Last Saturday, Meres painted his first mural since the demise of 5Pointz. His canvas was the outside wall of rag & bone, the trend-setting fashion store — on Elizabeth Street off Houston — that has hosted some of downtown’s finest murals. It’s great to see Meres and his iconic light bulbs back where they belong – with all of us. Here are a few more images captured last Saturday:
Meres takes a break
And leaves a message
Photos by Dani Reyes Mozeson
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To the sheer delight of local residents and passersby, the Centre-fuge Public Art Project brought its vision to Miami’s Little Havana during Art Basel Week. Here are a few images captured these past few days:
Elle, Yatika Starr Fields and Ben Angotti
Yatika Starr Fields at work
Ben Angotti takes a brief break
The legendary Korn does his thing — with Kristi Evans below
CS-Navarrete at work
Marthalicia Matarrita does her Mom
Nicole Salgar and Chuck Berrett, close-up from work in progress
CRAM Concepts, Lexi Bella, Matthew Denton Burrows & Danielle Mastrio
Thanks to Eric Ginsburg and the folks at the Fridge Art Fair — along with so many others — for their support. This was just the beginning of the Centre-fuge Public Art Project in Little Havana!
Photo of Cruz by Sara C. Mozeson; all others by Lois Stavsky
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Chilean artist Dasic Fernández has been captivating us with his sumptuous styles since we first met him up in the Bronx, while painting a bus in collaboration with Cekis. We recently caught up with him in Newburgh, New York, where he’d been busy at work transforming the city’s visual landscape.
When and where did you first get up?
I was 13 when I started tagging in Rancagua, Chile.
What inspired you?
The hip-hop scene! Graffiti was part of the movement. And I knew how to draw – so that was my way into it.
Have you any early graffiti memories?
Nothing specific! Just hanging out late with my best friend and bombing.
What percentage of the time is devoted to your art?
One hundred percent! If I’m not doing it, I’m thinking about it or dreaming about it.
Any thoughts about the graffiti/street art divide?
Everything I’ve learned about painting on the streets and appropriating space I learned from graffiti. I never felt any tension between street artists and graffiti writers. I still use the same fat cap to paint as did to tag.
How do you feel about the movement of graffiti and street art into the galleries?
I respect it only when artists have had long courses in the streets first and continue painting in the streets once they’ve shown their work in galleries.
Have you exhibited in a gallery?
I had my first solo exhibit in Santiago, Chile in 2009.
Do you prefer working alone or collaborating with others?
I’d rather work by myself. I feel more comfortable, and I can take my time.
How do you feel about the role of the Internet in all of this?
I don’t use it much. I feel like graffiti belongs on the streets. At first, I didn’t even photograph any of my works. But when a graffiti book came out that didn’t include any of my work, I decided that I had to.
Do you have a formal arts education?
I studied architecture back in Chile, but I quit less than a year before earning my degree.
What is your ideal working environment
The streets. That’s where I feel most comfortable. It is my natural environment. I love connecting with people while I’m painting outside. It makes me happy.
Are there any particular cultures that have influenced your aesthetics?
The mural culture in South America and Chile’s political murals, which are poetic and graphic. And I have also been influenced by hip-hop culture.
Do you work with sketch-in-hand or do you just let it flow?
When I’m commissioned to do a wall, I generally have to have a sketch. But other times, I’ll simply photograph the wall before I paint it
Are you generally satisfied with your finished piece?
Never! Sometimes I’m close to being satisfied, but I’m never completely satisfied. I’m far too critical.
How have your work evolved throughout the years?
I paint on a bigger scale and I use more colors.
Any feelings about photographers?
They used to bother me, but now they don’t. I still don’t like, though, when they upload photos of unfinished pieces.
Why do you suppose the art world has been so reluctant to embrace street art and graffiti?
Because it’s the most powerful graphic movement out there.
Where have you painted?
I’ve painted throughout Chile and in Argentina, Uruguay, Brazil, Peru and in Canada. And in the US, I’ve painted in Chicago, Texas, Michigan, and New York.
Have you any preferred spots or surfaces?
I like when a wall has context to spare, so that it can assume an identity through a mural.
What’s ahead for you?
Many personal projects with different timelines. I’m working now on completing a series of commissioned walls and canvases. I’m then planning to return to Chile and work on a book featuring my artwork. Then – more walls and an art festival that I’m organizing in New York and probably a solo exhibit. Basically I’ll keep flowing, painting and traveling. And there’s more!
Interview by Lois Stavsky with Tara Murray; photos 1. with Okuda and Rubin in Bushwick by Lois Stavsky; 2. in Bushwick by Tara Murray; 3. with Rubin in the Bronx by Tara Murray; 4. in Newburgh school by Lois Stavsky; 5 & 6. in Newburgh, NY by Lois Stavsky 7. with Logek in the Bronx by Tara Murray.
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The now-iconic trailer on First Street and First Avenue is undergoing yet another transformation. For its current cycle, Cycle 11, the Centre-fuge Public Art Project invited artists who’ve painted there this past year to return. Here are a few images captured earlier in the week from the still-in-progress huge, energetic collage of distinct styles.
Matthew Denton Burrows at work; Damien Miksza on left; Phetus on right
Phetus with Nicole Salgar & Chuck Berrett on right
CS-Navarrete at work
Royce Bannon with Miishab on right
Elle, Damien Mitchell and Korn
Keep posted to our Facebook page for more photos of the completed pieces.
Photo of CS-Navarrete at work by Lois Stavsky; all others by Dani Reyes Mozeson
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Opening tomorrow evening — Tuessday, November 26 — at the Dorian Grey Gallery in the East Village, Fine Flavas is an ode to the creative energy of the streets. Featuring an eclectic mix of artwork by SinXero, Andrés Correa, Will Power and Kool Kito, the exhibit continues through November 30. Here are a few more images:
Toronto-based Andrés Correa
The legendary Kool Kito, Ex-Vandals
Jersey City native Will Power
Dorian Grey Gallery — one of our favorite spaces for street art, graffiti and a range of contemporary art — is located at 437 East 9th Street between 1st Ave and Ave A.
First image is a collabo by SinXero with a vintage 80’s photo of Crazy Legs captured by the legendary Henry Chalfant. All others as identified; photos of artworks by Lois Stavsky
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The founder of New York Street Gallery, a collective of international artists working together in NYC, Dariel MTZ is committed to providing outdoor canvases to a global network of street art and graffiti artists.
Tell us a bit about New York Street Gallery.
I started this project with my girlfriend, Daniela Croci aka Zoe, in January, 2013. We wanted to provide a platform for street artists to collaborate with those artists who may have never used the streets as a canvas.
How did it all begin?
We started by painting the exterior walls of my father’s tire shop in Bushwick. The response was so positive that we expanded to other walls, including some in Williamsburg.
Who are some of the artists involved in your project?
Among the many talents are: Nepo, Don Rimx, Iena Cruz, Vato, Alex Seel, Pixel Pancho, LNY, Guillermo Perez III, David Rothman and Kike Seba.
How has this project impacted you personally?
This project was an invitation to the culture. It has given me the opportunity to learn first-hand about street art and graffiti.
What about Zoe? What is her role?
She is the official filmmaker of this project. She has documented all that has happened so far.
What’s ahead?
This coming Friday, November 15, we will be showcasing the works of a group of extraordinarily talented artists at The Well on 272 Meserole Street in Bushwick.
Where would you like to see your project in five years?
I’d like to see us manage a gallery space, organize festivals and provide opportunities for artists to do big productions. It’s all about creating opportunities for the artists. You can follow us on Intagram @nystgallery.
Good luck! It all sounds great.
Interview by Lenny Collado; photos of Nepo, Pixel Pancho and LNY by Tara Murray
Editor’s note: Our blog will be on vacation through Monday, November 25. You can follow us on Facebook and on Google+. And be sure to keep posted to The Aqueduct Murals. Organized by the always-wonderful Joe Iurato, this meeting of street art and horse racing features an amazing array of artists including Logan Hicks, Chris Stain, Zed1, Faith47 and Rubin 415. It opens to the public at noon on Saturday, November 23 followed by a reception from 6-10pm, with an opportunity to meet the artists, along with the jockeys and trainers of New York racing. Lois Stavsky
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We are thrilled that Puerto Rican native Nepo has brought his superb skills to us here in NYC, delighting us with his wondrous characters, sensuous styles and bold colors. He’s been busy in Bushwick these days, where he will be painting live and exhibiting his work with New York Street Gallery next Friday, November 15th.
When and where did you first get up?
I began bombing and tagging my name back in 1996 in Puerto Rico. I was 16.
What inspired you to start writing?
At first I didn’t write. I used to help my friend Ensa with his fills when he did pieces. I also served as his look out. Eventually I started tagging. And Ensa was the one who gave me the name Nepo. It was kind of a joke, but it stuck.
Had you any preferred surfaces back then?
No. It was location that mattered. We focused on getting a spot where as many people as possible would see the work. Surface didn’t matter. Although, I’ll say, I do love shutters. They present a challenge I enjoy.
Do you paint with any crews? Or do you paint alone?
Both. I get up by myself and I also paint with El Coro and NST – both here and in Puerto Rico.
Have you exhibited your work?
I have. In Puerto Rico, I contributed to Carry On, a collective that went on to tour in Boston and in Oakland. I had two solo shows back home, and I’m working on an upcoming one here. I’m also now preparing for a group show with Bushwick’s New York Street Gallery.
How do you feel about the movement of street art and graffiti into galleries?
Artists need to make money. In Puerto Rico, there are underground art galleries that support graffiti and really show love for it. I haven’t felt that here in NYC.
How does your family feel about what you do?
My mother and father didn’t get it for a long time. They thought it was crazy that I was spending so much time and money without getting paid. But then after they attended some of my shows and read about me in the news, they knew that I was progressing as an artist. And they grew to appreciate it.
What percentage of your time is devoted to art these days?
I’m almost always working on a canvas, flyer, T-shirt, print, painting or wall. It may not yet be 100%, but I hope it will soon be.
Have you earned any money from your artwork?
I have. I designed a sign for the Well Project that brought me some money. And I will soon begin working for the Roberto Clemente Center, painting outdoors with five other artists.
Any thoughts on the graffiti/street art divide?
I have tremendous respect for graffiti and I identify with it. But these days I’m more of a street artist or muralist. I like doing legal walls because I can take my time. There is a divide, though, even though many street artists started as graffiti writers.
Is there anyone you would like to collaborate with?
I’d like to do something with Os Gemeos. And if they were still alive, I’d work with Diego Rivera and Basquiat. Ha-ha!
Do you have a formal arts education?
Yes. I studied art with a focus on traditional graphics, silkscreen, etching and printing.
Are there any particular cultures you would say have influenced your aesthetics?
The many bright colors that I use and the animals I reference are influenced by Puerto Rican culture.
Do you work with a sketch in hand or do you work free hand?
For murals, yes, I use sketches, especially for proportions.
Are you generally satisfied with a completed work?
Yes. When I have given my all to a particular project, the quality is there.
When you look back at what you’ve done in the last two years, is there anything you would have done differently?
I’d have done bigger work, larger scale murals and more of them. Here in NYC, I’ve done four and that’s not enough.
How has your art evolved throughout the years?
Initially, I began with paint brushes. But because I love to learn and expand, I moved on to spray paint and became obsessed. I continue to enjoy learning new spray paint techniques.
What was the riskiest thing you’ve done as a graffiti writer?
Ha-ha! I actually tagged the door of a Senator’s house in Puerto Rico. My friends and I were drunk, and we decided to tag it at four in the morning. Since we didn’t have our cameras with us, we ran home to get them. But by the time we returned, someone was already power-washing the tags off the building.
How do you feel about the photographers and bloggers on the scene?
We need them. Their job takes time and love. It’s not just about the artists; it’s also about the people who share their love for what we do with others.
What’s ahead?
I’m part of the first New York Street Gallery group exhibit that will take place next Friday, November 15, at 272 Messerole Street on Bushwick Place.
Interview by Lenny Collado; Photo 1 in Bushwick by Tara Murray; photo 2 at 5Pointz by Dani Reyes Mozeson; all others courtesy of Nepo
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A range of curious characters have found a home on the streets of NYC. This is the second of our occasional series:
Buff Monster in Williamsburg, Brooklyn
Nathan Mellott in the East Village
Nepo in Bushwick, Brooklyn
Craig Anthony Miller aka CAM in Williamsburg, Brooklyn
KingBee in the East Village
One of the 13 Portals in the East Village
Photos of Buff Monster and Nepo by Tara Murray; of Nathan Mellott and KingBee by Daniel Reyes Mozeson; of Craig Anthony Miller and Portal by Lois Stavsky
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South Bronx native Luis “Zimad” Lamboy began gracing walls with his graffiti skills at age 14, and had his first exhibit at Fashion Moda in 1984. Since, he has exhibited his artwork in galleries world-wide and continues to share his skills on public spaces across the globe. Tomorrow evening, he will be showing a series of new paintings – alongside James Sexer Rodriguez — at Rogue Gallery Chelsea, 508 West 26th Street.
When and where did you first get up?
It started back in 1979. I grew up in the South Bronx on 156th and Courtland, and that’s where I first got up.
What inspired you?
Throw-ups and bombs were everywhere. I especially loved what I saw on the handball courts. There was FDT 56, KID 56, Mad2 and the Bronx Artists crew.
Have you any early graffiti-related memories that stand out?
I remember the time I shocked my arm in the lay-ups. It became numb, but I continued bombing. That same night we got chased out of the lay-ups by workers in the middle of the night. I remember running down Pelham Parkway, while the MPC Crew were throwing rocks and bottles at us. That was a night!
Did you represent any crews?
Crews I’ve painted with include: BA, OTB, DWB, TCM, CWK and TD4.
What is the riskiest thing you did?
Hitting up a white train on an elevated track wearing a red bubble coat in broad daylight. I had people yelling at me from the street.
How did your family feel about what you were doing?
My mom said, “You better be careful.” My father never acknowledged what I was doing. I really don’t know if he knew or not.
Have you ever been arrested?
A few times. Not too many. I remember when I was locked up with Sexer for painting a handball court right across from a police station. Just as we were finishing it, the entire precinct came out and surrounded us. We got off easily, though. We were charged with criminal mischief and had to pay a $50.00 fine.
Do you work with a sketch-in-hand or do you just let it flow?
I used to sketch out my letters before hitting a wall. But I mostly let it flow.
Are you generally satisfied with your finished piece?
Lately I’ve been. But I have mixed feelings about some of my earlier pieces
Do you have a formal art education?
I’m self-taught. I’ve been drawing since I was five years old. I learned just about everything I know from the streets. And in my mid-20’s, I attended FIT. The classes that I took there helped me fine-tune my skills.
Are there any particular cultures that have influenced your aesthetic?
The spiritual life has been my greatest influence. I’ve been particularly inspired by Sacred Geometry.
Any other inspirations?
Basquiat. Just watching the movie inspires me.
Do you prefer working with others? Or would you rather paint alone?
When I’m outside, I prefer working with others. I collaborate lots with Sexer these days. But when I’m in my studio, I like to paint alone.
Any thoughts about the graffiti/street art divide?
Graffiti writers often feel that street artists disrespect them. And, unlike graffiti writers, many street artists have formal art educations. This, too, leads to tensions between the two, as street artists have a different take on it all and are more accepted by the art establishment. Their work is also more accessible to most people.
Why do you suppose the art world has been so reluctant to embrace graffiti?
Well, it’s the only element of hip-hop that’s illegal. And that’s a problem. Gallery owners don’t want the police knocking on their doors.
Any favorite arists?
Doze Green, Mars1, Dondi and Basquiat.
How has your work evolved in the past few years?
I leave graffiti for the walls. In my studio I continue to move in the direction of fine arts. When I am painting in my studio, I am building a legacy.
Have you any thoughts about the movement of graffiti into galleries?
I think it’s great, but once it’s in a gallery, it’s not graffiti. It’s aerosol art.
How do you feel about the role of the Internet in all this?
On the positive side, it gets my work out all over the world. But it also makes it too easy for people to imitate one’s work.
Have you any feelings about the photographers in the scene?
Some are good; some aren’t. But I think if a photographer sells his photos, he should share his profits with the artists.
What do you see as the role of the artist in society?
To invite the public into their world. To share their story with others.
What do you see as the future of graffiti?
Graffiti is the biggest art movement in the world. It will continue to grow.
What about you? What’s ahead for you?
For me, I will continue to create every day of my life and share what is on my mind through my art for the world to see.
Interview by Lois Stavsky; Photo 1, Zimad as a young teen, courtesy of the artist; photo 2, Zimad at the Bushwick Collective by Tara Murray; photo 3, Zimad at 5Pointz by Lois Stavsky; photo 4, Zimad at 5Pointz by Tara Murray; photo 5, Zimad on canvas by Lois Stavsky
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The second in a series of blackbook posts features pages from the blackbook of the wonderfully talented Luis Zimad Lamboy, who began hitting the handball courts of the South Bronx over 30 years ago and is now getting ready — along with James Sexer Rodriguez — for his first Chelsea gallery exhibit.
With tagged trains
With old school character and Jesus Saves tag
Art Junkie
With Thor
Homage to TD4
All images from Zimad’s black book.
Zimad, along with James Sexer Rodriguez, will be exhibiting new pieces next Friday, October 25th, 6-10pm, at Rogue Gallery Chelsea, 526 West 26th Street. Info and interviews with both artists to soon follow.
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