Under your leadership 5Pointz has evolved into an internationally acclaimed aerosol art Mecca. When did you first become involved in managing this space? And how did it happen?
It was back in 2002. I simply asked the landlord, Jerry Wolkoff, if I could, as the space had been neglected. And he agreed. He told me, in fact, that he loves graffiti. More after the jump!
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Icy and Sot, two brothers from Iran, have gained international recognition for their expressive stencil art. Gracing public spaces in their native city of Tabriz, as well as in Tehran, their stencils reflect everyday realities and fantasies. We recently had the opportunity to speak with Icy and Sot during their visit to NYC.
What brought you to NYC?
We have a solo exhibit coming up next week. We wanted to be present at the show, and we are excited to be able to paint walls in NYC. We’ve shown in Italy, France, the Netherlands, Brazil, Australia and Finland, but this is our first solo exhibit outside of Iran that we will be attending.
What are your impressions – so far – of NYC?
It’s an exciting city, and it’s been great meeting so many different artists and people. We never could have imagined a place with so much street art. And so many people have been so kind to us. We especially love Brooklyn — where we are now staying — as there are so many great walls. We are thrilled to paint here.
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A few years back, a distinct jaw crafted onto a range of tantalizing backgrounds — signed Hellbent — began to surface on boards posted onto sundry surfaces on NYC streets. These days, Hellbent’s enticing, evolving visual rhythms increasingly grace large walls, as well. We recently had the opportunity to visit Hellbent’s studio and pose a few questions to him:
We love your wondrously inventive abstract artwork that recently surfaced on the streets of Bushwick and at Welling Court. But — I suppose — many of us will always identify you with your iconic jaw bone. Could you tell us something about it?
The idea of the jaw came to me about five or six years ago. It was inspired by a story I read about Freud’s battle with jaw cancer and how – early into his diagnosis – he was saved by a dwarf, a hospital roommate who alerted the physicians when a speechless Freud was hemorrhaging. Besides its reference to psychoanalysis, the jaw also suggests basic human functions such as speaking and eating. More after the jump!
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A self-described artist, designer and entrepreneur, Toofly is best-known for her signature character that has made its way onto walls across the globe, as well as onto a range of fashion items. We had the opportunity to meet up with Toofly this past week and ask her a few questions.
Your alluring character has been surfacing all around town. We’ve recently seen her in Williamsburg, at Welling Court, at 5Pointz and even on a Lower East Side rooftop. Can you tell us something about her?
She’s kind of like my alter ego. An outlet where I can express my emotion and ideas. She was once tough and with an attitude, but she has mellowed down over the years. And, like me, she is continually evolving.
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For the past two years the Yok’s wondrous characters have been gracing the walls of New York City. We recently posed a few questions to the Yok:
We are thrilled that you have been so active in NYC. What brought you here?
I had always wanted to see New York. It’s where all this rap/spray business began, so I wanted to see it for myself.
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Brooklyn-based artist See One has been busy gracing a huge wall outside the Running Rebel Studios at 6 Charles Place in Bushwick with his distinct aesthetic. Earlier this week, we caught up with him in his studio and had the opportunity to ask him a few questions.
When did you first start getting up in public spaces?
I was 17 living in Florida. We moved from Queens when I was 10, but graffiti had already had its impact on me. It had slowly worked its way into my blood.
What motivated you to hit the walls?
I started drawing when I was two years old. All the walls and floors of our home bore the markings of my oil-based crayons. As I grew older, I focused on black books, but wanted to go bigger and bigger and reach more people. Hitting huge walls was a natural progression.
What was your style like at the time?
When I first started getting up, my letters were good but I was really into characters. I’ve always loved cartoons.
How has your style evolved?
I wanted my art to stand out. I have an overactive imagination. I’ve always drawn characters but needed a secondary distinct style. I call the style “Shards” because it reminds me of broken shards of glass. This evolved into a style of abstract graffiti, my current focus.
How did you get your name?
My first tag was Focus, because I always needed glasses to focus. But I didn’t quite like the ring to it. So I took my birth date, 10/19, and in Roman numerals, the first three numbers are written CI. This became See One.
Have you had any formal art education?
No. I was never really good at school. I am self-taught.
Who or what have been your main influences?
My main influences have always been comic books, character design, and early graffiti. Japanese animation has also had a strong impact on my aesthetic. And, of course, comic books like X-Men, Teenage Mutant Ninja Turtles and Bone were among my first inspirations.
Any favorite artists?
Many, many. Among the comic artists: Joe Mad, J. Scott Campbell and Jeff Smith. In graff: Seen, FX Crew, Futura, Cost and Revs. Among street artists, my favorites include: Space Invader, D’Face and London Police. I also love Tomokazu Matsuyama and Takashi Murakami.
Any artists you’ve recently checked out?
I’m looking forward to seeing Doze Green’s work at the Jonathan LeVine Gallery and I’m also into Remi Rough and anything by Jose Parla.
What about galleries? We’ve seen your work at Mighty Tanaka and at Dorian Grey. How do you feel about the gallery scene?
I used to hate it because it seems to be all about who you know. I’m getting used to it, but I wish it were easier to get my work into galleries. It’s difficult to get a response from most galleries.
You seem to fuse both graffiti and street art elements into your pieces. Have you any thoughts about the graffiti/street art divide?
I think of Street Art as Graffiti’s little brother. A first-rate graffiti writer has to have the ability to improvise skillfully on a variety of surfaces while enduring the risks of getting up. Most street artists do their work in a studio setting and face far fewer risks in pasting their work up or stenciling it onto surfaces. Like most little brothers, Street Art is resented by his big brother, Graffiti, and his big brother’s friends.
Interesting! ‘will have to think about that! Have you ever been arrested?
No. I’m semi-careful. I’ll usually find a lookout when I can.
Have you collaborated with any artists?
My most recent collaboration was with 2Esae and Ski of URNewYork.
How do you see yourself in the future?
My goal is to grow and attain recognition as an artist, so that I can have the means to further develop my vision and reach a larger audience with my work.
Images courtesy of the artist and Lenny Collado
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We’re great fans of your wondrous characters that have found a home on the walls of our city. Who are these characters? Are they inspired by folks you know?
No. They’re straight from my head. They’re kind of a mix-up, I suppose, of different comic characters inspired by a range of sources from Marvel comics to Warner Bros cartoons.
When did you first start getting up in the streets?
About two summers ago. OverUnder got me into it. We started painting together, and he sort of encouraged me to start putting up work. I was drawn to it right away and got hooked.
Does the ephemeral nature of it bother you?
No. It actually helps me develop my work at a faster pace. There are just so many ways your work can get destroyed. Instead of getting frustrated, I try instead to not treat each piece as a precious object, and that frees me up to work more. If I was to get too worked up about everything that didn’t last, I’d be depressed all the time.
Have you any favorite spots?
Not really. I almost never make a piece with a spot in mind. Coney Island, the Bronx and Philly are all spots I’d like to do more work in.
Any fears when you’re getting up?
I tend to move around a lot, so when I’m up high I’m always a little concerned that I’m going to do something stupid like walk off a ledge.
Have you ever been arrested?
I did end up spending one night in jail. I got chewed out by the Sergeant at the Bed-Stuy precinct who said ridiculous crap – like, “How would you like it if I tagged all over you!?” The whole thing was kind of ridiculous.
I guess they just don’t get it! When did you first come to NYC?
I was actually born here. But I grew up mainly in Portland, Oregon. Then six years ago, I came to NYC for the summer. And I never left. I just feel like this city is more to my pace than the West Coast. I’m much more productive here.
We’re certainly glad you stayed! Have you any favorite artists?
Some of my favorite comic artists are Robert Crumb, Jack Kirby and the Hernandez Bros.
What about printmakers? Any favorites?
Quite a few. Ben Shahn and Saul Steinberg come to mind. I like anything with a heavy line that is a bit sloppy. It makes the work more relatable to me.
You’re quite a prolific painter. Have you had a formal art education?
Well, I recently went back to school to finish up my undergraduate degree. I was about half way done, and figured I should probably finish it up.
Do you feel it has had a positive impact on your artwork?
I have mixed feelings about it. In a lot of ways school sort of slows the creative process down. I’m definitely making more work now that I’m back in the real world.
Have you exhibited your work in any galleries?
I was in a three-man show at Pandemic Gallery a while back. It was with my friends, Labrona and OverUnder. It was stressful for me because I spent a long time worried that I was going to look like a fool. Those other guys are really solid, and I didn’t want to be the weak link. In the end it came together, but I remember thinking after it was done that I didn’t want to do that ever again! I’m beginning to think it’d be cool to try it again at some point, though.
How do you feel about the role of the Internet in all of this?
Without it, I wouldn’t know who anyone is!
What’s ahead?
I’d love to travel and paint some walls in other cities. Maybe even go to other parts of the world. But locally, this is a good time of year to just knock on doors and see who’ll let you paint the side of their building!
Good luck! We sure hope those doors open!
Photos by Tara Murray & Street Art NYC
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Chilean native Nelson Rivas aka Cekis, one of the pioneers of the Latin American street art movement, began painting on the streets of his native city, Santiago, when he was sixteen. Since then, his artwork has graced the walls of a range of cities from Sao Paulo to Paris. Based in NYC for the last seven years, he has painted murals throughout Brooklyn and beyond. Recently, Nelson held his first open studio featuring the Fence Series, a series of paintings on the theme of immigration and the concept of self-imprisonment. While visiting Nelson’s studio last week, we asked him a few questions.
What inspired you to create the Fence Series?
Various personal experiences and encounters have sparked the concept of these paintings. When I moved out of Chile, I left behind almost everything I’d ever known: my family, my friends, and my career as a graffiti artist. When I came to NYC, I had no money, poor English language skills and hardly any friends. I had actually exiled myself from freedom and comfort, and I began to feel fenced in. It was a fence I had imposed on myself to enable me to grow as an artist. Once here, I met many immigrants with incredible stories. These people and their stories spurred me to further explore the theme of fences, particularly as they relate to immigrants.
How long have you been working on this particular series?
A couple of years ago, fences began to surface in my studio work. At first, they appeared as a subtle layer of texture, and then they gradually evolved into an essential element of my work. In the last six months, however, I started to play and experiment with fences as the main feature of my work. I started creating different colored fences, overlapping them, and intertwining them. I transformed the fence into a metaphor for imposed or self-imposed oppression, division, and the yearning for freedom.
How would you describe the process of creating your work?
The more I work and develop the concept, the more natural the process becomes. I don’t have any particular formula. If I did, I would start to get bored.
What materials do you primarily work with?
I’ve been working with lots of acrylic markers, acrylic house paint, spray paint, paper, wood and photos.
How has working in a studio been different from working in the streets?
I love painting on the street, but in NYC it is quite difficult to get new walls. It is easy to feel paranoid even when you are a legal resident. This is the main reason I started painting in the studio. I love painting murals, but I’ve come to enjoy the idea of experimenting, exploring and trying out new ideas on paper, wood or canvas. Also, when I work in my studio, I have fewer distractions. Then when I go outside, I apply some of the techniques I’ve developed from my studio work to my huge public works.
What’s next?
I’d like to continue painting at home and eventually share these latest pieces in a gallery setting. I recently received a grant to paint outdoor murals in Sunset Park later this spring. And I plan to travel abroad in the late fall to participate in a huge street art festival scheduled to take place in South America.
Good luck! We’re looking forward to seeing your outdoor murals in the months ahead.
Photos by Street Art NYC & Nelson Rivas
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Dain’s intriguing portraits have been part of NYC’s visual landscape for years. Curious about the man behind these beguiling images, we posed a few questions to the Brooklyn-based artist:
We are mesmerized by your portraits that seem to recurrently surface throughout NYC. We just love them. Who are these figures –mostly females — that greet us just about daily?
Thank you for your kind words. They are faces of eyes that speak to me.
Tell us something about the process of creating them.
I usually take the face of a woman and a match it to the body of a man. I mix in collage, spray paint, bright colors and some graff.
What about the dripping eye? We’re not sure what it represents.
I’d rather not say.
And why have you chosen to post your portraits in public spaces?
Unlike many of the massive murals that seem to be popping up like car ads, I still smile when I stumble upon a rusty old door way in the back alley of Chinatown and see some art.
When did you first start getting up?
I started by doing graffiti in grade school.
You are obviously taking risks, as the “authorities” haven’t been too kind these days to those artists who continue to use the streets as a canvas — especially when their work hasn’t been sanctioned. Any thoughts about that?
Not really. I’m adding beauty. I’m also selective about where I put up my work.
Have you a formal art education?
No. If that works for you, you got my blessings.
How do you feel about exhibiting your work in galleries? Your work looks fabulous on just about any surface in any venue.
Thank you again…you are kind I really enjoy bringing a taste of the streets to the galleries.
What’s ahead?
I’m working on a few projects, and I have a couple of shows coming up at the end of this year/early next year…hitting more streets!
Great! We’re looking forward.
Photos by Street Art NYC; all images from NYC streets, except for final one, which is from Leo Kesting Gallery, 2010
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Often affixed to street signs and sometimes just pasted onto public surfaces, Russell King’s images — sometimes amusing and always alluring — have become an integral part of New York City’s visual landscape. This past week, Street Art NYC met and spoke with the artist in downtown Manhattan.
When did you first begin hitting the streets?
When I was 14, I tried doing graffiti, but I had such a despicable handwriting that I soon gave up. I even followed my friend’s advice and tried copying some of the girls’ nice handwritings, but it was hopeless.
We began noticing your images on the streets about two years ago. What inspired you to get your pieces up in the public sphere? We’ve seen them on stickers, paste-ups and as impressive installations.
Matt Siren, whom I’ve known for years, invited me to collaborate with him on a piece for a show in Greenpoint a while back. That was the beginning. Then I began to see the streets as the ideal alternative to galleries. More people get to see my artwork on the streets than they’d ever see it on gallery walls. And it’s a way of getting the message out to galleries, “I don’t need you for exposure.”
Have you any favorite spots?
Anywhere is just fine, but I especially like the blocks between Houston and Delancey on the Lower East Side.
What materials do you like to work with?
Metal and ink are probably my favorites. And I love working with spraypaint for the backgrounds.
At first we used to see social commentary, along with your images. These days it’s mostly portraits of women – quite a range of them. What happened to the words?
I felt that I was preaching to the choir. The folks who liked the street art didn’t need the messages, and the others just didn’t get it. I prefer presenting the public with an alluring image—or series of images like the ones I’m working on now — instead.
Who are these women who keep surfacing on your pieces? And why women?
I started drawing women as an attempt to win back my ex. She was the first image I ever did on a piece. It didn’t work. Now I just draw women in a lame attempt to draw women to me.
We’ve noticed some of your collaborations with Royce Bannon. Have you collaborated with other artists?
I’ve also collaborated on pieces with Matt Siren and Mike Die.
Have you any favorite pieces of your own?
Always the last one that I’ve completed.
Have you ever been arrested or had any confrontations with police?
No. When they stop me, I feign stupidity. Really, why should it be legal to bolt a bike onto a pole, but not a piece or art that others can enjoy?
When did you first become interested in art?
I suppose I was always interested, but I squelched my passion for many years. I will never forget the words of my third grade teacher. “Art is bad,” she said. “Do not become an artist. You can’t make money from art.”
We’re glad you got over that! Have you any formal art training or are you self-taught?
I majored in Art as an undergraduate at Long Island University and then studied Drawing and Sculpture at the NY Academy of Art.
Any favorite artists?
Jacopo Pontormo, the Florentine painter and portraitist, is always an inspiration. And I also love the American illustrator, J. L. Leyendecker.
Have you ever exhibited your artwork in a gallery or private space?
I have a few pieces now at Woodward Gallery’s “Rather Unique” exhibit, curated by Royce Bannon. And I’m preparing for an upcoming exhibit in Reno, Nevada. I’ve also sold artwork through Sotheby’s.
Any other hobbies? Or passions?
Well, I’m an avid Jets fan with season’s ticket. But that’s because I love punishment.
What do you see yourself doing in 5 years?
Same thing I’m doing now – just more of it!
Well, good luck! And we look forward to seeing more of your work here on the streets of NYC.
Photos by Street Art NYC, Tara Murray & RK
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