Walls

"Sonni in Seoul, Korea"

Brooklyn-based Argentinian artist Sonni Adrian has been delighting us New Yorkers with his brightly hued, delightfully playful aesthetic for the past two years. He recently had the opportunity to share his vision with the folks in Seoul, Korea. 

What took you to Seoul?

While attending a conference at Parsons last year, I met a young woman who was establishing a new gallery, Everyday Mooonday, in Seoul. When she saw my artwork, she thought I’d be a great fit for the gallery. She, immediately, invited me to exhibit there and to paint on the streets of Seoul. I was thrilled that the opportunity came my way.

What was the experience like 

It was wonderful. I loved everything about Seoul – its kind people, its fantastic food and the enthusiastic response I got to my artwork.

"Sonni in Seoul"

Can you tell us something about that?

My exhibit was super successful. And I had over three weeks to paint in public spaces. I am already looking forward to returning next year.

Was it difficult to find walls?

No. The government made them available to me. This was arranged through the gallery.

Sonni

Was there much of a language barrier between you and the folks in Seoul?

Most of the younger people speak English. And folks who don’t speak English often responded to my artwork with friendly smiles!

Since your return to NYC, you’ve exhibited with the new collective, Ñewmerica over at Exit Room NY and at Outdoor Gallery NYC over at 17 Frost.  Can you tell us something about that?

It’s basically a group of friends who love to work together. It includes LNY, Icy and Sot, Mata RudaNDA and me. We feed off each other’s energy and inspire one another. We have a show coming up in June over at MECKA Gallery here in Bushwick.

NewMerica-

That sounds great? Anything else coming up?

Right now I’m finishing up my first collaborative mural with Cruz here on Waterbury Street. I will be showing in a group exhibit up in Boston at Liquid Art House, a new space opening on May 6. I will be painting soon in Mexico and I am planning to return to Seoul in 2015.

Liquid-Art-House

It all sounds wonderful. Good luck!

Sonni interviewed by Lois Stavsky;  first three photos courtesy of the artist; photo from Ñewmerica mural at 17 Frost by Lois Stavsky

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Fumero

The rooftop of the 407 Bushwick, located at 407 Johnson Avenue, elevates the wonder and energy of street art. I recently had the chance to visit it and speak to its curator, Fumero.

You’ve transformed this rooftop into a vibrant canvas drenched with dazzling colors in an array of styles. How did this come about?

A friend of mine, dj and producer Onda Skillet, lives at the 407 Bushwick.  He was looking to bring some color to the rooftop that was covered mostly with old throw-ups. And I saw this as a great opportunity to bring the energy of the streets up to the roof.

Nicole-Salgar-and-Chuck-Berrett-and-Raquel-Echanique-at-the-407-Bushwick-street-art

You invited such a wonderfully diverse group of artists to paint here. Can you tell us something about how that came about?

In curating this rooftop, I chose artists whom I’ve met — and often worked with — throughout the years in different settings. I asked them to bring their distinct iconography with them. Some had never painted on walls before.

"Gumdrop and Whisbe"

You are consistently active on the streets. What is the appeal of the roof to you?  I remember catching glimpses of your pieces up here from street level and feeling frustrated that I couldn’t see more of them!

That’s part of the appeal. It incites interest. The roof is kind of a secret society. We are free to invite whom we want and no haters are allowed!

Cruz

Where would you rather paint – on the streets or on a rooftop?

I like them both.  They are different experiences. When I paint on the streets, I can engage people. But the roof has a distinct energy that I love.

"Craig Anthony Miller and Federico Cruz"

Your recent event Art in the Air, Music Underground, hosted by Aphotic, featured music, as well as art. Can you tell us something about that? How integral is music to what you are doing at the 407 Bushwick?

Its role is essential. The audio creations, performed by Onda Skillet with his Aerotropic label, were the perfect complement to the art. Opening rooftops to music and art is the next big thing! What’s happening here is a landmark. It is the future.

"JP O’Grodnick"

What about the location of the 407 Bushwick? Any thoughts about that?

The location couldn’t be more perfect. Bushwick is what the Lower East Side was 30 years ago. It’s the hub of cutting-edge art and music. The 407 Bushwick is the new CBGB.

Elle

What’s ahead?

More great energy, art and music! The second Art in the Air, Music Underground will take place this summer. The artists are already lined up, and we are now seeking sponsorship.

Fumero

It all sounds wonderful! What a great outdoor gallery NYC is!

Photos: 1. Fumero; 2. Nicole Salgar & Chuck Berrett with Raquel Echanique on right; 3. Gumshoe and Whisbe; 4. Cruz; 5. CAM and segment of Cruz; 6. John Paul O’Grodnick; 7. Elle, and 8. Fumero

Interview with Fumero and photos by Lois Stavsky; also featured on the roof of the 407 Bushwick are new works by Joseph Meloy, AOM, NS/CB, The Cupcake Guy, Rafal Pisarczyk and Robyn Henderson.

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The following guest post is by Houda Lazrak, a graduate student in Museum Studies at New York University.

"Icy and Sot"

As street art continues to gain legitimacy as a contemporary art movement throughout the world, New York City remains its cradle of birth and continues to attract artists from around the globe.  Gingko Press’s recently published Outdoor Gallery — New York City by author and photographer Yoav Litvin bears witness to the unmediated and diverse creative expression of New York City’s street art.  Thought provoking, comprehensive and aesthetically pleasing,  Outdoor Gallery presents hundreds of street art photographs, accompanied by interviews, featuring more than forty artists.

"Outdoor Gallery"

For two years Yoav immersed himself in the world of street artists, learning their visual language, engaging in their community and observing their habitus. Outdoor Gallery justly frames street art as a platform for disrupting society’s notion of the use of public space.  As the author states, street art is “a creative and non-violent form of rebellion.”

Toofly

The author provides us with a rare opportunity to view the artists’ actual process.  Yoav photographs artist Adam Dare’s steps as he installs his signature bunny paste-up on scaffolding in the dark of the night.  Jilly Ballistic, known for subway site-specific images, also agrees to guide us through a 9-step process of pasting an image of a city officer in the Astor Place metro station.

"Jilly Ballistic"

Although most of the photographs are taken soon after the images have surfaced, Yoav eloquently emphasizes the ephemeral nature of the art form in his opening commentary and throughout the interviews he conducted.  He also reminds us that street art is continuously at the mercy of many factors, such as neighborhood gentrification, weather conditions, vandalism and police intervention.   Photography serves as an ally in keeping the art works alive after they have faded or disappeared.

Hellbent

The book’s narrative also acknowledges and insists on the diversity of mediums, surfaces and messages embedded in the art pieces.  The interviews inform us of the range of intention behind the pieces.  For some artists, such as gilf!, Enzo & Nio, and Icy & Sot, political commentary is the rationale behind their work.  Alice Mizrachi, on the other hand, uses her large-scale murals to encourage community engagement. Finally, street art serves as a creative outlet and as a form of self-expression. Shiro describes her signature character as her “alternative self, reflecting [her] experiences and emotions as [she] goes through life.”

Never

This book provides remarkable insight into the motivations and the creative process of dozens of street artists whose works have surfaced in NYC. More than shedding light on the extraordinary talent of these artists, Outdoor Gallery inspires readers to discover for themselves the treasure trove of outdoor art New York City has to offer.

Outdoor Gallery — New York City can be ordered online at Amazon and is available from retailers worldwide including Low Brow Artique and Zakka in Brooklyn and Strand Books, the MoMA and Guggenheim Museum shops in Manhattan.

Images © Yoav Litvin 1. Icy & Sot in Williamsburg, Brooklyn; 2. Toofly in Bushwick, Brooklyn and in Astoria, Queens; 3. Jilly Ballistic process in underground metro; 4. Hellbent in Astoria, Queens & 5. Never Satisfied in Williamsburg, Brooklyn

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Currently based in Montreal, Canada, lilyluciole has been sharing her distinct vision and luscious aesthetic throughout the globe. We met up when she was in New York City.

Lilyluciole

When did you first begin to share your artwork in public spaces?

I began three years ago. I was living in Paris at the time and recovering from a painful operation. Creating art was a way for me to express my feelings and, at the same time, heal my psychic and physical wounds.

What inspired you to hit the streets?

I wanted to share my vision with others, while transforming public space in a positive way. I feel that I have a unique way of seeing the world. The first image that I pasted after I arrived Montreal in 2011 was a portrait of an African woman who represented survival amidst difficulties. She was a woman who remained faithful to her dreams despite adversity.

lilyluciole

Which cities have you hit since?

I’ve gotten my artwork up in Montreal, Paris, Berlin and New York City. And Eric Marechal has pasted for me in China, Brazil, Argentina and Mexico for Street Art without Borders and the ArtFabric. I was also involved in JR’s Inside Out Project in Sao Paulo, thanks to Eric and Fabi Futata.

What is the riskiest thing you ever did in the public art sphere?

I never think about it, so there are no risks.  What I’m doing is too important. Any “risks” that I take only enhance my viewpoint.

Lilyluciole

Do you belong to any crews?

I belong to Collective Offmurales, a Montreal-based collective made up largely of women. It includes a range of artists from yarn bombers to street artists –like Zola, Stela, Wall of Femmes, Camille Larrivée and Harpy. I also work independently of this crew on an informal basis with a gamut of artists including street artists, photographers and dancers.

Have you any favorite artists? Artists who’ve inspired you?

I’ve been in love with Swoon since I first discovered her. But there are many others I really appreciate. I have a great respect for artists who are passionate, who seek their own truth, who view the world critically and who connect to others’ realities – those whose lives and art are one.

Lilyluciole

Have any particular cultures influenced you?

Not consciously. But I suppose I’ve been influenced by African and European ones. My inspiration is rooted in my travels, in dance and in life, itself.

Are you generally satisfied with your finished piece?

Sometimes. But as soon as I’m finished creating one, I’m already thinking about the next one.

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

I began studying for a BFA in 2002, and I completed it in 2008. Yes, I’d say it was worthwhile, as it helped open me to many things, including the interdisciplinary fusion of techniques and genres, such as photography, fine arts and video.

lilyluciole

Have you shown your work in galleries?

Yes, mainly in Paris, because in Montreal galleries tend to focus on a select group of artists.

Any thoughts about the graffiti/street art divide?

I don’t understand it. I want to bridge the so-called divide.

How has your work evolved in the past few years?

It’s gotten lighter in tone.

lilyluciole

How does the street art scene in Montreal differ from the one here in NYC?

The street art scene in Montreal is new compared to the one here in NYC. It is still emerging, and it does not yet have the energy of NYC, Paris or Berlin. It has yet to open itself to the world. But it will.

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

The streets are what matter in this movement. But I’m not against the Internet as a tool to promote what’s on the streets. And I am grateful to all the photographers who document and share my work — the artfabric, Sylvain Borsatti, Alex TassotStreet Art Shooteurs and everyone else who has captured my work.

lilyluciole

Have you any feelings about the bloggers in the scene?

I’d like to see more discussion beyond a superficial level. Bloggers need to question the artists and listen to them.

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

To provide society with an alternate voice, an individual one. I see my particular role as blurring the boundaries among cultures.

lilyluciole-

What do you see as the future of street art?

It will become bigger and bigger and more socially conscious at the same time.

What about you? What’s ahead for you?

I don’t know, but I will continue to explore my identity, my sense of truth and my position as a woman and as an artist.  Women have a particular wisdom and perception of the world that come from their intuition. I hope to continue to broaden my distinct insights and express them through my art.

Interview conducted and edited by Lois Stavsky. Photos: 1. lilyluciole & Baubô in Paris by Alex Tassot; 2. lilyluciole in NYC by Lois Stavsky; 3. lilyluciole & Herard for ArtFabric in Buenos Aires with photography & Choice of collaboration by  Fabi & Eric Marechal; 4. lilyluciole & Ismaera in Paris by Alex Tassot; 5. lilyluciole in NYC by Sara Mozeson; 6. lilyluciole in abandoned space by Street Art Shooteurs; 7. ilyluciole in NYC by Lois Stavsky  and 8. lilyluciole and Keith QbNyc in NYC by Rachel Fawn Alban

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This is the second in a three-part series featuring first-rate graffiti walls that have recently surfaced in the vicinity of the Morgan stop on the L train:

Vor 138 at work

Vor138

Asend

Asend

 Logek

Logek

Doves

Doves

 Greg Lamarche aka SP.One

SP One

Yes1 at work

Yes1

Photos of Deves and SP.One by Rachel Fawn Alban; Vor 138, Logek and Yes1 by Dani Reyes Mozeson and Asend by Lois Stavsky

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A native of Barranquilla, Colombia, MICO is an undisputed pioneer of subway art. One of the first writers to get his name up in the early 70’s, MICO also used the trains that rolled through NYC to deliver powerful socio-political messages.

"Subway Outlaws"

When and where did you first get up?

It was back in 1970 inside Erasmus High School in East Flatbush, Brooklyn. I used a pen at the time and thought it was so cool!

What inspired you back then?

Our main inspiration was the idea of writin’ our names everywhere and becoming known or famous. Also, I had no other creative outlets for self-expression. My high school didn’t offer me any art classes, and that frustrated me. I also, began meeting other writers like Undertaker Ash, WG, King of Kools, Dino Nod, Half, DECO, and along with my new found Colombian friends, we decided to start competing with those other writers that were already hittin’ the neighborhood walls.

Mico

"Mico subway graffiti"

Any early memories that stand out?

My first MICO hit on a street wall with spray paint. I remember finding a can of silver paint in my building’s basement. And I used it to hit the base of a store window at the corner of Beverly Road and Flatbush Avenue.

What about your name? How did you come up with MICO?

Back in Colombia, there was a kid in my class who looked like a monkey. In Colombia, it is quite customary to be called a nickname, so we called him MICO, which means monkey in Colombia.  That guy actually did look like a monkey. Obviously, he didn’t like the idea of being called a monkey. My best friend and I decided to write MICO all over the school walls with white chalk — to drive this guy crazy. Once in NYC, and in need of a name to hit, I thought that if I wrote MICO all over NYC, and that guy from Colombia ever visited and saw “MICO” on NYC walls, he would probably get a heart of attack.

Mico

When did you begin hitting the trains? And why?

Early 1972. Remember — my friends at Erasmus Hall H.S. and I wanted to be famous. Once we started hittin’ the streets, my main writin’ partner MANI said, “If we hit our names in big letters with spray paint on the subways, our names will get around even more, and we will be even more famous.” The rest is history. Now the friendly competition we had engaged in with the other writers in East Flatbush became an all-city friendly competition with writers from the Bronx, Manhattan and the rest of Brooklyn. This friendly competition, however, began at the same time that a guerilla war against the NYC Metropolitan Transit Authority started — with life and death consequences.

You became known for your social and political messages – like “Hang Nixon,” and “Free Puerto Rico.” Can you tell us something about that?

From a young age, I always had a strong sense of social awareness and was sensitive to injustice the world over. I was always a newspaper reader. Once I started hittin’ the trains, I realized that I could use them as a vehicle to communicate socio-political stuff throughout NYC. And I did!

"Mico in Bogota"

Were you ever arrested?

Yes. Back in the winter of 1972, Slim 1, a young Chinese writer, and I were bombing a newly-found RR underground train yard at City Hall. Apparently, they already had a video surveillance camera down there, and they sent down a uniformed cop to chase us out.  We ran into the tunnel and made our way to Canal Street. But when we got there, Detective Steve Schwartz, the notorious detective of the MTA’s anti-graffiti force, was waiting for us.

Any other arrests come to mind?

In ’75 – after I’d stopped getting up on trains — I got arrested, along with another UGA member, for painting clandestine murals throughout NYC for a rally that was to take place outside the UN on November 1, 1975 in support of five Puerto Rican nationalists.  The following morning, William Kunstler, the most famous radical lawyer at the time, showed up in the courtroom and had a private conference with the judge at the bench. We were immediately set free.

Mico

What is the riskiest thing you ever did back then?

Probably having to climb down from the elevated tracks of the 4 train to the street in the cold winter while the cops were chasing me and others.

Were you involved with any crews?

In 1970, I co-founded with MANI, SALVAJES, the first all-Latino writin’ group in Brooklyn. It consisted of three Colombians and one writer from Spain. I also became the first writer from Brooklyn voted into UGA.

Mico

How did your family feel about what you were doing?

My mother did not approve at all. I was made homeless by a decision she made when I was 16. That is one of the reasons I spent so much time on the trains.

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

It’s bittersweet as it takes it out of its original vandalism context and brings it into the world of commerce. And instead of your work being in a public space for everyone to enjoy or hate, it now belongs to some collector who hides the work in his or her collection.

Mico

Have you exhibited your work in galleries?

Yes. My painting “MICOflag” was the first painting sold in the Razor Gallery in 1973. In fact, it was the first time in history that a spray paint masterpiece on canvas was purchased in an art gallery setting. I’ve also shown in other galleries and in the Chicago Museum of Science and Industry. In 2006 I was one of five US artists invited to participate in the 9th Havana Art Biennial.

In retrospect, have you any thoughts regarding the original school of writers?

We were the ones who sailed through unchartered waters. We risked our lives to the 600 volts of juice on the third rail. Part of our experience was to discover the various layups and train yards for the next generation of writers. It was interesting that every single one of us in the Original School — who took what were doing seriously — always had a sense of originality. We tried to outdo ourselves with the next masterpiece, and we also had a sense of respect and tolerance for the work done by other writers.

"Lava, Clyde, Bama and Mico"

What about the evolution of graffiti? What do you think about what’s happening these days?

I’m impressed!  Its technicality amazes me.

What about your art? How has it evolved through the years?

It’s evolved from letters to figures to abstract social realism, a style I began to develop in the mid 80’s.

"Puzzle Signature Collection"

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

It all comes from my head. I never use in-hand-sketches. I do sketch on paper…but usually it becomes a work of art in itself

What inspires you these days?

Societal issues that arise in everyday life. Justice and injustice.

Are there any specific cultures that have influenced your aesthetic?

Indigenous and urban.

Mico

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

His or her role is to express and convey ideas that need to be out there.  The artist is a recorder of historical events who gives these events an artistic twist.

What are some of your other interests?

My main focus these days is on my family, social and political realities and preserving nature.

If you were getting messages onto trains these days, what would your message be?

Why is there ALWAYS money for war, but not for education?

Why does the 1% continue to make life miserable for the other 99% — even if it means criminal behavior — AND get away with it?

What’s ahead?

More art.

Interview by Lois Stavsky with Richard Alicea; first image © Keith Baugh; all photos by MICO or Reserved Rights; photos 3 & 4 in Bogota, Colombia; all others in NYC

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"Dero-Ribs-Deem"

With the wicked wintry weather finally behind us, the Bushwick streets — in the vicinity of the L train’s Morgan station — have once again become a fresh canvas for both local and national writers. This is Part I of a three part series of what’s been happening:

Dero

Dero

Ribs GAK

Ribs

Deem

Deem

Slom

Slom

Bio of Tats Cru

Bio

Sebs

Sebs

Photos by Dani Reyes Mozeson and Lois Stavsky

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"Neighbors at New Museum"

The vision of Polish artist Pawel Althamer, the huge white space of the New Museum’s Fourth Floor gallery has become a vibrant collaborative canvas featuring a dynamic range of creative expression.  Visitors of all ages are welcome to participate and are provided with paint and drawing materials. Here are a few images captured last week:

New-Museum-Neighbors-paint

City-as-School’s Dea Sumrall joins the fun 

"Neighbors at the New Museum"

And then captures some close-ups

"New Museum neighbors"

"Neighbors at the New Museum"

Featured on the second and third floors of the New Museum are several of Althamer’s haunting sculptures and videos – many produced in cooperation with  community groups that he has worked with over the past two decades.

From the Venetians, an installation of life-size figures

" Pawel Althamer"

Self-portrait as the Billy Goat

"Pawel Althamer"

Self-Portrait in a Suitcase

"Pawel Althamer-self-portrait"

Another self-portrait, this one in collaboration with Paulina Antoniewicz and Jacek Taszakowski, as he looks out of the window on an imaginary childhood scene

"Pawel Althamar"

"Pawel Althamar "

If you bring a new or gently men’s used coat to be donated to the nearby Bowery Mission, admission is free!  But do hurry – as the exhibit ends April 13.

Photo credits: 1. Rachel Alban; 2-3. Daniel Reyes Mozeson; 4-5. Dea Sumrall; 6-7. Dani Reyes Mozeson; 8. Lois Stavsky; 9-10. Dani Reyes Mozeson

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"Natalia Rak"

We discovered the wonderfully talented Natalia Rak a number of months back at NYC Art Battles at 5 Bryant Park, where she was painting alongside Chor Boogie, Max Bode and Don Rimx. We instantly fell in love with her vibrant, realistic aesthetic.

When and where did you first get up in a public space?

The first time was four years ago in the small city of Turek, Poland. I only had a few cans of paint, and the walls were small. Some artists start with letters, and some begin with characters. I started with female faces. I just painted one-sided faces. I struggled with the lines!

What inspired you to start painting on walls?

My boyfriend, Bezt, inspired me. I was watching him while he was working with his Etam group in an abandoned place, and he persuaded me to try. It was a frustrating lesson in humility!

"Natalia Rak"

How does your family feel about what you are doing?

My parents do worry when I paint way up high, but they are supportive. They display all my canvases on their walls, even when they don’t understand them. They are proud of my successes, but they are also concerned about my living “the life of an artist.” Their image of the artist is of this struggling person who spends all his money on art supplies, and then when he’s not painting, drinks or uses drugs. And they have a point! There is little money for art in Poland.

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

Coming from a small town in Poland, I didn’t grow up with graffiti. And I didn’t think much of it. But now that I’m painting on walls, I’ve come to appreciate it. It’s quite different, though, from street art.  Street artists get invited to paint legal murals, while graffiti artists generally work independently. And with graffiti, quantity is as important – if not more so – than quality. Street art is more acceptable.

"Natalia Rak"

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

It’s great. Street art is on the streets, of course, but the artists can also bring their styles and energy to canvases and other media to make their artwork available to people who would love to own it. Galleries are also a way for artists to gain recognition. In Poland there’s hardly any art market. It’s difficult to sell anything here. I’ve had more success selling art outside of my country.

Do you prefer working alone or with others?

I prefer working alone with music. Painting collaboratively seems difficult to me, but I want to have that experience.

"Natalia Rak"

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

The Internet invites me to see other cultures. I particularly like Asian cultures. I also enjoy seeing the impact my art has on others – people I don’t even know. I recently saw a photo of a man in Mexico with one of my images tattooed onto his arm. That made me feel so good! Fans push me to create. It’s good to hear opinions about my art too. I have, or try to have, conversations with other artists online.

Are there any particular cultures that influence your aesthetics?

Not a culture but period of art. When I paint, I think of the Secesja, or the Secession period, in Barcelona. The buildings look like plants or nature. When I first started studying the history of art, I was inspired by Jacek Malczewski. Later when I became familiar with Fauvism, I became interested in the combination of colors. Recently, I’ve become interested in Norman Rockwell’s paintings, the way he showed emotion in different situational scenes.

"Natalia Rak"

Do you have a formal arts education?

Yes, I have a degree in Fine Arts from the University of Lodz. I also studied illustration, comic art, package design and silk screening.

Have you any other any other passions or interests?

Playing computer games. I like playing Battlefield 3. I plan to get Battlefield 4 and League of Legends. My black guitar is still waiting for me in my room. I also like cooking in my free time for friends and trying new dishes.

Do you work with a sketch in your hand?

I work with photos using Photoshop. I enjoy realistic works. I have many ideas in my head. And computers make it easier for me to change colors and composition. Normally, I don’t have a sketch.

"Natalia Rak"

Are you generally satisfied with your work?

Hard to say.  When I look at a finished piece, I often find some detail that — I feel — can be changed. But I might be out of energy or already thinking about my next wall. And I always think about how I can do better! I can say, though, that I’m more satisfied now than I was a few years ago. I can see my progress.

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

I really like it when a photographer focuses on the work. I don’t like having my face shown in photographs. And I think it’s great that the images are out there and that so many young people are getting into this modern art movement.

What’s ahead?

I’ve been very busy these past few months working on my first solo exhibit, Through the Looking Glass. I’m excited and nervous at the same time. It opens Friday, April 11, at Pretty Portal in Dusseldorf, Germany. I finished six new canvases and I’ve prepared three prints. I hope everyone can find something that they like. I am also planning to paint three walls in the months ahead – but we shall see!

"Natalia Rak"

Good luck! It sounds great and we hope you make it back to New York City soon.

Interview conducted by Lenny Collado and edited by Lois Stavsky; all images courtesy of the artist. 

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"Belin and King Bee"

We’ve been huge fans of the Spanish artist Belin since we came upon his collaborative venture with Kingbee up in the Bronx awhile back. More recently, Belin was back in NYC painting in midtown Manhattan. That’s where we caught up with him.

When and where did you start getting up?

I started bombing the southern part of Linares, a small town in Andalusia, Spain in 1995. I was 15 at the time. I first went by the name Slam.

Who or what inspired you at the time?

I was always drawing. But then I discovered a black and white magazine produced at the time called Explicit Graff. It changed my whole mentality. I just wanted to get up in my city!

Belin

What was your first graffiti crew?

My first crew was LR—Linares Rompe. There were about three or four of us.

Do you have any particularly memorable graffiti memories from back then?

Yes. I remember getting a call from Lechu, a graffiti writer from Ubeda, Spain. Someone had told him I did graffiti. We talked, and he then rode on his motorcycle to Linares to paint with me. That was the first of many trips that he took! There was also Frejo, who tagged “Rasta.” He was from my same hood. He introduced me to rap and basketball. That was around 1997.

Belin

What did your family and friends think about what you were doing?

My family thought nothing of it. And the preppie kids I hung out with in my neighborhood took no interest in what I was doing. My friend was Frejo.

How much time of your time is devoted to art these days?

I work on my art all the time. If I’m not doing it, I’m thinking about it.

Belin

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

Graffiti is freehand spray-painted letters. It is a form of street art, but street art is not graffiti. Street artists, like Banksy, often have a political or social agenda. Graffiti is primarily one’s name.

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

It works for me. It’s art either way. The artist needs to eat, too. Gallerists make money for the artists, as well as for themselves. They know how to talk and sell art. And it’s a lot about knowing how to talk. Unfortunately there are weak artists who sell because someone knows how to talk them up, while others, who are quite good, can’t even get into galleries.

Belin

What inspires you these days?

The urban environment inspires me. New York inspires me.  There is a lot of energy here. And people are always awake.

How do you feel about collaborations?

It depends. I like to work with other writers on murals. But when I’m in the studio, I like to work alone.

Are there any particular cultures that have influenced your aesthetic?

No. Everything influences me. I watch documentaries.  I listen to music. I read the news. I observe people on the streets. It all comes together in my work. My daily life is my inspiration.

Belin

Do you have a formal arts education?

No. I failed school. I liked painting and hanging with my friends more. And I was quite athletic. I played a lot of basketball and even got my black belt in karate. I think that’s why I enjoy graffiti so much. It’s about physical movement and creation and beauty. It’s like dancing.

Do you work with a sketch in hand?

I never used to. My work was mostly freestyle. But these days, I like to plan my work in advance.

Belin

And you generally satisfied with your work?

Yes!

Have you any thoughts on the role of the Internet in all this?

I feel good about it. It helps my art reach people and it’s a great resource.

How do you feel about the bloggers and photographers of this whole movement?

They are important. They help the artists get places.

Interview conducted by Lenny Collado and edited by Lois Stavsky. Photo credits 1.  Lois Stavsky;  2. & 5.  Dani Reyes Mozeson; all others courtesy of the artist

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