Interviews

See One on Miru

May 8, 2013

For the past few years, See One’s dragon, Miru, has surfaced throughout NYC – on murals, on wheatpastes and on stickers. He even made an appearance this past fall at the Centre-fuge Public Art Project in the East Village. Now Miru is featured in See One’s first zine, Dragon Life. We recently had the opportunity to meet up with See One and find out a bit about the talented artist’s endearing creature.

Just who is Miru? And where does he live? Tell us something about him.

He is a small blue dragon that feeds on stars. In dragon years, he’s about three hundred years old. His current home is a two-family tree house with a separate entrance not far from here – on the Lower East Side.

Gee, he certainly gets around! When was Miru conceived?

He first surfaced in my sketchbook in 2005. I was riding the train from my home in Queens to my job in SoHo and drawing – as I almost always did on these travels. I thought about him for a while, but never did anything with him. And then about three years ago, I began wheat-pasting him onto walls.

How did you come up with the name Miru?

I typed the name “See” into a Japanese online translator and that’s what came up. It sounded weird and cool enough to work. He couldn’t have an ordinary name.

What inspired you to create a zine?

I love zines! I always thought that they were cool. So, one Saturday morning, I decided that I would create my own featuring Miru. A week later, three issues were completed, and the first one was just released.

What’s ahead for Miru?

A stop motion music video collabo with Motion Graff was just released a few weeks ago. It’s great to see Miru animated! Next, I’m working on a web-comic. I hope to release that by June 2013. After that, who knows? This guy is crafty!

See One’s zine, Dragon Life, featuring Miru, is available here.

Photo of See One painting Miru for Centre-fuge Public Art Project by Tara Murray; close-up of 2012 Bushwick mural with Miru & 2ESAE by Lois Stavsky

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Speaking with Saber

May 2, 2013

Back in 1997, Saber achieved legendary status as a writer when he completed the largest graffiti piece ever created. On the bank of the Los Angeles River, it was almost the size of a professional football field. Since, he has achieved great acclaim for the works that he has also created indoors – his mesmeric paintings that fuse his extraordinary calligraffiti techniques with his fine art painting skills. While visiting his current exhibit at Opera Gallery the day after it opened, we had the opportunity to speak to Saber.

When did you first get up in a public space?

I was around ten years old when I tagged a bench in Glendale, my home town. I got scared and I wiped it off. I did this about ten times.

What inspired you at the time?

The first time I saw Belmont tunnel, I was blown away by its complex wild styles.

What about shows? When did you first exhibit your work?

Back in the late 90’s in a terrible t-shirt store.

You’ve sure have come a long way. How did you hook up with Opera Gallery?

Through Ron English. We’ve been good friends for about ten years.

Do you have a formal art education?

I tried art school briefly and soon realized what a waste of time, money and energy it was. It’s a scam. I got a crash course in art doing graffiti. Graffiti informed me. And my parents are artists. I was always painting.

Any thoughts about the graffiti/ street art divide?

I love it all. Street art is more accessible and graffiti is about style and getting up. Your signature is the essence of your life, as it lives on long after you do. Wild style is the true heart of street art. “Street art” is just a general term.

What is the riskiest thing you ever did?

Having a child. She’s two years old.

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

Street art is going far more mainstream. Graffiti goes in cycles; that’s what makes it graffiti.

What do you see as the role of artist?

To reflect back on society.

The exhibit continues until May 11 at 115 Spring Street in SoHo.

Photos by Lois Stavsky

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Speaking with Mike Baca and Fernando Romero of UR New York

April 24, 2013

We recently had the opportunity to speak to the dynamic Mike Baca aka 2ESAE and Fernando Romero aka SKI of the collective UR New York at Pop International’s new pop-up location at the Atrium at 153 East 53rd Street – where a vibrant new series of the talented duo’s art is on view.

When was UR New York born?

Mike: It started back in 2002 as a clothing line. But it died out for a while.

Fernando: Then in 2011 we revived it as an art collective.

You two are such a great team. How did you guys meet?

Fernando: We met through a mutual friend in 2005.

What would you say is the key to your success as a team?

Fernando: We don’t let the success get to us. We do what we do because it feels right. As individuals we’re strong, but when we work together as a team, we are even stronger. And we are like brothers.

Do you guys have a mission of some kind?

Fernando: It’s all about individuality. Most people are sheep. The message is: Don’t be sheep. Be who you are, and be the best that you can be – whoever you are and whatever you do.

Have you a formal art education?

Mike: I went to the High School of Art and Design.

Fernando: I graduated from Parsons in 2006.

Any thoughts about art school, Fernando?

It was an amazing experience. I met so many talented people – students and teachers — and I now have friends from all over the world.

How has your work evolved in the past few years?

Fernando: We’ve begun to focus much more on detail. We experiment with different styles and variations of colors.

Mike: We’ve learned how to step out of our comfort zone.

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

Fernando: Even though it’s been going on for awhile, it’s a process. It will take awhile for graffiti to be accepted by the art establishment.

Mike: As long as you keep it real, it’s a great platform. And at this gallery – Pop International – a percentage of our sales goes to CAW, a non-profit that offers free arts workshops to kids uptown.

Tell us something about your experiences here at Pop International and CAW.

Mike: It’s been awesome. The folks here at Pop International are like family to us. And through CAW, we’ve been working with kids. It’s great serving as role models.

Fernando: Definitely. It’s been a great experience. And we get to hang out in this gallery and see our artwork hanging alongside the likes of Keith Haring and Basquiat!

Who are some of your favorite artists?

Fernando: Among my favorites are: KA, Belin from Spain and my partner, Mike Baca!

Mike: I like Skewville, REVS, Smart Crew, KA and See One.

Any thoughts about the graffiti/street art divide?

Mike: I can appreciate street art. I like the way it interacts with the environment. But there’s a natural tension between graffiti writers and street artists, as many writers risked their lives to make their mark. But we’re all in this together, playing in the same arena.

Have you any first graffiti memory that comes to mind?

Mike: I remember finding a can of spray paint in my basement. I took it to school with me and wrote my name in the schoolyard. I got suspended.

Fernando: I was about six years old when I saw my cousin writing for the first time in Astoria, Queens. By the time I was ten, I started writing my name around my neighborhood.

What percentage of your time is devoted to art?

Mike: My whole life is devoted to art. I don’t have a day job, and I almost never sleep.

Fernando: When I’m not making art, I’m thinking about what I’m going to make.

Any artists out there you’d like to collaborate with?

Fernando: How and Nosm, Os Gemeos, C215, Jose Parla, Doze Green, WK Interact…

Mike: If I could collaborate with anyone, I’d choose Blu, Roa and Mode.

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

Fernando: I see it as good and bad. It’s good because it can give an artist mass exposure. But – at the same time – a nobody can become a somebody. And that’s not good.

Mike: The Internet is the devil. There’s just too much information out there. But on the plus side, you can get to show your work anywhere.

Any theories as to why graffiti is more embraced in Europe than here in the US?

Mike: People are more relaxed there and more appreciative of everything.

Fernando: Europeans are generally more open than Americans. They’re more laid back. Art has been a part of European culture far longer, and Europeans tend to respect and appreciate it more.

Which countries have you guys painted in?

Fernando: Australia, Italy, Austria, Israel, Brazil, the Dominican Republic, Canada, much of the US and Puerto Rico.

Any favorite cities?

Fernando: There’s nothing like NYC.

Where do you get your inspiration?

Fernando: Women, cars, buildings…just walking with my eyes open inspires me.

Mike: NYC. It’s a monster. It’s always alive and a constant source of inspiration.

Tell us something about your process.

Mike: It’s organic. We just let it flow.

Are you generally satisfied with your work?

Mike: We always strive to make it better.

What’s ahead?

Mike: Painting on a larger scale; working more with children and curating shows for people who don’t have the opportunities that we have.

Fernando: All that and making five times as much money!

Photos by Dani Mozeson and Lois Stavsky; the two trucks featured are by UR New York in collaboration with KA

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Zees Recycles Stained Glass and Mirror Fragments into 3-D Graffiti Art

April 21, 2013

A self-described “graffiti glass artist,” Zees speaks about his past ventures and his current project.

When did you first get into graffiti?

A little over ten years ago. I was about 10 when I started tagging War. But I needed to change names a few times to avoid the law. Eventually I found Zees.

What got you into it?

I grew up in West Orange, New Jersey, and I always saw graffiti on the highways when we drove anywhere. I liked what I saw.

Who are some of your favorite writers – the ones who inspire you?

The Italian writer, Zin aka Bes, Sen2, Dr. Sex and PK Kid.

Have you any memorable experiences from your early writing days?

I was in sixth grade when I got arrested for writing on a huge sprinkler house in a golf course on Essex County property. It was the first time I ever went on a “graffiti mission!”

What is the riskiest thing you ever did? And why?

Hanging at the end of a cliff on a two-inch platform about 400-500 feet in the air. It’s a prime spot off a highway. That’s why!

How did your mom take all this?

She didn’t like it – but these days she’s really happy with what I’m doing.

Could you tell us a bit about what you are doing these days?

I recycle pieces of mirrors, stained glass and assorted found materials into 3-D graffiti pieces.

That must be quite a process! How do you manage to find such an abundance of mirror and stained glass remnants?

They’re the leftover pieces that surface regularly from my uncle’s business, the Artique Glass Studio, in Glen Rock, New Jersey.

Wow! I’m glad they are getting put to such good use! Have you studied art on a formal level?

No. I’m self-taught. I’ve always been doing art of some kind as long as I can remember. But nothing has been as addictive as graffiti.

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

I think it’s great. Graffiti is a compulsive activity, and it gives us writers something to strive for. It offers talented graffiti writers the chance to get the recognition they deserve.

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

I love it. I get to see what everyone else is doing.

How do you spend your time when you are not involved in your current project?

Skateboarding, making music and building stained-glass reptile cages.

What’s ahead?

I’d like to continue what I’m doing – mastering the techniques and producing high-quality work. I look forward, too, to seeing my work in galleries.

Zee’s first solo exhibit opens tomorrow evening, April 23, from 7-10pm at Sapphire Lounge, 249 Eldridge Street on Manhattan’s Lower East Side.

Photos by Dani Mozeson and Lois Stavsky

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Speaking with Sen2

April 2, 2013

Huge fans of Sen2’s masterful artworks on an array of surfaces — from canvases to walls — we were delighted to have the opportunity to visit his South Bronx studio and pose a few questions to him.

When and where did you start getting up?

I first started hitting walls in Puerto Rico – where I grew up – when I was about 15. That was back in 1986.

What inspired you at the time?

I used to spend my summers with family in NYC up in the Bronx. There I discovered pieces by Daze, Crash and Seen. I also started noticing pieces in magazines by writers like Hex and Slick,

Have you a formal art education?

No. The streets have been my teacher. One’s experience is the best teacher.

Besides the 4Burners, have you belonged to other crews?

I learned a lot from Tats Cru when I was a member a number of years back. But I am no longer with them. And when I was in Puerto Rico, I painted with BWS.

What about collaborations? Have you collaborated with other artists on specific pieces?

When I’m in my studio, I generally work alone. But I’m currently working with KingBee for an exhibit of our works that opens on Friday, April 12 at Gallery 69 in Tribeca.

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

I feel it’s a great opportunity for artists. It opens the doors for many of us.

Besides Gallery 69, where else have you exhibited?

My artwork has been featured at the Smithsonian, at the Volkinger Hutte Urban Art Biennale 2013 in Germany and at Miami Art Basel. I’ve also been in other galleries abroad.

Have you any favorite cities?

New York City. The Bronx. That’s where it all began. But I also love Madrid, Spain and San Juan, Puerto Rico.

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

There’s no unity here, and that’s part of the problem. We don’t work as a group to present ourselves in a way that will gain us respect and recognition. Every writer has too much pride.

Any thoughts about the graffiti/street art divide?

I like street art, but I will always consider myself a graffiti writer. Everything that I do is rooted in graffiti. And I’d like to see graffiti writers have the same opportunities that street artists have.

Who are some of your favorite writers?

There are many. Among them are: Bio, Beacon, Kem5 and KingBee.

And does anyone — in particular — inspire you these days?

The late Dare TWS from Germany.

What percentage of your time is devoted to art?

100%. I’m all in. Just about all the time – from early morning until late at night.

Any other passions?

I’m also a soccer fan. And I love spending time with my family.

How does your family feel about what you do?

They’re 100% behind me. My wife loves what I do.

Your art seems to be always evolving. Your work that was on exhibit at Fountain certainly blurs the lines between graffiti and fine art. Could you tell us something about that?

It all started with wild-style. Then I began to incorporate 3-D elements. And, more recently, my influences have been pop art and abstract art. Everything I do, though, is inspired by graffiti, and all of my current works have graffiti elements in them.

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

I like it. It keeps me up with what’s happening – both on the streets and in the galleries.

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

To share with others one’s personal interpretation of the world.

What’s ahead?

Just getting better and bigger for me and my family.

Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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Jason Mamarella Bids Farewell to Dint Wooer Krsna @ 17 Frost

March 28, 2013

For years, wheatpastes featuring Jason Mamarella’s iconic Dint Wooer Krsna, along with its many variations, were part of NYC’s visual landscape. Although stickers featuring the eccentric, but lovable, character continue to surface throughout the boroughs, Dint Wooer Krsna, as we’ve come to know him, has largely disappeared. While checking out Jason Mamarella’s current exhibit – ending Saturday evening – at 17 Frost, we had the opportunity to ask him a few questions.

When was Dint Wooer Krsna born?

At about the same time MySpace was born. When I joined, I did not want to reveal my identity. And so I created Dint Wooer Krsna.

So he’s had quite a long run. What happened? It seems that his presence in the streets has certainly diminished.

Definitely. It’s been awhile since I’ve hit the streets with anything other than stickers. I’m older and ready to move on to other things. Besides, the streets no longer call out to me the way they used to. They were far more interesting when I first began hitting them.

What about the artists getting up here in NYC these days? Do any interest you?

Not all that many. I like what Bäst is doing. Other favorites include: Ana Peru, Jos l and Matt Siren.

Any thoughts about the move of street art into galleries?

I have no problem with it. It’s a different experience. What I show in galleries is almost always distinct from what I share on the streets.

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

It is to present new ideas that aren’t widely accepted.

What’s ahead?

More painting. Collaborations with Street Grapes. Toys. Animation.

Sounds good!

The final viewing of the organization of celestial coincidences by Jason Mamarella is Saturday, March 30, 2013, from 7 to 10 pm with special guests: Dint Wooer Krsna, Street Grapes & Jos-L. Peru Ana Ana Peru will be screening movies in the theater at 17 Frost Street Gallery, Williamsburg, Brooklyn. L train to Lorimer. A small number of limited edition books, featuring a wide array of Jason Mamarella’s images, are still available.

Photos by Lois Stavsky

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Speaking with Reka

March 22, 2013

An original member of Melbourne’s legendary Everfresh crew, James Reka graces public spaces in dozens of cities throughout the globe with his splendid, surreal – ever evolving – aesthetic.

When and where did you start getting up?

I started when I was in high school. Back in 1999. I was doing traditional graffiti at the time — just wrecking shit with a bunch of local guys.

Ah! So that explains your name! What stirred you to hit the streets back then?

I was inspired by what I saw catching the train to school every day. And I grew up in the suburbs with the whole hip-hop and skateboard culture. I also loved the thrill of doing something illegal.

We associate your street art with characters rather than with traditional graffiti. When did characters become an essential part of your work?

By 2001-2002 I was already into characters. I always felt happier with characters than with traditional graffiti.

Have you a formal art education?

I consider myself a self-taught artist and I’m proud of that. I did, though, take some courses in graphic design.

Have you any preferred surfaces? Spots?

I like anything with character that already has texture. I love abandoned places, particularly those with character and history.

Any favorite cities?

I’d say New York City and Berlin. I like cities with history.

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

Just about all of my time is devoted to art these days. I think about it every second. If I weren’t making art, I’d be making electronic music.

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

I’m fine with it. Selling my art in galleries provides me with the income I need to fund my projects on the streets.

What about working with brands? Is it something you would do?

Working with brands can taint your image. But I’m okay with it, so long as I believe in the brand.

You have exhibited your work in dozens of galleries. We are so glad that you continue to maintain such a strong presence in the streets. What motivates you to do so?

I love surprising people and sharing with them my representation of the human form. When my work is out on the streets, it reaches lots of people and opens their eyes to another way of looking at things. And that’s important to me. I also love working on a large scale and using my surroundings to my advantage.

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

It’s easier for street artists to get their work into galleries, and it’s understandable that graffiti artists would resent that.

We’ve noticed just how much your art keeps evolving. Your current style and choice of colors are quite distinct from last year’s. Your flow is looser. We’re curious about that!

Well, I’m rarely satisfied. And I’m always trying to expand my vision. My focus now is less about the figure and more within the figure. I find that using natural, earthy colors gives my work a more human element.

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

Mixed. On the positive side, it’s a great promotion tool, as it makes it easy for an artist to get his work out. On the other hand, it make it all too easy to access information. It’s too easy to know what other artists are doing.

What’s ahead?

Traveling. I’d like to visit Brazil and I’d also like to paint in more rural areas and on larger walls. And I’d like to focus more on fine arts.

Good Luck! And we’re looking forward, of course, to your next visit to New York City.

Photos by Dani Mozeson and Lois Stavsky; the second image is of artwork currently on exhibit at Bold Hype Gallery, 547 W. 27 Street in Chelsea

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POPUP X NYC Brings Visual Treats to Brooklyn’s NoBar

March 20, 2013

Fueled by their love of art and their passion to promote the art they love, Brian Jerkface and Iman Johnson are busy curating some of NYC’s coolest art events. On a recent visit to their current art show at NoBar at 608 Nostrand Ave. in Brooklyn, we had the opportunity learn a bit about the two talented young men and their upcoming projects.

How did this all begin?

Brian: We both love street art and we wanted to share our love with others in alternative settings. It’s great fun, and it’s also a way to help artists, particularly those who work in public spaces, make a living. Only by selling their art can they continue to pursue their passion.

Do you have a formal art education?

Iman: I attended Cooper Union. My degree is in architecture.

Brian: I studied painting and graphic design at the School of Visual Arts.

Have you any favorite artists?

Iman: My all-time favorite artist is the British painter Francis Bacon. I also love Lebbeus Woods, a conceptual architect, who was one of my teachers at Cooper Union. And I love what See One is doing on the streets.

Brian: I love the Cubist style of the Spanish painter Juan Gris. He’s a definite influence on my work. Among those artists who work on the streets, I have many favorites. Among them are: NoseGo, Phetus and Bishop.

What attracted you to street art and graffiti?

Brian: I grew up listening to hip-hop, and I fell in love with graffiti. When I was about 16, I picked up a spray-can. I was also into skateboarding.

Iman: Yes, it was the entire culture that drew us in.

What do you see as the future of street art?

Brian: As it continues to make its mark in both sanctioned and unsanctioned spaces, I see it as getting better and better all the time.

Iman: Yes, it seems to be in an ideal place right now. While becoming more acceptable, it’s still on the edge and is almost certain to remain so. Most of it will continue to push against authority.

Your current art exhibit here at NoBar is wonderful. What is the appeal of this particular setting?

Brian: It’s a wonderful spot, and the neighborhood is easily accessible. We love the mix of people it attracts, and it is street art-friendly. It allows us to feature live painting at our openings – something we both love.

What’s ahead? Any other exhibits coming up at NoBar?

Brian: Yes. Cosbe will be painting live here for our next exhibit on Friday, March 29. And Deps is among the artists we are featuring in our show opening April 26.

That sounds great! What about other venues? Anything else coming up elsewhere?

Brian: We are in the process of curating a skate deck exhibit featuring dozens of artists – including Bishop, Phetus and Col Wallnuts – that will open on April 20^th at the Loom Gallery on Flushing Avenue in Bushwick.

Iman: And we have a number of events coming up in Studio J, our Long Island City space – including a group show, a solo show by Phetus and a kids’ class in street art.

Wow! So much happening! How do you get the word out?

Brian: We get the news of our events out on Instagram and Facebook. We also hand out flyers.

Good luck! We are looking forward to your next event!

Photo of Phetus close-up by Lois Stavsky; Jerkface images courtesy of POPUP X NYC

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Speaking with Elisha Cook, Jr.

March 17, 2013

Approaching his 80^th birthday, Allan Ludwig, aka Elisha Cook, Jr., can be found just about every day in downtown Manhattan photographing the writings on the walls. With a BFA Degree in Painting and a PhD in Art History from Yale University, he explains his passion for graffiti and street art.

How did the name Allan Ludwig become Elisha Cook, Jr.?

When I first started posting photos of graffiti on Flickr, I was advised not to use my real name. I chose to identify myself as Elisha Cook, Jr. because he is my favorite actor. The name stuck!

So that’s it! When did you begin working as a photographer?

Almost 60 years ago. I was in my 20’s.

What attracted you to the field?

I started drawing in my room as a child. But I had difficulty drawing faces. I never liked the way my noses looked. And when I tried to erase them, I’d end up making holes in the paper. It drove me crazy! I decided that it would be easier for me to capture a face with a camera.

Had you any influences back then?

When I was about 13, my neighbor Max Coplan, an accomplished photographer, taught me how to use a camera.

When did the writings and images that surface on public spaces begin to engage you?

In the early 80’s, I walked into a school playground on Grand and Baxter and discovered that its walls were filled with graffiti. I was intrigued. But as I only used black and white film at the time, my earliest photos of graffiti are in black in white, and I wasn’t documenting it regularly.

What spurred you to photograph the streets so methodically since 2000?

My neighborhood had begun to gentrify. Changes were happening rapidly. Overnight the rent on a local restaurant soared from $4,000 a month to $16,000. I wanted to document these changes. And as soon as I switched from black and white film to color, I began noticing street art.

Have you had any particularly memorable experiences while photographing graffiti and street art?

I once came upon a love letter written by a woman from England to Faile that was posted onto the building at 11 Spring Street. She had assumed, incorrectly, that Faile was one person and single. I photographed her love letter and posted it onto my Flickr photostream. When the woman discovered her letter online, she asked me to remove it – which I didn’t. But the story doesn’t end there. She had just returned from Zambia with a love potion. She decided that the time was right for her to visit NYC to meet Faile. She would set up a meeting to buy a print from him. Surely, the love potion would work!

Did it? What happened? Did she ever meet Faile?

She did, but she encountered an unanticipated problem. When she inserted the love potion into her mouth, it distorted her speech and facial expression. She did meet the object of her love, but she decided against using the love potion. And that’s the end of the story.

Wow! What is it about street art and graffiti that has so captivated you?

It’s the thrill of discovery. There is something magical about it. I also love its inclusiveness and democratic nature.

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

Most of the street artists I’ve met were trained in art schools, while the original graffiti writers didn’t have any kind of formal art education. And when the street artists started making their mark on the legendary building at 11 Spring Street off the Bowery, the writers felt that they were not getting enough space or respect. I remember walking by one day to discover the entire building sprayed all over with silver paint. There definitely is a divide.

What about your perception of the divide? What differences do you see?

Graffiti is a highly refined art. It is beautiful. The first generation of writers created an entirely new aesthetic. They invented a whole new language. Yet few people can understand it and appreciate it. Street art is far more accessible.

There are many folks out there who consider the illegal writings that you photograph vandalism. Have you any thoughts about that?

It’s a non-issue. It’s meaningless. It’s a political fiction invented by politicians and lawyers and the police who enforce it. It has no validity.

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

The commercial world sucks the credibility out of graffiti and street art. It takes it out of its natural setting.

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

I think it’s wonderful. It makes everything even more accessible. I have Flickr contacts all over the world.

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

I see it as the most important international movement in world art since American pop art. It’s here to stay.

All photos by Elisha Cook, Jr. Except for first two BilliKid paste-ups of Elisha, images capture NYC’s legendary building at 11 Spring Street, 2006-7

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Bronx-native Michael Cuomo Recycles Urban Refuse into Masks and Engages the Public

March 6, 2013

Working with discarded objects he finds on the streets, Bronx-native Michael Cuomo has been busily creating an alternate universe. Central to his cosmos are dozens of masks that he displays in a range of public spaces, engaging curious passersby of all ages. We joined Michael this past Sunday up near Yankee Stadium.

You do magical things with what others have discarded. When did it all begin?

The idea of working with found objects came to me after I took a three-hour class in “drawing with wire” at Bronx Community College back in 2006. I made my first masks with wire. And as I’d always been drawn to objects that others deem useless, I began to search for these objects and gradually incorporate them into my masks.

You certainly have some strange objects integrated into these masks – from car parts to broken toys to old hats. How do you manage to get hold of such a variety?

I find most of them on the streets, and recently friends and neighbors have begun giving me “donations.”

When recycling these materials into masks, do you work with a defined concept of the final product?

Never. It’s an organic process. When the mask is finished, it tells me so. I have dozens of sketchbooks and constantly draw, but I don’t consciously work from my sketches.

What engages you about recycling and working with found objects?

It reminds me that we are all one on this planet. The objects that I find help connect me with others – their original owners and our anscestors. I also feel that by recycling I am – in some small way – helping our planet.

Why have you decided to share your masks with the public out here on the streets?

It’s the best way for me to connect with the people. My art is “for the people” and “by the people.” When strangers see my art and engage with it, they break the monotony of their daily lives. I also like the dialog that it spurs.

Where have you displayed your masks?

I’ve shared them in quite a few public spaces. On 110th Street in East Harlem…in front of the Hayden Planetarium on the Upper West Side…on the 6 train.

What about galleries?

I’ve exhibited them at NYU, Gallery 69, at the Longwood Art Gallery up here in the Bronx, and I have a show coming up later this spring in New Rochelle.

How does your family feel about what you are doing?

They like it, but I can’t say they embrace it!

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

I see the artist’s role as a transformative one. Art enlightens. My art is an extension of the hip-hop movement that was born here in the Bronx. It is all about empowerment and change.

What’s ahead?

My artworks will continue to evolve and — eventually — will travel the world.

Photos by Lois Stavsky

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