Interviews

Street Level at Jersey City’s Shuaspace with: Ree, Snow, Sam Pullin, Mr. Mustart, Distort, Acro and more

October 13, 2015

Currently on view at Jersey City’s Shuaspace is Street Level, an exhibit featuring works by a range of artists from Old School graffiti writers to contemporary muralists. While visiting the space this past Sunday, I had the opportunity to speak with its curator, Allison Remy Hall.

What a fun exhibit! It’s such a wonderful mix of styles and genres. How did it all come about?

When the owners of Shuaspace, Joshua Bisset and Laura Quattrocch, met me at the previous show that I had curated, they invited me to curate in this space. I’d always wanted to curate a graffiti exhibit, and this seemed like the perfect venue and opportunity. I then contacted artists whom I knew, who put me in contact with other artists.

Why graffiti? What draws you to graffiti?

I’ve always loved its aesthetic. I love its rawness and spontaneity.

When and where were you first introduced to it?

My older siblings first introduced me to graffiti. I was about eight years old and living in New Haven at the time. Even as a child, I felt there was something bold and bad about it that appealed to me.

What — would you say — is the mission of Street Level?

It’s a celebration of the organic nature of neighborhoods. With gentrification so much of the aesthetics and social dynamics of neighborhoods have been lost.

What was the experience of curating your first graffiti exhibit like?

It was wonderful! Everyone was so supportive and helpful and generous with their time. It was the most fun of any show I’ve curated!

Note: You can visit Street Level, at Shuaspace this coming weekend from 1-6pm at 340 Summit Ave, a few blocks from Journal Square in Jersey City. You can also arrange a visit by contacting Alison at aremyh@gmail.com.

Photos by Lois Stavsky

1. Ree and Snow, painted on gallery wall interspersed with black and white photographs

2. Curator Allison Remy Hall at gallery space

3. Distort and Acro, painted on gallery wall interspersed with black and white photographs

4. Mr. Mustart

5. Sam Pullin aka Bedbugs, painted on gallery wall interspersed with black and white photographs

Photographers on exhibit: Andrew Blumenthal, Miguel Peralta and Giovani Santoro

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#NotACrime Street Art Campaign Highlights Human Rights Abuses in Iran with Murals by: Icy and Sot, Marina Zumi, Cyrcle, Nicky Nodjoumi, Never2501, Alexandre Keto, Faith47, Cake & more

October 6, 2015

Led by Maziar Bahari — a former Newsweek journalist who was imprisoned in Iran for 118 days and became the subject of Jon Stewart’s film Rosewater — the #NotACrime campaign focuses on human rights abuses in Iran. Members of the Baha’is, Iran’s largest religious minority, have been jailed solely for teaching and studying, as have journalists who expose the Iranian government’s policies. #NotACrime‘s current street art campaign, curated by Street Art Anarchy, has brought a series of new politically-engaged murals to New York and New Jersey. I recently had the opportunity to speak to the noted Brooklyn-based Iranian-American artist Nicky Nodjoumi, one of the campaign’s participants, who had been exiled from Iran in the aftermath of the Islamic revolution.

What moved you to participate in the #NotACrime Street Art Campaign?

I have been using art as a means to expose political crimes for a long time. It is part of my overall activities as an artist.

You are principally known for your exquisite politically-infused figurative paintings, but you also designed posters against the Shah back in the late 70’s.

Yes, while teaching at the Tehran University of Fine Arts, I became involved in the movement to oust the Shah. We never could have imagined that what would follow would be even worse than the Shah’s regime.

For the #NotACrime street art Campaign, you painted a pair of shackled hands. That image has also been surfacing on posters Downtown. Why that image?

It is a symbolic gesture in support of journalists in Iran. It is a general representation of the suppression of free expression.

Do you feel that all artists have a responsibility to raise issues that will facilitate change?

An artist who lives in the Middle East does. There one has to have a position and take a stand.

What is the foremost challenge facing artists and journalists in Iran today?

There is no freedom of expression. Human rights are abused. Everything must be done clandestinely. One faces the risks of imprisonment, torture and worse for any expression that challenges the government.

What do you see for the future? Are you at all optimistic? Will things get better in your native country?

Unfortunately, I don’t have any hope for the immediate future. Despite the election of a more moderate President, dissent is not tolerated, as the hardliners are the ones who are setting the present policies.

I suppose we all need to work together to create awareness.

Note: All murals in the #NotACrime street art campaign were curated by Street Art Anarchy. What follows are the ones featured above:

1. New York-based Iranian artists Icy and Sot, 819 Broadway and Ellery St in Bushwick

2. Argentinian artist Marina Zumi, Frederick Douglass Blvd and 126th St in Harlem

3. American artist David Torres aka Rabi, part of the art duo Cyrcle, 126th St in Harlem’s Nelson Mandela Memorial Garden

4. New York-based Iranian artist Nicky Nodjoumi, 11-22 Welling Court in Astoria

5. Italian artist Jacopo Ceccarelli aka 2501, 24th St and Lex Avenue in Manhattan

6. Brazilian artist Alexandre Keto, Frederick Douglass Blvd and 126th St in Harlem

7. South African artist Faith47, Colombia and Woodhull Streets in Red Hook

8. New York-based Jennifer Caviola aka Cake, 612 Communipaw, Jersey City

Interview with Nicky Nodjoumi by Lois Stavsky

Photo credits: 1, 4, 6 & 7 Tara Murray; 2, 3 & 5 Dani Reyes Mozeson and 8 courtesy of #NotACrime

Check here to find out how you can participate in the campaign.

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Eric Orr on His New Hunts Point Studio Space, His iconic Robothead, the Schomburg Center, the New York Comic Con and more

September 24, 2015

Best known for his iconic Robothead and his subway collaborations with Keith Haring, South Bronx native Eric Orr can now be found most days in his new Hunts Point studio. I recently had the opportunity to meet up with him there.

What a great space! When did you begin working here?

It’s been four months now. It couldn’t be more perfect, as it’s just a short ride from my house and convenient to just about everything.

How does working in a studio differ from working in your apartment?

It’s an entirely different experience. There’s a lot less traffic here. I can leave my paint on the floor and know that it will still be there when I return. I have the freedom to create without having to put things away. And my family is happy too! No more fumes and no more paint in their way!

How does having your own space impact your work as an artist?

Bigger thoughts and bigger pieces. I’m planning to design huge sculptures and paint on larger surfaces. Can you imagine what I’d be doing now if I had a space like this 40 years ago!

You are currently participating in Leave a Message, a group exhibit — curated by Tes One — at St. Petersburg’s Morean Arts Center. What’s next?

I’m showing in Unveiling Visions: The Alchemy of the Black Imagination, an art and design exhibit — curated by John Jennings and Reynaldo Anderson — at the Schomburg Center’s Latimer Edison Gallery. On exhibit are photos of the 1984 Eric Orr and Keith Haring subway drawings, along with an original 1986 cover of my Rappin Max Robot comic book. I will also be exhibiting five new Robothead masks recently created in the new studio space. Then later this year I will have a solo exhibit at WallWorks Gallery.

What about the upcoming New York Comic Con? Can we expect to see you there?

Yes! I will have hand-embellished mini posters of the cover of my Rappin Max Robot #1 comic book available for purchase. I will also be speaking on the Hip-Hop & Comics: Cultures Combining panel discussion with Depth of Field‘s, Patrick Reed on October 8, 2015 at 11 AM.

I am looking forward to it all!

Note: Unveiling Visions: The Alchemy of the Black Imagination opens tomorrow evening, Friday, September 25, at the Schomburg Center’s Latimer Edison Gallery, 515 Malcolm X Boulevard in Harlem.

Photo credits: 1 & 3, courtesy of the artist; 2 & 4 Lois Stavsky; interview by Lois Stavsky

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Escape (Legalize Freedom): French Street Artist, Painter and Performer SP38 Brings His Iconic Urban Poetry to the Quin

September 19, 2015

The noted French artist SP38 made his NYC debut this past week at the Quin Hotel on West 57th Street. Curated by DK Johnston, SP38‘s exhibit, Escape (Legalize Freedom), features the artist’s iconic text-based works that continue to surface across the globe. While visiting the Quin Thursday evening, I had the opportunity to speak to the artist.

You are currently based in Berlin. What brought you there? And what prompted you to stay?

I first came to Berlin 20 years ago. There was so much empty space at the time, and the city — after the German reunification — was especially welcoming to artists. Before moving to Berlin, I had been living in artist squats in Paris.

The streets are the principal canvas for your urban poetry. Why the streets?

It is the best way for me to get my message across to the world. The streets allow me to reach so many people.

Among your statements that have surfaced in public spaces are: “ESCAPE,” “OCCUPY,” “SLAVES,” “VIVE LA BOURGEOISIE,” “NO PROPAGANDA,” “NO MONEY NO ART” and “I DON’T WANT TO BE U’RE FRIEND ON FACEBOOK.” The name of this exhibit here at the Quin, in fact, is ESCAPE (Legalize Freedom). What is your intent in putting these messages out there?

I am interested in provoking a reaction. I want folks to think about what is happening. And I use humor and sarcasm because I also want to make them laugh.

Have you any favorite surfaces?

I love old doors and new walls. I focus on how my message will work within its immediate environment, as well as its general surroundings.

Besides Berlin, where else have you gotten up? And how have folks responded to your work?

I’ve brought my urban poetry to Seoul, Ragoon, Montreal, Bristol, Santiago and the Philippines. The response has always been positive!

How has your work evolved since you first started sharing it on public spaces?

As I get older, it has become cleaner and more simple. I especially like writing on white paper.

What about NYC? What is your impression of our city?

I love it! It is a mix of everything cool!

Escape (Legalize Freedom) remains on view at The Quin Hotel, 101 West 57th Street at Sixth Avenue.

Photo credits: 1, 3 and 5 via artist’s Instagram; 2 and 4 (close-up from video wall) at the Quin by Lois Stavsky; interview by Lois Stavsky

Note: Images 3 & 5 on the streets of Berlin

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Speaking with Colombian Artist Garavato in NYC

August 25, 2015

Garavato-musicians-illustration

With a B.A. degree in Industrial Design, Colombian native Garavato has designed and developed dozens of projects in a range of media. During the past three years, he has also shared his talents on public spaces. I recently had the opportunity to meet up with him when he was in NYC where he painted at Grove Alley in Downtown Brooklyn and at EBC High School.

When did you first hit a public surface? And where?

Three years go in Argentina.

What inspired you to do so?

I had always worked on paper, on canvas and on indoor walls. But I wanted to try to get a huge stencil up in a public space. And when I had the opportunity to do so legally in Buenos Aires, I did. And I’ve been doing it since.

garavato-collab-street-art

Do you tend to restrict yourself to legal surfaces?

I usually ask for permission when I’m a guest in another city, but in Bogota, where I’m now based, it’s okay for me to get up just about anywhere.

In what other cities have you painted?

I’ve painted in Sao Paulo, Rio de Janeiro. Berlin, Napoli and now in NYC.

How does your family feel about what you are doing outdoors?

At first, my father was concerned. But now he is very supportive.

What percentage of your day is devoted to your art?

All of it. 24/7. It is the sole source of my income, as I work as a designer and illustrator.

Do you have a formal arts education?

I studied Industrial Design for five years. So my background isn’t in fine arts or illustration. But I’ve always been drawing, and my mom is a painter.

What about galleries? Have you shown your work in galleries?

Yes, I’ve exhibited in Argentina, Chile, Italy and in major cities in Colombia.

Do you prefer working alone or collaborating with others?

I like working by myself, but I also like learning from others. And that happens best when I collaborate with other artists.

How has your work evolved in the past few years?

I’ve begun to paint on a much larger scale and — inspired by the works of Emory Douglas, Shepard Fairey and Toxicomano — I am using fewer colors.

What inspires you these days?

So much! Music, birds — the freedom they represent – skulls, animals and the notion of evolution.

Have any particular cultures influenced your aesthetic?

I’d say the punk culture, the street art movement and the DIY (Do It Yourself) movement.

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

The artist gives a gift to the people, stirs conversation and raises consciousness.

How you feel about the role of the Internet in this scene?

It’s amazing! It give us artists the opportunity to connect with so many people. And I love that feeling.

And what about you? What’s ahead?

I’d like to focus on stencils, further develop my own brand and travel more.

Sounds good! Good luck!

Interview by Lois Stavsky; all photos courtesy of the artist, except for photo 3 by Lois Stavsky

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Toofly on the Upcoming All-Women Warmi Paint Arts Festival in Quito

August 23, 2015

We miss Toofly when she isn’t in NYC, but we love what she’s up to in her native Quito. You can find out about her current project here:

Just what exactly is Warmi Paint?

Warmi Paint is an all-women arts and culture festival that will launch this fall in Quito, Ecuador.

What is Warmi Paint’s mission?

Its mission is to celebrate and empower Latin American women street artists with a focus on graffiti, street art and murals.

What does the name Warmi mean or represent?

Warmi means “woman” in Quechua. It is the name of the people of the Central Andes of South America. It is also the name of their language. Women of all ages from this part of the world will create a new vision of themselves, nurture their communities and reflect a powerful message.

What can visitors expect?

Special guests and 20 women artists will paint collaborative murals, host workshops, and present their work to the Ecuadorian community. We will have graffiti films, slideshow presentations, panels, youth workshops, pop-up shops and a concert! People of all ages will benefit from this unique cross-cultural exchange and community-building experience.

It sounds wonderful! Good luck with this!

Note: Your support will help artist/curator TOOFLY (NYC) and artist/curator HTM (Ecuador) realize their mission. Find out how you can help fund the project here.

Photos courtesy of Toofly

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Baltimore-Based Artist/Activist Nether on Breaking Down Barriers, Honoring Freddy Gray, Forging Street Art for Social Justice and more

August 16, 2015

A few years back, several wheatpastes – many of children — surfaced on the walls of NYC’s marginal neighborhoods. The works of Baltimore-based artist and activist Nether, they seamlessly reflected the folks with whom they shared the streets. In his native Baltimore, Nether has been actively involved in several community-oriented projects, including Baltimore Slumlord Watch drawing attention to neglected properties and the issue of vacant housing. And in 2013, as founder and president of the non-profit, Wall Hunters, INC, he facilitated the installation of 17 murals on abandoned properties in Baltimore. More recently, Nether‘s focus has been on the death of Freddy Gray at the hands of his city’s police and Baltimore’s broken justice system. While visiting Baltimore earlier this month, I had the opportunity to speak to Nether and visit some of his recent murals.

When I last visited Baltimore, you were involved in the Wall Hunters: Slumlord Project. Its intention was to expose landlords who had neglected properties. Have you seen any outcomes from this project?

Definitely! Since the project began, there’s been dialogue on the issue and focus from the social justice community. It’s hard to know if we were directly responsible, but several buildings that we targeted have been demolished. The first one happened only a month after Stefan Ways painted his piece on it.

How has the local art scene changed in these past few years?

It really has. There seem to be many more projects coming from a variety of directions and approaches. Also, recently there has been a lot of reflection in the art scene on the many barriers in the city that separate people. Hopefully, this will create pressure on curators, venues, gallery owners, and arts businesses to diversify their crowds, artists and outreach. There has, also, been a focus on social justice through street art this summer. I have been involved in organizing murals in Sandtown. BOPA has been running this amazing ART@WORK program — in partnership with Jubilee — teaching and employing kids in Sandtown to paint murals with professionals such as Ernest Shaw. Also, a group of Morgan students organized an installation on Greenmount Avenue adjacent to a wall by Pablo Machioli and Gaia. Other active projects include: Richard Best’s Section 1 Project and the Shift Project in Highlandtown.

The memorial mural that you painted in tribute to Freddy Gray has garnered quite a bit of media attention. At what point did you begin painting the mural?

The planning began after his death around the time of the first protest, and I began painting the mural the day the curfew ended.

What was the mood like the evening of his death?

People were respectful and united. So much solidarity that evening. The people were taking their pain and turning it into an incredibly positive movement.

How do folks in Sandtown respond to your presence in their neighborhood?

Generally, people are surprised, yet welcoming. People constantly speak to me, and I always welcome that. I essentially sit on a ladder all day and receive stories. My feeling is that I’m a guest in their neighborhood, and I need the people’s blessings to paint. Also, I’m very up-front about my personal background and what part of the city I’m from. I do get occasional comments that are meant to offend me, but street art in Baltimore has the potential to break down the social boundaries created by decades and decades of discrimination. A mutual feeling of Bmore Love among Baltimoreans is one of those forces that is so strong that, I believe, it can get over any hurdle that is thrown in front of it. When I go to a place like Sandtown, it is to create a dialogue and deal with hard topics that I have to be comfortable talking about. What I do isn’t easy; it deals with very difficult issues. Many of the conversations that I have had with people have heavily influenced my artwork. I try to plan murals that are able to adapt and change through dialogue and the creative process.

What did bring you to Sandtown at such a difficult time?

Having previously done many paste-ups and murals in Sandtown, loving Baltimore, and the fact that state violence had been the focus of my work for a while now.

And how has the response to the final mural been?

Folks have been extremely appreciative and supportive. The mural has attracted media, often giving residents the chance to speak out about those issues that are so important to the entire city. The more murals that go up from all the projects going on in Sandtown, the more this will happen. The idea is to promote a message that is amplified so loudly that it can no longer be ignored.

What’s ahead?

More murals in Baltimore that will act to aid the movement and call out the issues that have plagued Baltimore’s neglected neighborhoods for generations.

Note: Photos 2 and 3 are of murals done in collaboration with Stefan Ways.

Interview by Lois Stavsky; photo 4 by Lois Stavsky; all others courtesy of the artist.

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Three-Day All City Art Expo Brings Outdoor Art Inside with: BK Foxx, Dain, See One, Rob Plater, Zimad, Taki183, Art is Trash, Rocko and more

August 13, 2015

Opening tomorrow at 23 Meadow Street in East Williamsburg, the three-day All City Art Expo 2015 is an exuberant celebration of NYC’s outdoor art culture. We stopped by yesterday and had the opportunity to speak to Evan Tobias of Cluster Wall who, along with Kevin Michael, curated the exhibit.

This is quite an eclectic collection of art here! What is the concept behind the All City Art Expo?

It is a celebration of all outdoor art. We wanted to showcase a range of artwork — by sticker artists, graffiti writers, street artists and muralists — all in one setting.

And it looks great! How did you find such an ideal setting?

We began looking at spaces awhile back. And Mona Liza Furniture — a huge arena with ample outdoor space — offered to host us.

It couldn’t be more perfect! When did you begin working on this All City Art Expo?

I met Kevin Michael many months ago. We began working together on this project back in the winter.

There are so many artists here representing so many different styles, concepts and genres. How did you choose which ones to include?

When Kevin and I came up with this concept, we wrote up a wish list that included a range of artists from Old School graff guys to ones whose works have surfaced recently on our streets.

What was your greatest challenge in organizing this event?

Handling the logistics behind working with over 100 artists!

What can visitors expect — besides a chance to see and purchase such an extensive selection of artworks?

The Sticker Social Club will join us and visitors will have a chance to “slap and share.” There will be a Black Book Jam on Sunday with many Old School writers in attendance. On both Saturday and Sunday a Groundswell artist will lead mural workshops. And there will be music all weekend by DJ Pumpkin, food by Arrogant Swine, along with drinks, vendors and raffles.

Can you tell us something about your relationship with Groundswell?

We have asked each artist to donate a canvas — an All City Compact Canvas — that will be sold for $150.00. Proceeds will be donated to Groundswell to support the wonderfully transformative projects the organization brings to our communities in its work with youth.

Good luck! It’s all so impressive, and it looks like it will be so much fun!

Images: 1. BK Foxx 2. Dain 3. See One 4. Rob Plater 5. Zimad 6. Taki 183 and Nic 707 7. Art is Trash 8. Rocko

Interview by Lois Stavsky

Photo credits: 1, 3 5-8 Lois Stavsky; 2 & 4 Dani Reyes Mozeson

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Brooklyn-Based Artist and Arts Educator Joel Bergner aka Joel Artista on His Recent Project with Israeli and Palestinian Youth

August 6, 2015

We recently spoke to Brooklyn-based artist Joel Bergner aka Joel Artista about his experiences this past spring working with Israeli and Palestinian youth.

What brought you to the Israel?

I ‘d worked with artist and arts educator Max Frieder last year in the Middle East in a program for Syrian refugees and, also, in Cuba. He invited me to partner with him on this trip — organized by his Artolution project with the support of private donors and the U.S. Embassy and Consulate — to Israel and Palestine.

What was the purpose of the trip?

The main purpose was to provide creative opportunities for Israeli and Palestinian youth, who rarely interact, to meet each other through our educational workshops and collaborate on public mural projects. Through this work, they formed relationships with each other and were able to begin positive dialogues.

Was your experience in this particular conflict-ridden landscape different from what you had anticipated?

I had thought of the divide in this region as largely an Israeli-Palestinian one. But I came to realize that the situation is far more complex. There is a considerable divide between the religious and secular and divisions within certain communities themselves. I also wasn’t aware of the situation of the East Jerusalem Palestinians who do not have Israeli citizenship; in fact, they don’t have citizenship to any country in the world! Most can get Jordanian passports even though they are not Jordanian citizens, and it is these passports they use when they travel abroad. We worked with a Palestinian friend who was in this difficult and complex situation, and he brought us all around the West Bank and taught us a great deal. He was an inspiring guy for me because of his positive and tolerant perspective toward all the people of the region.

Did you feel personally affected by the conflict?

I was there on Jerusalem Day, when the Israelis — particularly those on the right — celebrate the reunification of Jerusalem and the establishment of Israeli control over the Old City. That was a particularly tense day, as there were protests and a highly charged and violent atmosphere in the area between the east and west sections of the city.

What — would you say — was you greatest challenge?

Getting the Israeli and Arab kids to interact with one another in a meaningful way and actually work together.

Were you able to overcome this challenge?

Yes. Most came to value the idea of working together for a common purpose. One of the groups came up with the image of a boat floating on a sea. Out of the boat grew a tree with branches that became human figures. They wanted to send a message that despite differences, they all have the same roots, and that they are all on the same boat together.

In what ways was your experience in Israel different from other countries where you’ve worked with youth?

I’ve worked in many countries with youth from very difficult environments, including those who have experienced war and other forms of violence, but this was my first time purposefully bringing together two sides of a conflict in order to spark dialogue. These are young people who are taught to fear and hate the other side. But many told me individually that once they came face to face with each other and worked together, joked around and had conversations, it became impossible to see the other as an enemy. They realized that they had so much in common. It was incredible to see them bonding and becoming friends. One day we all broke into a spontaneous dance party! It was beautiful to see them just acting like normal teenagers together. While this will not solve all the complex problems in region, I hope that it will be a seed.

What was the final project?

The installation of a huge mural at the Hand in Hand School, which was then installed at the US Consulate in Jerusalem. There it is visible to people from all backgrounds as they wait to apply for their visas.

Any thoughts about the future of this region?

After working with these kids, I do have some hope for these youth. One of their murals, in fact, told a story of the journey from conflict to peaceful coexistence. But I don’t see any easy resolution to the larger conflict.

And what about you? Any further plans to work in this region?

Yes, we are planning future projects for communities in the Middle East. These will include the participation of local artists and educators, who will be trained to facilitate their own arts-based community programs. The plan is to turn this concept into a global organization that will focus on advocating for social change through public art.

Interview conducted by Lois Stavsky; all images courtesy of the artist

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Speaking with NYC-Based Artist Cern aka Cernesto

July 20, 2015

Queens native Cern began writing graffiti in the early 90’s. His artworks — characterized by luscious colors, swooping shapes and imaginative characters — have, since, made their way into public spaces, alternative venues, festivals, galleries and museums throughout the globe. We recently met up with him in Long Island City where his current exhibit, Vertical Archipelago, remains on view through the end of this month.

When did you first get up? And where?

Back in 1990 in Queens. I was 12 at the time.

What inspired you to do so?

Everyone around me was doing it!

Are there any early memories that stand out?

I remember riding the train with my mom, looking out the window and thinking, “Wow! This is amazing!” She said, “This is bad!”

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

Way too much!

Any thoughts on the graffiti/ street art divide?

Everyone seems to be having a good time!

Your current exhibit Visual Archipelago is beautiful, and it encompasses an incredibly wide range of artworks. How do you feel about the movement of graffiti and street art into galleries?

It’s nothing new. It’s been going on for 40 years. It’s a normal progression. And I like the way art looks everywhere.

What about the corporate world? How do you feel about the relationship between street artists and the corporate world?

I have no problem with an artist getting paid to promote a cool product. I, myself, like working with small, independent businesses.

Do you prefer working alone or collaborating with others?

I like both.

What is the riskiest thing you’ve ever done on the streets?

I just finished painting six stories high on Canal Street throughout the night!

How you feel about the role of the Internet in this scene?

It’s cool! It provides us all with yet another medium.

Do you have a formal arts education?

I have a degree in Studio Art from Queens College, but I never really used it. It did teach me, though, how to deal with bureaucracy.

What inspires your art these days?

Memories, discoveries, nature, animals and urban life. And, of course, all my travels have been a source of inspiration.

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

I sometimes work from loose sketches.

Are you generally satisfied with your work?

Usually.

How has your work evolved in the past few years?

It’s more experimental, and I tend to work with a range of mixed media including spray paint, watercolor, graphite and ink.

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

To heighten people’s visual awareness.

What do you see as the future of street art and graffiti? Where is it all going?

Styles seem to be evolving more quickly. And the marketing of the art has become increasingly important, almost as important as the art, itself.

And what about you? What’s ahead?

I want to continue in my own development as a person and as an artist.

Note: All of the above images were captured on our visit to Vertical Archipelago, Cern’s current exhibit at 26-19 Jackson Avenue in Long Island City.

Interview by Lois Stavsky with Tara Murray.

Photos: 1, 2, 3 & 5 Tara Murray; 4 & 6 Lois Stavsky

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