Street Artists

Speaking with Joe Iurato

February 27, 2013

Joe Iurato

Joe Iurato‘s splendid stencil art graces the streets and galleries of New York City and beyond. We recently had the opportunity to visit Joe’s studio and find out more about him.

When and where did you start getting up?

Around 2006. I was working over in SoHo for a magazine, and I started by going out and putting up small works on my lunch breaks. I’m a bit of late bloomer when it comes to getting up in the streets, but I guess better late than never.

What inspired you?

My earliest inspirations came from graff, which heavily influenced the b-boy culture I was part of as a kid. Then, in my mid-teens, I started skateboarding and the lines began to blur among the styles of art that surrounded me. Wasn’t so much letterform as it was snakes poppin’ from the eyesockets of toxic green skulls and less refined scrawlings addressing social issues. I liked it all, and I was actively drawing and painting in all styles. I’d always secluded myself with my art, though. Never really liked to show anyone. But something was appealing about being able to share it publicly, without having to tell someone, “That’s mine. I did that.” Just leave it there, and let people take what they may from it. Eventually, the inspiration outweighed the hesitation, and I gave it a shot.

Joe Iurato

What was your most memorable “street art” experience?

In New Brunswick, I did a large piece of a kid praying on a trestle. When I went back to paint again a few months later, a homeless man approached me, pointed to that first piece I did and said, “I don’t care what you do, but if you touch that piece, I’ll kill you.” That made me realize just how important public art is.

Have you collaborated with others?

I work mostly on my own, but I’ve done a few collaborations. Some of the most memorable being with SNOW, SUE WORKS, and Chris Stain.

Have you ever been arrested?

No, I haven’t. I think largely because the risks I’ve taken were fairly calculated. I’m a father trying to support and raise a family, and we just can’t afford fines or worse. These days, most of my work’s done on legal walls.

Joe Iurato

What is the attitude of your family?

My wife is really supportive, and my older son loves that I encourage him to paint the walls in my studio. So, for now, I’m good!

Have you exhibited your work?

Yes, I do. Currently, I’m showing a number of new pieces at Signal Gallery in London.

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

I have no objections to it. Artists and their families deserve to eat, too.

What about festivals? Have you participated in any street art festivals or special events?

Yes. I’ve painted at Welling Court in Queens, at the Living Walls Conference in Albany, at Willoughby Windows in downtown Brooklyn, the G40 Summits in DC, Electric Windows in Beacon, NY, the Art of Basketball in Miami, and regularly at Fountain Art Fair to name a few.

Joe Iurato

Do you have any favorite surfaces?

I love weathered surfaces and texture, but it can sometimes be difficult to work with when I’m applying stencils. For what I do, the smoother, the better. Cinder block, steel, etc…

What percentage of you time is devoted to art?

I’d say 30-40%.

What is the main source of your income?

There is no one source. I sell art, but I also work in a restaurant and write a weekly wine column for a North Jersey newspaper group.

How do you feel about the graffiti street art divide?

To me, that argument doesn’t make much sense. We’re more or less doing the same thing. Maybe some of the ideology is different and the methods and materials, but we’re expressing ourselves creatively and publicly. Regardless, if you work in the streets, you have to respect your roots. It all started with the graffiti writers.

Joe Iurato

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

Like everything else, there are pros and cons. It’s a great way to share your work and network with the community, but it can also make anyone a superstar. Some great artists can get lost in the madness of the Internet.

Do you have a formal arts education?

I studied for three years at Montclair State University, but then I quit to study wine.

Did your art education benefit you?

It helped me understand color theory and composition. I also loved art history. But I can’t say any of it directly affected my aesthetic or technique.

What inspires you these days?

I’m inspired by what I’m doing and how I’m living, which is why the subject matter and even the mood of my work is constantly changing. At the moment, I’m influenced by a place I’ve been frequenting. It’s an abandoned space near my home with a long, complex history. I’ve been relatively obsessed with documenting it for a few years, and now it’s showing in my work

Joe Iurato

How has your work evolved throughout the years?

I think I have a deeper understanding of my own stencil art. I’ve explored everything from single layer to 15 layer pieces, and its taken years to develop some sort of continuity and fluidity. I feel I’ve finally arrived at a comfortable and consistent method of cutting. That said, I’ve begun challenging myself elsewhere, experimenting with new applications in addition to the stencils.

Are there any artists who particularly inspire you?

There are so many, I’ll kick myself later for forgetting anyone. But on a personal note, the one person I’d like to mention is Logan Hicks. While I don’t have to say anything about how dope his stencil art is, he’s become a close friend and mentor through the years. His work ethic has always inspired me. The dude never rests. He never sits in a pocket just complacent with what he’s done, and it’s not a day or two after a successful opening that he’s back at the grind exploring something new. There are plenty artists out there who’ll also vouch for him being this central figure that’s brought so many of us together. That, and he’s a family man. I admire and respect him.

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

Public art, especially, in the here and now is a powerful tool that can spark healthy conversation, debate, and even change. But I think that “art” collectively always makes more sense in the future. It helps put a time stamp on our culture, and will in some way define us when there’s little left of our fleeting existence on this planet.

Joe Iurato

What do you see yourself doing in the next five years?

Hopefully continuing along this path. Evolving my work, sharing more of it inside and out, still doing the wine thing, and being able to give my family all they need and deserve through doing what I love.

Wow! Good luck and, of course, we’re thrilled that you are doing what you are doing!

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

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Boasting first-rate hand styles, cunning commentary and intriguing characters, the stickers that surface on NYC streets are among the best anywhere. Here is a brief sampling:

Australian born painter and installation artist Anthony Lister

Anthony Lister

First-rate hand stylist(s) Aidge and Serch

Aidge

Queens-based artist, curator and educator Alice Mizrachi aka AM

Alice Mizrachi

One of Curly’s playful statements — though usually handwritten

Curly

Brooklyn-based artist RAE

RAE

NYC’s prolific Katsu

Katsu

The legendary NYC-based artist Billi Kid in collaboration with the Russian-born graphic designer and illustrator Street Grapes

Billi Kid and Street Grapes on sticker

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

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Speaking with Kosby

January 31, 2013

Kosby-in-Brooklyn-NYC-studio

We’ve been huge fans of Kosby since his stickers and paste-ups began gracing NYC’s public spaces a number of years back. Since, his artwork has surfaced in galleries and is currently on view at the Woodward Gallery Project Space.

When did you first become interested in art?

I have been drawing since I was a kid.  I was lucky that my mom loved what I was doing and bought me comic books to encourage me. My mom also taught me to accept people for who they are. I think that shows in my art.

When and where did you first start hitting the streets?

I started in Chicago between 1993 and 1994, and I began bombing buses. Then I met DREL and he introduced me to street bombing.

How did you guys meet?

He sat on a bench – next to me in church — and I was drawing a graffiti character on a piece of paper.  He was intrigued and we kicked it off. He went as Drel of KMD, BTC and MOM Crew. He also got me to do my first fill-in. He said if I did it at a specific spot on Fullerton Avenue – a particularly busy and dangerous one — I would be set, established as a graffiti writer. And I did it.

Kosby-red-bull-artwork-winner

How did your family react to the whole graff thing?

I’m sort of the black sheep of my family.  Ironically, though, graffiti saved my life. Logan Square — where I grew up — was gang-infested, and graffiti was a pass. When gang bangers stopped us, we explained what we were up to and they mostly left us alone.

Respect to the writers! Are you trying to get a specific message across with your work?

No specific message, but I like to be brutally honest. When I was younger, I was often isolated and shy because my family moved around a lot. Today, I’m more open. And that’s difficult for graffiti writers, as we usually play the whole smoke and mirrors game. But I like to be honest about who I am. I struggle with that in my art.

From where do you get your ideas?

My head. I have worked with plenty of people like Sure RIP, Overconsumer and Wisher914. Sure inspired me and prodded me to get better. And I’ve always liked what Cost and Revs were doing. Their poetic messages seem spontaneous and off the head. I ran away from home when I was younger to California and that’s when I was exposed to Mike Giant, Twist, Reminisce and Revok.

Kosbe-street-art-in-Bushwick-NYC

Have you collaborated with any artists?

I’ve done work lately with Cekis, Zato and Crasty. And I have a ton of homies I would like to collaborate with.

Tell us something about your process.

I care less about how something looks and care more about the act of doing it. I did a tribute piece for Nekst RIP recently on a rooftop.I was thinking about how he would never get a chance to paint again, I didn’t like how the piece was turning out, but it was just about doing it. I like having fun and I hope that translates through the work.

What materials do you like to work with?

Anything…spit. ink. markers, vintage paper, cloth.  The other day I tagged with Montana refill paint, mistaking it for an acrylic paint marker.

Have you any favorite artists?

I am a fan of Abstract Expressionism. Some of my favorite artists include: Robert Rauschenberg, Chuck Close, Espo, EKG, Michael Allen Alien, Dee Doc, Anthony Lister, L’amour Supreme, Suck Lord and Rammellzee.

Kosby-street-art-at-Woodward-Gallery-Project Space

Have you ever been arrested?

Yes. I was often bailed out of jail by mom. She always worried about me when I stayed out past my curfew. Even though my disposable cameras – that I stole to shoot my work — were confiscated at the time of my arrest, I always got them back in time to get a flick of my mom bailing me out. ‘sorry, Mom.

What are some of your other interests?

I love photography, spending time with my friends and girlfriend and exploring the city.

How has your work evolved?

I’ve never been a good judge of my work. I am actually dangerous with it because I can’t tell when a particular piece of work is done. I keep drawing on it and drawing on it. I’m more interested in people’s reactions to it. I believe I’ve gotten looser and more chill. I don’t like the trendy. I have been careful not to lose that looseness to my work. It’s really a balance I’m looking for.

What do you think about the graffiti and street art divide?

I don’t think there is a divide. It’s a culture within a culture. I’ve seen street artists going over graffiti not knowing what they were doing. If you’d like to learn the proper etiquette, call me at 1 (800) GRAFFPRO.

Kosby-portrait-in-studio

What do you think about the Internet in all of this?

It’s good. It’s such a part of our mass culture.

Do you see any danger in Internet oversaturation?

Sure. There should be a “Get off the Internet Day.”  I often put messages like this on my stickers, like “Don’t Use Your Cell Phone Day.” I usually use the Internet in the morning when I check out www.theworldsbestever.com. I’ll be checking out StreetArtNYC.org from now on too. But that’s it.

How do you feel about your work being shown in galleries?

I love to share my art; it makes me happy. I like to stand next to people at galleries as they check out my art. I like getting their honest response to it.

When you’re not getting up on the streets, where do you tend to work?

It’s changed over the years. My mom gave me my first studio. For a while, my kitchen served as my work space, and I had collectors call me wanting to see my work. I said, “Of course, just come to my kitchen.” I’d say I’m in a better space now.

Kosby-studio-artwork

Who do you follow these days?

I’m looking at Lois Stavsky, as well as Martha Cooper, Angelo from Doyle Auction House, Royce Bannon, Brooklyn Street Art, Alex Emmert, SuckLord, who’s a major mentor, and Simeon from Art Hustle.

What do you see yourself doing in the next five years?

Chilling with my family and friends, enjoying a nice glass of wine, while we laugh with some purple kicking it back with my boy, Lenny.

‘sounds cool!

I want to say thank you to StreetArtNYC for being so supportive of NYC artists and to Lois for being so positive. And don’t forget, guys, to check out the StreetArtNYC app!

Interview by Lenny Collado; photos by Dani Mozeson and Lois Stavsky

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This past weekend — on one of winter’s chilliest days — we hit Bushwick, where we caught some new images and revisited others.

New from Brooklyn-based Elbow Toe with Veng‘s signature birds

Elbow Toe and Veng

Belgian artist Roa

Roa

4BurnersDasic and Rubin with Madrid-based Okuda

Dasic, Rubin and Okuda

Berst tribute to NEKST, RIP

Berst

Brooklyn-based Never

Never

Brooklyn-based Bast

Bast

Bast, close-up

Bast close-up

Photos by Lenny Collado

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Speaking with Nether

January 23, 2013

Nether in NYC

With his hauntingly elegant wheatpastes of everyday folks, Baltimore-based Nether has transformed the visual landscape of his city’s bleakest blocks. Within the past few months, his vision has also made its way to NYC. And opening tomorrow, January 24, at Weldon Arts is Crumbling Cities, a solo exhibit of Nether’s works.

When and why did you first get up?

It all started – sadly – as a rebellious middle schooler trying to be cool.

Did any particular artists inspire you to move in your current direction?

The two artists who really got me going were Gaia and Tefcon.  I was living and sharing a studio space with Tefcon, and just watching his relentless hustle and work inspired me.  And around that time, I got to be friends with Gaia and filmed him at work with Nanook.  I soon became super interested in wheatpaste.  It was like a bomb went off in my head.  It seemed like the perfect bridge between my politics and my art.  And Gaia was super helpful showing me the ropes and sharing his print and other connections with me.

When did you begin getting your wheatpastes up?

Started really going hard about three – four years ago.

Nether-street-art-in-Brooklyn

And what about the risks? What inspired you to take the legal risks?

Seeing what other artists like Cedar, Dume, Ways, and a lot of KSW/NSF writers were doing at the time inspired me. And I see my work on the streets as a way to empower other Baltimoreans.

In the past few years, you’ve made quite a mark. Your work can be seen not only in Baltimore, but in NYC, Philly, DC, Berlin, Shanghai, Paris and London. You seem to be on a mission. Could you tell us something about it?

I see public art as a vehicle for social change. And the artist — by transforming the landscape – is the facilitator of this change. By getting up on the streets, I can reach masses of people at the same time that I am beautifying the environment.

Are there any issues that particularly concern you?

My main focus is the issue of slumlords neglecting their vacant properties in Baltimore.  People just deem these areas hopeless and don’t think to address the issue or find out who is responsible. I am trying to put it in their faces.

Nether-paste-up-on-tagged-Brooklyn-door

Any favorite spots?

Anything vacant. I love vacant doors, electrical boxes and glass.

How do the cops respond to your current ventures?

Generally, if the cops come by, it’s in a non-threatening way.  They always have way more pressing issues on their plates. I just tell them that I’m trying to beautify the neighborhood, and they are usually just curious and confused.  A few times they’ve actually watched my back!  Most of the more intense run-ins with the police have been out-of-town.

What about your parents?

When I first started going hard with it, they were worried.  I remember getting a call from my mom after she drove by one of my pieces on i-83. But now they are totally down and both really dig it.

Nether-street-art-in-Brooklyn-NYC

What was the riskiest thing you ever did?

The riskiest thing I ever did was the dumbest. I was with my buddy Tony trying to put up a piece in daylight on the Amtrak Line.  Two trains passed by, and then one came by super slow and stopped. Three transit cops jumped off and chased me.  I ran off the track clearing, slid off this embankment and fell like 20 feet into the Jones Falls.  Then I swam across and hid under a rock for like 45 minutes till they gave up looking for me.  I got a really nasty cough after that.

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

I have mixed feelings about it. On one hand, it kills the experience of simply stumbling upon a piece.  On the other hand, it allows folks all over the world to see the work I’ve created for a specific small community.

Are there any artists who particularly intrigue you these days?

I am really digging Pixel’s recent work and Ludo in Paris.  Swoon has always been my favorite artist, and her new stuff continues to stun me.  On the graf side of things, it’s Kuma and Goal.

Nether-street-art-in-Bushwick-Brooklyn

Have you collaborated with any artists?

I’ve installed work with a bunch of artists from different places.  Shouts to Mata Ruda, Harlequinade, Sorta, Gaia, Tefcon  — and many others.

How do you feel about the branding of street art and graffiti? Are you open to it?

I think it’s sad, but often necessary.  It’s all about who you get the money from and what you do with the money.  On one hand, all this focus on money changes the nature of the underground. But, at the same time, the money allows us to pump funds into the street game.

Nether-street-art-in-Williamsburg-Brooklyn

What’s ahead?

I’m super-psyched about this new project with the Baltimore Slumlord Watch. We are going to wheatpaste artwork onto all of Baltimore’s neglected vacant properties. We will post large QR codes – next to the artwork – directing passersby to the Slumlord Watch website. On the doorways we will list the specific property violations and the contact info to report them.  This project is intended to create awareness and pressure absentee slumlords into fulfilling their responsibilities.  I am also working on a mural project with the Muhammad Ali Center.

It all sounds wonderful! And good luck with your exhibit at Weldon Arts.

Interview by Lois Stavsky; photos by Tara Murray, Lois Stavsky and courtesy of the artist

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NYC’s Dashing Pavement Art

January 21, 2013

Paul Richard

From Paul Richard’s elegant gentlemen to Dceve’s stylish tags, the images that surface on NYC’s pavement intrigue:

Another one by Paul Richard

Paul Richard

The itinerant Swamp Donkey aka Swampy

Swampy

Meres at 5Pointz

Meres

Close-up of extraordinary piece by the wonderfully talented David Ellis

David Ellis

The iconic UFO

UFO

The elusive stikman

stikman-street-art-on-NYC-pavement

And stylish writing by Dceve of the legendary Smart Crew

DCEVE

 Photos by Dani Mozeson, Tara Murray & Lois Stavsky

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Speaking with Rubin

January 16, 2013

Rubin-graffiti-and-street-art-action-in-Bushwick-NYC

Rubin’s exquisite murals surface here regularly in NYC on the streets of Brooklyn and the Bronx.  Each one is a cause for celebration.  We recently had the opportunity to speak with the talented artist.

When and where did you start getting up?

I started tagging in 1985 – age 10.  I was living in Gothenburg, Sweden. I grew up there among the concrete projects. Their walls were my first canvas.

What inspired you?

I watched the movie Beat Street at my friend’s house. That started everything. The movie had a huge impact on me, as did growing up in the projects.

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

My mother worried a lot. But she was supportive.

Rubin graffiti

Do you have a formal art education?

No. I never wanted to go to art school. I studied music and played in several bands in my native Gothenburg.

Back in Sweden, did you work alone or with a crew?

I painted with NTA (Night Time Artists) back in Sweden. But I also painted alone.

What about here – in NYC?

I’ve collaborated mostly with 4Burner members:  Sen2, Dasic, Owns, Deem, Gusto and Logek.

Would you rather paint alone or with others?

I like painting alone, but painting with others is important for artistic growth.

Rubin-street-art-and-graffiti-in-NYC

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

I would love to collaborate with Futura. That would be something.

Have you any preferred spots and/or surfaces?

I love the concrete walls up in Hunts Point in the South Bronx.

What is the riskiest thing you ever did?

I climbed five or six stories on a drain pipe to get to the top of a building.

Why?

Because it was an impossible spot that no-one had reached before.

Rubin-street-art-and-graffiti-in-Brooklyn-NYC

Your artwork seems to blur the lines between graffiti and street art. How do you feel about the graffiti/street art divide?

We should be on the same side, but we’re not. There is definitely a beef between street art and graffiti. I have always tried to bring these two opposites together in my art. It’s very challenging. There is so much ego in graffiti and street art trends seem to come and go.

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

It’s exciting and interesting. I see it as a natural progression.

Have you exhibited in galleries?

Mostly in Sweden, but I exhibited along with Cope2 two years ago in Nolita.

Rubin-graffiti-action-at-Bushwick-Five-Points

What is your main source of income these days?

My main source of income is photography. I’m also involved with the production of a Swedish/Finnish arts and culture magazine.

How do you feel about the role of the Internet in all this? And do you follow any sites?

I think it’s great. I follow 12ozProphet and StreetArtNYC.

What inspires you these days?

Craftsmanship, Kraftwerk’s minimal electronic music and the contrasts between my two homes: Bushwick, Brooklyn and the gorgeous woods of Lapland, where I spend the summers with my wife.

Are you generally satisfied with your finished pieces?

Never.

Rubin-graffiti-in-Bushwick-NYC

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

Two years ago feels like an eternity, especially when living in NYC. I tend to look forward instead of looking back.

How has your artwork evolved through the years?

In the nineties, I was one of the most active writers in Sweden. In the mid-nineties my graffiti took a turn to the geometric. From 1999 to 2008, I took a break and focused on my band, Kingston Air Force. I can’t really describe my usual style. Someone once called it abstract geometry; that’s a pretty good description, but my style is still evolving.

 Of all the cities in which you painted, which is your favorite?

New York City. I love the energy and the mix of people. Nothing beats New York.

 Who are some of your favorite artists?

The Swedish artist Gouge. He’s amazing!  Bates from Denmark, Dondi and Riff 170 from NYC, C215 and Nelio from France, Boaone from Germany and  Sofles and Fecks from Australia.

Rubin-street-art-and-graffiti-with-character-in-NYC

 What advice would you offer young writers and younger artists?

 Work hard. Learn the craftsmanship. Perfect your technique. Practice. Be a good role model to younger writers. Be nice.

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

Every artist is an egoist, and I’m no exception to the rule. I interpret what I see and how I feel through my art. I create for myself, but I’m very humbled every time someone appreciates my pieces. It means that they appreciate my take on what’s going on around us. That’s very flattering.

Where do you see yourself in five years?

I don’t even know where I’ll be next week. NYC has taught me how to live right here and now, and I’m really enjoying taking a day at a time.

Interview by Lois Stavsky with Lenny Collado and Tara Murray; photos by Lenny Collado, Dani Mozeson. Tara Murray and Lois Stavsky

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This is the seventh in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:

Toofly on Manhattan’s Lower East Side

Toofly

 French artist Frank Duval aka FKDL in Brooklyn

FKDL

FKDL

Lady Aiko in Bushwick, Brooklyn

Lady Aiko

Hef in Williamsburg, Brooklyn

Hef

 Russell King on the Lower East Side

Russell King

Shiro and King Bee in the Bronx

Shiro and King Bee

 Photos by Lenny Collado, Tara Murray and Lois Stavsky; Toofly image courtesy of the artist

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This is the third in an occasional series of artwork on NYC shutters by both local artists and those visiting from abroad:

Phlegm — in from Sheffield, UK — in the East Village

Phlegm

Brooklyn-based Never in Astoria, Queens

Never street art

NYC-based Faust’s tribute to Sure RIP in Greenpoint, Brooklyn

Faust graffiti

Meres at 5Pointz in Long Island City, Queens

Meres

Germany’s Most and Flying Fortress at Welling Court in Astoria, Queens

Most and Flying Fortress

NYC’s Ozbe at Welling Court in Astoria, Queens

Ozbe

Veteran artist Kenny Scharf on the Lower East Side

Kenny Scharf

Grad of Smart Crew in Greenpoint, Brooklyn

Smart Crew

The legendary Tracy168 at West Farms in the Bronx

Tracy168

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

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Speaking with Chris Stain

December 19, 2012

Queens-based artist Chris Stain is best known for his splendid stencil images that often reflect his concern with social inequality. We recently had a chance to speak to him following the opening of  Sowing the Seeds of Love at Munch Gallery on Manhattan’s Lower East Side.

Chris Stain

When did you start getting up in public spaces? And where were you living at the time?

In 1984.  I was 11 years old and living in Baltimore.

What motivated you to hit the streets?

The movie Beat Street had a huge impact on me, as did the book Subway Art by Martha Cooper and Henry Chalfant. I also caught Style Wars on PBS.

Were there any particular writers who inspired you back then?

Most of us starting out in Baltimore were inspired by local writers, Zek, JamOne and RomeOne. Zek, considered the king at the time, was a lefty and had a distinct left-handed style that we all borrowed and tried to make our own.  Another writer who influenced us all was Revolt who came down to Baltimore from NYC in the early 80’s.

Chris Stain

Have you a first graffiti memory?

I was 11 when I did my first tag on the last house of a row of houses on my block. The kids on my block would usually find some flat black or white paint lying around somewhere in their fathers’ basement. But I used cherry red spray paint – the Testor spray paint that was bought for plastic car models — to put up my first tag. 

What did you first write?

I wrote Savage. I wanted a name that sounded cool. Later I wrote Stain after hearing it rapped by Rammellzee in his song Beat Bop.

These days we identify you with huge stencils that surface on city streets. When did you first begin working with stencils?

I began in the late 90’s. In the beginning of my artistic endeavors I was into traditional graffiti lettering. Long after I graduated high school, I began stenciling to tell more of a personal story.

Chris Stain

Have you ever been arrested?

Three times…when I was eleven, sixteen and thirty-nine.  I remember being grounded for two months after my first arrest.

We’ve seen your work in a number of galleries here in NYC. Have you exhibited outside of the U.S.?

My work has been exhibited in London, Paris, Amsterdam, Hong Kong, Germany, and Norway.

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

I don’t think about it. Both have their different energies. To me it’s all creativity.

With whom have you collaborated?

Among those with whom I’ve collaborated are:  Josh MacPhee and the Justseeds crew , Billy Mode, Swoon, The Polaroid Kidd, Bill Daniels, Martha Cooper, Skewville, Login Hicks, C215, Armsrock, Know Hope, Nick Walker, Blek Le Rat, and Chris & Veng of Robots Will Kill, Hell Bent, and a host of others.

Chris Stain and Billy Mode

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

I have mixed feelings. On one hand, it’s taken away from the specialness – the underground secrecy – of the counterculture. But it also allows us to easily share our work with one another. And that is a plus.

Do you have a formal art education?

No. I never attended art school.  Not formally at least. I tried some continuing education classes to build a portfolio after I got out of high school but I had a hard time with the discipline.

Your artwork reflects a strong social consciousness – both in your subject matter and placement.  Could you tell us something about this?

I was brought up to respect other people’s struggles.  It is important that we treat others the way we would like to be treated – regardless of race, nationality or social status.  If there is a message in my artwork, it is that we need to be more aware of each other.

Chris Stain

What do you see yourself doing five years from now?

Teaching art, still painting with Billy Mode and working with JustSeeds. And I’d like to continue to show my work in galleries and create public works as well.

That sounds great! We are looking forward to seeing your artwork anywhere!

 Interview by Lenny Collado; photos of Chris Stain street art by Lois Stavsky; photo of Chris Stain and Billy Mode by Dani Mozeson

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