Interviews

Sek3 on Succulent Studios, PALABRA, What’s Ahead and more

June 13, 2014

A 3000 sq. foot gallery and performance space housed on the 5^th floor of 67 West Street in Greenpoint, Brooklyn, Succulent Studios opened earlier this year with an exhibit featuring over 30 artists of diverse backgrounds and cultures. Currently on exhibit — through June 21 — is PALABRA, an installation-based show featuring works by Rubin, Sek3, Iena Cruz, Beau Stanton, El Sol 25, S. Rose, Katie Balloons and Michael Alan. On a recent visit, I had the opportunity to speak to its owner and founder, Sek3.

Could you tell us something about the birth of Succulent Studios? What motivated you to launch this space? It is quite remarkable.

The idea was born in Miami at Art Basel back in December. Cern, Cekis, Bisc, Stefano Alcantara and I had set up a pop-up show in Wynwood. It was so successful – with one of my paintings selling the very first day — that I decided I wanted to continue doing shows back in NYC. Cern introduced me to Daniel Weintraub, who soon took on the role of Creative Director. I see street art as the last vestige of originality and this space as the ideal venue for street artists to bring their visions inside.

Folks are still talking about your Inaugural Show that opened in early spring.

Yes, it was amazing! More successful that I could have imagined! 33 artists – including legendary writers like Daze and Ket — were represented. A piece by Old School writer FIB was sold raising $800 for dog shelters — with an additional $200 donated by Succulent Studios. And despite heavy rains, thunderous storms and issues with public transportation, hundreds of people showed up.

What about your current exhibit? What is the concept behind PALABRA?

It is installation-based with each artist given a particular section to engage in any way he or she pleases.

How has the response to this exhibit been?

It’s been tremendous with lots of media coverage and great sales.

What would you say has been your greatest challenge?

The sheer amount of work that running this space requires. It’s a 24-hour day job. I need to hire someone just to sleep!

What’s ahead?

There will be a closing party for PALABRA next Saturday evening — June 21 at 7pm — presenting The Living Installation by Michael Alan. And then the following week we will be exhibiting a selection of murals created for Governors Ball. Much more in the months ahead including a show featuring the artwork of fine artists Akira Beard and Jaclyn Alderete and more exhibits with works by street artists. There will also be projects and classes that will directly engage members of the local community.

It sounds great! Good luck!

Interview and photos by Lois Stavsky; photo info: 1. Sek3 2. S. Rose 3. Rubin 4. Beau Stanton 5. Iena Cruz

Speaking with Billy Mode

June 10, 2014

A master of bold, abstract graffiti-inspired art that fuses elements of mathematics, science and design, Baltimore-based Billy Mode is a frequent visitor to NYC. Here he has graced walls in Brooklyn and in Queens with his strikingly stylish aesthetic, often in collaboration with fellow Baltimore native Chris Stain. I recently had the opportunity to speak to the talented artist:

When and where did you first get up?

It was around 1984-85 in Baltimore. I was 11 or 12.

Who or what inspired you at the time?

Most of my friends at the time were older than me. My friend Eric Meek and I went to see Beat Street at the Grand Theatre in Highlandtown when it first came out. We were so hyped that we were doing backspins and such in the theatre while the movie was playing! Soon after, Eric got hold of a copy of Subway Art by Martha Cooper and Henry Chalfant. I’ve been grateful for these two introductions to the movement ever since.

Had you any preferred surface or spot at the time?

When I first began, it was mostly alleyways with Pilot markers and spray paint. But I soon moved on to rooftops. It was fun and I quickly became addicted to the adventure of it all.

Were you ever arrested back then?

I was caught bombing a bus. But nothing major happened. I got community service.

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

My folks were cool. I was basically a “good kid.”

Have you any thoughts about the graffiti/street art divide?

There is a divide, but I don’t think about it. If it’s good, it’s good. It doesn’t matter whether it’s graffiti or street art.

What about the movement of street art into galleries?

I’m fine with it. I’ve been exhibiting in galleries since the mid 90’s. Galleries offer us artists a different way to share our art.

Why do you suppose graffiti is held in higher esteem in Europe than it is here?

Arts in general are more celebrated there. Plus I think the hip-hop culture is embraced differently In Europe. It is viewed more positively.

Do you prefer working alone or collaborating with others?

I enjoy both. Collaborating is fine — so long as I don’t have to compromise too much and lose too much of my own concept. Collaborations can’t be forced.

Your collabs with Chris Stain are among our favorite pieces. Is there anyone else with whom you’d like to collaborate?

I’ve thought about collaborating with Joe Iurato and Rubin. To me a good collaboration is when the works balance each other out. One of my favorite exchanges was with one of my best friends, Pat Voke. He always made me want to push my limits and seek out deeper meanings in the work process. I hope to collaborate with him again.

What inspires you these days?

Letter forms continue to inspire me; structures, in general, inspire me. When I sit down to work, I try to expand on what I’m developing — so it continues to grow. My graffiti background influences my desire to be inventive and contribute to the movement.

Are there any particular cultures that have influenced your aesthetics?

They’re not quite cultures, but I’m increasingly influenced by the fusion of mathematics and science.

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

These days I do have a sketch in hand which helps with the layout. When I do a more traditional graffiti style, I prefer freestyling it.

Are you generally satisfied with your work?

About 80% of the time! I’m always looking to improve.

What do you think of the role of the Internet in all of this?

We live in the future. Information travels faster than ever which, I think, allows for exponential growth. I do enjoy seeing artistic developments happening daily. But I have noticed that regional styles have been diluted. The grass roots of graffiti culture have been slowly changing, and so have the rules of etiquette.

Do you have a formal arts education?

I do have a BA from Maryland Institute College of Art (MICA), but I always credit my graffiti background as my formal training. I’ve been very fortunate to have good friends to learn from and grow with.

What’s the riskiest thing you’ve done?

Bombing in daylight on super visible spots!

What are some of your other interests?

Sleep, and when I’m not injured, skating pools.

What’s ahead?

I intend to do more murals and conjure mathematic visual formulas into reality. I will keep on expanding!

Interview conducted and edited by Lois Stavsky; photos 1. At Welling Court in Astoria, Queens with Chris Stain by Lois Stavsky; 2. At the Bushwick Collective by Dani Reyes Mozeson; 3. In Cobble Hill, Brooklyn with Chris Stain and Cre8tive YouTH*ink members — based on a Martha Cooper photo by Lois Stavsky; 4. At the Bushwick Collective by Dani Reyes Mozeson; 5. At the Bushwick Collective by Lois Stavsky; 6. At 17 Frost for OutDoor Gallery book launch by Lois Stavsky

Keep posted to our Facebook page for images of Billy Mode’s new mural, done in collaboration with Chris Stain, for the 5th Annual Welling Court Mural Project, opening this Saturday, June 14.

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Speaking with R. Nicholas Kuszyk aka RRobots

June 4, 2014

Nick Kuszyk‘s impeccably-crafted robots are among NYC’s most seductive images. With their bold colors and expressive movements, they brilliantly enhance our urban landscape. I had the opportunity to speak to their creator, R. Nicholas Kuszyk aka RRobots, shortly before he left for his one-month residency in Jaffa, a seaport town on the outskirts of Tel Aviv.

When and where did you first get up?

It was back in 1993 in the suburbs of DC.

Had you any preferred surface or spot back then?

I hit whatever walls and trains I could.

Who or what inspired you at the time?

Cycle and Cool Disco Dan were among my main inspirations.

Do any early memories stand out?

My friend’s older brother had a black book and a copy of Videograf. It seemed monumental. I was 12 years old when I discovered another reality.

How did your family feel about what you were doing?

My parents didn’t know what I was doing. But my family has always been supportive of my art. My mom is an interior decorator and my sister does cool drawings.

Were you ever arrested?

No. I never got caught.

Most of us here identify you with your signature robot. Can you tell us something about it? When was it born?

It was born in 2000, and my first legal robot wall surfaced in 2002 in Richmond. Since then, it has traveled to over a dozen cities in the US and abroad to Berlin, London, Prague and now to Tel Aviv.

Why a robot? What does this robot represent?

I like its simplicity, its universality. It’s up to you to decide what it represents.

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

It’s fine.

Is there anyone with whom would you like to collaborate?

Satan.

Are there any particular cultures that have influenced your aesthetics?

The skateboarding culture and graffiti.

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

I always have a general idea of what I will be painting. But I don’t prepare sketches.

Are you generally satisfied with your work?

It depends.

Do you have a formal arts education? Was it worthwhile?

Yes. I studied art at the Virginia Commonwealth University School of the Arts. It was definitely worthwhile, as it widened my perspective.

How has your work evolved in the past few years?

It has become more geometric, and the robots are becoming less central to my pieces and more integrated into them.

How do you see the role of the artist in society?

The artist is here to educate and to entertain. And the street artist has a distinct role – to increase property values.

Note: Nick’s exhibit, consisting of artwork created during his one-month residency, opens tomorrow, Thursday, June 5 at SAGA, a new space for art in Jaffa.

This interview was conducted by Lois Stavsky; photo 1 in Williamsburg, Brooklyn by Lois Stavsky; photo 2, courtesy SAGA; photo 3 at Welling Court in Astoria, Queens by Tara Murray; and photo 4, courtesy SAGA

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Zio Ziegler Launches New Mural and PBteen Collaboration at Tribeca’s Hudson River Middle School

May 30, 2014

Celebrated for his tantalizing murals characterized by bold, primeval graphics, West Coast-based Zio Ziegler is one of our favorite artists. We’ve been huge fans since we discovered his distinct aesthetic on the streets of Williamsburg, Brooklyn over a year ago. A self-described entrepreneur, as well as an amazing artist, Zio Ziegler recently worked with PBteen to design a collection of bedding, backpacks, murals and more. We were delighted to meet him this past Wednesday evening at I. S. 289 in Tribeca, where he had been working with students as a visiting artist. Zio’s newest installation that was created for Hudson River Middle School was on view, along with selections from his just-launched PBteen collaboration. City-as-School student/intern Michelle Natanzon also had the opportunity to ask Zio a few questions:

What inspires your art?

My art is my personal response to the world. It comes from my soul. Literature is also an influence. I am trying to be less linear and more natural in my expression. The children here are wonderful teachers!

How does working on a project for Pottery Barn differ from painting in your studio?

It is a matter of putting my art on a different kind of canvas. I need both experiences. I love working on projects.

What about companies? Have you any feelings about working with private businesses?

I don’t think of it in terms of “selling out.” It’s about using leverage with companies as a way to canvas the world. It gives me the opportunity to share my art with people who would not otherwise experience it. But I certainly would not change my style to fit the demands of any business.

What about the streets? Would you rather work in your studio or paint on the streets?

Both. I like them both. I try to achieve a balance.

What has the experience of working with Pottery Barn been like?

PBteen has been really great! (Excuse the shout-out!) It is an ideal partnership. Pottery Barn, itself, started from a garage and is now global.

Note: You can meet Zio Ziegler tomorrow — Saturday afternoon — from 3-5 at PBTeen-NYC, 1461 Second Avenue and 76^th Street.

Photos 1, 3, and 5 courtesy of PBteen; photo 2 of Zio at Hudson River Middle School by Lois Stavsky; and photo 4 of Michelle interviewing Zio by Houda Lazrak

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Puerto Rican Artists Fernando Ruíz Lorenzo and COCO144 Paint a Homage to Oscar López Rivera at East Harlem’s Camaradas El Barrio

May 29, 2014

The following guest post is by Yoav Litvin, the author of the recently released Outdoor Gallery – New York City, a book on contemporary NYC street art and graffiti.

Today, May 29, 2014, marks the 33^rd anniversary of the incarceration of Oscar López Rivera. Born in San Sebastián, Puerto Rico in 1943, Rivera moved to the United States at age 9. At 18, Oscar was drafted into the United States army, stationed in Vietnam and awarded the Bronze Star for his service. After the war, Oscar returned to the Puerto Rican community in Chicago and found it in a dire state: the community was plagued with drug addiction, vast unemployment, inadequate health care and poor education. Profoundly affected by the condition of his community, Oscar became a community organizer and activist, working towards equality.

In a highly political and controversial trial, Rivera was sentenced to a total of 70 years in prison for numerous felonies, including seditious conspiracy for his actions resisting the forceful authority of the United States over Puerto Rico. Rivera was accused of being a member of FALN, the Fuerzas Armadas de Liberación Nacional (Armed Forces of National Liberation), which had been linked to dozens of bombings aimed at raising awareness of Puerto Rico’s situation. Notably, the authorities were never able to tie Rivera or any of the other defendants in the case to any bombing. In 1999, President Bill Clinton offered clemency to Rivera and 15 additional Puerto Rican Nationalist members of FALN. However, Rivera rejected the offer because it was not extended towards fellow prisoner Carlos Alberto Torres, who was subsequently released in 2010.

To mark the 33^rd anniversary of the incarceration of Oscar López Rivera, Puerto Rican NYC-based artists COCO144 and Fernando Ruíz Lorenzo painted a collaborative mural in his honor at Camaradas El Barrio in Spanish Harlem, NYC. I recently interviewed both artists:

Why did you create this mural? What is its message, and whom do you aim to reach?

Fernando Ruíz Lorenzo: I was asked by Orlando Plaza, the owner of Camaradas El Barrio, to create a mural dedicated to Oscar López Rivera. I immediately thought of COCO144, a fellow Puerto Rican artist and friend I have worked with on multiple exhibitions since 2005. COCO’s work has always had a political dimension, and he has been an advocate for writers of the aerosol movement since its beginnings in New York City in the late 60s and early 70s. When I asked him to paint the mural, he agreed on the condition that we work on it together.

The mural’s message is ultimately for the viewer to determine. The piece we did obviously advocates for Mr. López Rivera’s release, but to COCO and me it is more. It’s an intergenerational dialogue representative of our artistic freedom; it is our inheritance as sons of the Puerto Rican diaspora in New York City and the world. My hope is to increase awareness about Oscar López Rivera’s case and reach the younger Latino youth in the city. As Puerto Rican artists and writers in New York, we have been instrumental to the development of the city’s progressive social-fabric since the industrial boom of the late 1800’s. We continue that historic legacy, but instead of rolling cigars or sewing clothing, we’re creating art.

COCO144: Eternal (Fernando Ruíz Lorenzo) approached me with the idea of painting a homage to Oscar López Rivera and, in turn, I asked him to collaborate. I feel that painting the mural at Camaradas El Barrio is another vehicle of reaching out to the public and, specifically, the establishment’s patrons. Its message is that after 33 years of incarceration, Mr. López Rivera should be set free.

How does Oscar López Rivera’s legacy affect your life — in general — and your artistic practice, in particular?

COCO144: I draw parallels with the legacy. First, there have been a number of Puerto Rican nationalists who have been treated in the same manner — or worse: Don Pedro Albizu Campos, Lolita Lebron, Oscar Collazo, and Alejandrina Torres, to name a few. As a Puerto Rican, their treatment carves into my soul. That they are restricted in expressing their national pride contradicts the US constitution and its foundations. Artistically? Everything in life affects me on that level!

Fernando Ruíz Lorenzo: Since my early childhood, my father taught me the history of Puerto Rico and its colonial relationship with Spain and the United States. It’s a lifelong dialogue. We would discuss it while I was sorting my baseball cards. It’s part of our condition as human beings. Oscar López Rivera is another political prisoner in this long colonial relationship, but he is still alive! We have a chance to help free him and continue to fight for the freedom of all political prisoners who strive towards a just and democratic reality. Engaging my history is part of my artistic practice. Without it, my work would not exist in the same way and I would not be the same person.

What do you perceive as the role of art and creativity within NYC’s Puerto Rican community?

COCO144: There shouldn’t be restrictions for art and creativity for Puerto Ricans — or for anyone — in NYC or anywhere. Puerto Rican artists have organized and created workshops/institutions for the arts in communities like El Barrio, Loisaida (the Lower East Side) and Williamsburg, Brooklyn. We have, also, done so in other parts of New York, the United States and the world.

Fernando Ruíz Lorenzo: Art and creativity are at the very center of our culture. Art is our embassy. Arte es nuestra embajada. As Ana Lydia Vega, the Puerto Rican writer, once wrote, “Literature and art in Puerto Rico have to take the place of embassies and consulates…” Our artwork has been the embassy and consulate in New York and throughout the world. Art and creativity were at the center of the writing movement in New York City. Puerto Ricans contributed to the establishment of the writing tradition at its inception. We developed the art form and continue to propel it forward. One example is the artist Jean Michel Basquiat. Of Puerto Rican and Haitian heritage, he started as a writer in NYC and developed into one of the most influential artists in the world. Art and letters are our specialty, and they’ve travelled beyond the walls, trains, galleries and museums to become a global phenomenon — the foundation of a whole global industry and community. There’s not one writer in the world who can’t trace his/her roots back to New York City. It’s in every line of a writer’s signature, handstyle, tag, or piece. It’s our legacy.

A LA LETRA, an exhibit featuring new works by COCO144 and Fernando Ruíz Lorenzo, will open on Sunday, June 8, 6-10 pm at Camaradas El Barrio‘s Emperial Gallery. The artists’ new mural honoring Oscar López Rivera will be officially unveiled at the opening.

You can check out Yoav Litvin’s interview with COCO144 here.

Photo of the two artists in front of their mural by Yoav Litvin; mural close-up, completed mural and Camaradas at night by Vin Zarate.

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Sticker Social Club at “LIC Arts Open” this Weekend

May 17, 2014

Following its hugely successful presence in last week’s Fridge Art Fair, The Sticker Social Club was invited to participate in this weekend’s LIC Arts Open. During the opening reception this past Wednesday, I had the opportunity to speak to Cosbe, an active member of the the club, along with one of its newer members, Fling.

Tell us something about the beginnings of the club. When and how did the idea of a sticker club begin?

Cosbe: It began about two years ago. This Is Awkward and I were looking for a way to involve more people in what we were doing, and we wanted a place where we could all meet up. Also, that was the year that Red Bull sponsored me to exhibit at the Scope Art Fair. And I wanted to have some fun with my friends before heading down to Miami for Art Basel.

DB Burkeman, the author of Stickers: Stuck-Up Piece of Crap: From Punk Rock to Contemporary Art, says that one aspect of the club that he loves is that “it’s like a swap club. Not everyone can draw!” And This Is Awkward, who loves “the idea of sharing, trading and creating art that can then go out to a broader public,” suggests that the Social Sticker Club “helps to facilitate our collective need to create.” What is the purpose of the club? Has it any one goal?

Cosbe: No, it doesn’t have any one specific purpose. It’s organic and always evolving.

Where do club members meet?

Cosbe: That varies. We’ve met at Governors Island, at Katz’s Deli, in Dumbo…

It was originally called the Secret Sticker Club? Why the name change?

Fling: The secret is out!

How did you find out about it, Fling?

Fling: I first met Cosbe and Wisher 914 when they were painting at Welling Court. We then ran into each other again at Comic Con.

What keeps you coming back?

Fling: I’ve met so many great people, and I’ve had the opportunity to collaborate with artists such as Cosbe, CB 23, Roycer and Abe Lincoln, Jr.

About how many members does the club have?

Cosbe: Somewhere between 50-60.

What’s ahead?

Cosbe: More stickers, more shows and more interesting places to meet. We’re also working with Bomit to organize something on a large scale that involves other cities.

You guys have been quite a hit here in Long Island City – both at the Fridge Art Fair and at the launch of the LIC Arts Open. Your installation is amazing, and you’ve worked so hard. You are also so welcoming. Everyone is invited to create a sticker, share it and sell it. yungmoonshine, who met up with you guys at this space during the Fridge Art Fair last week, reports that she now has not only “a space and materials to make stickers,” but “also new friends to share materials and make stickers with.” What has this experience been like for the two of you?

Cosbe: It was more than I had expected. I’m grateful to StreetArtNYC for making it possible.

Fling: It’s been a great learning experience. I’ve learned so much – how to build walls, curate, install…

You can visit the Social Sticker Club today and tomorrow — from 12-6pm — at 525 46th Avenue off Vernon Boulevard in Long Island City.

Photos: 1. Kaijune by Rachel Fawn Alban; 2. SSC at “LIC Arts Open” reception by Rachel Fawn Alban; 3. Wisher 914 by Rachel Fawn Alban; 4. This Is Awkward by Lois Stavsky; 5. Fling by Lois Stavsky 6. Ryan Roi at LIC Arts Open reception by Lois Stavsky; 6. Abe Lincoln, Jr. by Lois Stavsky; 7. Baser collage by Lois Stavsky and 8. SSC at “LIC Arts Open” reception by Lois Stavsky

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Speaking with Chor Boogie

May 15, 2014

With its vibrant colors and swooping shapes, Chor Boogie’s art is charged with a sumptuous intensity. Earlier this year he shared his visions with us New Yorkers at 5 Bryant Park. It was a great opportunity to speak to him and find out a bit about this talented artist.

When and where did you first get up?

I began tagging in Oceanside in San Diego, California in 1993.

Who or what inspired you at the time?

I liked the illegal aspect of it. I had no particular inspiration. But I looked up to Phase2, Riff 170 and Vulcan.

Do any early memories stand out?

Getting arrested. It happened when my father was moving from one house to another. He trusted me to hold down the house. But one night I decided to invite a bunch of graffiti kids over. By the end of the night, six or seven of us got together and started tagging down this huge highway. We were wasted, drinking OEs and doing all sorts of stupid things. I got the idea to hit the wall closest to the freeway, so I climbed down. All of a sudden, police came racing down the highway for us.

What was the outcome?

I was arrested along with Bash, a writer who ratted me out giving the police my name and everything. I was faced with a judge that was ready to put me away for some time. Luckily, I had my grandma. She hooked me up with a criminal lawyer who managed to get the judge switched. And he managed to get a judge for my case who loved art. This judge requested that I bring my portfolio to court. When she saw it, that’s all she could speak about. While the prosecuting lawyer was badmouthing me, all she could do was look at my art. She ended up giving me three years’ probation, a $500 fine and no community service. She also said that I had to paint a mural for the holidays — that I had to paint it and show her a picture of it when I returned to court. I returned with a picture of Santa Claus.

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

My friends were writers so it was cool. My mom was cool about it too. She had my back. But I had to keep it a secret from my father. He found out eventually. He was not thrilled.

Any thoughts about the graffiti/street art divide?

I don’t use the word “graffiti.” I call it Modern Hieroglyphics or Street Romantic Voodoo. Graffiti sounds dirty. Graffiti is a government term that had nothing and has nothing to do with our art form.

What about the movement of street art into galleries?

It’s already been there. People just want to act as if it’s a new thing.

Where would you like to paint?

I’d like to paint anywhere. But if it was the end of the world, I’d have to say Australia. It’s all the way out there in the middle of nowhere. It’s the land down under.

Do you prefer working alone or in collaborating with others?

Alone mainly. Collaborating can be interesting. Sometimes it’s fun. Sometimes it’s b.s. It can be a hassle. But I’ve had good collaborations.

With whom would you like to collaborate?

I’ve painted with Phase2 and that was a dream. I’d like to paint with Vulcan. I would have gotten down with painters like Gustav Klimt, Salvador Dali, Michael Angelo and Caravaggio, if they were still with us.

What inspires you these days?

Music.

Are there any particular cultures that have influenced your aesthetics?

The hip-hop culture.

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

No. I stopped using sketches ten or twelve years ago.

Are you generally satisfied with your work?

Yes! I don’t leave it until I am.

When you look back at what you did in the last few years, how do you feel?

How can I not feel good? I feel grateful about everything coming my way.

What do you think of the role of the Internet in all of this?

The Internet is one more tool of communication. I have nothing against it.

Do you have a formal arts education?

No. The street was my sketchpad.

What’s the riskiest thing you’ve done?

If I tell you, somebody’s going to jail.

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

He’s the rat in the rat race trying to get the cheese.

What percentage of the time do you devote to your art?

One hundred percent.

Interview with Chor Boogie conducted by Lenny Collado aka BK Lenny and edited by Lois Stavsky; photos 1-3 at 5 Bryant Park by Dani Reyes Mozeson; 4. Wynwood, Miami; 5. Beacon, NY and 6. Washington DC by Lois Stavsky

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Argentinian artist Sonni Adrian on Korea, Ñewmerica and more

May 2, 2014

Brooklyn-based Argentinian artist Sonni Adrian has been delighting us New Yorkers with his brightly hued, delightfully playful aesthetic for the past two years. He recently had the opportunity to share his vision with the folks in Seoul, Korea.

What took you to Seoul?

While attending a conference at Parsons last year, I met a young woman who was establishing a new gallery, Everyday Mooonday, in Seoul. When she saw my artwork, she thought I’d be a great fit for the gallery. She, immediately, invited me to exhibit there and to paint on the streets of Seoul. I was thrilled that the opportunity came my way.

What was the experience like

It was wonderful. I loved everything about Seoul – its kind people, its fantastic food and the enthusiastic response I got to my artwork.

Can you tell us something about that?

My exhibit was super successful. And I had over three weeks to paint in public spaces. I am already looking forward to returning next year.

Was it difficult to find walls?

No. The government made them available to me. This was arranged through the gallery.

Was there much of a language barrier between you and the folks in Seoul?

Most of the younger people speak English. And folks who don’t speak English often responded to my artwork with friendly smiles!

Since your return to NYC, you’ve exhibited with the new collective, Ñewmerica over at Exit Room NY and at Outdoor Gallery NYC over at 17 Frost. Can you tell us something about that?

It’s basically a group of friends who love to work together. It includes LNY, Icy and Sot, Mata Ruda, NDA and me. We feed off each other’s energy and inspire one another. We have a show coming up in June over at MECKA Gallery here in Bushwick.

That sounds great? Anything else coming up?

Right now I’m finishing up my first collaborative mural with Cruz here on Waterbury Street. I will be showing in a group exhibit up in Boston at Liquid Art House, a new space opening on May 6. I will be painting soon in Mexico and I am planning to return to Seoul in 2015.

It all sounds wonderful. Good luck!

Sonni interviewed by Lois Stavsky; first three photos courtesy of the artist; photo from Ñewmerica mural at 17 Frost by Lois Stavsky

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Up on the Roof of the 407 Bushwick with Fumero, Nicole Salgar and Chuck Berrett, Raquel Echanique, Gumshoe, Whisbe, Cruz, CAM, John Paul O’Grodnick, Elle & more

April 30, 2014

The rooftop of the 407 Bushwick, located at 407 Johnson Avenue, elevates the wonder and energy of street art. I recently had the chance to visit it and speak to its curator, Fumero.

You’ve transformed this rooftop into a vibrant canvas drenched with dazzling colors in an array of styles. How did this come about?

A friend of mine, dj and producer Onda Skillet, lives at the 407 Bushwick. He was looking to bring some color to the rooftop that was covered mostly with old throw-ups. And I saw this as a great opportunity to bring the energy of the streets up to the roof.

You invited such a wonderfully diverse group of artists to paint here. Can you tell us something about how that came about?

In curating this rooftop, I chose artists whom I’ve met — and often worked with — throughout the years in different settings. I asked them to bring their distinct iconography with them. Some had never painted on walls before.

You are consistently active on the streets. What is the appeal of the roof to you? I remember catching glimpses of your pieces up here from street level and feeling frustrated that I couldn’t see more of them!

That’s part of the appeal. It incites interest. The roof is kind of a secret society. We are free to invite whom we want and no haters are allowed!

Where would you rather paint – on the streets or on a rooftop?

I like them both. They are different experiences. When I paint on the streets, I can engage people. But the roof has a distinct energy that I love.

Your recent event Art in the Air, Music Underground, hosted by Aphotic, featured music, as well as art. Can you tell us something about that? How integral is music to what you are doing at the 407 Bushwick?

Its role is essential. The audio creations, performed by Onda Skillet with his Aerotropic label, were the perfect complement to the art. Opening rooftops to music and art is the next big thing! What’s happening here is a landmark. It is the future.

What about the location of the 407 Bushwick? Any thoughts about that?

The location couldn’t be more perfect. Bushwick is what the Lower East Side was 30 years ago. It’s the hub of cutting-edge art and music. The 407 Bushwick is the new CBGB.

What’s ahead?

More great energy, art and music! The second Art in the Air, Music Underground will take place this summer. The artists are already lined up, and we are now seeking sponsorship.

It all sounds wonderful! What a great outdoor gallery NYC is!

Photos: 1. Fumero; 2. Nicole Salgar & Chuck Berrett with Raquel Echanique on right; 3. Gumshoe and Whisbe; 4. Cruz; 5. CAM and segment of Cruz; 6. John Paul O’Grodnick; 7. Elle, and 8. Fumero

Interview with Fumero and photos by Lois Stavsky; also featured on the roof of the 407 Bushwick are new works by Joseph Meloy, AOM, NS/CB, The Cupcake Guy, Rafal Pisarczyk and Robyn Henderson.

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Speaking with Montreal-based lilyluciole in New York City

April 23, 2014

Currently based in Montreal, Canada, lilyluciole has been sharing her distinct vision and luscious aesthetic throughout the globe. We met up when she was in New York City.

When did you first begin to share your artwork in public spaces?

I began three years ago. I was living in Paris at the time and recovering from a painful operation. Creating art was a way for me to express my feelings and, at the same time, heal my psychic and physical wounds.

What inspired you to hit the streets?

I wanted to share my vision with others, while transforming public space in a positive way. I feel that I have a unique way of seeing the world. The first image that I pasted after I arrived Montreal in 2011 was a portrait of an African woman who represented survival amidst difficulties. She was a woman who remained faithful to her dreams despite adversity.

Which cities have you hit since?

I’ve gotten my artwork up in Montreal, Paris, Berlin and New York City. And Eric Marechal has pasted for me in China, Brazil, Argentina and Mexico for Street Art without Borders and the ArtFabric. I was also involved in JR’s Inside Out Project in Sao Paulo, thanks to Eric and Fabi Futata.

What is the riskiest thing you ever did in the public art sphere?

I never think about it, so there are no risks. What I’m doing is too important. Any “risks” that I take only enhance my viewpoint.

Do you belong to any crews?

I belong to Collective Offmurales, a Montreal-based collective made up largely of women. It includes a range of artists from yarn bombers to street artists –like Zola, Stela, Wall of Femmes, Camille Larrivée and Harpy. I also work independently of this crew on an informal basis with a gamut of artists including street artists, photographers and dancers.

Have you any favorite artists? Artists who’ve inspired you?

I’ve been in love with Swoon since I first discovered her. But there are many others I really appreciate. I have a great respect for artists who are passionate, who seek their own truth, who view the world critically and who connect to others’ realities – those whose lives and art are one.

Have any particular cultures influenced you?

Not consciously. But I suppose I’ve been influenced by African and European ones. My inspiration is rooted in my travels, in dance and in life, itself.

Are you generally satisfied with your finished piece?

Sometimes. But as soon as I’m finished creating one, I’m already thinking about the next one.

Do you have a formal art education? Was it worthwhile?

I began studying for a BFA in 2002, and I completed it in 2008. Yes, I’d say it was worthwhile, as it helped open me to many things, including the interdisciplinary fusion of techniques and genres, such as photography, fine arts and video.

Have you shown your work in galleries?

Yes, mainly in Paris, because in Montreal galleries tend to focus on a select group of artists.

Any thoughts about the graffiti/street art divide?

I don’t understand it. I want to bridge the so-called divide.

How has your work evolved in the past few years?

It’s gotten lighter in tone.

How does the street art scene in Montreal differ from the one here in NYC?

The street art scene in Montreal is new compared to the one here in NYC. It is still emerging, and it does not yet have the energy of NYC, Paris or Berlin. It has yet to open itself to the world. But it will.

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

The streets are what matter in this movement. But I’m not against the Internet as a tool to promote what’s on the streets. And I am grateful to all the photographers who document and share my work — the artfabric, Sylvain Borsatti, Alex Tassot, Street Art Shooteurs and everyone else who has captured my work.

Have you any feelings about the bloggers in the scene?

I’d like to see more discussion beyond a superficial level. Bloggers need to question the artists and listen to them.

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

To provide society with an alternate voice, an individual one. I see my particular role as blurring the boundaries among cultures.

What do you see as the future of street art?

It will become bigger and bigger and more socially conscious at the same time.

What about you? What’s ahead for you?

I don’t know, but I will continue to explore my identity, my sense of truth and my position as a woman and as an artist. Women have a particular wisdom and perception of the world that come from their intuition. I hope to continue to broaden my distinct insights and express them through my art.

Interview conducted and edited by Lois Stavsky. Photos: 1. lilyluciole & Baubô in Paris by Alex Tassot; 2. lilyluciole in NYC by Lois Stavsky; 3. lilyluciole & Herard for ArtFabric in Buenos Aires with photography & Choice of collaboration by Fabi & Eric Marechal; 4. lilyluciole & Ismaera in Paris by Alex Tassot; 5. lilyluciole in NYC by Sara Mozeson; 6. lilyluciole in abandoned space by Street Art Shooteurs; 7. ilyluciole in NYC by Lois Stavsky and 8. lilyluciole and Keith QbNyc in NYC by Rachel Fawn Alban

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