Interviews

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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Klemens Gasser & Tanja Grunert to Present Michael Alan’s Immortal Equations: An Exhibit, Living Installation & Theatrical Happening

February 9, 2015

A new series of painting and drawings by the wonderfully talented multi-media artist Michael Alan will be on view at the Klemens Gasser & Tanja Grunert Gallery for two days later this month. The second day of the exhibit, February 25, will feature a Living Installation. Curious about it all, I posed a few questions to Michael.

Can you tell us something about the title Immortal Equations? What does it mean?

For me, great artwork conveys a taste of planning mixed with spontaneity. The great masters made sure your eyes moved all around the picture plane. They sure didn’t want their heads cut off. When I work, whether on a flat surface or on people, I think in terms of something that will live past NOW and, also, has an algorithmic pop to it – whether through color and line or just balance.

The Klemens Gasser & Tanja Grunert Gallery describes Immortal Equations as a Living Installation, a solo exhibition and a theatrical happening. What can attendees expect to happen?

I’ve been going through myriads of health issues, so I just wanted to do a 2-day special show. On Feb 24^th, day one, there will be an exhibit of some new works. I will be there. It’s a basic opening, but my crowd varies from high-end collectors to my boys I grew up with. It’s a real NY show! And I’m planning to return for a month-long exhibit somewhat later on.

What about the second day?

On the 25^th starting at 6pm, the drawings come to life. I will do my staple event, a Living Installation, with nine others, and six hours of live music by me and Tim “Love” Lee. There will also be six hours of non-stop live-action over-the-top recreation of the human body.

What would you like your participants to walk away with? What is the mission of this event?

Creative inspiration, happiness, and many thoughts. We live to shut off, especially in a time of high technology. I try to slow time down and let people watch a Human Fish Tank. It’s for the people. I do this for community and for people to come and participate: to make drawings, write and be turned into living paintings.

Can you tell us something about this specific venue? The curator? Who else – besides – you will be featured?

The venue is Klemens Gasser & Tanja Grunert Gallery at 33 Orchard Street off Hester on Manhattan’s Lower East Side. Mitra Khorasheh is curating the show. The performers and participants include: David Modelo, Stacey Dawn, Selina Lee, Genevieve Sophie Snow, Kimtacular, Wren, Laura Weyl, Alyssa D’Anna and photographer Kristen Collins, along with live music by me and Tim “Love” Lee.

How can folks gain admission?

The first night’s exhibit is free and open to the public. The second night – the Living Installation – is by admission only. For tickets, please visit www.michaelalanart.com under Installation.

Interview by Lois Stavsky; photos 1-3 courtesy of the artist; final photo by Kristen Collins

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Lorenzo Masnah aka AEON on APC’s First U.S. Exhibit, Romance, Recycled Art & more

January 28, 2015

I caught up with Bogota native Lorenzo Masnah — aka AEON and Third World Pirate — last week in his Bushwick studio as he was readying to head to Chicago’s Galerie F to join Stinkfish, Zas and Buytronick in preparation for APC’s first exhibit in the U.S.

You are leaving in a few hours for Chicago. What’s happening there?

I will be working with Stinkfish, Zas and Buytronick to produce a series of collaborative works. Each of us has a distinct graphic language and they all will come together on an array of surfaces – from found objects to huge outdoor murals — for this exhibit at Galerie F. Drawings, paintings, zines, shirts and all kinds of APC paraphernalia will be on sale at the gallery. The exhibit opens to the public on Friday, January 30.

Can you tell us something about APC? What does it mean? When did you guys all meet?

The crew originated almost ten years ago back in Bogota with a few artists who participated together in festivals. These days we have over 50 members representing APC throughout the entire world. The acronym has many different meanings. Its principal one is Animal Power Cult, as animals play an essential role in our individual and common aesthetic.

What about you? You seem to have three distinct identities. I primarily associate you with Third World Pirate as I remember watching you paint your iconic pirate almost ten years ago in Bogota. But there everyone seems to refer to you as AEON. And, here in NYC, I’ve come to think of you as Lorenzo Masnah.

I’ve been obsessed with pirates and drawing them in endless variations since I was a child growing up in Bogota. That explains Third World Pirate! He is the one character who always travels with me. AEON is my acronym for Al Estilo Orto Nombre (Another Name for Style) – as I began getting up back in 2002 in Bogota with distinct one-line drawings. And I adopted the name Lorenzo Masnah when I had my solo show at Fuse Gallery in 2013.

Among the highlights of your solo show at Fuse Gallery were your refashioned images of beautiful Mexican women. That is another theme that resurfaces in your work. Can you tell us something about that? You seem to be quite obsessed with Mexican ladies!

Yes, for years I’ve been collecting Mexican erotic magazines dated from the early 1950s. This past year, in fact, while visiting Mexico, I discovered in a used book store in Puebla a huge stack of 45 records with covers fashioned from these vintage magazine pictures. I bought them all! And I am now working with them, recreating them with images that transcend that specific era.

Why do you suppose these images so engage you?

I love their pure innocence, their nostalgic beauty! And they represent so much of what we are missing in our era of Internet dating, where romance has lost its essence. And I’ve also always loved working with recycled materials. It is my way of preserving the past, as I create a visual encyclopedia of aesthetics and issues that speak to me – and, hopefully, to others.

What’s ahead?

After Chicago, we plan to travel out West and then return to NYC for APC’s first East Coast exhibit.

It all sounds great! We look forward to seeing you guys in NYC.

Note: Animal Tricks opens this Friday, January 30, at 6 pm at Galerie F. Located at 2381 N Milwaukee Ave in Chicago IL. The gallery is open Tuesday through Sunday, 11 AM to 6 PM.

Interview by Lois Stavsky. Photos: 1. AEON paints in Chicago, courtesy Galerie F; 2. flyer for exhibit, collaborative by featured APC artists; 3. APC in NYC with AEON, Zas, Rimx and Arepa photographed by Tara Murray; 4. AEON on canvas photographed by Lois Stavsky; 5 – 7. APC in Chicago courtesy Galerie F.

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Cluster Wall to Launch Tomorrow with Exhibit and Party at 17 Frost in Williamsburg, Brooklyn

January 16, 2015

A specialized new online gallery certain to appeal to us street art aficionados, Cluster Wall launches tomorrow evening with an exhibit and party at 17 Frost in Williamsburg, Brooklyn. We recently had the opportunity to speak to Cluster Wall’s founder, Evan Tobias.

What is Cluster Wall? Why that name?

It is a term I respond to! As an art-lover and collector, I tend to cluster art of all colors and styles in our Brooklyn apartment. The results are vibrant, bold and kinetic, like New York City, itself!

What is your mission in launching Cluster Wall?

My mission is to provide art lovers with the opportunity to purchase first-rate, hand-embellished affordable art. There will not be any ink jet prints. All of the artworks will be signed and numbered, and editions will be limited. Prints will be released in a series of 100 or fewer. And, in addition, a small number of original works will also be made available.

What work experiences do you bring with you to your current position?

I was the founder and editor of Block Magazine, and founder of the Full Circle Bar in Williamsburg.

Most of the artists — whose works you will be exhibiting and selling — are active on the streets. Why the focus on street art?

I’m a big fan of street art. I’ve been living in Williamsburg since 2001, and I’ve seen how street art has enhanced my neighborhood. It has made it a better place to live. But Cluster Wall is not limited to street artists. I will be releasing artworks by other contemporary urban artists, as well.

How did you decide which artists to work with?

I started off by contacting artists I know, and then I was connected to some others. I was specifically looking for artwork that I love that would also work well as prints.

Can you tell us something about this weekend’s exhibit? What can we expect to see?

We will be featuring prints and original artworks by Chris RWK, Joe Iurato, Rubin, ASVP, Elle, The Drif, London Kaye, Solus, Opie and ORYX, along with collaborative works by John Paul O’Grodnick and Jilly Ballistic, who will also be painting live.

What is Cluster Wall bringing to the art scene?

It provides art lovers with the opportunity to collect outstanding, innovative artwork at modest prices.

That all sounds great! Good luck!

Note: The launch begins at 7pm tomorrow — Saturday — at 17 Frost Street and will feature, along with dozens of artworks, music by DJ Nigel Rubirosa and refreshments provided by Lion Beer and Sea Grape Wines.

Interview conducted by City-as-School intern Zachariah Messaoud.

Photos

1. Chris RWK

2. Cluster Wall founder Evan Tobias, seated in front of artwork by London Kaye

3. The Drif

4. John Paul O’Grodnick and Jilly Ballistic

5. Joe Iurato

All photos courtesy Cluster Wal l, except for pic of Evan by Lois Stavsky

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“The Future Is Now” Continues through January 20 at 60 Orchard with Art is Trash, Jamie Martinez, Iena Cruz, Kimyon Huggins, NDA and more

January 11, 2015

Featuring a diverse range of artists – many active in the streets – the Future Is Now continues through the 20^th at 60 Orchard Street on Manhattan’s Lower East Side. While visiting the exhibit soon after it had opened, I had the chance to speak to Kimyon Huggins, who along with Kennedy Yanko, curated it.

This show is wildly eclectic – featuring a broad range of visions and styles. Can you tell us something about this exhibit’s title? Its mission? What does it all mean?

The Future Is Now references a new form of Dadaism, where artworks of varied styles from artists of different backgrounds come together in a cohesive fashion.