Walls

Florida-Based Boy Kong Brings His Playful Aesthetic to NYC Streets and to the Cotton Candy Machine

June 24, 2014

Orlando, Florida-based artist Boy Kong recently left his mark in NYC. His delightfully fanciful aesthetic has made its way to the exterior of rag & bone on Elizabeth Street in Manhattan and to the shutter at 175 Roebling Street in Williamsburg, Brooklyn. A selection of his distinctly crafted individual pieces can also be seen at Cotton Candy Machine, 235 South 1^st Street in Williamsburg, through this week.

On Roebling Street in Williamsburg

And a sampling of what’s on view at at Cotton Candy Machine

Photos by Dani Reyes Mozeson

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Ad Hoc Art’s Fifth Annual Welling Court Mural Project — Part II: Cern, R. Robot, KR One, Ryan Seslow & Cake, Mr. Prvrt and See One

June 23, 2014

Following are a few more images from Ad Hoc Art’‘s wonderful Fifth Annual Welling Court Mural Project, along with a brief interview with its director, Garrison Buxton.

Can you tell us something about the birth of the Welling Court Mural Project? When and how did it all begin?

Jonathan Ellis, a Welling Court resident, came up with the idea for the project over five years ago. He had his wife, Georgiana, were looking to improve their block. We were introduced through a mutual friend who suggested they contact me.

What was the first mural to go up? And when was the first festival held?

While visiting from Poland in 2009, M-City painted Welling Court’s first mural. The first festival was held in June 2009.

What was the community’s response to it?

The response was wonderful. The entire community participated and loved it. Just about everyone prepared food to share and loved how the artists transformed their neighborhood.

And now five years later, it’s even more wonderful than ever.

Yes, when we first began, 44 artists participated. This year there are over twice as many, including members of the community. We’ve continued to keep it grassroots.

How far in advance do you begin organizing each year’s festival?

We usually start in February, but we want to begin planning earlier.

What would you say is your greatest challenge?

The mere organization and the delegation of the different responsibilities.

The vibe here is wonderful. What a great model you are for other communities!

Yes! It’s about the power of art to create positive social change.

Photos by Dani Reyes Mozeson and Lois Stavsky

1. Cern

2. R. Nicholas Kuszyk aka R. Robot

3. Louie “KR.ONE” Gasparro

4. Ryan Seslow and Jennifer Caviola aka Cake

5. Mr. Prvrt

6. See One

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FROM STREET TO ART to Open Tomorrow, June 20, at Italian Cultural Institute of New York with BR1, Agostino Iacurci, Sten&Lex and more

June 19, 2014

Opening tomorrow evening, June 20, at the Italian Cultural Institute of New York, 686 Park Avenue, is an exhibit of artwork by 10 of Italy’s best contemporary artists who, also, maintain a huge presence on the streets. Curated by Simone Pallotta, it is the first collective exhibit of work by Italian street artists here in NYC.

Here is a sampling of the art on the streets:

BR1

Agostino Iacurci

Sten&Lex

Dem

Also featured are works by Aris, Cyop&Kaf, Eron, Hitnes, Ufo5 and 2501. FROM STREET TO ART opens at 6pm tomorrow at 686 Park Avenue on Manhattan’s Upper East Side and continues through August 20, 2014.

All images courtesy Simone Pallotta

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Speaking with Dublin-Based Street Artist Solus

June 17, 2014

Based in Dublin, Ireland, Solus returned earlier this month to the the Bushwick Collective to participate in its annual block party and to share his aesthetic vision with us. We also had the opportunity to find out a bit about him:

When and where did you first get up?

About seven years ago I started doing illegal stencils around Dublin.

What inspired you at the time?

I was working at a job that I hated. I thought that’s what everyone does! But I knew that I needed to make a change in my life. I was on a very self-destructive path. And so I started creating stencil art and never stopped. Street art saved my life!

Were you influenced or inspired by any particular artists?

Maser was, probably, my biggest inspiration, along with Will St Leger. They were very prolific around Dublin at the time.

Have you any preferred surfaces or spots?

Obviously flat surfaces are better in high-traffic spots.

How do you feel about the graffiti/street art divide?

I don’t think about it. It’s not relevant. I just do what I love. But I’ve always been a huge fan of the TDA Klann, Ireland’s premier graffiti crew.

Your work has been exhibited in galleries world-wide and your new solo show is about to open in Montreal. Any thoughts about the movement of street art into galleries?

I think it is a good thing that it is being recognized as art and that people want to purchase it. I generally feel a little out of place at gallery shows because most of the time my clothes are covered in paint. I prefer being at the studio or tackling a wall.

Have you any other source of income these days?

I earn money from prints, canvases and commissions. I put all the money I make back into my artwork.

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

Only time will tell. It has become so mainstream that it may become oversaturated.

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

Probably because here in the U.S., it is associated with vandalism.

What inspires you these days?

The concept of a boy in a man’s world, punching above his weight and being victorious against all odds.

Are there any particular cultures that have influenced your aesthetics?

After visiting Korea, I did a series of works influenced by what I’d seen and experienced there.

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

I work with a sketch or a photo.

Are you generally satisfied with your work?

Increasingly so. But when I look back at what I did even one year ago, I feel I could have done better.

What percentage of your time is devoted to art?

100% of my time; it’s a 24/7 gig!

Any other interests?

Traveling. I’d love to paint everywhere!

Have you any favorite cities?

New York. There’s something in the air here. And it’s very competitive. I’d love to live here!

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

It’s the most important role one can have! Art makes people feel good, and it makes people think!

Note: Solus’s solo exhibit UNDERDOG opens this Thursday, June 19, at the Clark Street Mercantile in Montreal, Canada.

Photo credits: 1, 4 & 6. Lois Stavsky; 2 & 3. Courtesy of the artist; 5. Dani Reyes Mozeson

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Ad Hoc Art’s Fifth Annual Welling Court Mural Project — Part 1: Cekis, Alice Mizrachi, John Ahearn, Icy & Sot, LMNOP, KingBee and Toofly

June 15, 2014

Engaging a diverse array of artists, along with local residents — including dozens of children — the Welling Court Mural Project represents the best of the street art fests. Here are a few more images captured yesterday, as it celebrated its fifth year at Welling Court in Astoria, Queens:

Alice Mizrachi aka AM

Making Art

John Ahearn with a temporary addition to mural created earlier by Dennis McNett

Icy and Sot

LMNOP

The Royal KingBee

Toofly

Check back here later in the week for Part II of this post and a brief interview with Ad Hoc Art’s director, Garrison Buxton.

First image is of Nelson Rivas aka Cekis at work; photos by Dani Reyes Mozeson and Lois Stavsky

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Speaking with Billy Mode

June 10, 2014

A master of bold, abstract graffiti-inspired art that fuses elements of mathematics, science and design, Baltimore-based Billy Mode is a frequent visitor to NYC. Here he has graced walls in Brooklyn and in Queens with his strikingly stylish aesthetic, often in collaboration with fellow Baltimore native Chris Stain. I recently had the opportunity to speak to the talented artist:

When and where did you first get up?

It was around 1984-85 in Baltimore. I was 11 or 12.

Who or what inspired you at the time?

Most of my friends at the time were older than me. My friend Eric Meek and I went to see Beat Street at the Grand Theatre in Highlandtown when it first came out. We were so hyped that we were doing backspins and such in the theatre while the movie was playing! Soon after, Eric got hold of a copy of Subway Art by Martha Cooper and Henry Chalfant. I’ve been grateful for these two introductions to the movement ever since.

Had you any preferred surface or spot at the time?

When I first began, it was mostly alleyways with Pilot markers and spray paint. But I soon moved on to rooftops. It was fun and I quickly became addicted to the adventure of it all.

Were you ever arrested back then?

I was caught bombing a bus. But nothing major happened. I got community service.

How did your family and friends feel about what you were doing?

My folks were cool. I was basically a “good kid.”

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

There is a divide, but I don’t think about it. If it’s good, it’s good. It doesn’t matter whether it’s graffiti or street art.

What about the movement of street art into galleries?

I’m fine with it. I’ve been exhibiting in galleries since the mid 90’s. Galleries offer us artists a different way to share our art.

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

Arts in general are more celebrated there. Plus I think the hip-hop culture is embraced differently In Europe. It is viewed more positively.

Do you prefer working alone or collaborating with others?

I enjoy both. Collaborating is fine — so long as I don’t have to compromise too much and lose too much of my own concept. Collaborations can’t be forced.

Your collabs with Chris Stain are among our favorite pieces. Is there anyone else with whom you’d like to collaborate?

I’ve thought about collaborating with Joe Iurato and Rubin. To me a good collaboration is when the works balance each other out. One of my favorite exchanges was with one of my best friends, Pat Voke. He always made me want to push my limits and seek out deeper meanings in the work process. I hope to collaborate with him again.

What inspires you these days?

Letter forms continue to inspire me; structures, in general, inspire me. When I sit down to work, I try to expand on what I’m developing — so it continues to grow. My graffiti background influences my desire to be inventive and contribute to the movement.

Are there any particular cultures that have influenced your aesthetics?

They’re not quite cultures, but I’m increasingly influenced by the fusion of mathematics and science.

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

These days I do have a sketch in hand which helps with the layout. When I do a more traditional graffiti style, I prefer freestyling it.

Are you generally satisfied with your work?

About 80% of the time! I’m always looking to improve.

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

We live in the future. Information travels faster than ever which, I think, allows for exponential growth. I do enjoy seeing artistic developments happening daily. But I have noticed that regional styles have been diluted. The grass roots of graffiti culture have been slowly changing, and so have the rules of etiquette.

Do you have a formal arts education?

I do have a BA from Maryland Institute College of Art (MICA), but I always credit my graffiti background as my formal training. I’ve been very fortunate to have good friends to learn from and grow with.

What’s the riskiest thing you’ve done?

Bombing in daylight on super visible spots!

What are some of your other interests?

Sleep, and when I’m not injured, skating pools.

What’s ahead?

I intend to do more murals and conjure mathematic visual formulas into reality. I will keep on expanding!

Interview conducted and edited by Lois Stavsky; photos 1. At Welling Court in Astoria, Queens with Chris Stain by Lois Stavsky; 2. At the Bushwick Collective by Dani Reyes Mozeson; 3. In Cobble Hill, Brooklyn with Chris Stain and Cre8tive YouTH*ink members — based on a Martha Cooper photo by Lois Stavsky; 4. At the Bushwick Collective by Dani Reyes Mozeson; 5. At the Bushwick Collective by Lois Stavsky; 6. At 17 Frost for OutDoor Gallery book launch by Lois Stavsky

Keep posted to our Facebook page for images of Billy Mode’s new mural, done in collaboration with Chris Stain, for the 5th Annual Welling Court Mural Project, opening this Saturday, June 14.

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Magical Murals for Juicy Brooklyn Art Festival: Muro & Txemy, Dasic, Werc, Stinkfish, Ever & Zio Ziegler, Rimx, SON & Ricardo Cabret, Marka27 and more

June 5, 2014

The walls along Meserole and Waterbury in Bushwick and on and near Borinquen Place in Williamsburg have become canvases for an extraordinary array of magical murals. They are among the highlights of the Juicy Brooklyn Art Festival launched by Exit Room. Here’s a sampling:

Spain-based Muro and Txemy

Chilean artist Dasic Fernández

Mexican artist Werc

Bogota-based Stinkfish

Argentinian artist Ever at work with Zio Ziegler

Close-up from huge collaborative mural by Puerto Rican artists Rimx, SON and Ricardo Cabret

Mexican artist Marka27, close-up

The Juicy Brooklyn Art Festival begins today, Thursday June 5, at 270 Meserole Street in Bushwick and continues through Saturday. Keep posted to our Facebook page for images of more magical murals that are surfacing along Meserole and Waterbury.

All photos by Dani Reyes Mozeson — except for Stinkfish by Lois Stavsky

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Speaking with R. Nicholas Kuszyk aka RRobots

June 4, 2014

Nick Kuszyk‘s impeccably-crafted robots are among NYC’s most seductive images. With their bold colors and expressive movements, they brilliantly enhance our urban landscape. I had the opportunity to speak to their creator, R. Nicholas Kuszyk aka RRobots, shortly before he left for his one-month residency in Jaffa, a seaport town on the outskirts of Tel Aviv.

When and where did you first get up?

It was back in 1993 in the suburbs of DC.

Had you any preferred surface or spot back then?

I hit whatever walls and trains I could.

Who or what inspired you at the time?

Cycle and Cool Disco Dan were among my main inspirations.

Do any early memories stand out?

My friend’s older brother had a black book and a copy of Videograf. It seemed monumental. I was 12 years old when I discovered another reality.

How did your family feel about what you were doing?

My parents didn’t know what I was doing. But my family has always been supportive of my art. My mom is an interior decorator and my sister does cool drawings.

Were you ever arrested?

No. I never got caught.

Most of us here identify you with your signature robot. Can you tell us something about it? When was it born?

It was born in 2000, and my first legal robot wall surfaced in 2002 in Richmond. Since then, it has traveled to over a dozen cities in the US and abroad to Berlin, London, Prague and now to Tel Aviv.

Why a robot? What does this robot represent?

I like its simplicity, its universality. It’s up to you to decide what it represents.

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

It’s fine.

Is there anyone with whom would you like to collaborate?

Satan.

Are there any particular cultures that have influenced your aesthetics?

The skateboarding culture and graffiti.

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

I always have a general idea of what I will be painting. But I don’t prepare sketches.

Are you generally satisfied with your work?

It depends.

Do you have a formal arts education? Was it worthwhile?

Yes. I studied art at the Virginia Commonwealth University School of the Arts. It was definitely worthwhile, as it widened my perspective.

How has your work evolved in the past few years?

It has become more geometric, and the robots are becoming less central to my pieces and more integrated into them.

How do you see the role of the artist in society?

The artist is here to educate and to entertain. And the street artist has a distinct role – to increase property values.

Note: Nick’s exhibit, consisting of artwork created during his one-month residency, opens tomorrow, Thursday, June 5 at SAGA, a new space for art in Jaffa.

This interview was conducted by Lois Stavsky; photo 1 in Williamsburg, Brooklyn by Lois Stavsky; photo 2, courtesy SAGA; photo 3 at Welling Court in Astoria, Queens by Tara Murray; and photo 4, courtesy SAGA

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The Bushwick Collective Celebrates Another Year with Live Street Art, an Indoor Gallery and a Block Party — with Vexta, Adam Fu, Sexer, Solus, Vers, FKDL, Jerkface and more

May 31, 2014

These past few days have been busy at the Bushwick Collective. New walls have been surfacing daily and the Collective has launched its first indoor exhibit. Here’s a bit of what we captured yesterday and Thursday:

Vexta‘s mural — as seen yesterday — and Vexta at work here

Adam Fu at work yesterday

Sexer‘s newly completed mural

Solus — in from Dublin — at work yesterday

Vers at work yesterday

FKDL — in from Paris — checks out his progress

FKDL inside the gallery

Jerkface begins

Jerkface inside the gallery

Also on view in the gallery — located at 426 Troutman Street — in the heart of the Bushwick Collective are works by: Blek le Rat, Solus, Rubin 415, Chris Stain, Dan Witz, Zimad, Joe Iurato, Sexer, Beau Stanton and Atom. And at tomorrow’s block party you can see and celebrate it all with live street art, bands, food trucks, a beer tent and giveaways.

Photos of Vexta, Adam Fu, Solus and Vers by Lois Stavsky; of FKDL, Sexer and Jerkface by Dani Reyes Mozeson; gallery images of FKDL and Jerkface by Houda Lazrak

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