Interviews

Speaking with Col Wallnuts

January 7, 2014

For over 20 years Col has been gracing our public spaces with his distinctly graceful aesthetic. His street murals, along with his small works on various media, are among our favorites. It was wonderful to have the opportunity to recently interview him.

When did you first get up?

I began tagging and doing some outlines in Staten Island/Brooklyn about 1993-94.

What inspired you at the time?

I was inspired by the tags and pieces I saw along highways. I always wondered who had done them.

Have you any early graffiti memories that stand out?

I loved seeing Cost and Revs in the Meatpacking District. The area has come a long way from the violence and corruption that once characterized it. But it’s great to see a piece of that time still around.

Do you paint with any crews?

I was active with CTO (Check This Out), as both Vers and Edge had taken me under their wings. I’m currently part of Wallnuts, MST, MTA and KD. Wallnuts is comprised of writers from both the States and Europe. Among them are: Muse, Chester, Been3, Ree2, Soco, Riot, Phyme, Met, MadC, Zest, Dos, Free5, Kern and Mad.

Do you prefer working alone or with others?

It depends on the project. Painting with good people motivates me, sets a fire under my ass and inspires me. Painting alone is good too. It’s like nothing else exists.

Do you generally paint with a sketch-in-hand?

Almost never. A sketch prevents one from being organic. I want to see where my idea goes and to produce what I see in my head.

Do you have any preferred surfaces?

I love to paint on anything. I prefer painting on surfaces and in areas where no one has painted before. I enjoy challenges. Obstacles are fun. And I love working large scale on buildings. I grew up working on walls, so the bigger the better.

What about neighborhoods? Have you any favorites?

I prefer working in bad neighborhoods. There are real people there. In good neighborhoods, you’re faced with bullshit. I’ll take Marcy Avenue over Park Avenue any day of the week! Painting in an impoverished neighborhood gives it life and positive energy.

What percentage of your time — would you say — is devoted to art?

I paint seven days a week. I work through holidays. I’m always working on paper, canvas or on my computer.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited at Art Basel (Miami), in NYC, LA, Chicago, DC, and in Europe.

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

As a painter, that’s progression. And it all begins with the tag. A tag is an art form. It’s a craft that not just anybody can do. Tags, then throw-ups and then you eventually evolve into doing pieces. And galleries have a responsibility to preserve them and share them. Although I’m still not completely comfortable with gallery settings, it’s a good feeling to make money from my art when my work sells.

What are your thoughts on the street art/ graffiti divide?

Fifteen years ago, it was only graffiti. But we are no longer the only ones getting up. And that’s not a bad thing. I have a lot of respect for street artists. They are doing fresh stuff. Street art actually helped graffiti. Since the emergence of street art, graffiti writers have had more opportunities to exhibit their work in galleries. If you’re a wheat-paste artist keeping the movement alive…how can I hate that? There are rules, though, to graffiti and some street artists need to learn them.

Have you ever been arrested?

Never for graff. But I’ve been chased a lot. Back then, cops used to catch you with paint and write on you. Then they’d let you go with a warning. Those days are over.

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

My family hated it. My family didn’t want the kids doing anything illegal. They saw it as a dead end…not doing anything with yourself, but putting up your name. I also lost some friends over graffiti. But your true family will never turn their backs. Ultimately, you learn, too, that you only have yourself at the end.

Do you have a formal arts education?

I studied Fine Arts and Advertising at FIT and at the Academy of Art University. But all my spray painting training is self-taught. I learned the hard way with Krylon, Rustoleum, American Accent and Dutch Boy. The kids today have it easy using Montana and Belton.

Are you generally satisfied with your work?

It’s fifty-fifty. Sometimes. Other times I want to just buff and start all over. If you care about what you do, you’re your own worst critic.

What’s the riskiest thing you’ve done for your art and why were you willing to take that risk?

Painting in Israel by the Syrian border right in the line of fire. It’s the sort of thing we as artists live for. Art is stronger than war. And that’s why I did it.

Are there any particular cultures that have influenced your aesthetics?

I love the abstract movement. I enjoy the works of Pollack, Rauschenberg, Fran Stella, Jasper Johns and de Kooning. The abstract movement went against the grain of what was popular in Europe.

How has your work evolved throughout the years?

I’ll say it’s more deconstructed these days. Back then, the majority of my work was 3D, but that got old and boring to me. I went into breaking letters and transitioned from 3D to silhouette.

How do you feel about what you are doing these days?

I’m happy with my progression and where I’m going. I’m glad I didn’t listen to people around me. I’m glad that the progression came naturally, and I can’t wait to see where it goes within the next few years.

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

It’s about being a role model and reaching the youth. You got to give something to them they can grasp. You have to make them feel excited about what you are doing. The artist has to inspire and lead by example. He has to teach others that being an artist is a positive thing.

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

It’s a part of you when you wake up; it’s a part of you when you go to sleep. It’s an outlet for everything we do. Before the Internet, guys were grinding…dealing with people first-hand. You had to present physical material. Today it’s digital, and it takes two minutes. There are tons of positives and negatives to the Internet. You have to use it in a way that it works for you.

Any thoughts on the photographers and bloggers out there?

I support them. They shoot my work, they are very supportive and their eye is important. I like that they provide an opportunity to others to see my work.

Any shoutouts?

Shoutout to my WALLNUTS and URNY family. The homies: Hellbent, SeeOne, Depoh, Phetus, KA, Werds, Touch, Rubin. Semz (Rest In Power) and my grandma. Semz did so much for the graffiti scene. His is a name everyone should remember. My grandma was my biggest supporter. She never understood my art, but always pushed. She was a self-taught traditionalist artist. She told me, “Never stop and don’t ever let anyone tell you that you’re not an artist or that you’re not a painter.” She’s with me in everything I do.

Interview by Lenny Collado; photo 1 at the Bushwick Collective by Lois Stavsky; 2 at the East Harlem Hall of Fame by Lois Stavsky; 3 at the Bushwick Collective by Lois Stavsky; 4 in Prospect Heights by Tara Murray; 5 in Bed-Stuy with Muse by Lois Stavsky; 6 in Inwood with Ree by Lenny Collado; 7 in Tel Aviv by Lois Stavsky, and final photo courtesy of the artist.

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Speaking with Adrian Roman aka Viajero

January 2, 2014

I first met Viajero this past summer while he was fashioning a mural on East 111 Street for Los Muros Hablan NYC. I became an instant fan of his distinct aesthetic. A few months later, I caught up with him at the Julia De Burgos Cultural Center for its Dia De Los Muertos 2013 art exhibit.

When I came upon you at work on your mural for Los Muros Hablan, you mentioned that it was your first time painting in the streets. What was it like? Would you do it again?

It was a great experience. I loved working in a public space where I could interact with folks who passed by. Some stopped simply to observe, and others asked questions. And it was wonderful to have the opportunity to bring my vision to the streets of East Harlem – where my grandparents lived when they came from Puerto Rico. And, yes, I would love to do it again.

Could you tell us something about the Diaspora Mural? Who does it depict? What does it represent?

The subject of the mural is a young boy from Puerto Rico. The traditional mask that he is wearing symbolizes his cultural roots. Although I grew up here in NYC, I’m particularly interested in the immigrant experience and the notion of identity.

Your work is quite amazing. Do you have a formal art education?

When I was 12, I began taking specialized lessons at the Pratt Institute. I attended the Arts Students League of New York at age 18. I then earned a Bachelor of Fine Arts from the New World School of Art in Miami, Florida and a second BFA in Graphic Design from the New York Institute of Technology here in NYC.

Was all this formal training worthwhile?

I would say so. I have my own distinct style, but the art education I received drew it out of me and helped me refine it. Yes, my formal training was worthwhile.

Have any particular folks inspired you?

My grandfather was a painter. I have great admiration for him. He taught himself how to read and write in three different languages. My brother is a sculptor, and my uncle is an architect. I grew up among folks who inspired me.

What about cultures? What are some of the cultures that have influenced you?

I’ve traveled extensively through Africa, the Caribbean and Central America. I feel most connected to culture when spending time in countries and cities that hold onto their indigenous traditions. It is these indigenous cultures that have been my primary influence. I acknowledge and honor my indigenous roots in my artwork.

Have you exhibited your work in gallery settings?

Yes. I’ve shown my work in solo and group shows in the United States and in Puerto Rico.

How has the “art world” responded to you? Has it been receptive to your vision?

It has been. I feel that I’ve been able to find my own corner.

Any favorite artists?

My grandfather. He used to paint on coconuts falling from trees. Swoon is a particular favorite among street artists. And I love Whittfield Lovell – his portraits and his installations.

How has your work evolved — particularly in the past few years?

I’ve become increasingly engaged with the community.

Have you any particular theme that you attempt to convey in your work?

I’m interested in memory — in preserving it — especially in relation to our struggles. I like giving new life to found objects that embody cultural memory.

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

For myself as an artist – it is to offer experiences to people that take them out of their comfort zone. I want folks to think and not blindly follow trends.

And we certainly look forward to seeing your vision on our streets again!

Interview by Lois Stavsky; photo of Viajero on East 111 Street by Dani Reyes Mozeson; photo of completed Diaspora Mural courtesy of the artist; final two photos of artwork at the Julia De Burgos Cultural Center by Lois Stavsky

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Serringe on Element Tree, Graffiti, Jersey City, Video Production & more

December 26, 2013

I came upon Serringe’s artwork on the streets of Jersey City earlier this year. I soon discovered that he was the force behind Element Tree and dozens of first-rate videos. I was delighted to finally have the opportunity to meet up with him at his store in Weehawken — just minutes away from Manhattan.

Tell us something about Element Tree. When did it launch?

Element Tree started as a blog in 2009. I grew up in Jersey City around a bunch of talented people, and I needed a platform to post their work and share it with others in hopes of promoting them and myself. Artists like Snow, T.Dee, 4sakn, Loser, Then One, Mr. Mustart and Distort — to name a few. There are others, but these are some of the original artists I felt people should definitely know about if they already didn’t.

When did Element Tree become a store?

I rented the space in Weehawken in February 2012. If I can’t do graff 24/7, I want to be around it. I also like the idea of nurturing the culture and keeping it healthy, and this store gives me the platform to do that.

What inspired you to start your own business?

I have a strong entrepreneurial streak. I don’t want people telling me who the “real artists” are. I want to help the people – whose work I love — make money.

Besides the first-rate art that you show here, you also sell art supplies. What do you see as the future of this space?

I will continue to provide affordable art for folks who love graffiti and street art. Not everyone can afford to spend $1500 on a canvas. And I’m interested in providing opportunities for artists — such as commissioned murals, design work for album covers and general creative direction. I see Element Tree as a house of creative energy and incubator for ideas.

What initially spurred your interest in graffiti?

I was always into graffiti from the time I was six years old. My older brother was a writer for a short period of time in the 90’s, and he sparked my brain, along with all the other local writers that were doing their thing when I was a kid. If they could do it, so could I. When I was a young teenager, my mom became ill and begged me not to write graffiti on the streets. She believed in my art, though… so until I was 19 years old, I detached myself from graffiti out of respect for her. She passed in 2004 — and aside from the occasional tag, I know she would be proud of me.

Did you develop any other passions while growing up?

I grew up in 80’s and 90’s: DJs, producers, skateboarders, punk rockers were everywhere. I became interested in all kinds of creative expression, and I began to create home videos with friends as a way to explore filmmaking. Within the past three years, I created 140 videos.

And you also paint in public spaces these days. Since you began doing so, have you had any particularly memorable experiences?

Art Basel 2012. It was the first time I traveled to paint on a wall that was sponsored at a major art event like Basel. Art Primo powered us with the paint and Element Tree’s Mr. Mustart and Distort showcased their talents for all who passed by. It was great experience to paint among people we respected.

Have you exhibited your work?

I’ve been in a handful of shows, but Mustart, Then One and Distort stay doing their thing, showcasing and exhibiting through Element Tree-based projects and also on an independent level. We are currently working on setting up the first Element Tree official group show… so if you’re a gallery owner, don’t hesitate to reach out!

Any thoughts about the graffiti and street art divide?

Eventually they will meet. Street art is still a baby in relation to graffiti. There are many street artists I respect. Banksy is a genius! Other favorites include: Blek le Rat, Invader and Shepherd Fairey. Oh, and if you don’t know… check out LNY. I see good things in him.

How would you explain the reluctance of the art establishment to embrace graffiti and street art?

Most people don’t understand it, and if you don’t understand something, you don’t know how to deal with it.

What do you see the future of graffiti?

It can’t be stopped. And eventually, it will gain acceptance as a legitimate art form.

No doubt!

Interview and photos by Lois Stavsky, photos 1,2 and 3 of Serrenge; photo 4, Mr. Mustart; photo 5, Distort and final image, Then One.

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Speaking with Frank Malt aka Steam 156

December 16, 2013

Brighton native Frank Malt aka Steam 156 has been active in the global graffiti scene for over 30 years – first as a graffiti writer in the UK, and then as a passionate documentarian of graffiti and street art around the world. Within the past two years he has published two highly acclaimed books, 100 UK Graffiti Artists and Street Art London. I recently met up with him in NYC.

When did it all begin?

I started in 1984 in Brighton as a b-boy. NYC’s Rock Steady Crew — that visited London in 1983 — and the hip-hop videos I saw on British TV turned me on to the break-dance culture. And from that I moved on to graffiti.

What surfaces did you hit back then?

Mostly train lines. My first hit was an electrical box off the train tracks.

Were you ever arrested?

I was chased lots, but I’m a good runner. And I like the adrenalin rush.

Have you ever shown your work in a gallery setting?

I only got involved with producing artwork for a few gallery shows. It was not really something I enjoyed doing that much. One of the shows I put together with a friend was called Icons. It was around 17 of the best British graffiti artists and I also managed to get two legendary New York artists to come over: Iz the Wiz RIP and Sar — both leading figures in the crew the Master Blasters. The show was back in 1992.

Do you have a formal art education of any kind?

No. I hated school. I was always a rebel. I got kicked out when I was 15, and I never went back.

Any particularly memorable experiences from back in the day?

The experience that always stays in my mind happened on one of my first visits to NYC back in around ‘88/’89. I had a guy show me around the Bronx. And when we reached the 238^th Street Bridge, we jumped over the fence and got onto the Amtrak lines. I immediately started taking photos of all the graffiti there. Before I knew it, a whole gangs of guys came out from behind the wall throwing rocks and bats at us. I took off running down the tracks, while a huge Amtrak train was tooting its horn for me to get off the tracks. I ran as fast as I could to the next bridge and managed to get over the fence to find a subway station to get me back downtown. I survived.

We’re glad you did! Is there much of a graffiti/street art divide back in London?

Absolutely. Unlike graffiti, street art gets lots of positive exposure and gets picked up by galleries. Banksy kicked it off and pulled others into the scene. Street art has taken over London. It speaks to many more people than graffiti does. And most graffiti writers dislike street artists, and this gets acted out on the streets.

How do you feel about NYC’s current graffiti scene?

I guess it has changed a lot from the early days when I was coming to document the scene here. I remember I found a guy who was willing to drive me around every street in the Bronx for two days so I could take photos. It was pretty incredible back then. I found so many walls, handball courts by Seen, Cope, TKid and all those amazing FX walls. I know they had a big clean-up, but no doubt New York is still the place to be. It’s incredible how much goes on here.

Any thoughts about the role of the Internet in all this?

For me the Internet was good and bad. It was good, because I did not have to queue at the post office to send photos overseas. Everything became so much easier. I used to spend a fortune on postage costs, because I was trading photos with so many writers around the world back then. The bad thing was — I guess — it took the excitement away from hunting to find graffiti. To me part of the buzz and excitement was to see the wall fresh — to hunt it down without seeing it on every media site before the paint had even dried. I love seeing new graffiti before I have seen it online.

How do you feel about the current crop of bloggers and photographers?

There are too many jumping on the bandwagon. Many don’t bring any information. And far too many people who know nothing are putting out books. There’s the potential for exploitation.

Who are some of your favorite artists who work on the streets?

Revok. He’s brilliant. Other favorites include: Risk, Vulcan, Aroe, Smug, Roa, Cope2, TKid, TATS Cru. Too many people to name — so many talented people out there in the scene.

What do you see as the future of graffiti?

Who knows? I just think it will become more and more technically advanced. It will always keep evolving.

What’s ahead for you?

I just want to continue to pursue my passion and share it with others. I have a new book due out next year with an amazing line-up of European artists. I can’t say too much about it at this point, so stay tuned!

It all sounds great! Good luck and keep doing what you’re doing!

Interview by Lois Stavsky; photos courtesy of Frank Malt.

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Speaking with Dasic Fernández

November 29, 2013

Chilean artist Dasic Fernández has been captivating us with his sumptuous styles since we first met him up in the Bronx, while painting a bus in collaboration with Cekis. We recently caught up with him in Newburgh, New York, where he’d been busy at work transforming the city’s visual landscape.

When and where did you first get up?

I was 13 when I started tagging in Rancagua, Chile.

What inspired you?

The hip-hop scene! Graffiti was part of the movement. And I knew how to draw – so that was my way into it.

Have you any early graffiti memories?

Nothing specific! Just hanging out late with my best friend and bombing.

What percentage of the time is devoted to your art?

One hundred percent! If I’m not doing it, I’m thinking about it or dreaming about it.

Any thoughts about the graffiti/street art divide?

Everything I’ve learned about painting on the streets and appropriating space I learned from graffiti. I never felt any tension between street artists and graffiti writers. I still use the same fat cap to paint as did to tag.

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

I respect it only when artists have had long courses in the streets first and continue painting in the streets once they’ve shown their work in galleries.

Have you exhibited in a gallery?

I had my first solo exhibit in Santiago, Chile in 2009.

Do you prefer working alone or collaborating with others?

I’d rather work by myself. I feel more comfortable, and I can take my time.

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

I don’t use it much. I feel like graffiti belongs on the streets. At first, I didn’t even photograph any of my works. But when a graffiti book came out that didn’t include any of my work, I decided that I had to.

Do you have a formal arts education?

I studied architecture back in Chile, but I quit less than a year before earning my degree.

What is your ideal working environment

The streets. That’s where I feel most comfortable. It is my natural environment. I love connecting with people while I’m painting outside. It makes me happy.

Are there any particular cultures that have influenced your aesthetics?

The mural culture in South America and Chile’s political murals, which are poetic and graphic. And I have also been influenced by hip-hop culture.

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

When I’m commissioned to do a wall, I generally have to have a sketch. But other times, I’ll simply photograph the wall before I paint it

Are you generally satisfied with your finished piece?

Never! Sometimes I’m close to being satisfied, but I’m never completely satisfied. I’m far too critical.

How have your work evolved throughout the years?

I paint on a bigger scale and I use more colors.

Any feelings about photographers?

They used to bother me, but now they don’t. I still don’t like, though, when they upload photos of unfinished pieces.

Why do you suppose the art world has been so reluctant to embrace street art and graffiti?

Because it’s the most powerful graphic movement out there.

Where have you painted?

I’ve painted throughout Chile and in Argentina, Uruguay, Brazil, Peru and in Canada. And in the US, I’ve painted in Chicago, Texas, Michigan, and New York.

Have you any preferred spots or surfaces?

I like when a wall has context to spare, so that it can assume an identity through a mural.

What’s ahead for you?

Many personal projects with different timelines. I’m working now on completing a series of commissioned walls and canvases. I’m then planning to return to Chile and work on a book featuring my artwork. Then – more walls and an art festival that I’m organizing in New York and probably a solo exhibit. Basically I’ll keep flowing, painting and traveling. And there’s more!

Interview by Lois Stavsky with Tara Murray; photos 1. with Okuda and Rubin in Bushwick by Lois Stavsky; 2. in Bushwick by Tara Murray; 3. with Rubin in the Bronx by Tara Murray; 4. in Newburgh school by Lois Stavsky; 5 & 6. in Newburgh, NY by Lois Stavsky 7. with Logek in the Bronx by Tara Murray.

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Dariel MTZ on Bushwick’s New York Street Gallery

November 9, 2013

The founder of New York Street Gallery, a collective of international artists working together in NYC, Dariel MTZ is committed to providing outdoor canvases to a global network of street art and graffiti artists.

Tell us a bit about New York Street Gallery.

I started this project with my girlfriend, Daniela Croci aka Zoe, in January, 2013. We wanted to provide a platform for street artists to collaborate with those artists who may have never used the streets as a canvas.

How did it all begin?

We started by painting the exterior walls of my father’s tire shop in Bushwick. The response was so positive that we expanded to other walls, including some in Williamsburg.

Who are some of the artists involved in your project?

Among the many talents are: Nepo, Don Rimx, Iena Cruz, Vato, Alex Seel, Pixel Pancho, LNY, Guillermo Perez III, David Rothman and Kike Seba.

How has this project impacted you personally?

This project was an invitation to the culture. It has given me the opportunity to learn first-hand about street art and graffiti.

What about Zoe? What is her role?

She is the official filmmaker of this project. She has documented all that has happened so far.

What’s ahead?

This coming Friday, November 15, we will be showcasing the works of a group of extraordinarily talented artists at The Well on 272 Meserole Street in Bushwick.

Where would you like to see your project in five years?

I’d like to see us manage a gallery space, organize festivals and provide opportunities for artists to do big productions. It’s all about creating opportunities for the artists. You can follow us on Intagram @nystgallery.

Good luck! It all sounds great.

Interview by Lenny Collado; photos of Nepo, Pixel Pancho and LNY by Tara Murray

Editor’s note: Our blog will be on vacation through Monday, November 25. You can follow us on Facebook and on Google+. And be sure to keep posted to The Aqueduct Murals. Organized by the always-wonderful Joe Iurato, this meeting of street art and horse racing features an amazing array of artists including Logan Hicks, Chris Stain, Zed1, Faith47 and Rubin 415. It opens to the public at noon on Saturday, November 23 followed by a reception from 6-10pm, with an opportunity to meet the artists, along with the jockeys and trainers of New York racing. Lois Stavsky

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Speaking with NEPO

November 7, 2013

We are thrilled that Puerto Rican native Nepo has brought his superb skills to us here in NYC, delighting us with his wondrous characters, sensuous styles and bold colors. He’s been busy in Bushwick these days, where he will be painting live and exhibiting his work with New York Street Gallery next Friday, November 15th.

When and where did you first get up?

I began bombing and tagging my name back in 1996 in Puerto Rico. I was 16.

What inspired you to start writing?

At first I didn’t write. I used to help my friend Ensa with his fills when he did pieces. I also served as his look out. Eventually I started tagging. And Ensa was the one who gave me the name Nepo. It was kind of a joke, but it stuck.

Had you any preferred surfaces back then?

No. It was location that mattered. We focused on getting a spot where as many people as possible would see the work. Surface didn’t matter. Although, I’ll say, I do love shutters. They present a challenge I enjoy.

Do you paint with any crews? Or do you paint alone?

Both. I get up by myself and I also paint with El Coro and NST – both here and in Puerto Rico.

Have you exhibited your work?

I have. In Puerto Rico, I contributed to Carry On, a collective that went on to tour in Boston and in Oakland. I had two solo shows back home, and I’m working on an upcoming one here. I’m also now preparing for a group show with Bushwick’s New York Street Gallery.

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

Artists need to make money. In Puerto Rico, there are underground art galleries that support graffiti and really show love for it. I haven’t felt that here in NYC.

How does your family feel about what you do?

My mother and father didn’t get it for a long time. They thought it was crazy that I was spending so much time and money without getting paid. But then after they attended some of my shows and read about me in the news, they knew that I was progressing as an artist. And they grew to appreciate it.

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

I’m almost always working on a canvas, flyer, T-shirt, print, painting or wall. It may not yet be 100%, but I hope it will soon be.

Have you earned any money from your artwork?

I have. I designed a sign for the Well Project that brought me some money. And I will soon begin working for the Roberto Clemente Center, painting outdoors with five other artists.

Any thoughts on the graffiti/street art divide?

I have tremendous respect for graffiti and I identify with it. But these days I’m more of a street artist or muralist. I like doing legal walls because I can take my time. There is a divide, though, even though many street artists started as graffiti writers.

Is there anyone you would like to collaborate with?

I’d like to do something with Os Gemeos. And if they were still alive, I’d work with Diego Rivera and Basquiat. Ha-ha!

Do you have a formal arts education?

Yes. I studied art with a focus on traditional graphics, silkscreen, etching and printing.

Are there any particular cultures you would say have influenced your aesthetics?

The many bright colors that I use and the animals I reference are influenced by Puerto Rican culture.

Do you work with a sketch in hand or do you work free hand?

For murals, yes, I use sketches, especially for proportions.

Are you generally satisfied with a completed work?

Yes. When I have given my all to a particular project, the quality is there.

When you look back at what you’ve done in the last two years, is there anything you would have done differently?

I’d have done bigger work, larger scale murals and more of them. Here in NYC, I’ve done four and that’s not enough.

How has your art evolved throughout the years?

Initially, I began with paint brushes. But because I love to learn and expand, I moved on to spray paint and became obsessed. I continue to enjoy learning new spray paint techniques.

What was the riskiest thing you’ve done as a graffiti writer?

Ha-ha! I actually tagged the door of a Senator’s house in Puerto Rico. My friends and I were drunk, and we decided to tag it at four in the morning. Since we didn’t have our cameras with us, we ran home to get them. But by the time we returned, someone was already power-washing the tags off the building.

How do you feel about the photographers and bloggers on the scene?

We need them. Their job takes time and love. It’s not just about the artists; it’s also about the people who share their love for what we do with others.

What’s ahead?

I’m part of the first New York Street Gallery group exhibit that will take place next Friday, November 15, at 272 Messerole Street on Bushwick Place.

Interview by Lenny Collado; Photo 1 in Bushwick by Tara Murray; photo 2 at 5Pointz by Dani Reyes Mozeson; all others courtesy of Nepo

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Speaking with Zed1

October 29, 2013

With his wondrous skills, Italian artist Zed1 has been enhancing the walls of our city. His signature characters have recently surfaced in Brooklyn and at Welling Court in Astoria, Queens. Earlier this month, we stopped by Williamsburg’s Bottleneck Gallery, where he was painting, and had the chance to speak to him.

When and where did you first get up?

Back in ’93 in Tuscany. I was 16. I started the way just about every graffiti artists does – with tags and letters.

What inspired you?

A friend showed me photos of graffiti walls in the U.S. that he had discovered in a book store. And then when I began hitting walls, it seemed like the perfect way for me to express myself.

What is the riskiest thing you did?

Painting on moving trains.

Why were you willing to that that risk?

I love making people happy by bringing trains to life. I also like the adrenalin rush that comes with painting trains.

Have you ever been arrested?

I was stopped only once. But the police liked what I was doing and let it go. The whole attitude towards graffiti is different back home and the police are different. They are more relaxed.

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

I like the freedom that comes with working without a sketch. But if the wall that I’m doing is especially challenging, I usually bring a sketch with me.

Are you generally satisfied with your finished piece?

No. It always seems incomplete to me. It never feels finished.

How has your work evolved through the years?

It has evolved tremendously. I started off as a graffiti writer, but now I am more of a muralist. Also, I am much more concerned with the concept behind the work than I used to be. And I’m intent on communicating with the public.

Could you tell us something about your second-skin work – the pieces you create that evolve into something different with time?

I came up with the idea about two years ago when I created an animal with the head of a man that peels away to reveal another face. I love giving folks the opportunity to interact with my work and play with my art. And there’s a message here: We all see things differently. We each have our own perspective. And if you want to understand another person’s way of perceiving the world, you must change heads.

That certainly makes sense! Do you prefer working legally or illegally?

I like both. Working illegally give me more freedom, but working in a sanctioned space gives me more time.

Have you exhibited your work in a gallery setting?

I much prefer to paint on the streets. It is far more democratic. I don’t like most galleries, and I don’t paint to get the attention of gallerists. I’d rather paint on a public wall than on a canvas. That way I can share my work with everyone, not just the elite. But I am beginning to show my work in galleries that respect my vision.

Have you a formal art education?

No. I studied graphic design, but I was never a good student.

How do your parents feel about what you do?

They don’t understand. My mother tries to, but my father has an entirely different notion of “success” that’s tied in with material things.

Do you make money from your art? What is the main source of your income?

I earn money by doing commissions and I sell art. Art is my life.

Is there much of a graffiti/street art divide back home?

Not as much as here, and the lines continue to blur. Festivals invite both graffiti writers and street artists, and many writers include characters in their pieces. But there is some tension, as far fewer people understand graffiti. Street art is far more accessible to most folks.

Have you painted in other countries – besides Italy and the US?

I’ve painted in Denmark, Romania, Norway, Spain, the UK and Brazil.

Have you any favorite places to paint?

I especially like to paint in poor, run-down neighborhoods. I like interacting with the people who live in them, and I like enhancing their spaces.

Any favorite arists?

Particular favorites include: Blu, Banksy and Os Gemeos.

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

It is very important. It has given birth to many careers.

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

I can’t speak for other artists. But my role is to communicate with people by bringing beauty into their lives and raising issues they might not – on their own — think about.

What’s ahead?

More travel. I love painting in different countries. And more artworks and videos illustrating my second skin concept.

Interview by Lois Stavsky; photos 1,2, & 3 Zed1 in Sheepshead Bay, Brooklyn by Tara Murray; photo 4 at Welling Court and photo 5 at Bottleneck Gallery by Lois Stavsky; photo 6 in Williamsburg, Brooklyn by Dani Reyes Mozeson, and final photo in Greenpoint, Brooklyn by Tara Murray

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Speaking with Luis “Zimad” Lamboy

October 24, 2013

South Bronx native Luis “Zimad” Lamboy began gracing walls with his graffiti skills at age 14, and had his first exhibit at Fashion Moda in 1984. Since, he has exhibited his artwork in galleries world-wide and continues to share his skills on public spaces across the globe. Tomorrow evening, he will be showing a series of new paintings – alongside James Sexer Rodriguez — at Rogue Gallery Chelsea, 508 West 26^th Street.

When and where did you first get up?

It started back in 1979. I grew up in the South Bronx on 156^th and Courtland, and that’s where I first got up.

What inspired you?

Throw-ups and bombs were everywhere. I especially loved what I saw on the handball courts. There was FDT 56, KID 56, Mad2 and the Bronx Artists crew.

Have you any early graffiti-related memories that stand out?

I remember the time I shocked my arm in the lay-ups. It became numb, but I continued bombing. That same night we got chased out of the lay-ups by workers in the middle of the night. I remember running down Pelham Parkway, while the MPC Crew were throwing rocks and bottles at us. That was a night!

Did you represent any crews?

Crews I’ve painted with include: BA, OTB, DWB, TCM, CWK and TD4.

What is the riskiest thing you did?

Hitting up a white train on an elevated track wearing a red bubble coat in broad daylight. I had people yelling at me from the street.

How did your family feel about what you were doing?

My mom said, “You better be careful.” My father never acknowledged what I was doing. I really don’t know if he knew or not.

Have you ever been arrested?

A few times. Not too many. I remember when I was locked up with Sexer for painting a handball court right across from a police station. Just as we were finishing it, the entire precinct came out and surrounded us. We got off easily, though. We were charged with criminal mischief and had to pay a $50.00 fine.

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

I used to sketch out my letters before hitting a wall. But I mostly let it flow.

Are you generally satisfied with your finished piece?

Lately I’ve been. But I have mixed feelings about some of my earlier pieces

Do you have a formal art education?

I’m self-taught. I’ve been drawing since I was five years old. I learned just about everything I know from the streets. And in my mid-20’s, I attended FIT. The classes that I took there helped me fine-tune my skills.

Are there any particular cultures that have influenced your aesthetic?

The spiritual life has been my greatest influence. I’ve been particularly inspired by Sacred Geometry.

Any other inspirations?

Basquiat. Just watching the movie inspires me.

Do you prefer working with others? Or would you rather paint alone?

When I’m outside, I prefer working with others. I collaborate lots with Sexer these days. But when I’m in my studio, I like to paint alone.

Any thoughts about the graffiti/street art divide?

Graffiti writers often feel that street artists disrespect them. And, unlike graffiti writers, many street artists have formal art educations. This, too, leads to tensions between the two, as street artists have a different take on it all and are more accepted by the art establishment. Their work is also more accessible to most people.

Why do you suppose the art world has been so reluctant to embrace graffiti?

Well, it’s the only element of hip-hop that’s illegal. And that’s a problem. Gallery owners don’t want the police knocking on their doors.

Any favorite arists?

Doze Green, Mars1, Dondi and Basquiat.

How has your work evolved in the past few years?

I leave graffiti for the walls. In my studio I continue to move in the direction of fine arts. When I am painting in my studio, I am building a legacy.

Have you any thoughts about the movement of graffiti into galleries?

I think it’s great, but once it’s in a gallery, it’s not graffiti. It’s aerosol art.

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

On the positive side, it gets my work out all over the world. But it also makes it too easy for people to imitate one’s work.

Have you any feelings about the photographers in the scene?

Some are good; some aren’t. But I think if a photographer sells his photos, he should share his profits with the artists.

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

To invite the public into their world. To share their story with others.

What do you see as the future of graffiti?

Graffiti is the biggest art movement in the world. It will continue to grow.

What about you? What’s ahead for you?

For me, I will continue to create every day of my life and share what is on my mind through my art for the world to see.

Interview by Lois Stavsky; Photo 1, Zimad as a young teen, courtesy of the artist; photo 2, Zimad at the Bushwick Collective by Tara Murray; photo 3, Zimad at 5Pointz by Lois Stavsky; photo 4, Zimad at 5Pointz by Tara Murray; photo 5, Zimad on canvas by Lois Stavsky

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Speaking with James “Sexer” Rodriguez

October 23, 2013

Active on the streets of NYC for over 30 years, James Sexer Rodriguez has also achieved wide commercial success as a designer. His works on canvas, fusing elements of graffiti and realism, have been exhibited in galleries in NYC, the Caribbean and in Europe. His upcoming exhibit, Urban Convictions, will feature his new works — alongside new paintings by Zimad — this Friday evening at Rogue Gallery Chelsea, 508 West 26^th Street.

When and where did you first get up?

I started tagging in notebooks when I was about 10. By the time I was 13, I was hitting the walls in the South Bronx with tags. And within a short span of time, the tags evolved into pieces.

What inspired you?

My ex-brother-in-law was a writer with B.A. (Bronx Artists), and my entire neighborhood was a breeding ground for writers.

Have you any early graffiti-related memories that stand out?

We used to steal ink from the supermarket and make our own markers. I remember spilling the ink all over myself, as I was getting ready to go bombing.

Did you represent any crews?

I was president of BA (Bronx Artists); other crews I represented include OTB, SYB, SSB and12 Disciples.

Have you ever been arrested?

I was caught several times, but booked only once – for a misdemeanor for public defacing. Basically, the police didn’t want to do the paper work, and so they just let me go. Things were different back in the day and they actually let us finish the pieces.

How did your mom feel about what you were doing back then?

My mom was oblivious to just how illegal graffiti was, but she always knew where I was going and what I was doing.

What is the riskiest thing you did?

Painting pieces in a tunnel with a one-inch clearance between the train and the wall.

Why were you willing to that that risk?

I wasn’t thinking! I was looking for fame. You couldn’t pay me to do it now!

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

About 90% of the time I work with a sketch. What I do these days is largely conceptual, and it takes planning.

Are you generally satisfied with your finished piece?

I work on it until I am satisfied with it.

Have you a formal art education?

I went to Art & Design High School, where I was around writers like Doze, Crash and Seen, Paze, Size, Ence. I also attended FIT and did some courses at Parsons.

What percentage of your time is devoted to art?

95% of it. I live off my art. My kids and my art are my life.

Are there any particular cultures that have influenced your aesthetic?

I wouldn’t say I’ve been influenced by any specific cultures. But life, itself, and growing up in the South Bronx and New York City have probably been my main aesthetic influences.

Any thoughts about the graffiti/street art divide?

I don’t like labels. I’m originally a graffiti artist, but I like street art. Street artists may use different techniques and tools, but they have given us all – including galleries — a new lease on life. Just look at all the attention Banksy and the art community have been getting since he began his residency on NYC streets!

How do you feel about that – the attention that Banksy has been getting?

It’s good. It keeps the art community healthy.

Why do you suppose the art world has been so reluctant to embrace graffiti?

Probably because of graffiti’s association with vandalism. It’s problematic to many.

Any favorite arists?

Certainly Picasso. He had so many styles and could do just about anything. Among graffiti writers, my favorites include Seen, Doze Green, Duro, Pase and Crash

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

It’s a blessing. You don’t have to have a million dollars to market yourself. The Internet has become a vital tool.

Have you any feelings about the photographers in the scene?

I am thankful for their coverage. But it’s important that they ask the artist’s permission and that they credit the artist whose work they are photographing.

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

The artist has a responsibility to share his God-given talents with the world.

What do you see as the future of graffiti?

Graffiti is here to stay. It’s exciting and invigorating, and it is attracting an increasingly diverse following.

What about you? What’s ahead for you?

Well, after so many years of painting and striving for better and better, there’s only one direction for me: UP. I refuse to stop. I will continue to document my imagination and my emotions on whatever surface is in front of me. I love sharing my art.

Interview by Lois Stavsky; photo 1, close-up from Sexer’s new self-portrait, courtesy of the artist; photos 2 and 3, from Sexer’s solo exhibit at 5Pointz, by Dani Reyes Mozeson; photos 4 and 6, with Zimad at 5Pointz, by Lois Stavsky; photo 5, Sexer painting at 5Pointz, by Tara Murray

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