Walls

Speaking with Angel Ortiz aka LA2

February 3, 2014

Based on the Lower East Side, LA2 creates bold, brightly-colored energetic works on a range of surfaces. Befriended by the legendary Keith Haring as a young teen, LA2 is best-known for his distinct tag that has earned him accolades both on the streets and in galleries and museums world-wide. I recently had the opportunity to interview him:

When and where did you first start tagging up?

I was 10 when I first started tagging. The street was my canvas. I lived on the Lower East Side, and so those were the streets that I hit.

Who or what inspired you at the time?

I noticed kids at the Boys Club and in school tagging up. And I was inspired by Lee Quinones’s work that I saw on subway cars and on walls in my neighborhood.

Did you tag alone or did you work with crews back in the day?

It didn’t matter. I just wanted to tag up. I worked mostly alone, but I did get up with TNS (The Non Stoppers) and El 3 (RIP), who later died when he was electrocuted by the 3^rd rail.

You went on to collaborate with Keith Haring. How did you first meet Keith?

Keith was looking for me. He had seen my tag and wanted to find me. When Keith was working on a mural at Junior High School 22, Richie SOE came to my house and told me that Keith wants to meet me, and so I went over there.

How did Keith Haring’s work change after meeting you?

Before he met me, he was doing mostly simple characters. After we began working together, his work became more energetic. And soon after Rock Hudson announced that he had AIDS, Keith came out of the closet, and his artwork took on a more sexual tone.

What was it like collaborating with Keith?

It was great. I’ve always been fond of Keith as a person and as an artist. We travelled to Europe together, and Keith made sure that I was paid what was due me. I feel grateful to Keith, but not to the Keith Haring Foundation. But that’s another story.

Your artwork has been exhibited in galleries worldwide. How do you feel about the movement of graffiti and street art into galleries?

I think it’s great. It’s a win-win for both galleries and artists. We artists have to make money to keep doing what we’re doing.

Any thoughts about the graffiti-street art divide?

There’s less and less of a divide. After Keith Haring collaborated with me, the museums had no choice but to accept graffiti. This past year, I became the first writer to paint in the Children’s Museum of the East End in the Hamptons.

Who are some of your favorite artists?

They’re all dead. Keith Haring, Andy Warhol, and Basquiat were my favorites.

Do you prefer working alone or collaborating with others?

I generally work alone. But in addition to Keith Haring, I’ve collaborated with quite a few artists including Richard Hambleton, Kenny Scharf and my girlfriend’s daughter, Jasmin. And when Stik was in from London this past fall, I collaborated with him.

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

I think it’s great. Since my girlfriend, Ramona, created the website, we’ve received invitations from galleries overseas in such countries as Italy and Germany.

Do you have a formal art education?

No, I’m self-taught. I dropped out of Seward Park High School to travel with Keith Haring and help him establish his career.

What is the riskiest thing you ever did?

Just getting my tag up is risky. I’ve spent time in jail for that. Whenever I take my dog, Nico, for a walk, I tag when he pees. And I’ve gotten locked up for that, along with Nico. He’s gotten locked up, too!

What inspires your art?

It’s inspired by my emotions…the things I go through… my thoughts and feelings. Creating art is how I express myself.

Do you work with a sketch in hand?

Never, it’s all straight out of my head.

Are you generally satisfied with your finished piece?

I’m always happy. I love them all.

How has your work evolved through the years?

It has gotten more detailed. There’s more line work and people tell me that it’s tighter.

What do you see as your role — as an artist — in society?

My particular role is to educate kids on how to express their creativity in a healthy way. They need to use the right materials and to cover their faces. I developed health problems (COPD) by not protecting myself when painting. I love lecturing kids and working with them. I will be doing a workshop with children this spring at the Angel Orensanz Center in conjunction with the Fridge Art Fair.

What do you see as the future of graffiti?

It’s going to become more and more valued as an art form.

The Europeans have always seemed to value it more than we have. Why do you suppose they are so much more receptive to graffiti than we here in the States are?

It’s because they appreciate art more, in general. It’s always been that way. And on a personal level, Paul Kostabi sold my art in Italy 20 years ago, gaining the attention and appreciation of Europeans.

What’s ahead for you?

Traveling, exhibiting both here and overseas, educating the youth and continuing to become healthier.

Editor’s note: A selection of LA2’s work in on exhibit at City as Canvas: Graffiti Art from the Martin Wong Collection at the Museum of the City of New York. Curated by Sean Corcoran, it opens tomorrow, February 4, and continues through August 24.

Interview conducted and edited by Lois Stavsky; first two photos — of LA2 collaborating with Keith Haring and of LA2 tagging — originally published in Keith Haring, Rizzoli — courtesy of LA2; all other photos by Dani Reyes Mozeson

{ 0 comments }

Speaking with Korean Artist Yoon Hyup

January 28, 2014

With influences ranging from traditional Korean art to the skateboard culture he embraced at an early age, Yoon Hyup has developed a distinct aesthetic that has recently made its way into downtown Manhattan. We came upon him at work earlier this month outside rag & bone on Elizabeth Street off Houston, where he was painting a mural on a particularly frigid day! I recently had the opportunity to speak to him.

You’ve painted on a range of surfaces and in a variety of places. You’ve exhibited your work in galleries, and you continue to paint on the streets. What initially drew you to the streets? When did it all begin?

I began skateboarding when I was nine years old. That was my introduction to the culture. And then in the mid 90’s, I discovered hip-hop and graffiti magazines at a nearby US Army base.

What was the graffiti/street art culture in Korea like at the time?

It was quite unsophisticated. The spray cans were very basic, and there were few colors available. Canvases consisted of tunnels or alleys that the writers claimed as their spots.

What inspired you to share your talents on the streets?

I was inspired by photos I saw of the artworks that Basquiat and Futura and other artists at the Fun Gallery had painted on the streets of downtown Manhattan back in the day. And then while attending the Art Institute in my late teens, I learned everything — from where to buy spray paint to how to master particular techniques — from ‘Bluce 666’.

You went on to study Graphic Design at Hanseo University. Did your formal art education help you develop as an artist?

When I was a sophomore, I decided to take a break from the university and check out the “real world.” During that time, I did a lot of exhibitions, and I began collaborations with businesses like Nike and MTV. There was so much I had to figure out on my own and solve myself. I would say that a formal education helps, but experience in the “real world” is crucial to an artist’s success.

Tell us a bit about your recent mural outside rag & bone in Nolita. How did that happen? It is one of our favorite spots in town! And your mural looks splendid here!

I had submitted my portfolio to rag & bone, and soon afterwards, I was invited to paint. I think I was lucky to be selected.

Your style is quite distinct. Could you tell us something about it?

Many traditional Korean forms, such as vine clouds and wind clouds, surface in my paintings. I often paint with the five colors associated with my native country – red, blue, yellow, black and white. It is my homage to my heritage. It is how I honor my roots.

You’ve shown your work in gallery settings, as well as in public spaces. How do you feel about the movement of street art into galleries?

It’s fine so long as the artists continue to create artwork on public spaces.

And what about the corporate world? You’ve collaborated with such corporations as Nike and Tommy Hilfiger. How do you feel about that?

I don’t have a problem with it, so long as I can be true to my own vision.

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

I would have loved to paint with Kandinsky. I’m particularly fond of him.

I can see that! Your work is a bit of a fusion between street art and fine art. How has your art evolved in the past few years?

I feel that I paint more naturally. My style is becoming looser and freer. My cloud forms have become more abstract.

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

I work with a general layout. But my handstyle flows freely.

Are you generally satisfied with your finished pieces?

Not really! I’m always challenging myself.

Have you any other passions or interests?

I love skateboarding. I’ve been doing it since I was nine. And I love music. My mother, who was president of a music institute, has taught me to appreciate all kinds of music. Both skateboarding and music, along with art, are essential in my life.

What’s ahead?

I’ve been developing a new body of work and will soon be collaborating with a talented Korean toy maker.

Interview conducted and edited by Lois Stavsky; first photo by Lois Stavsky; all others courtesy of the artist. 1. new mural outside rag & bone; 2. Unlimited Path, Krink on wood, 2013; 3. Nike Air Max 90 Premium Tape – Multi Color Camo, 2013; 4. For “Haechi Parade, spray paint on sculpture, 2009; 5. Rhythm and Flow (Primary’s Masks), Acrylic, ABS Resin, 2013

{ 0 comments }

Curious Characters on NYC Streets, Part IV: R. Robot, Jeromy Velasco, Malarky and Goldpeg, Harlenquinade, Sheryo and the Yok, and Rimx

January 14, 2014

This is the fourth post of our occasional series featuring some of the curious characters that have found a home in NYC ‘s open spaces:

R. Nicholas Kuszyk aka R. Robot in Williamsburg, Brooklyn

Jeromy Velasco in the East Village

Malarky and Gold Peg in the East Village

Harlenquinade in the East Village

Sheryo and the Yok in the East Village

Rimx in Bushwick, Brooklyn, on the grounds of Exit Room

Photos of Jeromy Velasco and Malarky & Gold Peg by Dani Reyes Mozeson; all others by Lois Stavsky

{ 2 comments }

Guys on Walls, Part V: Esteban del Valle, Ramiro Davaro-Comas, Swoon, James de la Vega, Paul Paddock, Tats Cru and Mataone

January 10, 2014

This is the fifth in an occasional series featuring images of males who surface on NYC public spaces:

Esteban del Valle on Manhattan’s Lower East Side

Ramiro Davaro-Comas in Bushwick, Brooklyn

Close-up from huge wall by Swoon and Groundswell youth on the Bowery and Houston

James de la Vega in East Harlem

Paul Paddock in the East Village

Tats Cru in the East Village

Mataone in Bushwick, Brooklyn

Photo of Swoon by Tara Murray, of Mataone by Dani Reyes Mozeson and all others by Lois Stavsky

{ 0 comments }

Speaking with Col Wallnuts

January 7, 2014

For over 20 years Col has been gracing our public spaces with his distinctly graceful aesthetic. His street murals, along with his small works on various media, are among our favorites. It was wonderful to have the opportunity to recently interview him.

When did you first get up?

I began tagging and doing some outlines in Staten Island/Brooklyn about 1993-94.

What inspired you at the time?

I was inspired by the tags and pieces I saw along highways. I always wondered who had done them.

Have you any early graffiti memories that stand out?

I loved seeing Cost and Revs in the Meatpacking District. The area has come a long way from the violence and corruption that once characterized it. But it’s great to see a piece of that time still around.

Do you paint with any crews?

I was active with CTO (Check This Out), as both Vers and Edge had taken me under their wings. I’m currently part of Wallnuts, MST, MTA and KD. Wallnuts is comprised of writers from both the States and Europe. Among them are: Muse, Chester, Been3, Ree2, Soco, Riot, Phyme, Met, MadC, Zest, Dos, Free5, Kern and Mad.

Do you prefer working alone or with others?

It depends on the project. Painting with good people motivates me, sets a fire under my ass and inspires me. Painting alone is good too. It’s like nothing else exists.

Do you generally paint with a sketch-in-hand?

Almost never. A sketch prevents one from being organic. I want to see where my idea goes and to produce what I see in my head.

Do you have any preferred surfaces?

I love to paint on anything. I prefer painting on surfaces and in areas where no one has painted before. I enjoy challenges. Obstacles are fun. And I love working large scale on buildings. I grew up working on walls, so the bigger the better.

What about neighborhoods? Have you any favorites?

I prefer working in bad neighborhoods. There are real people there. In good neighborhoods, you’re faced with bullshit. I’ll take Marcy Avenue over Park Avenue any day of the week! Painting in an impoverished neighborhood gives it life and positive energy.

What percentage of your time — would you say — is devoted to art?

I paint seven days a week. I work through holidays. I’m always working on paper, canvas or on my computer.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited at Art Basel (Miami), in NYC, LA, Chicago, DC, and in Europe.

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

As a painter, that’s progression. And it all begins with the tag. A tag is an art form. It’s a craft that not just anybody can do. Tags, then throw-ups and then you eventually evolve into doing pieces. And galleries have a responsibility to preserve them and share them. Although I’m still not completely comfortable with gallery settings, it’s a good feeling to make money from my art when my work sells.

What are your thoughts on the street art/ graffiti divide?

Fifteen years ago, it was only graffiti. But we are no longer the only ones getting up. And that’s not a bad thing. I have a lot of respect for street artists. They are doing fresh stuff. Street art actually helped graffiti. Since the emergence of street art, graffiti writers have had more opportunities to exhibit their work in galleries. If you’re a wheat-paste artist keeping the movement alive…how can I hate that? There are rules, though, to graffiti and some street artists need to learn them.

Have you ever been arrested?

Never for graff. But I’ve been chased a lot. Back then, cops used to catch you with paint and write on you. Then they’d let you go with a warning. Those days are over.

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

My family hated it. My family didn’t want the kids doing anything illegal. They saw it as a dead end…not doing anything with yourself, but putting up your name. I also lost some friends over graffiti. But your true family will never turn their backs. Ultimately, you learn, too, that you only have yourself at the end.

Do you have a formal arts education?

I studied Fine Arts and Advertising at FIT and at the Academy of Art University. But all my spray painting training is self-taught. I learned the hard way with Krylon, Rustoleum, American Accent and Dutch Boy. The kids today have it easy using Montana and Belton.

Are you generally satisfied with your work?

It’s fifty-fifty. Sometimes. Other times I want to just buff and start all over. If you care about what you do, you’re your own worst critic.

What’s the riskiest thing you’ve done for your art and why were you willing to take that risk?

Painting in Israel by the Syrian border right in the line of fire. It’s the sort of thing we as artists live for. Art is stronger than war. And that’s why I did it.

Are there any particular cultures that have influenced your aesthetics?

I love the abstract movement. I enjoy the works of Pollack, Rauschenberg, Fran Stella, Jasper Johns and de Kooning. The abstract movement went against the grain of what was popular in Europe.

How has your work evolved throughout the years?

I’ll say it’s more deconstructed these days. Back then, the majority of my work was 3D, but that got old and boring to me. I went into breaking letters and transitioned from 3D to silhouette.

How do you feel about what you are doing these days?

I’m happy with my progression and where I’m going. I’m glad I didn’t listen to people around me. I’m glad that the progression came naturally, and I can’t wait to see where it goes within the next few years.

What do you think the role of the artist in society?

It’s about being a role model and reaching the youth. You got to give something to them they can grasp. You have to make them feel excited about what you are doing. The artist has to inspire and lead by example. He has to teach others that being an artist is a positive thing.

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

It’s a part of you when you wake up; it’s a part of you when you go to sleep. It’s an outlet for everything we do. Before the Internet, guys were grinding…dealing with people first-hand. You had to present physical material. Today it’s digital, and it takes two minutes. There are tons of positives and negatives to the Internet. You have to use it in a way that it works for you.

Any thoughts on the photographers and bloggers out there?

I support them. They shoot my work, they are very supportive and their eye is important. I like that they provide an opportunity to others to see my work.

Any shoutouts?

Shoutout to my WALLNUTS and URNY family. The homies: Hellbent, SeeOne, Depoh, Phetus, KA, Werds, Touch, Rubin. Semz (Rest In Power) and my grandma. Semz did so much for the graffiti scene. His is a name everyone should remember. My grandma was my biggest supporter. She never understood my art, but always pushed. She was a self-taught traditionalist artist. She told me, “Never stop and don’t ever let anyone tell you that you’re not an artist or that you’re not a painter.” She’s with me in everything I do.

Interview by Lenny Collado; photo 1 at the Bushwick Collective by Lois Stavsky; 2 at the East Harlem Hall of Fame by Lois Stavsky; 3 at the Bushwick Collective by Lois Stavsky; 4 in Prospect Heights by Tara Murray; 5 in Bed-Stuy with Muse by Lois Stavsky; 6 in Inwood with Ree by Lenny Collado; 7 in Tel Aviv by Lois Stavsky, and final photo courtesy of the artist.

{ 1 comment }

A Feast of Beasts on NYC Streets, Part II: Reka, Roa, Never, Phlegm, Robert Plater, Joel Bergner & Wise2 and Kingbee

January 6, 2014

This is the second in a series of posts featuring the range of creatures that share our streets with us:

Reka at the Bushwick Collective

Roa in Williamsburg

Never in Bushwick

Phlegm at the Bushwick Collective

Robert Plater in the East Village

Joel Bergner and Wise2 in Bushwick

Kingbee in the East Village

Photos by Lois Stavsky

{ 0 comments }

Speaking with Adrian Roman aka Viajero

January 2, 2014

I first met Viajero this past summer while he was fashioning a mural on East 111 Street for Los Muros Hablan NYC. I became an instant fan of his distinct aesthetic. A few months later, I caught up with him at the Julia De Burgos Cultural Center for its Dia De Los Muertos 2013 art exhibit.

When I came upon you at work on your mural for Los Muros Hablan, you mentioned that it was your first time painting in the streets. What was it like? Would you do it again?

It was a great experience. I loved working in a public space where I could interact with folks who passed by. Some stopped simply to observe, and others asked questions. And it was wonderful to have the opportunity to bring my vision to the streets of East Harlem – where my grandparents lived when they came from Puerto Rico. And, yes, I would love to do it again.

Could you tell us something about the Diaspora Mural? Who does it depict? What does it represent?

The subject of the mural is a young boy from Puerto Rico. The traditional mask that he is wearing symbolizes his cultural roots. Although I grew up here in NYC, I’m particularly interested in the immigrant experience and the notion of identity.

Your work is quite amazing. Do you have a formal art education?

When I was 12, I began taking specialized lessons at the Pratt Institute. I attended the Arts Students League of New York at age 18. I then earned a Bachelor of Fine Arts from the New World School of Art in Miami, Florida and a second BFA in Graphic Design from the New York Institute of Technology here in NYC.

Was all this formal training worthwhile?

I would say so. I have my own distinct style, but the art education I received drew it out of me and helped me refine it. Yes, my formal training was worthwhile.

Have any particular folks inspired you?

My grandfather was a painter. I have great admiration for him. He taught himself how to read and write in three different languages. My brother is a sculptor, and my uncle is an architect. I grew up among folks who inspired me.

What about cultures? What are some of the cultures that have influenced you?

I’ve traveled extensively through Africa, the Caribbean and Central America. I feel most connected to culture when spending time in countries and cities that hold onto their indigenous traditions. It is these indigenous cultures that have been my primary influence. I acknowledge and honor my indigenous roots in my artwork.

Have you exhibited your work in gallery settings?

Yes. I’ve shown my work in solo and group shows in the United States and in Puerto Rico.

How has the “art world” responded to you? Has it been receptive to your vision?

It has been. I feel that I’ve been able to find my own corner.

Any favorite artists?

My grandfather. He used to paint on coconuts falling from trees. Swoon is a particular favorite among street artists. And I love Whittfield Lovell – his portraits and his installations.

How has your work evolved — particularly in the past few years?

I’ve become increasingly engaged with the community.

Have you any particular theme that you attempt to convey in your work?

I’m interested in memory — in preserving it — especially in relation to our struggles. I like giving new life to found objects that embody cultural memory.

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

For myself as an artist – it is to offer experiences to people that take them out of their comfort zone. I want folks to think and not blindly follow trends.

And we certainly look forward to seeing your vision on our streets again!

Interview by Lois Stavsky; photo of Viajero on East 111 Street by Dani Reyes Mozeson; photo of completed Diaspora Mural courtesy of the artist; final two photos of artwork at the Julia De Burgos Cultural Center by Lois Stavsky

{ 3 comments }

Kids on Walls — Part III: Joe Iurato, Miss 163, LNY & Axel Void, Rene Gagnon, Ewok, Owns, RWK and more

December 30, 2013

This is the third in a series of occasional posts featuring images of children that surface on NYC public spaces:

Joe Iurato at the Bushwick Collective

And the completed piece

Miss 163 in Hunts Point, the Bronx

LNY and Axel Void at the Bushwick Collective

Rene Gagnon at Welling Court in Astoria, Queens

Ewok and Owns in Bushwick

Robots Will Kill in Bushwick, close up from huge wall by Chris, Veng and ECB

Unidentified artist in Chelsea — spotted last week

First photo of Joe Iurato by Tara Murray; final photo by Dani Reyes Mozeson; all others by Lois Stavsky

{ 1 comment }

Serringe on Element Tree, Graffiti, Jersey City, Video Production & more

December 26, 2013

I came upon Serringe’s artwork on the streets of Jersey City earlier this year. I soon discovered that he was the force behind Element Tree and dozens of first-rate videos. I was delighted to finally have the opportunity to meet up with him at his store in Weehawken — just minutes away from Manhattan.

Tell us something about Element Tree. When did it launch?

Element Tree started as a blog in 2009. I grew up in Jersey City around a bunch of talented people, and I needed a platform to post their work and share it with others in hopes of promoting them and myself. Artists like Snow, T.Dee, 4sakn, Loser, Then One, Mr. Mustart and Distort — to name a few. There are others, but these are some of the original artists I felt people should definitely know about if they already didn’t.

When did Element Tree become a store?

I rented the space in Weehawken in February 2012. If I can’t do graff 24/7, I want to be around it. I also like the idea of nurturing the culture and keeping it healthy, and this store gives me the platform to do that.

What inspired you to start your own business?

I have a strong entrepreneurial streak. I don’t want people telling me who the “real artists” are. I want to help the people – whose work I love — make money.

Besides the first-rate art that you show here, you also sell art supplies. What do you see as the future of this space?

I will continue to provide affordable art for folks who love graffiti and street art. Not everyone can afford to spend $1500 on a canvas. And I’m interested in providing opportunities for artists — such as commissioned murals, design work for album covers and general creative direction. I see Element Tree as a house of creative energy and incubator for ideas.

What initially spurred your interest in graffiti?

I was always into graffiti from the time I was six years old. My older brother was a writer for a short period of time in the 90’s, and he sparked my brain, along with all the other local writers that were doing their thing when I was a kid. If they could do it, so could I. When I was a young teenager, my mom became ill and begged me not to write graffiti on the streets. She believed in my art, though… so until I was 19 years old, I detached myself from graffiti out of respect for her. She passed in 2004 — and aside from the occasional tag, I know she would be proud of me.

Did you develop any other passions while growing up?

I grew up in 80’s and 90’s: DJs, producers, skateboarders, punk rockers were everywhere. I became interested in all kinds of creative expression, and I began to create home videos with friends as a way to explore filmmaking. Within the past three years, I created 140 videos.

And you also paint in public spaces these days. Since you began doing so, have you had any particularly memorable experiences?

Art Basel 2012. It was the first time I traveled to paint on a wall that was sponsored at a major art event like Basel. Art Primo powered us with the paint and Element Tree’s Mr. Mustart and Distort showcased their talents for all who passed by. It was great experience to paint among people we respected.

Have you exhibited your work?

I’ve been in a handful of shows, but Mustart, Then One and Distort stay doing their thing, showcasing and exhibiting through Element Tree-based projects and also on an independent level. We are currently working on setting up the first Element Tree official group show… so if you’re a gallery owner, don’t hesitate to reach out!

Any thoughts about the graffiti and street art divide?

Eventually they will meet. Street art is still a baby in relation to graffiti. There are many street artists I respect. Banksy is a genius! Other favorites include: Blek le Rat, Invader and Shepherd Fairey. Oh, and if you don’t know… check out LNY. I see good things in him.

How would you explain the reluctance of the art establishment to embrace graffiti and street art?

Most people don’t understand it, and if you don’t understand something, you don’t know how to deal with it.

What do you see the future of graffiti?

It can’t be stopped. And eventually, it will gain acceptance as a legitimate art form.

No doubt!

Interview and photos by Lois Stavsky, photos 1,2 and 3 of Serrenge; photo 4, Mr. Mustart; photo 5, Distort and final image, Then One.

{ 0 comments }