Interviews

eL Seed: from Tunisia to NYC

June 18, 2013

As part of the fifth edition of the World Nomads festival, Tunisian artist eL Seed brought his soulful, lyrical calligraffiti to NYC last month. With its synthesis of Arabic writing, calligraphy and graffiti, eL Seed’s distinct style made its way to Manhattan’s Lower East Side and to 5Pointz in Long Island City, Queens. While he was here, we had the opportunity to ask him a few questions.

When and where did you first get up?

I started in the late 90’s in the suburbs of Paris. I was 16.

What inspired you to do it?

As a B-Boy, I was into the whole hip-hop culture. And I always liked art.

Have you any early graffiti memories?

A standout is when Zefa from the GAP Crew painted me doing a head-spin.

Any favorite spots?

I especially like abandoned places.

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

I do everything freestyle.

Do you prefer working alone or would you rather collaborate with others?

I tend to work by myself, but I also love collaborating with others.

What is the attitude of your family towards what you are doing?

I studied business at the university, and then I worked as a business consultant. My parents were somewhat concerned when I left that world. But now, when they see how happy I am, they’re fine about it.

Any thoughts on the graffiti/street art divide?

I don’t like the definitions. I don’t like the terms.

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

On one level, it’s cool because it gives us opportunity to share our vision with other people. But, on the other hand, artwork loses its context when it’s online

What is the riskiest thing you ever did?

Painting on top of a mosque 47 meters high in Tunisia.

Why were you willing to take that risk?

It was a way of returning to my roots.

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

I do everything freestyle.

What inspires you to paint in public?

It’s a quest for identity. I was born and raised in France, but French people tell me that I’m not French – that I’m Arabic. And I want to maintain pride in my native culture. I do not want to lose it. That’s a reason why I write in Arabic.

Do you have a message to convey?

Despite our differences, we are all the same. We’re all human and we all have the same struggle.

How has your work evolved through the years?

I’ve learned to adapt to any surface, and the flow and shapes of my letters keep on evolving.

You’ve travelled to many cities. Have you any favorites?

My favorite city is Gabes in Tunisia. I have a strong emotional connection because it’s my family’s native land.

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

I’d rather paint on walls, but to sustain myself, I’ve shown in galleries.

What are some of your other interests?

I love to cook. I cook everything for my family. And I love to read, especially about history.

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

To give visual expression to what people think. The artist is the ambassador of our society.

Photos by Dani Mozeson, Tara Murray and Lois Stavsky; the fourth photo also features Meres and Jaye, along with eL Seed, and the fifth features a collaboration between eL Seed and Jaye

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Speaking with Kkade

June 10, 2013

Swiss artist Kkade shared his splendid skills with us last month at 5Pointz. While he was here, we had the opportunity to find out a bit about this talented member of the Schwarzmaler Collective.

When and where did you begin writing?

I started writing in my hometown of Murten, Switzerland in 1999. I was 16 years old.

How did you get into it?

I used to love looking at graffiti magazines and watching films on graffiti bombing.

How did your parents feel about what you were doing?

They didn’t like the police calling them. But they were always supportive.

Any early inspirations?

My crew members Kese 27 and Mower gave me my first, big start. And, since, I’ve done lots of writing and traveling with them.

Have you any favorite writers?

This is hard to answer, but crews like HA or JBCB are dope. And my favorite Swiss writers are Kesy, Irons and Toast.

Besides 5Pointz here in NYC, where else have you painted?

I’ve painted throughout Switzerland and in many European cities. Among them are: Milan, Berlin, Cologne, Amsterdam and Budapest.

Have you exhibited your work?

I have my first solo exhibit coming up on June 27 at the Trace Gallery in Zurich. And I’ve exhibited many times with the Schwarzmaler Collective.

Any thoughts about street art and graffiti divide?

Street art wouldn’t exist without graffiti. Graffiti started on trains and made its way onto the streets. Some people think they can do stickers and stencils and that they’re graffiti artists. But that’s not what graffiti is about. These days, street art has a bigger hype than graffiti. Back in Switzerland, the media recently promoted Wes 21 as a street artist – rather than as graffiti writer – when he was exhibiting his work in a gallery. It’s scene thing. But we don’t let the hype get to us. Graffiti saved my life. It kept me from doing drugs and behaving aggressively.

How do you see the Internet in all of this?

I think it’s really good in connecting people with the art. But it also exposes people to too much crap. And not everyone can tell the difference.

Do you have any formal art education?

I went to art school and got an apprenticeship in graphic design. I studied it for three years. It taught me to be more open-minded, and it did push me to do better and better.

What’s ahead?

Perfecting my letters and sharing my skills with others.

Interview by Lenny Collado. First photo by Lois Stavsky; all others courtesy of the artist

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Speaking with Magdalena Marcenaro aka Magda Love

June 5, 2013

During the past few weeks, Argentinian artist Magdalena Marcenaro aka Magda Love has brought beauty and intrigue to Brooklyn’s Pacific Street with her inventive and infectious murals. We recently met up with Magda and had the opportunity to pose a few questions to her.

When did you first share your vision in a public space?

The first time was earlier this year in Miami’s Arts Wynwood District.

What inspired you to do so?

I was offered a wall, and I was thrilled to have the opportunity. Growing up in Argentina, I know just how strong the impact of public art can be.

Any early memories of it?

I mostly remember the political slogans that surfaced throughout my native Buenos Aires.

What is your preferred medium for getting up on the streets?

I love wheat pastes. Its ephemeral nature adapts beautifully to the environment. And it keeps on evolving.

Have you a formal art education?

Not a formal one. But my father is a sculptor, and I grew up among artists. From an early age, I assisted my father in his studio. He used to tell me, “Magda, you have a special eye, and it will take you far.” And by age 18, I was working as a fashion designer and photographer and running my own business.

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

Just about all of it! When my 9-year-old son isn’t in school, he’s often with me in my studio.

Have you exhibited your work in galleries?

Yes. I’ve shown my work in Buenos Aires, New York and in Miami. I had a solo exhibition at Gowanus Print Lab here in Brooklyn. And I’ve also participated in group shows at the Scope Foundation, Miguel Paredes Gallery, Peanut Underground, BOOM, The Brooklyn Waterfront Artists Coalition and The Urban Folk Art Gallery.

What is your main source of income these days?

Art sales and commissions.

Are there any particular themes or ideas that drive your work?

I’m particularly interested in the connections we forge among one another and how we treat each other.

How has your art evolved through the years?

It has reflected my personal growth, as a woman and as a parent.

Do you prefer working alone or collaborating with others?

I haven’t yet collaborated with anyone, but I’d love to.

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

I don’t prepare a sketch – but I do have some images with me to give me a basic idea of where I’m going. But once I begin, my work takes on a life of its own.

Are you generally satisfied with your finished piece?

I know the next day.

Any favorite artists – particularly among those whose work you’ve seen on the streets?

Swoon, Rone, Roa, the Fleshbeck Crew, Reka, Lamour Supreme, Faile and Herakut come to mind.

What about cultures that have influenced your aesthetic? Are there any particular ones?

Certainly the Argentinian sensibility and its general openness to art. And from my father I developed a love for traditional German painters.

You moved to NYC 12 years ago. How does the general attitude towards art differ here from back home in Argentina?

Back in Argentina, people are more appreciative of art. There is more emphasis on culture, in general. And there’s more of a collective consciousness that its culture reflects. In Argentina, just about everyone goes to art fairs, not just a select few. But I do love the mix of cultures, along with the art that this mixture produces, here in NYC.

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

I don’t know if we can change the world, but we can make a difference.

What’s ahead?

I begin working this week with 5^th graders at PS 127 on an indoor mural project. This – I hope – will be the first of many collaborations in an educational setting. And I want to keep working on the streets and travel more in the years ahead. I’d also love to participate in street art festivals and events.

Tomorrow — June 6 from 7:00 P.M.- 8:30 P.M. — you can meet Magda, see her new works and view her mural room at Brooklyn’s NU Hotel, as she celebrates the unveiling of her murals commissioned by the Pacific Street Association.

7:00 P.M Meet-up in lounge of Nu Hotel

7:30 P.M. Walking tour of murals

8:30 P.M. Q&A and NU Hotel mural tour with Magdalena

R.S.V.P. to Events@independentcollection.com

Photos by Lois Stavsky

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Article Brings His Skills from Houston, Texas to 5Pointz, NYC

June 2, 2013

Of the many new pieces to surface at 5Pointz since it began its 11^th season last month, a particular stand-out is the huge mural by Phillip Perez aka Article. Curious about the artist behind this singular graffiti aesthetic, we posed some questions to him.

When did you start getting up?

I first started in Houston, Texas — back in 1992.

What inspired you at the time?

It started when my friend Big Mark aka KRAM, a B-Boy (Rock Skittles Krew) and a graffiti artist, showed me a video that featured break dancing and graffiti. Before then, I hadn’t seen anything like it. Two days after watching that video, I went bombing. I spray-painted in an alley behind my house.

Any memories that stand out from those early days?

A neighborhood hothead, SKEEZ 181, invited me to paint in a train yard for a graffiti battle. I don’t know how he got my number, but he did. He gave me a call one day and said he’d even pay for the paint and pick me up at my place. I was young and crazy, so I agreed. It was me and Ceroe against all of Hou-Tex freaks in a train yard in Denver Harbor. And as we were painting, a couple of train cops rolled up on Ceroe at the end of the car and start shooting at us. We all hopped about six sets of train tracks while dodging the bullets. Everyone got out of there alive. We even became good friends after. Never did like train yards, but I did it that once!

Have you any preferred surfaces?

No favorites. I’m a city bomber; any surface will do. The laws here don’t allow graffiti to live too long. A month maximum and bombs are buffed. So as a writer in Houston, you have to be very selective where you bomb. Location is key!

What’s the riskiest thing you’ve done?

I painted a wall along this railroad track with a couple of friends. Soon, the police rolled by and we were forced to hide in this ditch of muddy water amidst a horrible stench and a swarm of mosquitos. We couldn’t move or sneeze. The cops knew that there had been painting going on, as there was that strong smell of paint in the air. When the police left, we jumped out of there and ran. When we did, a police officer saw us, and hit full speed. To get away, we had to jump over barbed wire gates. We made it, but we separated as we dodged the cops. We met back up again about an hour later.

Have you ever been to jail?

Yes. When I was young, I went to jail for a lot of crazy things, but not for my graffiti art. I’d never go to jail for that. I’d feel too awful getting caught for my art.

Can you tell us something about some of the other writers down in Houston?

When I started out in the early 90’s, there were hardly any graffiti bombers. There were a few graffiti artists, though. Nekst and Vizie started here in the mid ’90’s and moved on to work with MSK — from what I understand. I respect those kids. They could have done anything in life, but they chose graffiti as a lifestyle. Episode, Color One, SKEEZ 181, The One Lee, Cease, Dual — are a few cats that live the lifestyle and keep things real in the H.

Who or what inspires you these days?

The lack of real graffiti nowadays is what inspires me to keep at it and teach it — when possible. This new generation needs to learn the foundation and history of this culture before they try to rub elbows with self-made artists. It’s a big let down when I meet a cat who can rock a 3-D but can’t paint regular letters or write with a nice hand style. But there are still sick artists coming out of the woodworks.

Are you down with any crews?

I’m in Hyroglifx Krew 182. We’re like a family here and help each other out. I don’t see it happening these days with many other crews. Internet crews have members who don’t even know each other. We were all born and raised in the North Central Houston.

Have you exhibited your work?

I have in the past few years, and I’m looking to exhibit more regularly.

Do you have a formal arts education?

No. My art have been my true education. It has taught me to write proposals and contracts, research history and conduct business. Art has taught me everything. When in school, I felt like the institution was misguiding me.

What’s the attitude of your family and friends towards what you do?

My mom bought me my first can. She has been supportive of the graffiti art, but not of the graffiti bombing. It’s a life style and culture. For me, graffiti is a rare art form. I often find myself explaining it to friends. I never get any real negative feedback from them, though.

What percentage of your time is devoted to writing?

It’s a balance. I have to maintain my commercial works and still fit in my street time. My heaviest bombing years were throughout the 90’s. I’ve had to slow down in the 2000’s because of paid gigs, which took up a lot of time and energy.

,Have you a steady day job?

Yup! I have an in-house art gig for a corporation. It helps me pay the bills and buy paint supplies. When I’m not working there, I do commission work for various people. Along the way, I’ve met a lot of actors, musicians and politicians who are interested in what I do. So luckily, I get to work for them and anyone else who needs art of any kind.

What about other interests?

Anything that is even vaguely art-related interests me. I’m also interested in history.

How has your work evolved throughout the years?

It’s evolved a ton. I taught myself foundation, structure, color schemes and balance. And through that learning process, my work naturally evolved into what it is today.

How did you connect with 5Pointz?

My boy Episode gave me Meres’s number and I texted him. A thousands miles later — with a hundred pounds of paint — I presented my layout to Meres, who approved the sketch and got me straight to work.

Can you tell us a bit about this image?

It’s a memorial wall — a tribute to the building representing the kings, the OGs of New York City graffiti. I don’t want to see the building torn down. With its gold background, the piece represents the significance of 5Pointz. The hieroglyphics are actually names of important writers such as Stay High 149, Dondi and IZ the Wiz, to name a few. And overall, the work represents the style of my crew. It’s an offering to the 5Pointz community and its importance in the movement. Even in Houston, we know its value.

Interview by Lenny Collado; photos by Lenny Collado, Tara Murray and Lois Stavsky

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Crasty and his Characters on NYC Streets and at NBKC

May 31, 2013

Crasty is just about everywhere here in NYC — from the footpath of the Williamsburg Bridge to way up high in Bed-Stuy. And — along with his variations — he can be found fashioned onto stickers throughout Manhattan, Brooklyn and Queens. We recently caught up with him at the North Brooklyn Collective aka NBKC at 121 Knickerbocker Ave., where he’s been busy at work.

When did you first hit the streets?

Back in 2000, when I was eighteen.

Have you any preferred surfaces?

I love getting up everywhere and anywhere.

We see your characters everywhere. What keeps you so active on the streets?

I love getting up. I want to see my characters everywhere, and I feel I have a duty to keep graffiti alive.

Much of what you do is illegal. Have you ever been arrested?

Yes, a couple of times. But I’ve learned how to run fast.

Do you prefer working legally or illegally?

I enjoy both, but there is more fun and satisfaction from doing it illegally.

What percentage of your time is devoted to the streets?

I can’t measure it in hours. It’s my life style.

What was the riskiest thing you ever did?

Getting up on elevated trains as they were going by.

And why were you willing to take that risk?

The sense of adventure.

How does your family feel about what you are doing?

My mother worries.

How do you feel about graffiti and street art moving into galleries and commercial spaces?

It’s good. It gives me an opportunity to earn money from my art. And artists need to make money to do what they do.

Where have you exhibited?

I showed my work in Bed-Stuy at the Meat Market. I also exhibited along with Sucklord and Kosby in Chinatown. And I’m now here at the NBKC.

Any thoughts on the street art/graffiti divide?

I appreciate them both. I have somewhat of a preference for graffiti, but I see my work as blurring the line between both.

We see your stickers everywhere. Have you any favorite sticker artists?

Kosby, MQ, Kech, OC, Ader, Baser, Desa, 23145 and Pez from the coast.

Do you prefer working alone or collaborating with others?

I usually work alone, but I love collaborating with artists I like.

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

It’s good and bad. It’s good because it allows people to see fresh graffiti. But it’s bad because it can make somebody famous who doesn’t get up much, and it encourages snitches.

What are some of the sites you follow?

I follow different tumblrs, 12oz Prophet, Fresh Paint and StreetArtNYC.

How has your work evolved through the years?

I began with one character and added three more. So there’s Crasty, Kami-kun, Money Cloud, and Joint-Kun. And my skills get better all the time.

What are some of your other interests?

Hip hop music. I’m a big fan of Big L, A Tribe Called Quest, Pro Era, Biggie, Smif-N-Wessun, J-Dilla, Wu-Tang and J-Billion. I love taking photos and making zines and videos.

What’s ahead?

More Crasty on the streets. Crasty toys and Crasty jewelry.

That sounds great! Good luck!

You can check out Crasty’s work, along with art by Vato, Kosby, Tone Tank, Wizard Skull and Trice this weekend at BBKC at 121 Knickerbocker Avenue in Bushwick, alongside other openings in conjunction with Bushwick Open Studios. You can soon find more of Crasty’s work here and over at Making Deals. And Crasty sticker packs will be available for purchase this weekend.

Photos by Dani Mozeson and Lois Stavsky

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Speaking with Onur Dinc

May 29, 2013

We discovered the wonderfully talented Onur Dinc while he was painting over at 5Pointz during his recent visit to NYC. We were delighted to have the opportunity to speak to him before he returned to his home in Switzerland.

Your artwork that has surfaced here at 5Pointz is exquisite. Have you a formal art education?

I apprenticed as a painter in my late teens. Then I studied set-design for four years in Solothum and graphic design for another three in Basel.

And when did you begin sharing your talents in public spaces?

Five years ago. That’s when I met Wes21 and KKade of the Schwarzmaler collective

We’re so glad you guys met! How do you feel about working outdoors in the public sphere?

It’s great. I love it, and I love meeting the many people who stop by.

How does your family feel about what you are doing? Are they supportive?

At first my parents didn’t encourage me. They were quite concerned. My dad, who had emigrated from Turkey to Switzerland, worked in a factory his entire life and felt uneasy about my not having a steady job. But these days, everyone in my family is proud of me and supportive.

What is your principal source of income these days?

Selling canvases and prints.

What about exhibits? When did you begin exhibiting your work in galleries? And where have you shown it?

I began six years ago when I was 27. I’ve exhibited in all of Switzerland’s major cities and in Germany.

Who are some of the artists who have inspired you?

The late Swiss painter, Ferdinand Hodler, and the contemporary Australian artist, Jeremy Geddess, come to mind. The American painter and photographer, Chuck Close, and the people around me — like Wes21, Schwarzmaler, Jörg Müller and Rodja Galli — have also influenced me.

What about artists getting up in public spaces? Have you any favorites?

I think Roa is wonderful. His skills are remarkable.

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

There’s too much information out there. There’s lots of dope work, but there’s also too much trash.

Any thoughts about artists — particularly street artists – working with corporations and brands?

I’ve done it, and I don’t like it. I often felt like I was selling myself.

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

I see the artist as society’s commentator and conscience, as well as its mirror.

What’s ahead?

I’d like to continue doing what I’m doing now. Painting both in my studio and in public spaces, exhibiting and traveling.

Good luck and we are eagerly awaiting your next visit to NYC.

Photo of Onur and Wes21 at work by Lenny Collado; all other images are courtesy of Onur.

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Speaking with Sonni

May 24, 2013

Argentinian artist Sonni Adrian has been delighting us New Yorkers with his bold colors and playful themes since he moved here in 2011. We recently had the opportunity to visit his studio and speak to him.

When did you first begin creating art?

When I was about seven years old, my parents enrolled me in an afterschool art program. I loved it, and I spent hours there every day.

What about getting your artwork up in public spaces? When did that first happen? And where?

I started getting up about eight years ago in Buenos Aires. I began first with stickers, and then I moved on to paste-ups and wheatpastes.

What was your subject matter back then – when you first began?

It was mostly back and white icons of playful inanimate characters.

What inspired you to get up on the streets?

I was bored at my day job – where I spent all my time creating artwork for commercial purposes.

Have you any preferred spots or surfaces?

As I paint with acrylic, I prefer flat surfaces, rather than walls with bricks. But I love integrating windows into my pieces and I like interesting textures.

How do your parents feel about what you are doing?

At first they didn’t understand it. But now they appreciate it.

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

Just about all of it!

What is the main source of your income as an artist?

I freelance as an art director for animation.

Have you a formal art education?

I studied graphic design for four years back in Argentina.

Have you any favorite artists? Influences?

I love Matisse. Among my influences are: Yoshitomo Nara, Japanese Kawaii style, and Disney’s first Mickey Mouse and Felix the Cat.

What about back in Argentina? Any favorite artists who paint in public spaces?

Tec, Chu, Ever, Kid Gaucho, Jaz, Gualicho, Parbo, Defi, BsAs Stencil, Pedro Perelman & run don’t walk are among my favorites.

Any thoughts about the graffiti/street art divide?

I love it all. All art that is on the street is “street art.”

How does the street art scene back in Buenos Aires compare to NYC’s?

There is much more freedom in Buenos Aires. You won’t go to jail there for painting on the streets. The atmosphere, in general, is more open and relaxed.

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

I always work with a sketch. My sketchbooks are my reference.

Are you generally satisfied with your final piece?

Never! I always feel I can do more.

You’ve had solo shows not only in Argentina, but in Miami and in NYC, and you’ve participated in group shows across the globe. Any thoughts about the move of street art into galleries?

It’s amazing! And a completely different experience. It’s quite a transition for any artist who is accustomed to painting on the streets.

What’s ahead?

I try not to think too much about that. But I know that I want to continue painting. I’m happiest when I’m painting, and I have quite a few exciting projects coming up. My long-term goal is to be able to do my own thing full time. And I would love to design a playground for children.

That sounds great! We’re certainly looking forward to that!

You can check out Sonni’s artwork tomorrow evening — as reMADE presents Sonni, Aaron Stewart, and Nile the Crocodile starting at 6pm at 469 DeKalb Ave.

Photos by Lenny Collado, Tara Murray and Lois Stavsky

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Speaking with Semor

May 20, 2013

Germany’s masterful graffiti artist Semor returned to 5Pointz earlier this month, where he once again graced its walls with his outstanding skills. This time we has the opportunity to speak to him.

When did you first get up? And where was it?

I was 11 years old when I first hit a wall. It was in an abandoned area in the middle of nowhere. I grew up in a village near Cologne, Germany where there was no graffiti — or just about anything — on the walls.

Then — how did you get into graffiti?

As a young child, I destroyed my room with chalk. This started when I was about six. I always focused on letters. One day my sister said to me, “What you are doing is graffiti.” And she bought me a copy of Style Wars. That was it!

And you have been doing it ever since! What is it about graffiti that appeals to you?

I can put my all into it. I can express everything that is going on inside me and around me. I never sketch beforehand. Everything I do is freestyle. It’s what I feel at the moment. It doesn’t matter if it is a good day or bad day. I have graffiti.

How do your folks feel about what you do?

My mom loves it! And my dad admires what I’m doing, too. He is an architect.

Tell us something about your name. How did you get the name Semor?

I was always a big Simpsons’ fan and I particularly liked the character Seymour Skinner, the head of Bart Simpson’s elementary School. I just changed the spelling!

Have you any favorite surfaces?

I’ll paint on anything that is paintable, but I love big walls.

Have you ever been arrested?

Sure, but Germany actually provides us with graffiti lawyers. And you need to be caught in action in order for the police to arrest you.

Have you exhibited in galleries? And how do you feel about the move of graffiti into galleries?

Yes! It’s been a good experience. It’s good money. And it’s time for graffiti to be given the respect it deserves.

How do you feel about the divide between street art and graffiti?

Graffiti is graffiti and street art is street art. Street artists are more concerned with getting a message out to the public. And it often has political and social overtones. Graffiti is about style.

Any thoughts about today’s young writers?

They need to learn the importance of respect. They think getting up is cool, but too many young writers out there don’t have any knowledge of graffiti’s roots.

Any differences between the graffiti here in NYC and back home in Cologne?

There’s definitely a greater variety of styles back home. Writers there are more eager to experiment.

Have you any favorite writers?

The Schwarzmaler Crew, Sen2, Storm, Aroe MSK – among others.

How did you make contact with 5Pointz?

In 2005, I reached out to Meres via e-mail, and we’ve stayed in touch since.

Photos of Semor with Jimmy C and Semor & KKade by Lois Stavsky; Semor at work by Lenny Collado and Tara Murray

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Speaking with BR1

May 14, 2013

Italian artist BR1 is committed to creating work that transmits a message and raises awareness. His artworks have not only made it onto public spaces in Italy and beyond, but increasingly into galleries, festivals and art fairs, as well. Intrigued by his images that surfaced in Bushwick during his recent visit here, we were delighted to have the opportunity to meet up with him and ask him a few questions.

When did you start getting up?

I was about 14 when I started tagging in my native town of Torino, Italy. Then I gradually moved from stickers to posters to full size images.

What motivates you to get up on the streets?

Everything about the streets inspires me. I’ve always been attracted to walls. Walls talk to you. And I like to raise questions.

Like what kinds of questions?

I’m particularly interested in the image of the veil and all that it represents, particularly the clash of cultures. I’m intrigued by paradoxes.

As someone from South Italy, how did you become interested in this theme?

My grandmother wears a black scarf. Her sensibility is similar to women who wear veils.

Where have you gotten up besides Italy?

I’ve gotten my work out in England, France, Turkey and Spain. And here in the U.S. — in Boston and New York City.

Any favorite cities?

I like Paris as its people are generally open-minded. Istanbul was my least favorite.

What are some of your other subjects besides the veil?

I’m interested in billboard intervention. Billboards are a natural spot and easy to work with.

Do you have a formal art education?

No. My degree is in Law and my thesis was on the veil.

Any favorite artists?

I’m particularly inspired by Iranian photographers. I find Shirin Neshat’s work especially strong.

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

At first I did not like it, but now I see it as an opportunity. But I prefer to work with nonprofits.

What’s ahead?

I want to return to the U.S. and spend some more time here. I’d also like to continue studying the veil and work on installations, particularly using found objects.

The first image featured was photographed by Tara Murray in NYC; all other images are courtesy of the artist.

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Speaking with Patch Whisky

May 9, 2013

Currently based in Charleston, South Carolina, Patch Whisky is best-known for his zany, wildly appealing characters that surface both on and off public spaces. We recently had the opportunity to speak to the wonderfully talented artist during his visit to New York City.

When did you first start getting up?

I tagged some in the late 90’s, but I wasn’t serious about it at the time. Then three years ago, when I moved from West Virginia to Charleston, I met Ishmael, and that changed things. I began painting in public spaces.

What inspires you to keep doing it?

The street is the most important canvas. It is for everybody; that’s the beauty of it.

How does your family feel about you’re doing?

At first, they said, “You need to get a real job.” Now they love it.

Have you exhibited?

I’ve shown work at the Museum of Sex in NYC, the Columbia Museum of Art in South Carolina and galleries all over the country. I’ve shown in a range of places — from flea markets to street fairs. I once stumbled across one of my pieces at a yard sale. That’s when you know you’ve made it. Ha! Ha!

That is funny! How do the graffiti writers respond to what you do now on the streets?

Well, they haven’t tagged all over my stuff, so I take that as a good sign. Even though I don’t write, I definitely pay attention to what is going on with writers. We share the same love and mission, and some are my good friends.

With whom have you collaborated?

En Masse, Ishmael and Dustin Spagnola