers, there is less at stake.

Will: First, there’s the nostalgia factor – taking us back to the simpler joys of childhood, getting a gold star sticker for an achievement. I’ve never thought about this until now, but gold stars in video games awarded must have come from that same achievement concept. Also, the compact nature of stickers means artists can transform any surface — bringing creativity to unexpected places. Their accessibility and ease make them the democratic go-to’s of street artists. Collecting and trading stickers fosters a sense of connection and don’t forget their DIY spirit – stickers are the punk rock of the art world: rebellious, personal, and extremely contagious.

Stickers are an escape; they’re therapy, and a way to mark a spot to say, “I was here.” What do you see as the primary advantage of stickers?

Sha-Risse: Stickers are a form of art therapy. When getting up, I exercise, breathe fresh air, and interact with my environment. I often walk for hours around the city putting up stickers and photographing street art. It’s cathartic. The best use of stickers is to simply enjoy them.

Abe Lincoln Jr once said, “Stickers are little bite-sized civil disobedience.” Are stickers the answer to all the capitalist propaganda out there?

Sha-Risse: All street art is the answer to capitalist propaganda. However, stickers are unique. You can put one image in many places fairly quickly. But you can also fit several in one space. Their small size is an advantage. You can send them around the world and get up in places you have never been. Stickers are unmatched when it comes to coverage.

How was it like to experience the “Sticker Movie” premiere in Portland? And why did you choose to show it there first?

Will: From day one, we wanted “Sticker Movie” to be a cinematic experience, and Cinemagic, the magical independent theater in Portland where we screened, was flawless. The city’s vibrant and supportive community of artists, coupled with its thriving street art scene, made it an obvious choice. Portland embraces creativity, and we knew that our film would feel right at home among the eclectic and open-minded residents. Witnessing the genuine enthusiasm was the ultimate reward for the time and energy invested in the documentary. Portland not only hosted our premiere, but it became an integral part of the story we were telling.

Sha-Risse: Overall, my experience in Portland was incredible. There were tears of overwhelming joy and relief. We pulled off three screenings and four events in one weekend. We worked hard. I am grateful to the community of sticker heads and normies who came out to support us. I am thankful for the old and new friends who welcomed me. There was so much love in Portland; I will never forget that experience.

I loved when Slappy says, “When you have stickers, you’re never alone.” Have you any thoughts regarding how stickers bring people together?

Sha-Risse: I encourage others to discover the community organically on their own. Attend a show, make sticker trades, and find individuals you connect with. Do what works for you. Like the art we create, each person’s experience is uniquely theirs. I am not countering Slappy’s line. I wrote it because I believe it. But it is important to know that not everyone’s participation looks the same. That is the beautiful thing about our community. The sticker scene is diverse, and there is something for everyone.

Will: The communal nature of sticker culture is like an unspoken invitation to join a vibrant and inclusive creative tribe. Artists, collectors, photographers, and enthusiasts, drawn together by their love for this pocket-sized art form, share a unique bond that transcends geographical boundaries. The act of trading and sharing stickers becomes a language of its own, connecting individuals who might never have crossed paths otherwise. It’s a beautiful collision of creativity and camaraderie, proving that in the world of stickers, the adhesive that binds us is as strong as the art itself.

Do you want to give shoutouts to anyone who helped make this movie possible?

Sha-Risse: Shoutout to Niceo CM. He supported me throughout this journey, and I want to thank him publicly. Making “Sticker Movie” was challenging, and I vented to Niceo weekly and sometimes daily over the last three years. He listened while motivating me to toughen up and keep going. Also, shout out to Chris Robots Will Kill. He was the first artist to say, Yes, to being in the movie. Without his recommendations and help, we would not have this New York premiere.

Will: I really want to give my shoutout to Agent5Smith. Without her, none of this is possible. She has worked tirelessly with the mantra of “whatever is best for the film.” She has put over three years of her life into this film, and her love and passion for stickers is why we are here. Thank you, Agent. I love you. Also, shoutout to Dazey Phase, our Executive Producers on this journey.

Will there be a Sticker Movie 2?

Sha-Risse: There are some exciting things in the works. Stay tuned!

Produced by Emmy-winning creative studio Pixelated Ideas, it all started with a sicker trade…three years in the making of bringing small stickers to the big screen. When artists see their stickers displayed in diverse communities and in urban spaces, they feel a sense of pride. Connections are fostered locally and globally. Messages and ideas are shared, as mundane objects — like doors, lampposts, and mailboxes — are transformed into mini art galleries. An effective medium for self-expression, stickers, ultimately, unite us, as they bring like-minded people together.

Note: Friday night and Saturday’s screenings are sold out. Tickets can be purchased here for Sunday, January 14, 3 pm matinee, to be followed by a live podcast with City Kitty.

And running concurrently with the movie’s East Coast showing will be an art exhibit at Brooklyn Art Haus curated by SilverTunaStudios.

Note: This guest post was submitted by Kristy Calabro and edited for brevity by Lois Stavsky; all photos courtesy Kristy and Sticker Movie.

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“Small Town Big Canvas: An Indiana, PA Story” Presents a Remarkable Chapter in the Ongoing Ventures of “Dripped On the Road” Productions

June 20, 2023

As COVID-19 was raging back in 2020, Dripped On The Road, a traveling artist residency program, brought 14 murals to Indiana, Pennsylvania. Within two weeks, the artists transformed the town’s visual landscape, while embracing and uplifting its residents. In the course of their remarkable residency, they learned first-hand about Indiana’s distinct history and painted murals that utterly reflected it.

Featuring resident artists Damien Mitchell, Sarah Rutherford, Evan Lovett, Riiisa Boogie, along with program directors and artists Ramiro Davaro-Comas, Jonathan Neville and Denton Burrows, the acclaimed documentary “Small Town Big Canvas: An Indiana, PA Story” — directed by OWLEY Studios — chronicles these two weeks.

Not only did the seven artists uplift the town’s spirit and enhance its appearance, but they also conducted workshops with youth using non-toxic spray paint and upcycled materials. And they planted trees that “will live on even after the murals are gone.” Sustainable painting practices and environmental responsibility are essential, the documentary affirms, to Dripped On The Road‘s mission. We are cautioned that one needs to be mindful of the environment when painting public art.

“Small Town Big Canvas: An Indiana, PA Story” brilliantly captures the mutual respect and appreciation that developed between the artists and the members of the Indiana community as the project evolved. The artists clearly “felt the pulse of the people,” and the Indiana residents showered them with gratitude in return.

Founded in 2016, Dripped On The Road artists have have painted over 100 murals and traveled over 12,000 miles.“Small Town Big Canvas: An Indiana, PA Story” is a moving, impressive ode to its multiple missions and a particular paean to this distinctly vital project. It is also a model for public art that too often becomes too commercial.

Note: The NYC public premiere of “Small Town Big Canvas: An Indiana, PA Story” was held on April 27 at the Anthology Film Archives, featuring resident artists Damien Mitchell, Sarah Rutherford, Evan Lovett and Riiisa Boogie, followed by a Q & A moderated by UP Magazine editor T. K. Mills. We are looking forward to further showings in the NY metropolitan area.

Images:

The crew in front of Denton Burrows‘ mural
Evan Lovett
Sarah Rutherford
Damien Mitchell
Riiisa Boogie
Jonathan Neville w/ Indiana, PA youth
Damien Mitchell

Post by Lois Stavsky and and City-as-School intern Antonio Gomez; all photos courtesy Dripped On The Road.

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“Duality: A Graffiti Story” Spotlights the Journeys and Talents of Meres One, Dual, Sloke, Jaber and Never1959

October 18, 2022

Tracing the emergence of graffiti from an underground subculture into a legitimate profession, Duality: A Graffiti Story — directed by Ryan Dowling — focuses on the struggles and successes of five noted graffiti artists. In the Buffalo 8 documentary feature film, legendary writers Meres One, Dual, Sloke, Jaber and Never1959 share their challenges and ventures as they reflect on their personal journeys in this ever-evolving culture.

Many graffiti writers — who were initially deemed as vandals for their tagging and illegal interventions — now earn wide recognition and respect for their stirring murals that grace cities across the globe. Their aesthetics have made their way inside and outside a range of upscale properties from luxury hotels to major corporations — who court them to enhance the “coolness” of their brands.

Once working mainly clandestinely, these artists now foster community, as they share their talents openly with others — who are eager to learn from their skills or simply observe and photograph them as they paint. And as their artwork begins to blur the lines between graffiti, urban art and fine art, it also increasingly finds a home in galleries.

Among the film’s recurrent themes is the artists’ addiction to getting up and their deep love for graffiti. “I’ll probably never ever not want to write my name on something. It’s an addiction for sure,” states Dual. “It’s amazing that there’s that opportunity to bridge the gap from doing illegal graffiti to doing commercial work with big companies.”

Among the many highlights of Duality: A Graffiti Story is the account of the vast achievements and horrific demise of Long Island City’s 5Pointz— as related by its curator and founder Meres One and advocate Marie Cecile Flageul.

Several screenshots from the riveting documentary follow:

NYC-based Meres One, founder and curator of the iconic graffiti mecca 5Pointz — whose talents continue to make their way onto walls, huge canvases, lightbulbs and varied corporate settings.

On the site of citizenM New York Bowery hotel where Meres painted this stained glass-inspired piece

Houston, Texas-based Dual, best known for his wheat pastes — whose body of artwork includes everything from meticulously-made tape collages to sign painting to huge commissioned murals that beautify cities

Dual, The Rice Box River Oaks Mural

Austin, Texas native Sloke — who, in addition to painting, curating and mentoring youth — has produced murals for a range of companies including Apple, Facebook, Nike, Google, Red Bull and Time Warner

Sloke mentoring young man on the art of graffiti

West Coast-based Jaber (ala El Ninja Blanco) — who has been making his mark on the streets since the early 9o’s and now does — among other things — design for major fashion companies and film sets

Jaber, Along the tracks

Los Angeles-based Never1959 — who is best-known for his large scale murals on buildings around Los Angeles

Never‘s 50-foot high mural that parodies the 1958 Orson Welles film noir “Touch of Evil”

The premiere of this splendid homage to graffiti will take place tomorrow, October 19th, in Austin, Texas. And beginning Oct. 21, it will be available on Amazon Prime, AppleTV/iTunes, Google Play, Vudu, and YouTube movies.

And you can check out the trailer below:

All images courtesy Buffalo 8

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Award-Winning Documentary Film ALICE STREET to Screen at the Architecture & Design Film Festival NY This Weekend

September 30, 2022

While street art is too often used as an avenue to gentrify neighborhoods, it can also serve – as depicted in Spencer Wilkinson’s award-winning documentary film ALICE STREET– as a tool to empower, energize and unite members of diverse communities in their struggle against gentrification.

In 2013, Chilean studio painter Pancho Peskador joined forced with Chicago-born aerosol artist Desi Mundo to create a four-story mural at 14th Street and Alice Street in downtown Oakland. Painted directly across from Hotel Oakland Village, a facility that provides affordable housing and services to hundreds of Chinese seniors, and the noted Malonga Center, a venue for African drumming, culture and dance performances, the mural — designed with direct input from the folks served by the neighboring sites — represented downtown Oakland’s diverse cultures.

But by then gentrification had aggressively reared its ugly head. Local folks were concerned about being economically and culturally displaced as rents feverishly increased, along with condominiums to house the wealthy. And soon after the hugely impressive mural was completed, the news came that another development would be under way that would block the its view.

ALICE STREET brilliantly documents the people’s fervent and largely successful struggle against unbridled corporate greed, as they fight to preserve their culture and their neighborhood. It is an ode to the power of public art to not only enhance but to transform our lives.

This weekend ALICE STREET will be in NYC with the Architecture & Design Film Festival for two special screenings at Cinépolis Cinemas to be followed by discussions.

Photos courtesy of ALICE STREET

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Award-Winning Filmmaker Cedric Godin on “X art,” a Documentary on the Street Art Movement and Subculture

November 2, 2019

Currently living between Paris and Los Angeles, Belgium-born filmmaker Cedric Godin was recently in New York City for the US premiere of his award-winning film, “X art,” at the Chelsea Film Festival. After viewing the insightful film and panel discussion featuring Patty Astor, Henry Chalfant, Enrique Torres aka Part One and Nick Walker — moderated by Marie Cecile Flageul — we posed a few questions to Cedric.

What inspired you to produce this film?

I had just completed my first film, PTSD, and had returned from California to Paris. I wanted to get back to work as soon as possible, and as I was seeing street art exhibitions and events everywhere, I decided to do a documentary about the street art movement and culture. Even though I had followed the movement since 2012, I never really thought of doing something on it until I returned to Paris from California.

What is the significance/meaning of your film’s title, “X art?”

After I decided to do a documentary, I started to research the street art culture. Rapidly, I realized how complex the world of street art is. So many artists, techniques, movements, markets… It appeared to me that as street art is such a huge subject, it would be an interesting challenge to get people to better understand it. I had a working title but after a few months “X art” came, as the X suggested “the unknown,” “the transgression,” “the X factor” and more.

So I chose the letter X to start from “the unknown” — in order to learn and digress to a point where it would become clearer for an audience and hopefully awaken within viewers the curiosity to investigate the culture on their own after seeing the film.

How did you go about choosing/deciding which artists to focus on?

They had to have a career, a real social or political message in their work, a continuity in their journey and an artistic goal. It was important for me that the artists had enough experience on every level to be able to transmit their passion, techniques and journey to as large an audience as possible.

When did you begin filming “X art”?

I started to meet with artists in 2016.

In the film there is a focus not only on the artists and their artwork, but also on the art market. Why did you choose to turn your lens on this aspect of the scene?

Simply because these days, you can’t avoid the financial aspects of things. Fortunately or unfortunately, the market has a big influence on how artists develop their careers. Of course, there are pros and cons, but I wanted to give the audience an idea of what’s happening. From there they could visit galleries, events and auction houses and form their own opinions on the subject.

Did anything in your findings particularly surprise you? In what ways may have making this film personally impacted you? Do you find yourself paying more attention to street art and graffiti?

Of course, I do pay more attention. It is funny to see how my eye, three years later, is more “educated.” When I see a painting or a wall, I can recoup more information to understand and form an opinion on that particular piece. I have also learned how to be a good collector.

What were some of the challenges you faced in seeing this project through?

The usual challenge of being an “indie” filmmaker… time and money. Fortunately, the world of street art is a very generous world for the most part. 99% of the artists were just amazingly helpful. My friend and partner Olivier Le Quellec, a street art fan, financed the project with me. Dotmaster and Ben Eine, two famous UK-based artists, offered to design the poster. Eric Brugier, the French gallerist, connected me to several artists who themselves connected me to more. I think you can’t get into this world if you are not well-connected, but once you are in, you feel like a family member.

How have viewers responded to it?

Amazingly! The most touching thing is when people come up to me and say they have learned something; some are even motivated to further research artists or elements they weren’t aware of. To me, if filmmaking has a purpose. It is to learn and to transmit.

What would you like your viewers to walk away with?

The will to go deeper into the subject — to read, to research, to see events, to meet artists. And we have an incredible chance to be able to do it.

What’s next?

Ideally to secure distribution for “X art,” as I humbly think that this little film has its cultural role to play. I’m currently working on a TV show and a feature film. I work in so many directions these days that I couldn’t tell you what is going to happen next…I will let you know very soon!

Congratulations on “X art. We certainly hope it is widely distributed and, yes, we are looking forward to what’s next!

Images:

Film poster designed by UK-based artists Dotmaster and Ben Eine
Cedric Godin
Film clip featuring Ben Eine and Pure Evil
Parisian graffiti artist Nasty
Patti Astor, co-founder of the legendary FUN Gallery
Henry Chalfant, noted American photographer and videographer, whose current exhibit, Art vs. Transit, 1977-1987, at the Bronx Museum is a must-see!
The famed UK-born street artist Nick Walker at “X art” Chelsea screening

Photo credits 1, 2, 4 – 6 courtesy Cedric Godin; 7 Ana Candelaria

Interview questions: Houda Lazrak, Ana Candelaria and Lois Stavsky

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Abdandoned South Tel Aviv Factory Exterior Transformed Into Street Art Mecca: Solomon Souza, Libre, Shimon Wanda, Shir Lamdan, Elad Greenberg, Yarin Didi, Ana Kogan, Zivink, Erezoo & more

January 10, 2019

Under the masterful curatorial direction of Orit Mizne aka myhovercraft, an abandoned factory building in South Tel Aviv has been transformed into a strikingly stylish street art Mecca. The image pictured above was painted by Tel Aviv-based Solomon Souza, who has recently left his mark here in NYC. Several more artworks that I recently captured from the former factory’s exterior follow:

Mexico City-based Libre

Shimon Wanda and Shir Lamdan

Elad Greenberg and Yarin Didi

Ana Kogan

Zivink and Erezoo

Other artists who participated in this project include: Michal Rubin, the MisSK, Imaginary Duck and Revzzz.

Photos by Lois Stavsky

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“Women To The Front: Volume I (WTTF)” Celebrates Women and Their Art at Superchief Gallery NY on Thursday, Nov. 16

November 14, 2017

Featuring music, art, video and performance, Women To The Front is an immersive experience celebrating and showcasing women in the art world. Curated by Zoe Croci and Sara Catalan, it presents a range of works in a variety of media by over 30 female artists, many who are familiar to us street art aficionados. Pictured above is by Brooklyn-based multidisciplinary artist Gigi Bio. Other featured artists include:

Philadelphia-based digital artist Makeba Laurent does Lauryn Hill

Japanese painter Mina Hamada

Paris-based Daniela Yohannes, Oculus Sea

NYC-based performance artist Terry Lovette

FAITH XLVII and Dane Dodds, directors, AQUA REGALIA HONG KONG 2017, still from video

The event — whose mission is “to inspire and empower new female-identified generations and anyone who enjoys good art” — takes place this Thursday evening, November 16, at Superchief Gallery, 1628 Jefferson Ave. in Ridgewood, Queens. There will also be a special premiere of “Dumb Dumb” music video featuring talented female rapper Cipherella directed by Zoe map, along with live art and complimentary drinks. Free to Arts Club members, admission is $10.

All images courtesy Zoe Croci

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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Richard Hambleton: I Only Have Eyes for You Continues Through May 5 at Woodward Gallery on Manhattan’s Lower East Side

April 24, 2017

A contemporary of Keith Haring and Jean-Michel Basquiat, Richard Hambleton, the Godfather of Street Art, began making his mark on the streets of his native Vancouver in the mid-70’s. His Image Mass Murder Art — a recreation of crime scenes — hit the streets of 15 major cities throughout Canada and the US from 1976 through 1979. In the 80’s, his iconic Shadowman paintings surfaced across NYC and through Europe, including the Berlin Wall. He has since attained legendary, though infamous, status. To coincide with the highly anticipated World Documentary Premiere of SHADOWMAN by Oscar-nominated director Oren Jacoby, a historical selection of paintings by Artist Richard Hambleton his now on view at Woodward Gallery.

Woodward Gallery Windows, Shadow Jumper, center with Shadow Head portraits to the right and left

Dancing Shadowman

Wide view, as seen through Woodward Gallery windows, featuring the Marlboro Man to the left of Shadow Man portraits on paper

Another variation of the Marlboro Man as seen from the outside

At the Tribeca Film Festival

With a rare public appearance by the elusive Richard Hambleton

Woodward Gallery is located at 132A Eldridge Street off Delancey on Manhattan’s Lower East Side. Visitors are invited to observe Richard Hambleton’s works from the outside and through gallery windows, as Hambleton intended in his vision. Special viewings are available by appointment. The artworks remain on view through May 5th.

Images courtesy Woodward Gallery

Note: Hailed in a range of media from Wide Walls 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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Roger Gastman on Wall Writers: Graffiti in Its Innocence and Its December 9th NYC Premiere at SVA

December 6, 2016

Focusing on legendary writers of 1967 – 1972, Wall Writers is a comprehensive, feature-length documentary on graffiti “in its innocence.” Conceived and directed by Roger Gastman and narrated by legendary filmmaker John Waters, its NYC premiere will take place this Friday evening at SVA Theatre. A brief interview with Roger Gastman follows:

You’ve authored several key books on graffiti and have been deeply involved in its culture. What spurred your initial interest in graffiti? And how old were you at the time?

I was 13 years old and living right outside of Washington DC. A lot of my friends all had tags, and I needed to have one also. It was all around me. Everyone was doing it, and if you went downtown, you saw it everywhere. Names like COOL “DISCO” DAN covered the streets and the metro walls.

Your current project — Wall Writers — is an extraordinarily comprehensive documentation of the early days of graffiti. What motivated you to undertake this project?

I was working on the History of American Graffiti book with Caleb Neelon and I honestly got sick of everyone BSing the year they started writing. I knew enough about the history to know when I was talking to legit people and when I was not. I figured so many of these people have never told their stories I might as well film them. I had no intention of producing this film. I was just documenting.

Can you tell us something about the process? How long did you work on it? What were some of the challenges you encountered?

I worked on the film on and off for 7 years. But it feels like my entire life. On projects like these some of the hardest part is finding photos and footage and other pieces of the puzzle that help you tell your story. The process would usually be to let it take over my life for 2-4 weeks at a time then go back to real life for a few months and dive back in. I could still be digging – but had to call it at some point. I know there is more out there and I hope someone discovers it.

How has the response to Wall Writers been?

So far we have had packed theatres everywhere. It’s been awesome. People have really enjoyed the film. We are even doing a show at the MCA Denver in February where we bring the book and film to life.

Wall Writers is premiering here in NYC at SVA Theatre Friday night. What can we expect?

Friday is the big NYC premiere. I am very excited to finally show NYC the film. We will have most all of the NYC cast from the film there including TAKI 183, SNAKE 1, MIKE 171, SJK 171 and so many more. Come out and support!

It sounds great! And, yes, we’ve been waiting for it here in NYC!

Note: A pre-signed 350+ page companion book will be available for purchase. Tickets to Friday’s NYC premiere are still available here.

Interview by Lois Stavsky; featured images include:

2. Rocky 184 and Stitch 1, circa 1972, courtesy Rocky 184

3. BAMA posing in front of his painting “Orange Juice” at the Razor Gallery, 1973, photo by Herbert Migdoll

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Queens-Based Filmmaker Raul Buitrago on GOUCH, Graffiti and More

June 21, 2016

Directed by Queens-based filmmaker Raul Buitrago, the recently released GOUCH is a sensitive, gripping portrait of a Brooklyn graffiti bomber living a dual life. After viewing the short, insightful documentary — chosen as a Vimeo Staff Pick — I had the opportunity to speak to Raul.

What drew you to graffiti? You obviously have a deep understanding and appreciation of its culture.

Growing up in Eastern Queens in the 90’s, I was exposed to graffiti early on. Graffiti was part of the punk and skateboard culture that was all around me. And I found myself gravitating to it.

And what about this particular writer? Why did you choose Gouch? And how did you connect with him?

Gouch was one of my personal favorite graffiti writers while growing up. His style and flow are incredible. I’d known about Gouch years before I reached out to him. He was featured in the legendary State Your Name DVD, and it was in that video that I first saw him in action. The footage was raw, gritty and true NY graff to the max. I contacted him via his Instagram in 2014.

Are there any issues regarding graffiti that particularly engage you? Any messages you wish to convey to your viewers?

As a fan and student of graffiti culture, I’m interested in its power to lure seemingly ordinary people. Its sway is amazing – and the way it always seems to call you back. So often, it becomes an obsession. I also find it very interesting that it can be glorified and vilified at the same time. Graffiti has made its way onto advertisements, clothing and other forms of branding while some of its practitioners end up doing time in Rikers Island. Graffiti is used for commercial purposes because it has that edge that can’t be found in other artistic realms. It’s unfortunate that big companies are profiting off something that’s created through the toils and risks of people who have such a deep appreciation, knowledge and ability in something so historically rich.

Yes, that is unfortunate, and it is something I’ve thought about quite a bit. It is — obviously — graffiti’s aspect of illegality that gives it that edge…You clearly won Gouch’s trust. I imagine that might have been your greatest challenge. What were some of the other challenges you faced in producing GOUCH?

As it was my first documentary, I was learning how to do it as I was doing it! I’d previously focused on music videos. That was my greatest challenge. Gaining Gouch‘s trust was actually incredibly easy. Upon first meeting, we spoke about graffiti at length. Because of my knowledge about the culture and my previous video work, he knew he could trust me. Other challenges I faced included coordinating schedules and making sure that his family was comfortable throughout the filming process. It was important to me that they be comfortable with the finished project since it’s so personal.

Have you a formal education in filmmaking?

I studied Photography at NYU, but I never studied filmmaking. I’m a self-taught filmmaker.

How long did it take you to produce GOUCH?

When I first met up with Gouch, I thought I would produce a two – three minute video. But it evolved into something far more, and I ended up working on it for one and a half years.

I’m so glad it worked out that way! Gouch – in all his complexity — is certainly worth knowing. And the music by Jazzsoon that accompanies your film perfectly complements it. I find myself viewing it again and again!

You can view the film in its entirety here.

All images courtesy Raul Buitrago; interview with Raul by Lois Stavsky

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

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