Walls

Speaking with Esteban del Valle

August 1, 2013

Currently based in Brooklyn, Chicago native Esteban del Valle is an interdisciplinary artist whose public artworks have surfaced in NYC, as well as in Chicago, IL, San Antonio, TX, and Kansas City, MO. We first came upon his extraordinary work at 5Pointz in Long Island City, Queens.

When and where did first get up?

I was in junior high school back in Chicago when I did my first tag on a school bench. I was soon hitting the back of K-Mart and piecing under nearby bridges.

What inspired you to hit the streets? Have you any early graffiti memories?

I was in sixth grade when I saw a legal wall in Chicago’s Ukrainian Village that was all graffiti. I thought, “Wow! I want to do something like that!”

Back in Chicago, did you paint alone or were you part of a crew?

Both. Just about all the guys I went to school with were into hip-hop. We called ourselves FYM (Free Your Mind).

What percentage of your time these days is devoted to art?

120%

Is art, then, the main source of your income?

Yes, I sell studio work. I do commissions and I work for Groundswell, an organization that engages youth in creating community murals.

How does your family feel about what you are doing?

They’re fine as long as what I do is legal.

Any thoughts about the graffiti/street art divide?

I love both. But what I especially love about street art is that it inspires people to take to the streets to do more than just their names.

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

It’s fine. Artists need to make a living from their work. But once it’s in a gallery, it isn’t “street art” any more.

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

For the same reason public intellectuals are valued in Europe. There’s a greater appreciation of culture, in general. And the Europeans have different notions of public space.

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

It’s great. It makes art accessible to so many.

Have you a formal art education?

I have a BFA in Art History and Painting from Southern Illinois University and a Masters Degree in Painting from the Rhode Island School of Design.

What inspires you these days?

Innovative music and performance art are my main inspirations. The Mars Volta and Geo Wyeth come to mind.

Are there any particular cultures that have influenced your aesthetic?

Hip-hop and Chicago’s rich mural culture.

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

I don’t like to work from sketches. I’d rather sketch on a wall. But much of what I do has to be pre-approved, and so I need to have a basic drawing of what I plan to paint.

Are you generally satisfied with your finished piece?

Yes. I push it until I feel satisfied.

How has your work evolved through the years?

I’ve begun to develop my own language. I’m more experimental and I’m more about moving to do what challenges me.

Any favorite artists?

Many. Among them are: Carrie Moyer, Haig Aivazian, Jayson Musson, Trenton Doyle Hancock and Dave McKenzie.

What about those who work in public spaces?

Os Gemeos and Poser aka Pose MSK are among my favorites.

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

To challenge and to contribute to the collective thought.

What’s ahead?

More art. More income from art. More traveling and, generally, doing what I want to do.

Interview by Lois Stavsky. All photos courtesy of the artist, except the first one at 5Pointz by Lois Stavsky

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It’s Happening at 5Pointz: Rimx & Nepo, Kid Lew, Jasper, Demer, Rain & Kasso, Nok Crew, Serrano, Mas Paz, Rimx & Cortes and Zeso

July 26, 2013

The walls at 5Pointz continue to showcase some of the most vibrant public art in NYC — or anywhere. Here’s a sampling of some artwork that has recently surfaced:

Puerto Rican artists Rimx and Nepo

Queens-based Kid Lew’s tribute to Trayvon Martin

Jasper — in from Queensland, Australia

New Jersey-based graff masters Demer, Rain and Kasso

The Parisian Nok Crew

Serrano, Mas Paz, Rimx and Cortes fashion letters “PROC” for the Artist Process, a 5Pointz annual project coordinated by Marthalicia Matarrita

Close-up from huge mural by French TD4 member, Zeso

Photos by Dani Mozeson, Tara Murray & Lois Stavsky; image of Ked Lew’s mural courtesy of the artist

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Speaking with Miss 163

July 24, 2013

A graduate of Cooper Union and a Fulbright scholar, Bronx native Sharon de la Cruz aka Miss 163 is a passionate artist and activist. Her first solo exhibit, Wild Thing, can be seen through August 11th at bOb’s at 235 Eldridge Street on Manhattan’s Lower East Side. Her most recent public mural surfaced last month on Boone Avenue in the Bronx.

When and where did you start getting up?

I was 17 and living in Florida. Life was dull. My mom bought me my first spray can and told me I could paint a landscape on the back fence.

How did that turn out?

It was terrible. I hated the way it looked. I was instantly discouraged and started bombing.

What, then, inspired you to start painting in public spaces?

During my junior year in college, I went to Amsterdam. I saw amazing — different — graff there, and I began to think of graffiti as art.

It seems that Europeans, in general, tend to respect graffiti as an art form far more than we do here in the States. Why do you suppose this is so?

Here — from early on — it was regarded as a symbol of chaos and vandalism.

We’ve seen your artwork in Brooklyn, in the Bronx and at 5Pointz. Where else have you gotten up?

I’ve painted all over Lima, Peru.

Did you paint alone in Lima or were you with a crew?

I painted with Maripussy Crew. There were six of us – five graffiti artists and one rapper. It was wonderful!

What is the riskiest thing you’ve done?

Painting way up high in Lima while standing on a rickety, wobbling ladder. It was not a good feeling!

Do you prefer to work on legal walls or on unsanctioned spaces?

I try to achieve a balance. It depends on the setting. But legal walls don’t have to be done in a rush and in the dark. And that’s an advantage.

Any thoughts about the movement of street art and graffiti into galleries?

It’s a different experience than painting on the streets. But I’d expect it to feel different. And that’s okay!

You designed a limited edition perfume bottle for Calvin Klein’s CK One Shock Street Edition For Her. How do you feel about the merchandizing or branding of graffiti?

It’s okay. In the past, it helped me pay off loans.

What percentage of your time is devoted to art?

When I’m not doing it, I’m thinking about it.

Any thoughts about the graffiti/street art divide?

I think it’s silly. And as graffiti continues to evolve, the lines between the two continue to blur.

Why do you suppose the “art world” remains reluctant to accept graffiti as a legitimate art form?

Because it’s participatory, political and immediate, it is seen as a threat.

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

I love it. One of my early inspirations was the Art Crimes web site.

Have you a formal art education?

Yes, I studied at LaGuardia High School, Dreyfoos School of The Arts and at Cooper Union.

Was your formal art education useful?

Absolutely. It encouraged me to evolve and explore. There’s nothing like being around people who believe in you and feel excited about what you are doing.

What inspires you these days?

I’m inspired by animation, cartoon characters and color. In terms of themes, I’m concerned with “sister strength.” Raising and answering the question, “What does it mean to be a strong woman?”

Are there any particular cultures that have influenced your aesthetic?

Brazilian, Peruvian and Old School Graffiti

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

My basic idea comes from a sketch, and from there it flows.

Are you generally satisfied with your finished piece?

Barely. I’m never satisfied.

How has your work evolved through the years?

I’m more willing to experiment, and my artwork is more detailed.

Any favorite artists?

Among them are: Inti, Nunca, Kano, Anarkia, Miss Van and my crew, Maripussy.

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

A main role is to highlight issues and create a space for solutions.

Interview and final photo by Lois Stavsky; all other photos courtesy of the artist.

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Guys on Walls, Part II: Chris RWK, Luv1, RAE & Abel Macias, Zimer, Magda Love, the Dude Company, Owen Dippie, Ces and Icy & Sot

July 21, 2013

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

Chris RWK at the Woodward Gallery Project Space on Manhattan’s Lower East Side

Luv1 at the Bushwick Collective

RAE and Abel Macias in Bushwick, Brooklyn

Zimer does James Gandolfini at the Bushwick Collective

Magdalena Marcenaro aka Magda Love in Cobble Hill, Brooklyn

The Dude Company does Talib Kweli in DUMBO, Brooklyn

Owen Dippie in the Tremont section of the Bronx

Ces at Hunts Point in the Bronx

Icy and Sot in Prospect Heights, Brooklyn

Photos by Tara Murray and Lois Stavsky

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The Graffiti Hall of Fame 2013

July 16, 2013

For over 30 years East Harlem’s Graffiti Hall of Fame has been home to hundreds of stylish masterpieces. This past weekend, generations of fans and writers came together — once again — at 106th and Park to celebrate the extraordinary art movement that began here and continues to impact the world. Here is a selection of images captured at the event:

1983 Wild Style mural by Zephyr, Revolt and Sharp recreated by KingBee and Vase1

Hef and Per1

Rain and Demer

Muse, Wallnuts

Kais

The Cone

Craze, Reo, Page3 and Eazy

Nic 707 and Tony 164

One of many talented break dancers

In front of the main mural celebrating the 30th anniversary of the film Wild Style

Final photo courtesy of Scott Richardson; other photos by Dani Mozeson, Tara Murray and Lois Stavsky

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Speaking with Kyle Hughes-Odgers

July 11, 2013

Australian artist Kyle Hughes-Odgers creates enchanting public artwork and exhibits his work in galleries across the globe. With strikingly beautiful patterns in luscious colors — fusing figurative, abstract and narrative elements — he engages us visually and intellectually. We had the opportunity to speak to the talented artist on his recent trip to New York City, where he left his mark at the Bushwick Collective and on nearby rooftops.

When and where did you start getting up?

In 2005, I started with wheat pastes and stickers in Perth and Melbourne.

What inspired you to get up?

I was always drawing and painting. I saw doing street art as an immediate way to get my work out into a public forum.

Any early graffiti-related memories?

I was more interested in comic books.

What inspires you these days?

Everything. Architecture, patterns, narrative, decay…

Any preferred spots or surfaces?

I love rundown abandoned spaces with unique textures. One of my favorite spaces was an abandoned French mansion in Cambodia.

Have you exhibited your work in gallery setttings?

Yes. Shortly after I got my work up on the streets, I started showing work in galleries. I’ve had solo shows in Perth, Melbourne, Berlin and Amsterdam. And I’ve participated in group-shows all over the world.

What percentage of your time is devoted to your work?

I’m a full time artist. I work on gallery exhibitions, private commissions and large scale public art work. I also recently illustrated a children’s book.

Any thoughts about the street art/graffiti divide?

I don’t really focus on whether or not there is a divide. I’m open to anything creative.

Do you prefer working alone or collaborating with others?

I like working alone, but I think it is important to collaborate.

Any thoughts about the role of the Internet in all of this?

I think the Internet is great. It’s an amazing resource to access what’s happening all around the world.

Are there any particular cultures that have influenced your aesthetic?

None that I’m conscious of.

Are you generally satisfied with your finished piece?

Sometimes.

How has your work evolved through the years?

My first work was hand-drawn characters on brown paper. But then, as I started hanging out with people who use spray paint, I became more interested in texture and colors and learned more about how to use the medium.

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

It is the role of the artist to document our existence based on his or her observations.

Have you any thoughts about the role of the photographer?

It is very important. Street art is so ephemeral that if it’s not documented it’s as if it didn’t exist.

What do you see as the future of street art?

The lines will continue to blur between the different art genres.

Any favorite street artists?

There are many; but some of my favorites are Aryz, Escif, Roa, Phibs and Beastman.

What’s ahead?

More gallery shows, more installations and ten-story high pieces.

Good luck! It all sounds great!

Photos courtesy of the artist.

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Faces in NYC Public Spaces, Part III: Pose & Revok, Ever, Vexta, Cern, Mata Ruda & ND’A, Crystal Clarity, Danielle Mastrion and Phetus

July 7, 2013

This is the third in an ongoing series featuring the range of faces that surface daily on NYC’s public spaces:

Pose and Revok on the Bowery and Houston, close-up

Argentinian artist Ever on Williamsburg rooftop, close-up

Australian artist Vexta at Welling Court in Astoria, Queens

Cern on truck spotted on Manhattan’s Upper West Side

Mata Ruda and ND’A at Welling Court in Astoria, Queens

Crystal Clarity on Lower East Side rooftop

Danielle Mastrion with signature by El Niño de las Pinturas at 5Pointz in Long Island City, Queens

Phetus in Bushwick, Brooklyn

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

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Speaking with Facter

July 4, 2013

Fletcher Anderson aka Facter, the Melbourne-based artist, writer and editor of the popular webzine INVURT, recently spent some time in NYC during his extensive travels. While he was here, we had the opportunity to speak to him.

When and where did you start getting up?

I began bombing when I was about 14 back in 1989 in Perth, Western Australia. I was crap – terrible at doing anything more than tagging. I took an eight-year break to concentrate more on writing, and then about six years ago, I went back to it.

What inspired you back in Perth?

When I was about eight years old, my sister was seriously into graffiti — like everyone else — and turned me on to the movies Beat Street and Wild Style. Then, when I was in high school, just about everyone I knew was bombing, so I fell into it, as well.

Have you any preferred spots?

I’ll paint anywhere and everywhere.

Have you ever been arrested?

Never for actually painting or bombing. A few years after I began painting, though, I was busted when I was caught up in a house raid where stolen paint was stashed. I got off as I wasn’t involved in the theft, but things went a bit south from there and I moved up to Queensland to get away from it all. In hindsight that was kind of fortunate, as that’s where I really discovered my love of art .

How do your folks feel about what you do on the streets these days?

They love what I do and are very supportive.

What percentage of your time is devoted to art?

I work nine to five as a Business Analyst – it pays the bills. But it also helps fund different projects that I help make happen via my webzine, Invurt. After 5pm every night, I’m either blogging about the street art scene in Australia and NZ, writing and editing Damn It! Magazine with Jo Jette, or drawing. Weekends are full of more painting, and checking out gallery shows and attempting to have a personal life outside of it all…haha!

How does the street art scene here in NYC compare to the one back home in Melbourne?

I really do love the NYC scene. And as I’ve only scratched its surface, I hate to generalize. But there does seem to be more openness and tolerance in Melbourne. And it does feel like the scene back home has less of a competitive nature. Melbourne is a very cultured city, and most people try to work together towards the same goals of furthering the art they love – which is great.

Have you any favorite cities?

The Mission in San Francisco is amazing. NYC and the Bushwick Collective are brilliant. I love Boston. I find the people there so generous and helpful. Oslo was great fun, as were Tartu, Estonia and Valka/Valga That said, I especially love Hosier Lane and Aerosol Alley, back home in Australia.

Any thoughts about the street art/graffiti divide?

I hate the idea of a divide. The media and governments spent 30 years waging a war against graffiti. They couldn’t just turn around and let it go, so they came up with the term street art to save face and try to differentiate between things they liked and things they didn’t. Suddenly there was this whole big deal about it all, and it saddens me. If it’s on the street, and it’s art, then it’s all “street art” – even graffiti. And anyone that thinks graffiti isn’t art is… well…

Wow! That makes so much sense!

At the end of the day, we all love to paint walls, so we all have that in common. What’s the point in having any kind of beef against anyone who has that love?

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

Once it’s in a gallery, it’s not street art anymore – plain and simple. It’s a street artist exhibiting street art – derived work in a gallery. I think it’s great that more and more street artists are getting the opportunity to exhibit in galleries. Everyone wants to get paid for doing what they love to do – and it’s about time that they were recognized as the talented creatives that they are.

Have you exhibited your work?

I have had lots of group shows and solo shows in Australia, and I was in one group show in Toronto. My aim next year is to be involved in more shows outside of Australia.

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

I love it. Street art is the world’s first “as it happens” global art form. I honestly don’t think that the whole phenomenon would be what it is without the Internet.

Have you a formal art education?

Yes, but I never use it – I went off on a tangent long ago.

What’s the riskiest thing you ever did? And why did you take that risk?

Doing run-ups on trains always felt pretty risky. And I did it because trains are big, shiny and boring. One day, I hope, all the trains will be legally painted by the artists who were once arrested for doing so.

What inspires your aesthetic these days?

Science fiction, ancient cultures and robots. I’m also a huge dinosaur lover… haha.

Are there any particular cultures that have influenced your aesthetic?

I grew up in the middle of nowhere near an aboriginal community – in a place in the Northern Territory of Australia called Nhulunbuy. I learnt the value and beauty of traditional cultures from an early age. Mayan and Maori art have been a huge love since I was a kid – which is why I just spent three months in Central America visiting the ruins, having my dreams of seeing them for myself fulfilled.

Do you work with a sketch in hand?

No, I usually just let it flow. I like to surprise myself – lately though, as I’ve been travelling I’ve been starting to think about my planning a bit more, due to having limited time to fuck around on a wall … it’s a different approach for me.

Are you generally satisfied with your final piece?

Hell, no!

How has your work evolved through the years?

I’ve always had a distinctive style since I first started, but I continue to refine it – I think it has enormous scope for me to do some cool things with.

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

To visualize the collective dream.

What do see the role of the street art blogs?

In 20 years from now, I’m hoping that they will all serve as an amazing resource and snapshot of a brilliant art movement as it happened. That’s why I love writing about it and documenting it, and the only reason I do it.

That sounds right! What do you see yourself doing in five years?

More of the same of what I’m doing now! Writing, documenting, painting. Hopefully I’ll be doing more shows, travelling and painting amazing spots. I also look forward to helping launch and participating in bigger projects with more artists in Melbourne.

Photos: 1. Valka, Latvia 2. Oaxaca, Mexico 3. the Bushwick Collective 4. & 5. Oslo with Sinnskyshit 6. Boston; all photos courtesy of the artist, except Bushwick Collective by Lois Stavsky

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Guys on Walls: Icy and Sot, Nick Walker, Meres, SinXero & Joe Conzo, Fumero, Tito Na Rua, Belin & Kingbee and Erik Den Breejen

July 2, 2013

This is the first in a series of images of males who surface on NYC public spaces:

Icy and Sot at the Bushwick Collective

Nick Walker on Manhatan’s Lower East Side

Meres at 5Pointz in Long Island City

SinXero and Joe Conzo do the Cold Crush Brothers in the Bronx

Fumero at the Bushwick Collective

Tito Na Rua on Lower East Side rooftop

Belin and the Royal Kingbee in the Bronx

Erik Den Breejen does David Bowie in NoLita

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

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Bushwick Graffiti Mural Tribute to NEKST Takes It to the Next Level: Pose, Dabs Myla, Rime, Dmote, El Kamino, Vizie, Wane, Revok & more

June 30, 2013

An astonishing array of first-rate murals have transformed three Bushwick blocks into a spellbinding tribute to the late graffiti writer NEKST. Here’s a selection of the varied, strikingly stylish murals — many fashioned by MSK members — that recently surfaced in the vicinity of the L train’s Morgan Avenue station.

Pose