Graffiti

Speaking with Korean Artist Yoon Hyup

January 28, 2014

With influences ranging from traditional Korean art to the skateboard culture he embraced at an early age, Yoon Hyup has developed a distinct aesthetic that has recently made its way into downtown Manhattan. We came upon him at work earlier this month outside rag & bone on Elizabeth Street off Houston, where he was painting a mural on a particularly frigid day! I recently had the opportunity to speak to him.

You’ve painted on a range of surfaces and in a variety of places. You’ve exhibited your work in galleries, and you continue to paint on the streets. What initially drew you to the streets? When did it all begin?

I began skateboarding when I was nine years old. That was my introduction to the culture. And then in the mid 90’s, I discovered hip-hop and graffiti magazines at a nearby US Army base.

What was the graffiti/street art culture in Korea like at the time?

It was quite unsophisticated. The spray cans were very basic, and there were few colors available. Canvases consisted of tunnels or alleys that the writers claimed as their spots.

What inspired you to share your talents on the streets?

I was inspired by photos I saw of the artworks that Basquiat and Futura and other artists at the Fun Gallery had painted on the streets of downtown Manhattan back in the day. And then while attending the Art Institute in my late teens, I learned everything — from where to buy spray paint to how to master particular techniques — from ‘Bluce 666’.

You went on to study Graphic Design at Hanseo University. Did your formal art education help you develop as an artist?

When I was a sophomore, I decided to take a break from the university and check out the “real world.” During that time, I did a lot of exhibitions, and I began collaborations with businesses like Nike and MTV. There was so much I had to figure out on my own and solve myself. I would say that a formal education helps, but experience in the “real world” is crucial to an artist’s success.

Tell us a bit about your recent mural outside rag & bone in Nolita. How did that happen? It is one of our favorite spots in town! And your mural looks splendid here!

I had submitted my portfolio to rag & bone, and soon afterwards, I was invited to paint. I think I was lucky to be selected.

Your style is quite distinct. Could you tell us something about it?

Many traditional Korean forms, such as vine clouds and wind clouds, surface in my paintings. I often paint with the five colors associated with my native country – red, blue, yellow, black and white. It is my homage to my heritage. It is how I honor my roots.

You’ve shown your work in gallery settings, as well as in public spaces. How do you feel about the movement of street art into galleries?

It’s fine so long as the artists continue to create artwork on public spaces.

And what about the corporate world? You’ve collaborated with such corporations as Nike and Tommy Hilfiger. How do you feel about that?

I don’t have a problem with it, so long as I can be true to my own vision.

Is there anyone – in particular – with whom you would like to collaborate?

I would have loved to paint with Kandinsky. I’m particularly fond of him.

I can see that! Your work is a bit of a fusion between street art and fine art. How has your art evolved in the past few years?

I feel that I paint more naturally. My style is becoming looser and freer. My cloud forms have become more abstract.

Do you work with a sketch-in-hand? Or do you just let it flow?

I work with a general layout. But my handstyle flows freely.

Are you generally satisfied with your finished pieces?

Not really! I’m always challenging myself.

Have you any other passions or interests?

I love skateboarding. I’ve been doing it since I was nine. And I love music. My mother, who was president of a music institute, has taught me to appreciate all kinds of music. Both skateboarding and music, along with art, are essential in my life.

What’s ahead?

I’ve been developing a new body of work and will soon be collaborating with a talented Korean toy maker.

Interview conducted and edited by Lois Stavsky; first photo by Lois Stavsky; all others courtesy of the artist. 1. new mural outside rag & bone; 2. Unlimited Path, Krink on wood, 2013; 3. Nike Air Max 90 Premium Tape – Multi Color Camo, 2013; 4. For “Haechi Parade, spray paint on sculpture, 2009; 5. Rhythm and Flow (Primary’s Masks), Acrylic, ABS Resin, 2013

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Speaking with Pioneering Graffiti Writer and Photographer FLINT

January 17, 2014

Back in the 1960’s, Flint Gennari was getting his name up, without even realizing that what he was doing was a precursor to modern graffiti. It was wonderful to have an opportunity to meet up and speak with this graffiti pioneer.

When and where did you first get up?

It was back in 1966. I was nine years old, and I was traveling and camping cross-country with my family during our summer vacation. I was already aware of the mindless scribing on the bathroom walls. I’d seen “John loves Mary,” “For a good time, call…” Why not write something profound or, at least, interesting — since you have a captive audience? I started writing sayings and signing them FLINT. Anything that caught my fancy would work — something from a fortune cookie, a great lyric from a song or a quote that offers advice. It didn’t matter that people didn’t know what to make of it. I had a secret identify, and it kept me busy.

Gee! You must have been quite precocious! And what about your name? What inspired you to start writing your name in public spaces?

I had been learning about World War II in school, and I became obsessed with the phrase, “Kilroy was here.” Who was Kilroy? And why did he write his name everywhere? Like Kilroy, I liked the idea of advertising myself. I had hearing and speech problems, so I couldn’t understand much of what was happening in the classroom. This made me me a loner, but I found something that could make me part of the world. I was sensitive to social change. It was the 60’s. Things were changing, and I wanted to be part of it.

Did any particular writers or artists inspire you?

There were no writers at the time. Graffiti – as we’ve come to know it – didn’t yet exist. I was influenced by Madison Avenue ads and slogans. They would bombard you with whatever they were trying to sell. The artist Peter Max was commissioned to make art to be placed on mass transportation. He always made his name the centerpiece of the work and placed his art — angels, butterflies, fairies etc — around his name. Was he smart? I think so.

What about your name? How did you acquire the name “Flint?”

I spent lots of time – as a kid — with Marvel comic books and movies. These characters were cool; they would do what they wanted. I became a real James Bond fan. And so I took the name of Flint, the master spy who spoofed James Bond.

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

They hated it. They hated the name “Flint,” but it was my given name. I gave it to myself. Yes, I was the black sheep of the family and I was always in trouble.

What about crews? Did you join any crews?

As time went by, many more writers started in Brooklyn. Scooter and Dino Nod lived in the same apartment building two blocks away. And Flip One lived In the other direction — one block away. Erasmus High School was nearby, along with Mico, Mani and Wicked Gary. Dino Nod was the president of the ExVandals — the first-ever graffiti crew — and I ran with him. Then with my writing partner, LSD OM, I founded the Rebels. Future Rebels members included writers such as Shadow and Zephyr.

Were you influenced by these other writers? Did meeting them affect your style?

It was when I met these other writers that my sayings changed. I started writing more for them, and messages like For Those Who Dare, For Ladies Only, Bad but Not Evil and The Time Will Come... started turning up.

What is the riskiest thing you ever did?

Every time a writer gets up, he is taking a risk. But probably the riskiest thing I did was climbing down from the el to avoid the cops.

Do you have a formal art education?

I attended the High School of Art and Design, the greatest “writing” school out there. In the lunch room we all sat at the “Writers Table,”passing around our black books and refining our tags. In fact, Art and Design is where I met Al Diaz and influenced him and Basquiat to write messages.” On a more formal level, I took some classes at Pratt and at the International Center of Photography. But I’m largely self-taught.

You are an active photographer as well as an artist. At what point did your focus shift to photography?

I stopped hitting train stations and most public surfaces in 1976. And the following year, I began a 10-year project of photographing a drug addict. But even as a young child – before I could afford a camera – I loved photography, and I would borrow my father’s camera to photograph my friends. There was a time when it became a choice between doing pieces or photographing my friends doing them. This is how the video footage for my graffiti song came about. I remember when my friends Flip One and Dime139 asked me to hit the yards. I ended up doing more photography than hitting that day, but this was 1975 already.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited both my graffiti and photography. Before I graduated from high school, my work had won a Scholastic Art Award and was exhibited nationally. Then in 1998, Hugo Martinez, the founder of the United Graffiti Artists (UGA), saw my tag behind me at B&H photo, where I was working at the time, and gave me an exhibit at his gallery in Chelsea. That opened my eyes to how big graf had become: I had no idea! Since, I’ve exhibited worldwide and was featured in Born in the Streets at the Fondation Cartier in Paris.

Why do you suppose the Europeans are more receptive to graffiti than we Americans?

Europeans have always understood and respected art, particularly art that’s a bit out of the mainstream. Just look at how receptive they were to jazz musicians!

What percentage of your time is devoted to art?

All of it, though most of it is focused on my photography business. I’d like more time to focus on my own art. I do get orders for canvases and water colors all the time.

Any other passions?

Music. I play the guitar and I write songs. I was the rhythm guitarist for the Ex Vandals Band. Stan 153 played bass; wicked Gary was on percussion and Bama/Amrl was the leader and on drums.

Any thoughts about the graffiti/street art divide?

It’s all a means of expression, and we influence each other. It means something special, though, that we graffiti writers are a part of New York City’s history, and that we writers have invented a new American art form which is still evolving. But I’m not a purist. I think Banksy is terrific.

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

It’s great. I’m seeing and enjoying new things all the time. And it goes without saying how easy it has become to showcase what you are doing to a much bigger audience.

Have you any feelings about the photographers and bloggers in the scene?

It’s all good.

What do you see as the future of graffiti?

At the beginning, graffiti was considered nothing more than vandalism. When you became a writer, you entered a brotherhood with benefits. You belonged to a family of like-thinkers who, along with you, were creating something — without knowing exactly what. I’ve had life-long friendships with many of the pioneers such as Tracy 168, Stayhigh 149 (R.I.P) and Taki 183. Back in the day, we never would have imagined just how influential graffiti would become – that it would impact everything from fashion and marketing to the “art world.” Graffiti will continue to evolve, and its influence is likely to increase.

Interview by Lois Stavsky with Richard Alicea; all photos courtesy of the artist; first photo, Flint and Tracy 168.

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Curious Characters on NYC Streets, Part IV: R. Robot, Jeromy Velasco, Malarky and Goldpeg, Harlenquinade, Sheryo and the Yok, and Rimx

January 14, 2014

This is the fourth post of our occasional series featuring some of the curious characters that have found a home in NYC ‘s open spaces:

R. Nicholas Kuszyk aka R. Robot in Williamsburg, Brooklyn

Jeromy Velasco in the East Village

Malarky and Gold Peg in the East Village

Harlenquinade in the East Village

Sheryo and the Yok in the East Village

Rimx in Bushwick, Brooklyn, on the grounds of Exit Room

Photos of Jeromy Velasco and Malarky & Gold Peg by Dani Reyes Mozeson; all others by Lois Stavsky

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DAZE: Paintings, Sculptures and Prints on View in “Indigo Dreams” at TT-Underground

January 13, 2014

Back in the 70’s, Daze’s main canvasses were subway trains and walls. Recognized as a master of his genre, Brooklyn native Chris “Daze” Ellis was soon showing his work in galleries. Since, he has exhibited in museums and galleries across the globe, while continuing to share his talents with us on the streets. Through next Sunday, January 19^th, a selection of Daze’s new paintings, sculptures and prints are on exhibit at TT-Underground, 91 Second Avenue, in the East Village. Here are a few more images from Indigo Dreams:

The Dark Night, the Big Boss

Sculpture

View of 161st Street

Big Bill

Photos by Lois Stavsky

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Guys on Walls, Part V: Esteban del Valle, Ramiro Davaro-Comas, Swoon, James de la Vega, Paul Paddock, Tats Cru and Mataone

January 10, 2014

This is the fifth in an occasional series featuring images of males who surface on NYC public spaces:

Esteban del Valle on Manhattan’s Lower East Side

Ramiro Davaro-Comas in Bushwick, Brooklyn

Close-up from huge wall by Swoon and Groundswell youth on the Bowery and Houston

James de la Vega in East Harlem

Paul Paddock in the East Village

Tats Cru in the East Village

Mataone in Bushwick, Brooklyn

Photo of Swoon by Tara Murray, of Mataone by Dani Reyes Mozeson and all others by Lois Stavsky

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Joseph Meloy, Enrico Oyama, Chris RWK, and Herb Smith aka Veng in “Beyond Literacy” at Chelsea’s Galerie Protégé

January 8, 2014

Opening this evening — from 6-8pm — at Chelsea’s Galerie Protégé, a handsome space at 197 9th Avenue, is Beyond Literacy, a selection of imaginative and impressive artworks by Joseph Meloy, Enrico Oyama, Chris RWK, and Herb Smith aka Veng. Here’s a brief preview:

Joseph Meloy whose Vandal Expressionism has become an integral part of NYC’s visual landscape

Tokyo native Enrico Oyama, close-up

Chris, RWK, close-up

Herb Smith aka Veng

Photos of Joseph Meloy’s and Enrico Oyama’s artwork by Lois Stavsky; of Chris RWK’s by City-as-School intern Anna Loucka and of Herb Smith’s by Joseph Meloy

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Speaking with Col Wallnuts

January 7, 2014

For over 20 years Col has been gracing our public spaces with his distinctly graceful aesthetic. His street murals, along with his small works on various media, are among our favorites. It was wonderful to have the opportunity to recently interview him.

When did you first get up?

I began tagging and doing some outlines in Staten Island/Brooklyn about 1993-94.

What inspired you at the time?

I was inspired by the tags and pieces I saw along highways. I always wondered who had done them.

Have you any early graffiti memories that stand out?

I loved seeing Cost and Revs in the Meatpacking District. The area has come a long way from the violence and corruption that once characterized it. But it’s great to see a piece of that time still around.

Do you paint with any crews?

I was active with CTO (Check This Out), as both Vers and Edge had taken me under their wings. I’m currently part of Wallnuts, MST, MTA and KD. Wallnuts is comprised of writers from both the States and Europe. Among them are: Muse, Chester, Been3, Ree2, Soco, Riot, Phyme, Met, MadC, Zest, Dos, Free5, Kern and Mad.

Do you prefer working alone or with others?

It depends on the project. Painting with good people motivates me, sets a fire under my ass and inspires me. Painting alone is good too. It’s like nothing else exists.

Do you generally paint with a sketch-in-hand?

Almost never. A sketch prevents one from being organic. I want to see where my idea goes and to produce what I see in my head.

Do you have any preferred surfaces?

I love to paint on anything. I prefer painting on surfaces and in areas where no one has painted before. I enjoy challenges. Obstacles are fun. And I love working large scale on buildings. I grew up working on walls, so the bigger the better.

What about neighborhoods? Have you any favorites?

I prefer working in bad neighborhoods. There are real people there. In good neighborhoods, you’re faced with bullshit. I’ll take Marcy Avenue over Park Avenue any day of the week! Painting in an impoverished neighborhood gives it life and positive energy.

What percentage of your time — would you say — is devoted to art?

I paint seven days a week. I work through holidays. I’m always working on paper, canvas or on my computer.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited at Art Basel (Miami), in NYC, LA, Chicago, DC, and in Europe.

How do you feel about the movement of graffiti into galleries?

As a painter, that’s progression. And it all begins with the tag. A tag is an art form. It’s a craft that not just anybody can do. Tags, then throw-ups and then you eventually evolve into doing pieces. And galleries have a responsibility to preserve them and share them. Although I’m still not completely comfortable with gallery settings, it’s a good feeling to make money from my art when my work sells.

What are your thoughts on the street art/ graffiti divide?

Fifteen years ago, it was only graffiti. But we are no longer the only ones getting up. And that’s not a bad thing. I have a lot of respect for street artists. They are doing fresh stuff. Street art actually helped graffiti. Since the emergence of street art, graffiti writers have had more opportunities to exhibit their work in galleries. If you’re a wheat-paste artist keeping the movement alive…how can I hate that? There are rules, though, to graffiti and some street artists need to learn them.

Have you ever been arrested?

Never for graff. But I’ve been chased a lot. Back then, cops used to catch you with paint and write on you. Then they’d let you go with a warning. Those days are over.

How did your family and friends feel about what you were doing?

My family hated it. My family didn’t want the kids doing anything illegal. They saw it as a dead end…not doing anything with yourself, but putting up your name. I also lost some friends over graffiti. But your true family will never turn their backs. Ultimately, you learn, too, that you only have yourself at the end.

Do you have a formal arts education?

I studied Fine Arts and Advertising at FIT and at the Academy of Art University. But all my spray painting training is self-taught. I learned the hard way with Krylon, Rustoleum, American Accent and Dutch Boy. The kids today have it easy using Montana and Belton.

Are you generally satisfied with your work?

It’s fifty-fifty. Sometimes. Other times I want to just buff and start all over. If you care about what you do, you’re your own worst critic.

What’s the riskiest thing you’ve done for your art and why were you willing to take that risk?

Painting in Israel by the Syrian border right in the line of fire. It’s the sort of thing we as artists live for. Art is stronger than war. And that’s why I did it.

Are there any particular cultures that have influenced your aesthetics?

I love the abstract movement. I enjoy the works of Pollack, Rauschenberg, Fran Stella, Jasper Johns and de Kooning. The abstract movement went against the grain of what was popular in Europe.

How has your work evolved throughout the years?

I’ll say it’s more deconstructed these days. Back then, the majority of my work was 3D, but that got old and boring to me. I went into breaking letters and transitioned from 3D to silhouette.

How do you feel about what you are doing these days?

I’m happy with my progression and where I’m going. I’m glad I didn’t listen to people around me. I’m glad that the progression came naturally, and I can’t wait to see where it goes within the next few years.

What do you think the role of the artist in society?

It’s about being a role model and reaching the youth. You got to give something to them they can grasp. You have to make them feel excited about what you are doing. The artist has to inspire and lead by example. He has to teach others that being an artist is a positive thing.

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

It’s a part of you when you wake up; it’s a part of you when you go to sleep. It’s an outlet for everything we do. Before the Internet, guys were grinding…dealing with people first-hand. You had to present physical material. Today it’s digital, and it takes two minutes. There are tons of positives and negatives to the Internet. You have to use it in a way that it works for you.

Any thoughts on the photographers and bloggers out there?

I support them. They shoot my work, they are very supportive and their eye is important. I like that they provide an opportunity to others to see my work.

Any shoutouts?

Shoutout to my WALLNUTS and URNY family. The homies: Hellbent, SeeOne, Depoh, Phetus, KA, Werds, Touch, Rubin. Semz (Rest In Power) and my grandma. Semz did so much for the graffiti scene. His is a name everyone should remember. My grandma was my biggest supporter. She never understood my art, but always pushed. She was a self-taught traditionalist artist. She told me, “Never stop and don’t ever let anyone tell you that you’re not an artist or that you’re not a painter.” She’s with me in everything I do.

Interview by Lenny Collado; photo 1 at the Bushwick Collective by Lois Stavsky; 2 at the East Harlem Hall of Fame by Lois Stavsky; 3 at the Bushwick Collective by Lois Stavsky; 4 in Prospect Heights by Tara Murray; 5 in Bed-Stuy with Muse by Lois Stavsky; 6 in Inwood with Ree by Lenny Collado; 7 in Tel Aviv by Lois Stavsky, and final photo courtesy of the artist.

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LA2 at Leila Heller Gallery for Young Collectors Exhibition

January 4, 2014

For its second annual Young Collectors Exhibition, the Leila Heller Gallery is featuring an exuberant selection of works in a wide range of media by Angel Ortiz aka LA2 and LaROC. Befriended as a young teen by the late Keith Haring, the two clearly influenced one another. And in this exhibit, as in so much of LA2’s artwork, Keith Haring’s spirit is visibly alive. There is even an LA2 Pop-Up Shop dedicated solely to LA2’s objects, reminiscent of Keith Haring’s Pop Shop, a fixture for almost 20 years on Lafayette Street in lower Manhattan. Here are a few images from the exhibit that continues through Wednesday, January 8, at 568 West 25th Street in Chelsea.

Spring Flow

Heart Clock

Untitled

Tribal Mask

Guitars

And some personalized graffiti made available to guests on opening night

First and final photos captured on opening night by Dani Reyes Mozeson; all others by Lois Stavsky

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Kids on Walls — Part III: Joe Iurato, Miss 163, LNY & Axel Void, Rene Gagnon, Ewok, Owns, RWK and more

December 30, 2013

This is the third in a series of occasional posts featuring images of children that surface on NYC public spaces:

Joe Iurato at the Bushwick Collective

And the completed piece

Miss 163 in Hunts Point, the Bronx

LNY and Axel Void at the Bushwick Collective

Rene Gagnon at Welling Court in Astoria, Queens

Ewok and Owns in Bushwick

Robots Will Kill in Bushwick, close up from huge wall by Chris, Veng and ECB

Unidentified artist in Chelsea — spotted last week

First photo of Joe Iurato by Tara Murray; final photo by Dani Reyes Mozeson; all others by Lois Stavsky

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Serringe on Element Tree, Graffiti, Jersey City, Video Production & more

December 26, 2013

I came upon Serringe’s artwork on the streets of Jersey City earlier this year. I soon discovered that he was the force behind Element Tree and dozens of first-rate videos. I was delighted to finally have the opportunity to meet up with him at his store in Weehawken — just minutes away from Manhattan.

Tell us something about Element Tree. When did it launch?

Element Tree started as a blog in 2009. I grew up in Jersey City around a bunch of talented people, and I needed a platform to post their work and share it with others in hopes of promoting them and myself. Artists like Snow, T.Dee, 4sakn, Loser, Then One, Mr. Mustart and Distort — to name a few. There are others, but these are some of the original artists I felt people should definitely know about if they already didn’t.

When did Element Tree become a store?

I rented the space in Weehawken in February 2012. If I can’t do graff 24/7, I want to be around it. I also like the idea of nurturing the culture and keeping it healthy, and this store gives me the platform to do that.

What inspired you to start your own business?

I have a strong entrepreneurial streak. I don’t want people telling me who the “real artists” are. I want to help the people – whose work I love — make money.

Besides the first-rate art that you show here, you also sell art supplies. What do you see as the future of this space?

I will continue to provide affordable art for folks who love graffiti and street art. Not everyone can afford to spend $1500 on a canvas. And I’m interested in providing opportunities for artists — such as commissioned murals, design work for album covers and general creative direction. I see Element Tree as a house of creative energy and incubator for ideas.

What initially spurred your interest in graffiti?

I was always into graffiti from the time I was six years old. My older brother was a writer for a short period of time in the 90’s, and he sparked my brain, along with all the other local writers that were doing their thing when I was a kid. If they could do it, so could I. When I was a young teenager, my mom became ill and begged me not to write graffiti on the streets. She believed in my art, though… so until I was 19 years old, I detached myself from graffiti out of respect for her. She passed in 2004 — and aside from the occasional tag, I know she would be proud of me.

Did you develop any other passions while growing up?

I grew up in 80’s and 90’s: DJs, producers, skateboarders, punk rockers were everywhere. I became interested in all kinds of creative expression, and I began to create home videos with friends as a way to explore filmmaking. Within the past three years, I created 140 videos.

And you also paint in public spaces these days. Since you began doing so, have you had any particularly memorable experiences?

Art Basel 2012. It was the first time I traveled to paint on a wall that was sponsored at a major art event like Basel. Art Primo powered us with the paint and Element Tree’s Mr. Mustart and Distort showcased their talents for all who passed by. It was great experience to paint among people we respected.

Have you exhibited your work?

I’ve been in a handful of shows, but Mustart, Then One and Distort stay doing their thing, showcasing and exhibiting through Element Tree-based projects and also on an independent level. We are currently working on setting up the first Element Tree official group show… so if you’re a gallery owner, don’t hesitate to reach out!

Any thoughts about the graffiti and street art divide?

Eventually they will meet. Street art is still a baby in relation to graffiti. There are many street artists I respect. Banksy is a genius! Other favorites include: Blek le Rat, Invader and Shepherd Fairey. Oh, and if you don’t know… check out LNY. I see good things in him.

How would you explain the reluctance of the art establishment to embrace graffiti and street art?

Most people don’t understand it, and if you don’t understand something, you don’t know how to deal with it.

What do you see the future of graffiti?

It can’t be stopped. And eventually, it will gain acceptance as a legitimate art form.

No doubt!

Interview and photos by Lois Stavsky, photos 1,2 and 3 of Serrenge; photo 4, Mr. Mustart; photo 5, Distort and final image, Then One.

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