Interviews

Federico Massa aka Iena Cruz: From Milan, Italy to Williamsburg, Bklyn

March 24, 2015

Living and working as a full-time artist in Williamsburg, Brooklyn, Milan native Federico Massa aka Iena Cruz first visited NYC in 2008. He has since moved here, enhancing NYC and beyond with his strikingly stylish aesthetic. This post is the first in a new series of interviews with artists born abroad who have decided to make NYC home.

When did you first visit NYC?

It was the summer of 2008. I stayed here for a month. At the time, I didn’t know anyone in NYC.

What brought you here? Why NYC?

I was on vacation, and I was interested in exploring other cities. I had begun to feel that Milan is too small for me. NYC seemed like a logical place to visit.

What was your first impression of NYC?

I fell in love with it at once. I didn’t understand it, but I loved it. I felt inspired by the chance to be connected to so many different cultures. I thought everything about NYC is great!

What was your image of NYC back in Milan?

It was out of focus. The only image I had of it came from what I saw in movies and music videos. I really had no idea what to expect.

When did you decide to return here?

I knew soon after my first visit that I needed to come back.

How did your family feel about you leaving Milan for NYC?

They were supportive. They know how difficult life is for an artist in Milan. Back home no artist is taken seriously until after he is past 50.

What were some of the challenges you faced once you decided to make NYC home?

I had to learn a new language. I had to find work to meet basic living expenses. I constantly had to concern myself with visa requirements and paper work. And in order to do all this, I had to put aside my painting. There was a general sense of instability.

Your current living situation is ideal – as your home is also your studio. How did you get so lucky?

I discovered this place on craigslist. When I contacted the owner, he asked me to show him a sample of my artwork! As soon as he saw it, he took me on as a tenant. At the time there were two other artists living here, both Mexican.

What was that like – sharing the space with these other artists?

It was wonderful at the time! And they’ve had a tremendous influence on my aesthetic. Through them, I discovered Mexican culture, and I’ve since adapted elements of it into my artworks.

Now that the space is all yours, how do you meet all your expenses?

Largely through a variety of commissioned projects. I also sell artworks and do set design.

Do any particular projects stand out?

The huge mural I did for the Williamsburg Cinemas on the corner of Grand and Driggs was an experience! It was unlike anything I had done before – both aesthetically and in terms of the people with whom I interacted while painting it. And last month, I had the opportunity to participate in FAAM, Fine Art Auction Miami in Wynwood.

How has your artwork evolved or changed since you came here?

My current works feature and fuse elements of Italy, Mexico and NYC. And as I’m inspired to push myself here, my art is certain to continue to evolve and develop.

How receptive have New Yorkers been to your artwork? To you?

It’s been so positive. My sense is that folks here admire my work, and they’ve been so welcoming.

What’s ahead?

Now that I have my green card, I just want to keep painting murals and exhibiting my artwork.

Interview by Lois Stavsky with City-as-School intern Zachariah Messaoud

Photos: 1. In Miami for the FAAM MAJOR STREET ART AUCTION and 4. In Puerto Rico, courtesy of the artist; 2. In the artist’s studio, Lois Stavsky; and 3, 5-7, In NYC, Dani Reyes Mozeson

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Royce Bannon on “Living the After Life” at 17 Frost

March 20, 2015

On exhibit through tomorrow — Saturday — evening at 17 Frost is Royce Bannon‘s Living the After Life. Fashioned on a range of found surfaces — some collaboratively — all of the images intrigue. Curious as to what is going on, I posed some questions to Royce.

What does this all mean? What is going on here?

These works represent my ideal vision of the afterlife — doing the things that I enjoy doing — when I am living as a ghost. It is a celebration of life after death.

What, do you suppose, was the impetus behind this theme? Why the focus on life after death?

My mother recently died. For quite awhile I’d been preparing myself for her death and thinking about the afterlife. Death is not the end.

How have folks responded to this body of work?

The response has been positive. There’s been considerable interest in the works.

How can folks to be sure see the exhibit before it closes?

Everyone is invited to the closing party to be held tomorrow evening — Saturday, March 21 — at 17 Frost Street from 7-11pm.

Note: Tomorrow evening’s closing party will feature a new collabo with EKG and a live drum machine performance by Jefferson Wells.

Images

1. Fishing buddies, Collab with Keren Hasson, Acrylic on wood

2. The swing is always broken in limbo, Collab with KA, Acrylic and spray paint on metal.

3. Remember that day, pt 2, Acrylic on wood

4. Only positive thoughts, Acrylic on metal

5. So far, Collab with Observer Obscura, Mixed media on wood

Photos of artworks by Lois Stavsky

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Spring Group Show at Chelsea 27: El Pez, Kokian, Sliks, Sen2, Esther Barend, Kurar, Joyce DiBona and more

March 18, 2015

Home to three distinct galleries — Artemisia Gallery, Azart Gallery and MZ Urban Art — Chelsea 27 is currently presenting Spring Group Show featuring works by an eclectic range of emerging and established international artists. While visiting the gallery yesterday, we had the opportunity to speak to Marina Hadley, owner of MZ Urban Art.

Can you tell us something about Chelsea 27? This current exhibit features artworks presented by three distinct galleries, yet the pieces seem to seamlessly work together.

We are three friends. I had previously worked with Latifa Metheny, the owner of Azart Gallery, at 547 West 27th Street, and I met Christine Jeanquier, who runs Artemisia Gallery, through a mutual friend. We respect each other’s visions and choices.

You seem to all share a somewhat similar vision.

Yes, we are interested in showcasing emerging and contemporary artists — who are working in a range of media and styles — from across the globe. We are interested, too, in discovering new talents. Latifa Metheny particularly focuses on the culture of street art and Christine Jeanquier on French artists.

Why did you choose this particular location?

It is on the ground level of an ideal space in the heart of the Chelsea art district. It was a step I was ready to take, as it is the perfect location for attracting serious collectors.

Yes, it does seem perfect! What advice would you offer an emerging artist who would like to see his work featured in a Chelsea gallery?

Before approaching a gallery, get to know its owner and the work that it features. That is how you will know if the gallery is likely to be receptive to your work. Be sure to have a professional-looking website with each image labeled with its size and medium. When visiting a gallery, bring business cards and a cover letter that look professional. Check out — as often as possible — what other artists are doing. Work hard and be persistent! And be sure to have a body of work and a recognizable style before approaching a gallery owner.

That certainly sounds like great advice! Is there anything in particular that you, yourself, look for in an artist?

Yes, I look for someone who has a statement to make and is willing to take risks to make it. I develop a personal relationship with each artist whose works I exhibit.

So much is happening in the contemporary art scene. How do you keep up with it all?

I follow social media sites like Facebook and Twitter. I regularly read the New York Times, the London Times and the LA Times. I read essential blogs and I talk to people.

We’re looking forward to upcoming exhibits and events, and we are delighted that Chelsea 27 is showcasing so many artists who are active on our streets.

Note: The exhibit continues through Saturday, March 21.

Artworks

1. El Pez

2. Kokian

3. Sliks

4. Sen2

5. Esther Barend, close-up

6. Kurar

7. Joyce DiBona

Interview by Lois Stavsky with City-as-School intern Zachariah Messaoud

Photo credits: 1, 2, 5 & 6 City-as-School intern Zachariah Messaoud; 3 & 7 Lois Stavsky and 4 Dani Reyes Mozeson

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Twisted Mouse at Grand Central’s PIQ Pays Homage to Mickey Mouse: Betso, Eric Orr, Sienide, Miss Zukie, Chris RWK and more

March 16, 2015

An extraordinary range of artworks in various media celebrating the iconic Mickey Mouse is currently on exhibit at PIQ at 8 Grand Central Terminal in the Shuttle Passage. Among the artists featured in Twisted Mouse are many who also grace the streets of our cities. I recently had the opportunity to speak to its curator, Sabina Nowik.

Can you tell us something about this exhibit? What is happening here?

It is a celebration of Mickey Mouse with dozens of works ranging from the quirky to the gruesome.

Why Mickey Mouse? What is his significance to you?

Having lived and worked in Orlando, Florida, I’ve always had a special relationship with Disney’s characters. Mickey Mouse represents youth and fun!

How did you bring such an extraordinary array of artists together? How did you find them all?

I knew some of the artists from the previous exhibit here at PIQ; some I discovered via word-of-mouth. And I did considerable online research.

What was the experience like? Was it different from what you had expected?

It was very pleasant, as I had expected it to be. But the installation itself — incorporating everything from soft vinyl to triptych art — came together far more seamlessly than I had anticipated.

Note: Twisted Mouse continues through March, with many artworks to remain on exhibit through April. Hours: Monday-Thursday: 8-10 | Friday 8-11 | Saturday: 8-10 | Sunday 9-9.

Artworks

1. Betso, Mickey Splash

2. Eric Orr, Max with Mickey Ears

3. Sienide, Wickey Mouse

4. Miss Zukie, Stuffed Mouse

5. Chris RWK, Tourist Trap

Photo credits: 1 Sara C. Mozeson; 2 – 4 Lois Stavsky and 5 courtesy of the artist

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Damien Mitchell on Graffiti, Street Art, Prague, NYC, His Upcoming Exhibit at Low Brow Artique and more

March 12, 2015

Australian native Damien Mitchell has been gracing NYC walls with his wonderful talents since moving here two years ago. We visited him at his studio while he was readying for his solo exhibit — Tools of the Trade — opening tomorrow Friday, the 13^th, at Low Brow Artique.

When and where did you first share your artwork on a public space?

My first experience with graffiti was at age 8. I wrote ‘fuk’ on the underside of our family’s coffee table. I then blamed it on my two-year old niece, Alice.

What or who inspired you to do so?

I can’t remember — though it must have been important, as I still do it now and then. Alice is getting really sick of my shit.

Do you have a formal art education?

No.

How do you feel about the movement of works by street artists and graffiti writers into galleries? Have you exhibited your work in a gallery setting? If so, where and when?

It is what it is. When you take a work off a truck or wall and stick it in a gallery, it no longer moves like it does outside. It can’t sneak up on you or take you by surprise. That said, I am showing paintings at Low Brow Artique tomorrow, Friday the 13^th, from 6-9pm.

When did you come to NYC? What brought you here?

I first arrived five years ago to visit my wife’s family. I was only here for a few weeks, but I got a few walls up including one at 5Pointz – R.I.P. We moved over here for a longer term on Independence Day two years ago.

What are some of the specific challenges of working/living here in NYC as an artist?

Like anywhere, when you give your work away for free on walls — often times against the will of the building owner — things can get a little weird. Luckily, there are lots of walls to go around, and sometimes they even pay you for it.

Where else have you painted? Have you a favorite city?

When I was 18, I moved to Prague in the Czech Republic. I lived there for eight years painting everything I could. Say what you will about the hangover from the Soviet era but it sure left a lot of bare concrete walls. Also, I once painted my butthole blue just to see if it would change the color of my poop. It didn’t.

Any thoughts about the street art/graffiti divide?

Personally, I wear two hats. I think it’s nice to be able to drink beer in the summer time, while painting a wall at a block party somewhere, but it’s also fun as hell to run around writing shit on walls on the sly. Graffiti heads get all pissy because their work is illegitimatized by street art’s aesthetics and message.

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

When I was growing up in rural Australia, the Internet was the only way to see any of this stuff. If it wasn’t for sites like Stencil Revolution, I probably would have become a plumber or something.

Do you prefer working alone or painting with others? With whom have you collaborated? Is there anyone in particular with whom you’d like to collaborate?

For legal walls, I’m up for collaboration. There are things you learn and tips — you don’t realize you are giving — that make artists better when they work together. This last year I was lucky enough to work with Edob Love and Heesco painting a couple of walls here in NYC. Who knows what will pop up in 2015?

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

Both. When I’m painting a large portrait, I usually have some kind of sketch with me to start with, and then I let it go. Showing up to a wall with a big bag of paints and just emptying them all as it goes makes for some of my favorite work, though.

How has your artwork evolved during the past few years? Has living in NYC affected your aesthetic?

Since living in NYC, I’ve been offered larger walls, so I’ve had to significantly change how I work. For years I was painting primarily with stencils, but once the walls got big enough, I ditched them. As for aesthetic, I paint what’s around me, so the city and its residents constantly pop up in my work.

DM exhibit

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

I don’t know what the role of the fine artist is, though the role of the graffiti artist — in my opinion — is to be the voice of social change. When there is nowhere to raise your voice, grab some paint and write it on the wall.

Can you tell us something about your exhibit that opens tomorrow at Low Brow Artique?

It’s called Tools of the Trade. A homage to graffiti, it celebrates the tools used by graffiti artists.

What’s ahead for you?

After spending some more time here in NYC, my wife and I are heading to Brazil. The more I look, the more I like!

Photo credits: 1. & 4. Dani Reyes Mozeson; 2. & 3. Lois Stavsky & 5. City-as-School intern Zachariah Messaoud

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Speaking with Brooklyn-Based Director and Cinematographer Jared Levy

March 10, 2015

Brooklyn-based director and cinematographer Jared Levy has traveled the world pursuing his distinct docu-journalism. Among his projects is Graffiti Fine Art, an award-winning documentation of artists who participated in the 1st International Graffiti Biennial in São Paulo, Brazil. More recently, NYC’s Cern was the subject of a short film called Updating Philosophies. Eager to find out more, I met up with him last week in Williamsburg.

Your award-winning film Graffiti Fine Art is a wondrous ode to graffiti. What drew you to graffiti? Any early memories?

I grew up in a small town on Long Island, where there was no graffiti. And I was indifferent to it on my trips into the city. It was when I visited São Paulo in 2009 that I first discovered it on another level and appreciated it.

What brought you to São Paulo?

I had recently graduated from the Newhouse School at Syracuse University, and I was interested in developing a portfolio. After spending two weeks on vacation in Brazil during Carnaval, I was eager to return to the country. I arrived without any preconceived notion about what topics I would cover. At the time I felt like it was better to explore what was there than to conjure up ideas about a place I didn’t know. It didn’t take long for São Paulo’s graffiti to grab my attention. The city is completely covered in paint.

How were you able to meet and connect to so many street artists in a relatively short period of time?

Lots of serendipity! I was at a bar in São Paulo when I mentioned to one of the few English-speakers there, Nathalie Stahelin, that I was interested in the art I’d seen on the walls of the city. She introduced me to Melton Magidson, the former owner of Magidson Fine Art on Manhattan’s Upper East Side. Melton then introduced me to Ethos, who became the subject of my first graf video. Up until that point it had been three relatively frustrating months of dead ends. These encounters, which all happened within a crazy two-day span, dramatically changed my entire situation in Brazil.

How did you then go on to film Graffiti Fine Art?

Through the Ethos video, I started meeting more writers by offering to take photos of them painting. It was a great way to meet people, exchange art and become friends. Eventually I met Binho. His friendship, along with a few other artists, really helped set the stage for my time in São Paulo. Graffiti Fine Art developed when Binho invited me to film an event he was curating — the 1^stInternational Graffiti Biennial featuring works by 65 street artists from 13 countries at the Brazilian Museum of Sculpture in São Paulo.

What was the experience like?

For eight days the museum stayed open 24/7. Most artists came to work on their murals after hours. I never wanted to miss a mural so during those eight days and nights, I took naps on a bench in a janitor’s closet when I wasn’t filming. I never left the grounds of the museum. It was a blast hanging out and meeting artists from all over the world. A priceless experience.

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

On one level it thrills me, as it gives these artists the respect and recognition they deserve. But it’s no longer graffiti. The definition of that is pretty cut and dry – letters in the public domain. But at the time this was a new question for me to explore, being relatively new to the scene. For the artists however, this conversation was old news. I think that actually helped the film in that it brought fresh eyes to the topic. I hope it made the film more accessible for people not familiar with graffiti/street art. But to answer your question, it’s a game of semantics and I’m just glad these incredibly talented artists are reaching new audiences.

In addition to being visually mesmerizing, your film touches on so many key issues about the movement that speak to us. Were you satisfied with your final work?

Yes, absolutely. I learned a lot through every part of the process. It’s interesting, four years removed from it and my relationship to the film is still evolving. My thoughts on the piece both technically and conceptually continue to change as I improve as a filmmaker. But, honestly, I just grow fonder of it really, as it reminds me of a specific time in my life. A really fun and exciting time.

What – would you say – were your greatest challenges in working on this project in São Paulo?

Certainly language. Even after I learned basic Portuguese, idioms and slang terms – specific to the city — confounded me. And São Paulo’s infrastructure is particularly challenging. Filming all of the São Paulo exterior timelapses was a 3-4 week battle, but now that it’s over, I definitely cherish the unique relationship I feel I have with the city itself. Also, it is always delicate filming and representing process. Building trust and creating authentic capture is a challenge I continually face. Even more so in this case when you’re a foreigner asking for an artist’s trust. I respect the artists greatly for opening up to me.

Your company Navigate recently produced a short film which you directed called, Updating Philosophies, featuring NYC artist Cern. Can you tell us something about that process?

Justin Hamilton, the film’s cinematographer/co-owner of Navigate, and I filmed Cern for seven days – at work on a mural, on a truck and with his balloon structures. Each day we got up before sunrise to assure the best light. The final video is about 5 minutes. Its focus is on the creative process.

Why did you decide to make Cern the subject of a video?

I originally met Cern, who is a New Yorker, in São Paulo for Graffiti Fine Art. So it’s come full circle in a way. Once I moved back to NYC in 2011, I developed a personal relationship with him. I’ve always found him to be thoughtful, kind and talented. I knew a short film taking a deeper look at his ideas would yield great results. He’s a smart, philosophical dude. It’s also my first crack at a graffiti/street art related piece since Graffiti Fine Art. My relationship with Cern felt like a great opportunity to dive back into the genre with a — hopefully — sharper cinematic eye.

What’s ahead?

I’m interested in pursuing and telling different types of stories that connect us all. I find process to be far more interesting than the end result. Through process you can learn so much about the creator — where often the connection to the audience exists. Telling these types of thoughtful and authentic stories is what we hope to continue at Navigate.

Interview by Lois Stavsky; all images courtesy of Jared Levy and Julian Walter

Photos: 1. On the set of Updating Philosophies with Cern; 2 Ces, close-up from Graffiti Fine Art still; 3. Suiko, close-up from Graffiti Fine Art still; 4. Jaz, close-up from Graffiti Fine Art still; 5. Shock, close-up from Graffiti Fine Art still; 6. Cern, still from Graffiti Fine Art; 7-8. On the set of Updating Philosophies with Cern

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Speaking with Scratch

March 5, 2015

An impassioned graffiti artist, Stockholm native Scratch is the only female to have painted at the legendary Graffiti Hall of Fame for four consecutive years. Last year, together with her writing partner, Lady K Fever, she founded The Bronx Graffiti Art Gallery an outdoor public art space featuring several internationally acclaimed graffiti artists. Scratch‘s public works can be seen in the Bronx, East Harlem and in Upper Manhattan.

When and where did you first get up?

I was 14 when I first painted in my native city of Stockholm. But I was a toy back then!

What were the circumstances?

The Swedish town I was living in at the time had become concerned about its “graffiti problem.” And so the government decided to establish a “graffiti school,” where we would be taught to paint in legal venues. I just wanted a space and free paint.

What was that experience like?

There were no formal classes, so we were free to learn from each other. And of course just about everyone who attended improved their skills and continued to painting illegally! I was the only girl who showed up.

Were there any artists who inspired you back then?

Yes! There was Brain – who taught at the “graffiti school.” He was a major inspiration. And others who inspired me were Circle, Ward, Ziggy & Dizzy and Zappo.

Did you do anything risky back then?

One Christmas morning – when all the shutters were down – I went out and bombed just about every store on my town’s main street.

That does sound risky! Why were you willing to take that kind of risk?

I was only 14; I didn’t really think about the consequences of my actions.

You moved to NYC in 1998 to work as a graphic designer. When did you begin painting graffiti here? And what got you back into it?

I hadn’t painted for many years. And then one day, as I was riding the 7 train into Flushing, I passed 5Pointz. I couldn’t believe my eyes! A few days later, I went back to check it out, and that was it! I was hooked again. That was back in 2008.

What was it like for you at 5Pointz?

It was great. Meres is an amazing teacher, and just about all the writers I met there were kind and helpful.

Any thoughts on the graffiti/ street art divide?

Graffiti and street art are very different. There may be some crossover, but they will remain distinct art forms. Graffiti is still identified with vandalism, and street artists get far more respect and recognition than do graffiti writers. But graffiti – to me – is stronger. It is more honest and direct.

How do you feel about the movement of graffiti into galleries? Have you shown your work in galleries?

Graffiti wasn’t intended to be painted on a canvas. Sometimes it works; other times it doesn’t. But I have no problem with it. Yes, I’ve shown in a number of galleries.

What about the corporate world? Any thoughts about that?

I’m used to it. My background is in advertising.

Do you prefer working alone or collaborating with others?

I often work alone, but I’ve collaborated with Lady K Fever, and I assisted Kingbee and Vase at the Graffiti Hall of Fame. I like both! I look forward to collaborating more with other artists.

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

I feel positive about it. I get to see artworks I would never, otherwise, get to see

Do you have a formal arts education?

No, my background is in advertising and marketing. I studied at Pace University.

What inspires you these days?

Fantasy. I’m a huge fan of Lord of the Rings.

Are there any particular cultures you feel influenced your aesthetic?

I’d have to say the early graffiti writers in Sweden. But there they are referred to as graffiti painters – not writers!

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

Yes. I always have some kind of sketch with me when I paint.

Are you generally satisfied with your work?

No! I always want to change it.

How has your work evolved in the past few years?

It’s gotten better. It’s more detailed.

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

To share his or her story with others.

What’s ahead for you?

More walls and huge productions. And also more opportunities to show my work.

Note: You can meet Scratch, along with other members of the The Bronx Graffiti Art Gallery, tomorrow from 6 – 8pm at the spray can art show at Scrap Yard at 300 West Broadway between Grand and Canal Streets.

Interview by Lois Stavsky; photos 1, 3 & 4 courtesy of Scratch 2. Lois Stavsky, and 5, Dani Reyes Mozeson

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Fiber Artist Naomi RAG Yarnbombs East Harlem

March 3, 2015

For the past several wintry months, fiber artist Naomi RAG has been beautifying East Harlem with her splendid yarn bombing. Yesterday, I spoke briefly to Naomi.

When did you first begin to grace public streets with your talents?

The first time I yarnbombed was four years ago back in Cambridge, England.

What inspired you to do so at the time?

Via social media, I had heard about International Yarnbombing Day, and I loved the idea of bringing color and beauty to our urban landscape.

Where else have you yarnbombed?

Liverpool’s Crosby District — where I was staying for a bit — and here in East Harlem, where I’ve lived for the past year.

What is your impression of your new neighborhood?

I just love it! I especially love its diversity. It is quite similar to the London Borough of Hackney.

How have folks here responded to your pieces here in East Harlem?

All the feedback has been positive. And it’s the positive reactions that motivate me to keep at it.

What’s ahead?

My goal is to create one new piece a month to share here in the public sphere.

That sounds great! We are looking forward!

Photos 1-3, Lois Stavsky; 4 & 5, Dani Reyes Mozeson

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EKG♥NYC Closing Event Tonight at Skewville in Long Island City

February 28, 2015

Since the February 13th opening of EKG♥NYC, NYC-based writer EKG has been busy at work on his installation for the closing reception. We stopped by earlier this week and had the opportunity to ask the artist a few questions:

Your orange pulse has become an integral part of our city’s visual landscape. What does it represent?

It’s chemical communication...an expression of connectedness and collaboration. It’s a sign of energy vibrating on everything everywhere. I see it as the heartbeat of our city.

Why orange?

I like its intensity and the way it integrates into the cityscape.

This installation is astounding! The walls are covered with cryptic orange diagrams. A cloudy haze emanating from a heavy metal concert fog machine fills the air, and your iconic symbol is everywhere — on and amidst milk crates, ladders, spray cans, cages and more. What is going on here?

It’s an abstract sillouette of New York’s cityscape. All of the elements represent the connections among all things. The smoke and the electronic music heighten the intensity of it all.

Your official opening was on February 13th, the day before Valentine’s Day. Can you tell us something about that? And how did that go?

It was originally intended as an All Hallows’ Valentine’ Eve celebration of misfit love, mutant science and aesthetic rebellion. The turnout was great and the entire experience was awesome!

I love your shop here. Your symbol is everywhere from t-shirts and zines to prints and paintings — and everything is so affordable!

Yes. It’s a homage to Keith Haring’s legendary pop shop, but as if it was created by Tim Burton, Marilyn Manson, Walter White and Stephen Hawking!

What can folks expect tonight?

I’ve continued to build up my installation, and the closing ceremony will once again feature the Doomdronecore performance by the avant-garde electronic artist, Jefferson Wells.

Good luck! It is certain to be amazing!

Note: Tonight’s closing event begins at 6 pm at 35-18 37th Street in Long Island City.

Photos: First image features photo by Katherine Lorimer aka Luna Park; 2-5 by Lois Stavsky; image 2 is a collaboration with Smells.

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Speaking with Rocko

February 26, 2015

Fusing ancient Arabic scripts with modern Western strokes, Moroccan native Rocko has fashioned a distinct aesthetic that has been increasingly making its way onto NYC walls. We were delighted to have the chance to meet up with him this past weekend.

When did you first get up?

Back in Morocco in 1997. I was the first one to bomb in Meknès. It was something that I had always wanted to do. I was a b-boy, and graffiti was always an essential aspect of that culture. I’d also painted for the pioneering hip-hop crew, Dogs, known these days as H-Kayne.

What about here in NYC?

Here in NYC I only work on legal spaces. There’s too much at risk here!

What was your first piece here?

Three years ago I did my first piece for the Pita Palace on Montrose and Bushwick.

What was the experience like?

I loved it. I particularly love the interaction with the passersby as I’m painting.

What kinds of surfaces do you prefer?

As I generally paint with brushes, I need smooth surfaces. I also look for spots with no trees of cars blocking the view.

How have folks responded to your particular aesthetic – a fusion of Arabic calligraphy and graffiti?

The response was been overwhelmingly enthusiastic. I am constantly asked to design tattoos featuring my particular calligraffiti.

How does your family feel about what you are doing?

They love it. Everyone is supportive.

What percentage of your day is devoted to your art?

About 40%.

What is your main source of income?

I work as a director of a senior center in Bushwick.

What are some of your other interests?

Cycling. I race for the Brooklyn Arches.

Any thoughts on the graffiti/ street art divide?

I feel that it’s reached a turning point in recent weeks. I expect there will be less of a division from now on.

How do you feel about the movement of graffiti and street art into galleries? Have you shown your work in galleries?

I’m fine with it. It’s just a different context. Yes, I’ve shown my work in a number of spaces in Brooklyn.

What about the corporate world? Any thoughts about that?

I don’t mess with it!

Do you prefer working alone or collaborating with others?

I often work alone, but I’ve collaborated with a number of artists including Zimer, Eelco and N Carlos J.

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

I love what Sek3 is doing. I would like to collaborate with him.

When I first saw your work, I confused you with Retna. Does that happen often?

Yes! But I’ve been doing it for 34 years. It’s my culture!

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

I think it’s very important. It introduces us to so much.

Do you have a formal arts education?

No, I never went to art school. I’m self-taught. I began doing Arabic calligraphy when I was four years old with a wooden pencil!

How would you describe your ideal working environment?

Just me in my studio. But working on public walls is more fun!

What inspires you these days?

Everything I see around me!

Are there any particular cultures you feel influenced your aesthetic?

Arabic.

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

Never! I freestyle.

How has your work evolved in the past few years?

It’s gotten better. Sharing my work in public spaces pushes me to work harder at my craft.

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

The artist has a huge responsibility to his or her community – to enhance it in a respectful manner.

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

They are very important!

What do you see as the future of street art?

It will just keep on growing and evolving.

And what about you? What’s ahead?

More walls, more collabs and more exhibits. I will also continue to curate the Dodworth Mural Project that I launched last year.

That sounds wonderful! We are looking forward!

Interview by Lois Stavsky with Houda Lazrak; first photo courtesy of the artist; all others by Lois Stavsky; photo 2 is a collaborative with Zimer; 5 with Eelco and Vera Times; 6 with N Carlos J and 7 with Eelco

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