Interviews

Devi1 – HMZ / TG on: Graffiti, Street Art, Style Wars 2, Subway Trains, Gaza and more

October 16, 2013

Currently featured in Style Wars 2, Devi has painted and DJ’d throughout the globe. I met up with him here in NYC.

When and where did you first get up?

I grew up in Palestinian refugee camps, as that’s where my mom’s human rights work took us. And so my first tag was on the outskirts of Jerusalem. Then when I was 16, we returned to London. And that’s when I got heavy into trains. The best were “Messy Mondays.” We stole paints, drank beer and hit the trains.

How does your mom feel about what you are doing?

At first she hated it. She worried about me, and she hates illegal activities. But she saw that there was no stopping me and that I was finding a way to survive doing it. So she’s come to accept it.

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

I’m always following it. And I do graffiti workshops with kids in war-torn zones. I’ve spent quite a bit of time in Ramalla, Nablus, Jenin, Jericho and Gaza.

What was that like? I’m curious about Gaza.

I loved working with the kids, but the place broke my heart. There’s no money in Gaza. The city runs off generators, and it’s run by a bunch of gangsters with grenades waging a “holy war.” I escaped weekends by going off to Jerusalem or Tel Aviv. But for those who live there – there is no escape.

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

There is definitely a divide. Graffiti is a lifestyle and culture. It attracts many angry people, along with those that just want to have fun. It’s important for a writer to stay up and stay recognized — representing his crew and hood and keeping the writing element of hip-hop alive on the streets. I can’t pretend to know what goes on in a street artist’s heads. But I know it’s a different mentality.

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

We all dream of making money some day from doing what we love. But if you’re doing it for exposure or more fame, you’re a toy.

Have you shown your work in galleries?

I recently had an exhibit in Tampa, Florida of photos of my graffiti on trains.

What is the main source of your income?

I d-jay and I sell paintings.

What brought you to the U.S.?

I’m featured in the independent film, Style Wars 2, and I came in for a private screening that Henry Chalfant had organized in Hollywood. And — while here in the U.S. — I wanted to explore NYC, possibly play some DJ sets and go to the upcoming NYC premiere of Style Wars 2.

What’s ahead?

To continue to inspire the next generation to spread positive and creative energy. It’s more than just vandalism.

Interview by Lois Stavsky. Photos courtesy of the artist. The graffiti shop pictured is Capzoola in Tel Aviv.

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Wise2: Holding It Down in Kenya

October 9, 2013

A pioneer of graffiti art in Kenya, Wise2 fashions intricate African patterns, tribal masks and ancient writing systems — particularly Sanskrit — onto huge walls. With an increasing global presence, he recently brought his skills to Bushwick, Brooklyn, where we met up:

When and where did you first get up?

About ten years ago, I started tagging my name in my neighborhood in Nairobi, Kenya. I got started the way most writers do — with basic lettering.

What introduced you to the graffiti culture?

The movie Style Wars.

Have you ever been arrested for graffiti?

I was close to being arrested. But in Nairobi you can bribe your way out.

What is the attitude of your family towards what you do?

They’re cool.

What percentage of your time is devoted to art?

All of it. I especially love street art, and if I am not painting, I am researching and checking out other artists and their art.

What is your main source of income?

I earn money from commissions. I have a bunch of corporate clients that keep my art moving.

How do you feel about the link between the corporate world and the street art world?

I don’t mind working for corporations, as long as my clients respect my creativity and allow me to express myself without any hindrances.

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

No. There are just a few of us and we respect each other.

Have you any thoughts as to why the art world is hesitant to accept graffiti and street art as legitimate art forms?

We street artists are the most dangerous folks out there. We mix with everybody, not just the elite. We cross classes and cultures. And if we get into the art world, we’ll destroy it…in a good sense!

Do you prefer working alone or collaborating with others?

Both. I love to collaborate, but these days I prefer working alone because I want to continue to develop and cultivate my own creativity.

Do you have a formal art education?

No, I’m self-taught. I studied Philosophy and Law.

What inspires you these days?

Ancient civilizations, hieroglyphics and Arabic writing.

Have you any favorite artists?

Retna. He is one amazing artist. I love what he does.

Are there any specific cultures that influence your work?

I’m influenced by a lot of ancient cultures. But I am mainly interested in establishing a strong cultural base of my own. I don’t want to emulate other cultures, but rather learn from them — so that they can help my body of work grow gradually.

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

I often work with a sketch in hand, but I don’t follow it exactly.

Are you generally satisfied with your finished product?

Often I love it. Other times I think I could have done better.

Have you exhibited your work in a gallery setting?

I haven’t yet. The street is my primary gallery, the largest and best gallery any artist could have. But I’m open to the idea of exhibiting my work in a formal gallery setting.

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

It is to inspire. And it is a very crucial role. An artist has a huge responsibility. What he puts out there reflects on his character and on his society.

How do you feel about the role of the photographer and blogger in the street art scene?

Their roles are pivotal when it comes to street art; we need more bloggers and photographers.

What’s ahead?

Traveling and painting, researching, and, eventually, exposing my work in galleries, as well.

What do you think of New York City?

I love it. The whole world is here. In the past few weeks, I’ve met folks from everywhere.

Interviewed by Lois Stavsky; photo 1 at the Bushwick Collective by Dani Mozeson; photo 2 courtesy of the artist; photo 3 with Joel Bergner in Bushwick by Tara Murray; photo 4 close-up from collaborative wall in Bushwick by Lois Stavsky

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Speaking with Argentinian artist Elian

October 3, 2013

Based in Córdoba, Argentina, Elian fashions mesmerizing abstract compositions on huge walls. In late summer, Los Muros Hablan brought Elian and his sumptuous style to the South Bronx. While he was here in NYC, we had the opportunity to meet up.

When and where did you first get up?

Ten years ago. I was 15 when I started tagging and bombing in Córdoba.

What inspired you at the time?

My friends were doing it, and so I tried it. I’m dyslexic, and I had always struggled with writing. But with a spray can in hand, it felt right. It was the first time I ever felt at home writing.

How does your family feel about what you’re doing?

Everyone is supportive. My mother bought me my first spray can.

What percentage of your time is devoted to art?

All of it.

Do you have a formal art education?

I studied graphic design. But I don’t like “institutions.”

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

I always work with a sketch in hand.

Are you generally satisfied with your finished piece?

Yes.

How has your art evolved through the years?

It evolved from 3d graffiti to flat images. One can go only so far with graffiti.

When you look back at what you did two years ago, how do you feel about it?

It was too limited. There wasn’t enough concept behind it.

What other cities have you painted in besides those in Argentina?

I’ve painted in Berlin, Barcelona, Madrid, Paris, Santiago and Lima. And in the U. S. in Miami, Atlanta, and here in New York City.

Have you a favorite city?

Lima. I loved the food and the people.

What is the riskiest thing you ever did?

Painting trains, climbing heights and living every day.

What inspires you these days?

City life. Everything I see. The garbage, broken pavement…NYC is amazing!

Are there any particular cultures or movements that have influenced your aesthetic?

Pop-art, Russian constructivism, neo-plasticism, minimalism.

Have you any favorite artists?

Among my favorite artists who paint in public spaces are MOMO, Jaz, and El Tono. Other artists I love include Sol LeWitt, Mondrian and Pablo Siquier.

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

It’s a necessary tool, as it allows us to see what others are doing, and it gives me an opportunity to get my work out to a larger audience.

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

I think of the artist as a cultural engine, an agent for change. The artist initiates a dialogue between the city’s walls and its inhabitants.

How do you feel about the role of the photographer and blogger in all this?

I like it. It creates additional opportunities for artists to reach people. It is necessary for our culture.

How does the street art culture here in NYC differ from the one back home in Buenos Aires

Back home, you generally don’t need permission to paint. People are grateful to you for sharing your talents with them. Here everything is a business. Back home, people are more interested in ideas.

How do you feel about the movement of street art to galleries and museums?

I’m not sure how I feel. My gallery is the city. And it is the most democratic place for me to share my work.

What’s ahead?

Working hard at my craft, engaging in huge public projects and giving back to the community.

Interview by Lois Stavsky; photos courtesy of the artist

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Speaking with Argentinian artist Pastel

September 27, 2013

Based in Argentina where he shares a studio with artists Jaz and Ever, Pastel recently participated in the urban arts festival, Los Muros Hablan, here in NYC. His splendid mural in the South Bronx is representative of his distinct aesthetic, which fuses his passions and talents for architecture, painting and muralism. I had the opportunity to speak to him briefly last month before he returned to his native Buenos Aires.

When did you first get up in a public space?

When I was 14 or 15, I began tagging in my Buenos Aires neighborhood with markers that I made from tampons and tar. But then when I broke my knee playing soccer and I could no longer dream of playing professionally, I began painting walls. That was in 2002.

Have you a formal art education?

I studied architecture at the University of Buenos Aires.

But you aren’t working primarily as an architect these days; are you?

No, I don’t like the structure of business, and I don’t see the need for more construction in cities. There are too many buildings already.

What percentage of your time is devoted to art?

Almost all of my time. About 20% is devoted to architecture, but I would like to devote 100% of it to my own art.

What is the riskiest thing you ever did?

Living my life as an artist. In Argentina, it’s way expensive and uncertain.

I suppose that’s the life of an artist anywhere! How does your family feel about what you’re doing now?

At the beginning they didn’t understand it; now they love it.

Do you prefer working alone or collaborating with others?

I like both, and they’re both different experiences. I especially love collaborating with Elian. We just look at each other, and we know! A real symbiosis. Our styles are different, but we can fuse them to create one image. Two paintings become one.

What is your ideal working environment?

I grew up in the city, and I love it, but I probably prefer being away from the city. Maybe in a tropical space.

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

I begin with a sketch and progress to a watercolor. I then paint on a canvas and finally on a wall. I try to use the wall as the final stage of a study.

Are you generally satisfied with your finished piece?

I try to be, but I’m never quite. There are always things to improve.

How has your work evolved through the years?

It’s changed radically. It’s far more conceptual these days with a philosophical mix. I need to have a concept behind the painting. I don’t paint just to paint. I need the work to tell something

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

It’s the new Jesus. You need to trust in somebody or something.

What about the photographers and bloggers?

I love them. They’re essential. We need them.

Is there much of a graffiti/street art divide in Buenos Aires?

They are two different worlds, but we all get along.

What’s ahead?

More painting, more new projects and loving more and more what I do.

Interview by Lois Stavsky; first photo of Pastel in the South Bronx by Lois Stavsky; following two photos of Pastel in Buenos Aires and final two of Pastel in Atlanta, Georgia, courtesy of the artist.

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Bishop203 at Low Brow Artique

September 20, 2013

Earlier this week, we had the opportunity to interview one of our favorite people, Bishop203. A first-rate artist who’s been hitting a range of surfaces from abandoned factories, freight trains and walls to black books and canvases for years, Bishop203 is now the owner of Low Brow Artique, a superb space at 143 Central Avenue in Bushwick.

When did you first conceive of opening a business?

It was something that had been in the back of my mind for quite awhile. But growing up, I’d always wanted to be an art teacher.

So – what happened?

I hated school, and I failed all of my art classes. Actually, I failed just about all of my classes. And when my friends went on to college, I stayed behind for two more years and then graduated to painting freight trains.

And how did Low-Brow Artique – one of our favorite spaces – come to be?

About a year and a half ago – soon after my father died – I thought to myself, “I’m not doing anything much with my life, so why not open a business related to what I love?” But I didn’t have a business plan or anything. At first, I thought I would open an art supply store, but I wasn’t sure I had enough knowledge to do so at that point. And so I decided to focus on graffiti supplies, as I knew enough about hooligans to run a business catering to fellow hooligans.

What made you decide to set up shop in Bushwick?

I felt there was a need for it here. There was no other outlet for graff supplies in my neighborhood, and with Joe Ficalora, the curator of the Bushwick Collective, making so many walls available to artists coming here from all over the world, the local aerosol art scene was booming.

We notice you have just about every brand of spray paint here at really good prices. There are also markers, pens, black books, a variety of hand-printed and home-made goods, and t-shirts. What else is available?

Canvases, wood panels, screen print supplies, Liquitex paints, Krink and much more. I’m also about to start stocking Montana 94.

And your gallery has become one of the most popular graffiti/street art venues in NYC. Tell us something about that.

I love it. It gives me the opportunity to showcase my favorite art. And it was especially wonderful for me to recently feature my dear buddy Bisc’s work. Bisc and I go back years, and his show was my most successful one. It was epic.

What are some of your goals for Low Brow? Where would you like to see it go?

I love teaching the young bucks of the next generation. I can see myself giving formal classes here. And I want to help up-and-coming artists achieve their dream by exhibiting their work.. That, perhaps, may be my greatest legacy.

How do folks find out about your space?

It’s word-of-mouth. The graffiti world is small, and everyone wants to be up on the latest news.

And what about your artwork? We see it regularly at 5Pointz and in this part of town. What’s happening with it?

Well, for the most part, it’s taken a back seat to what’s happening here at Low Brow. But I’m ready to step up my game, especially when it gets too cold for much to be happening on the streets. And just this week, I was delighted to have a print released by my fellow hooligan, Bisc, who in collaboration with his partner at Daylight Curfew, has begun a monthly print series.

What do you see as the future of graffiti and street art?

I see it as just getting bigger and bigger. Just check out what’s been happening down the block.

Interview by Lois Stavsky with Tara Murray; photos by Lois Stavsky; print image courtesy of Daylight Curfew

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COCO144: The Evolution of an Artist

September 16, 2013

COCO144 is a pioneer New York City-based graffiti/street artist. He started tagging in 1969, co-founded United Graffiti Artists and introduced the stencil into the graffiti movement in NYC. This interview was conducted and edited by Yoav Litvin. Yoav is a writer, photographer and author of a forthcoming book on NYC graffiti/street art.

You were there at the beginning of it all. How did graffiti start?

Graffiti is what the media called it. What I call the writing movement started in NYC back when I was in junior high in 1968. It began in the Inwood section of Manhattan with Julio204. Then in 1969, it took off in Washington Heights, with writers like Phil T. Greek and TAKI 183.

Why did writing start?

Writing was a reflection of the times — the socio-political and economic realities back then. It was a combination of the spirit of the anti-war movement, frustration with economical and social inequality, and racial and political tensions.

How do you feel about the evolution of it all? Where’s it heading? What’s the difference between today and back when graffiti just started out?

It has changed from a social scream of the inner city to a large-format, graphic design-like urban beautification movement. Go out right now and try to write your name on a wall, you’ll get arrested! Try to paint anything else and you’re more likely to get away with it. Back then, we wanted to be known within our circle of writers for destroying the system; you hit, do your thing and were cool to be incognito rather than celebrating who you are. That’s changed today.

Why do you think this movement has spread throughout the world?

Making your mark is a contagious virus with no known vaccination or cure.

Who do you consider are the pioneers?

My contemporaries, far too many to name, but I also feel that folks who are really interested in knowing the history of the movement should do their research.

How did you get your name – COCO144?

COCO was a term of endearment given to me by my parents when I was 3 months old. I grew up on 144^th St. in Harlem.

What are some of your preferred mediums?

Markers, spray paint and later I developed the stencil for obvious tactical reasons.

What were some of the concerns and dangers you had to consider?

Going into the yards you always had to consider the third rail. Other than that, there wasn’t much security to worry about at that time.

How have you evolved as an artist?

My name has developed and evolved in a calligraphic sense. I’m still working with my name. I see it as a process of constant rediscovery of myself; my name is a big part of who I am. Today I am influenced by my workplace, a Science Research Institute in Manhattan. I integrate the sciences into my name. I find it fascinating that both art and science utilize and emphasize the process of experimentation/trial and error. Both also greatly value and rely on curiosity and modesty as driving forces. Lastly, both accentuate the importance of the process as much as that of the final product.

1) Photo, 1970

2) Photo, 1972

3) Photo, 1974

4) Photo, 1984

5) Photo, 1995

6) Photo, 2009

7) Photo, 2010

All photos ©COCO144

For a slideshow by COCO click the following link: COCO

For an interview with Yoav on Street Art NYC see here.

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Speaking with Dede

September 11, 2013

Prolific on the streets of his native Tel-Aviv, Dede aka Dede Bandaid has spent the last two weeks leaving his mark here in NYC — in Brooklyn, in downtown Manhattan and at 5Pointz in Long Island City, Queens.

When did you first get up?

When I was 13, I found a spray can as I was wandering around my neighborhood. I’d always been drawing on just about every surface, but I’d never used a spray can. I was curious. And so I went to my schoolyard to try it out!

What was that like?

It was amazing. I looked up to the sky, and I began to paint a galaxy with stars and more. But it was years before I got up again in any public space. The walls in my house and in my friends’ houses became my canvases.

And when did that change? When did you first hit the walls of Tel Aviv?

It changed when I was in the army. Army service in my country is compulsory, and I hated it. And so during one of my vacations from the army, I sprayed a pro-peace stencil on a public space. That was around 2000.

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

I’m almost always on my own. On occasion I’ve collaborated with Latzi. I feel that I’m more influenced by Israeli culture, politics and aesthetics than many of the other writers here. I’m, also, not involved in “the scene.” I’m more intent in getting a message across and – at this point – developing my own distinct style.

What other aspects of Israeli culture – besides its fraught politics — have influenced your aesthetic?

I infuse iconic Israeli symbols into my artworks– such as the white pigeon for peace and various plants that have Biblical references. But my main inspiration comes from everyday Israeli life – all the discussions that Israelis engage in daily regarding the army, the government, the economy…

Do you prefer to work legally or illegally?

I definitely prefer working in unauthorized spaces. That’s what street art is about. I can do whatever I want, without having to show sketches to anybody. The beauty of getting up on the streets is the freedom it gives you. And there’s the adrenaline rush – that only comes with working illegally.

Tell us something about the band aid. You sign your work Dede with an image of a band aid alongside it. How did that come about?

About five years ago, I was seeking a way to express and heal my wounds. The band aid then became a symbol for all kinds of difficulties – personal and societal — seeking remedies.

And what about the houses? I’ve been noticing lots of houses – in different shapes and positions – in your work. What do these houses represent?

When I first started including houses in my works, they represented the notion of “home” – and not feeling at home anywhere. But then they came to represent so much more – a search for home, the high cost of housing, the political situation…

Have you exhibited your art in gallery spaces?

Yes. Back in Israel, I’ve exhibited in Tel Aviv and in Jerusalem. I’ve also exhibited my stencil work in Berlin. And here in NYC at New York University’s Bronfman Center.

Any thoughts about the movement of street art into galleries?

Well, when it’s in a gallery, it’s no longer street art. And when my work is in a gallery, it is judged more harshly than anything I do on the streets.

What percentage of your time is devoted to art?

All of it. I’m either painting or sleeping.

Is art, then, the main source of your income?

Yes. I sell paintings and I do commissions.

How does your family feel about what you do?

They love it. My mom loves seeing my work in the streets, and she always photographs it.

What is the riskiest thing you did and why were you willing to take that risk?

I’ve taken lots of risks. But the riskiest was probably navigating a lengthy, unruly river in the rain to install a yellow submarine.

Was it worth it?

Definitely!

Any thoughts about the graffiti/street art divide?

I don’t feel it in Israel.

Have you a formal art education?

Yes. I graduated from Bezalel in 2009. I learned a lot, and it was lots of fun. But I’ve learned far more from the streets.

Do you work from a sketch or do you just let it flow?

I usually just let it flow.

Are you generally satisfied with your finished piece?

Never.

Your work seems quite different from when I first saw it on the streets of Tel Aviv a number of years ago. How has it evolved through the years? And why has it changed so radically?

I began by stenciling and found myself too easily influenced by other stencil artists. And when I began to make my stencils more detailed, I developed an infection from cutting them. And so I began painting more free hand. And now it’s evolving into a fusion of painting and collage. I am working more and more on developing my own voice.

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

It’s definitely more positive than negative. It seems that most people first discover street art on the Internet. And online I get to see work from lots of artists I haven’t met. But the Internet can also strip you somewhat of the ability to develop a distinct, personal style.

What about the role of the photographer?

The photographer’s role is very vital to the movement. Many artists either don’t document their work or document it poorly. And since the Internet does have so much power these days, the photographer’s role is increasingly important.

What’s ahead?

Evolution and advancement.

Photo at 5Pointz by Dani Mozeson; all others courtesy of the artist

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Speaking with El Niño de las Pinturas

September 2, 2013

Based in Granada, Spain, the wonderfully talented and passionate artist Raúl Ruiz, aka El Niño de las Pinturas, visited NYC earlier this summer. I met up with him at the Bushwick Collective – where he was painting with Rimx – and then caught up with him at 5Pointz, where we spoke briefly.

When did you first get up?

Back in the 90’s. I was 11 when I brought graffiti to my neighborhood in Granada, Spain. I began the usual way — by tagging and bombing.

What inspired you?

The movie Style Wars introduced the culture to me.

What is the attitude of the authorities in Granada to graffiti?

The government makes it tough. The fines for doing illegal works are excessive. It’s difficult to paint anywhere without the owner’s permission. And even when I had the owner’s permission and he loved what I did, I was forced to whitewash the wall.

How does your family feel about what you do?

At first, they didn’t like it. They told me to paint only canvases. But now they take pride in what I do.

Any thoughts about the movement of graffiti and street art into galleries?

It’s okay. We artists need money to live. But when our art is in a gallery, it’s no longer graffiti. Graffiti is made in the streets for all people to experience. And we we must always remember to respect our masters — the streets. The streets are the inspiration and source of it all. If we lose the streets, we lose the way.

What percentage of your time is devoted to art?

Everything I do is art.

Have you a formal art education?

I studied fine arts for a year and a half. But I didn’t need teachers. I have masters — the streets.

Are there any particular cultures that influence your aesthetic?

Granada is a fusion of cultures, so my primary influence is the human culture. But there are definite Moslem influences to my aesthetic.

What inspires you these days?

Everybody I meet. And the natural world inspires me, as well. I love animals.

Are you generally satisfied with your final piece?

I am, but when I look at it, I feel like I didn’t create it.

Where have you painted?

Here in the US, I’ve painted in San Francisco, Santa Fe and NYC. I’ve also painted in many other countries. Among them are: Argentina, Venezuela, Mexico, the Dominican Republic, Morocco, Germany, Hungary, Belgium and France.

Any favorite place?

I love them all.

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

Whatever role society has imposed on the artist — the artist needs to break away from it.

Any thoughts about street art bloggers?

They need to know the artists. Many don’t.

What about the graffiti/street art divide?

It’s not important. We use the same gallery — the streets. But in some way street art gave legitimacy to graffiti.

What’s ahead?

My art will evolve as I experience more. And I will continue to develop my own distinct style.

Interview by Lois Stavsky; photos 1. El Niño de las Pinturas at 5Pointz by Tara Murray; 2. with Rimx at the Bushwick Collective by Lois Stavsky; 3. with Rimx in Bedford-Stuyvesant, courtesy Rimx and 4. with Danielle Mastrion in Bushwick by Tara Murray

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Speaking with Bisco Smith

August 25, 2013

Currently based in both LA and NYC, Bisco Smith is celebrated for his graffiti on walls, as well as for his audio and visual work within hip-hop culture. WORLD UPSIDE DOWN, a recent collection of this talented artist’s works, is on view at Low Brow Artique, 143 Central Avenue in Bushwick, through September 7^th. We spoke with Bisco soon after his hugely successful opening:

When and why did you start getting up?

I was about 12 or 13 years old when I started writing.

Any particular inspirations at the time?

I grew up skateboarding, and we were all into writing. Just about everyone in my school had a black book. We also avidly followed Chino’s Graf Flix section in the Source. This was sometime in the mid-90’s.

What was your preferred surface – back then?

Abandoned buildings. I grew up spending day after day inside of a huge dead factory. We could paint anything and everything in there.

Any early graffiti memories that stand out?

The first time I got taken down to the train tracks, a party got broken up by the police and on our escape, we ended up under a bridge filled with burners.

What is the riskiest thing you ever did?

Train tunnels and some less-than-solid rooftops. I remember getting caught between two trains, coming on opposite sides, while I was standing between two third rails. That experience will make you appreciate life all over again.

Why were you willing to take that risk?

I ask myself the same question now.

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

Just about all of it. Both visual arts and music.

Do you have a day job? What is the main source of your income these days?

I work as a graphic designer and I mentor kids. I have a strong moral compass, and just about 98% of the work that I do is for the right cause. I’m involved with various community-based organizations including ARTS By the People, based in New York and New Jersey.

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

Graffiti has a code, street rules, that “street art” doesn’t have – and that’s one of the reasons for the tensions between the two. But I don’t think there’s enough respect on either side.

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

I think it’s great when people can make a living doing what they love – and also impact others.

Would you rather work alone or collaborate with others?

When I’m working on walls, I prefer to collaborate. More often than not, I paint with my friends and crew mates: Leias, Bishop203 or Meres

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

Jackson Pollock – if he were alive.

Any favorite graff artists?

Ces. Since Videograf 8 dropped, that whole 90’s era in the Bronx really was my favorite.

Do you have a formal art education?

Yes. I studied communication design at Pratt.

Was it worthwhile?

Very much so. It taught me a trade. There’s work in graphic design.

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

Both positive and negative. I love the connections and opportunities, but miss when style was localized

What inspires you these days?

Lately, I have been heavy on instagram and tumblr checking out other artists, working artists.

Are there any particular cultures that have influenced your aesthetic?

Hip-hop culture for sure.

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

I let it flow.

Are you generally satisfied with your finished piece?

For the most part, but in the end — for me — it’s more about the day and the moment. The end result is a bonus.

How has your work evolved through the years?

Although I continue to work on the streets, I no longer need its framework to create. I think my artwork is more focused these days – especially if I know it’s headed to a gallery.

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

Balance out the mundane, as well as make people think.

What about the role of the photographer? The blogger?

It is important to document what’s out there and happening. I think its essential to any movement.

Any thoughts about sanctioned vs. unsanctioned art?

I like them both. I think both are needed and both allow for their own outcomes and impacts.

The Europeans seem to appreciate and respect graffiti far more than we do here in the States? Any thoughts about that?

If it doesn’t make money here, society seems to not appreciate it.

What’s ahead?

More visual explorations, socially engaged work, and gallery exhibits.

Interview by Lois Stavsky. Photos: 1. Bisco on exterior of Low Brow Artique, photo by Lois Stavsky; 2. & 3. Bisco in WORLD UPSIDE DOWN, photos courtesy of the artist; 4. Bisco, Meres, Bishop203 & Leias at 5Pointz, photo by Lois Stavsky; 5. Bisco & Leias on exterior of Low Brow Artique, photo by Tara Murray and 6. Bisco in Watts, photo courtesy of the artist

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Speaking with Ever

August 18, 2013

A masterful muralist and inspiring thinker, Argentinian artist Nicolás Romero aka Ever has graced countless cities throughout the globe with his wondrous vision. Earlier this summer, he stopped off in NYC, where he painted on a rooftop in Williamsburg, Brooklyn. That’s where I caught up with him.

When did you first start getting up?

I was 16 and into hip-hop. The first time I got up was with two friends in our school’s bathroom. We thought we were so cool. Then whenever I took my dog for a walk, I did throw-ups around my neighborhood.

So your neighborhood was your main canvas back then?

Mostly for bombing, but it made me nervous.

When did you become serious about it?

When I met Jaz and other members of DSR. They were professionals. They took street art and public art seriously. I started to share a studio with Jaz and began to think of myself as an artist. In 2003, I started making portraits.

How did your parents feel about what you were doing?

My parents encouraged me. When I was seven, they introduced me to Van Gogh and Goya. I became obsessed with Van Gogh because he cut off his ear. I had a problem with my ear, so I identified with him. When I was thirteen, I began taking art classes outside of school.

Did you continue to study art formally?

I studied architecture at the university for a few months, but it wasn’t for me.

Who are your inspirations? Any particularly artists?

I have many. I’m inspired by Mexican muralists — the way their art reflects the people and their social consciousness. I’m also inspired by such artists as Van Gogh, Lucian Freud and Francis Bacon.

What is your main source of income these days?

Half my income is from commissions and the other half is from sales.

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

It’s okay. I’d rather sell my work in galleries than do commission pieces for corporations.

Have you had any negative experiences while getting up on the streets?

The mural that I did in Lima, Peru was censured. I was accused of glorifying Communism. The image on the mural was changed, and it is no longer mine.

You’ve painted in so many cities. Have you a favorite one?

Paris. There is an openness there.

Any thoughts about the graffiti/street art divide?

I don’t see it.

How has your art evolved since you began painting murals?

I’ve become more abstract and I’ve begun to think of the body as “just a dress to use on Earth.” My portraits no longer have eyes. And I’ve begun to use religious symbols obsessively in my work, even though I don’t believe in a traditional God. My work has also become more socially conscious.

What inspired that?

Before 2009, I was apolitical. But in 2009, I lived in Paris, and I began to think of art as the means to inspire societal change. The revolution must start here — on the walls.

Interview by Lois Stavsky. Photos of Brooklyn rooftop and Baltimore mural by Lois Stavsky. Final image of wall in Santurce, Puerto Rico — which I caught only at the beginning — courtesy of the artist.

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