Walls

Faces in NYC Public Spaces: Jess Busj, Russell King & Matt Siren, Mata Ruda, Joseph Meloy, Toofly, Daek and Cekis

June 23, 2013

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

Australian artist Jess Busj at 5Pointz in Long Island City, Queens — close-up

Russell King and Matt Siren at Welling Court in Astoria, Queens

Mata Ruda at the Bushwick Collective

Joseph Meloy at 5Pointz in Long Island City, Queens

Toofly at the Bushwick Collective

Australian artist Daek on Manhattan’s Lower East Side

Nelson Rivas aka Cekis in the Hunts Point section of the Bronx

Photos by Lenny Collado, Tara Murray and Lois Stavsky

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Bortusk Leer Brings his Lovable Monsters to NYC

June 19, 2013

NYC became a bit more colorful and joyful these past few weeks, as Bortusk Leer’s lovable monsters found their way here — both on the streets and at CULTUREfix on Manhattan’s Lower East Side.

When did you first start getting your artworks up in public spaces? And where?

In 2006 in London.

What inspired you at the time?

I was working at the Leonard Street Gallery, where I became friendly with lots of street artists. And both Sweet Toof and Cyclops said to me, “Why don’t you just put your work out on the streets?” And so I did. I began stenciling pigeons onto newspaper and cardboard and stuck them up. The monsters came somewhat later.

Your monsters are quite joyful!

Yes. I was seeking an antidote to all the negative images that I passed daily on the streets. I wanted to get something out there that would cheer folks up.

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

Most of it. Between commissions and art sales, I’ve been earning enough money to be a full-time artist.

Have you a formal art education?

Yes. I studied art in a formal setting for six years. First at Canterbury Tech and then at the Falmouth College of Arts.

Any thoughts about the move of street art into galleries?

In my case, I was exhibiting artwork in galleries long before I shared it on the streets. It’s a different experience. I certainly don’t have a problem with street artists selling their work in galleries.

Any favorite cities?

Amsterdam – where I’m based these days. It has everything a big city has – without its madness.

How has your work evolved in recent years?

It’s become more stylized. I’m actually trying to loosen up a bit.

Are you generally satisfied with your finished piece?

Generally, yes!

How would you describe your ideal work environment?

Lots of music, space and light!

What inspires you these days?

Everything! I can’t stop drawing.

Are these any particular cultures that have influenced your aesthetic?

I love the primitiveness of ancient cultures. And I’ve also been influenced by cartoons!

Any favorite artists?

I love Picasso. And I’ve been particularly inspired by the members of the CoBrA Movement and the works of one of its founders, the Dutch painter, Karel Appel.

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

It’s a good tool for networking and a great way to find out what’s happening.

Any thoughts about the graffiti/street art divide? Is it apparent to you?

There is a divide, but it doesn’t really affect me. Graffiti, I feel, demands greater technical expertise. And I can understand why graffiti writers might resent street artists who gain acceptance more easily. But I do feel that both forms will eventually merge into one.

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

Many roles! But mine is to cheer people up.

Bortusk Leer’s lovable monsters remain on exhibit at CULTUREfix through Sunday.

Photos by Tara Murray and Lois Stavsky

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eL Seed: from Tunisia to NYC

June 18, 2013

As part of the fifth edition of the World Nomads festival, Tunisian artist eL Seed brought his soulful, lyrical calligraffiti to NYC last month. With its synthesis of Arabic writing, calligraphy and graffiti, eL Seed’s distinct style made its way to Manhattan’s Lower East Side and to 5Pointz in Long Island City, Queens. While he was here, we had the opportunity to ask him a few questions.

When and where did you first get up?

I started in the late 90’s in the suburbs of Paris. I was 16.

What inspired you to do it?

As a B-Boy, I was into the whole hip-hop culture. And I always liked art.

Have you any early graffiti memories?

A standout is when Zefa from the GAP Crew painted me doing a head-spin.

Any favorite spots?

I especially like abandoned places.

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

I do everything freestyle.

Do you prefer working alone or would you rather collaborate with others?

I tend to work by myself, but I also love collaborating with others.

What is the attitude of your family towards what you are doing?

I studied business at the university, and then I worked as a business consultant. My parents were somewhat concerned when I left that world. But now, when they see how happy I am, they’re fine about it.

Any thoughts on the graffiti/street art divide?

I don’t like the definitions. I don’t like the terms.

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

On one level, it’s cool because it gives us opportunity to share our vision with other people. But, on the other hand, artwork loses its context when it’s online

What is the riskiest thing you ever did?

Painting on top of a mosque 47 meters high in Tunisia.

Why were you willing to take that risk?

It was a way of returning to my roots.

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

I do everything freestyle.

What inspires you to paint in public?

It’s a quest for identity. I was born and raised in France, but French people tell me that I’m not French – that I’m Arabic. And I want to maintain pride in my native culture. I do not want to lose it. That’s a reason why I write in Arabic.

Do you have a message to convey?

Despite our differences, we are all the same. We’re all human and we all have the same struggle.

How has your work evolved through the years?

I’ve learned to adapt to any surface, and the flow and shapes of my letters keep on evolving.

You’ve travelled to many cities. Have you any favorites?

My favorite city is Gabes in Tunisia. I have a strong emotional connection because it’s my family’s native land.

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

I’d rather paint on walls, but to sustain myself, I’ve shown in galleries.

What are some of your other interests?

I love to cook. I cook everything for my family. And I love to read, especially about history.

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

To give visual expression to what people think. The artist is the ambassador of our society.

Photos by Dani Mozeson, Tara Murray and Lois Stavsky; the fourth photo also features Meres and Jaye, along with eL Seed, and the fifth features a collaboration between eL Seed and Jaye

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A Whirl of Walls Marks Welling Court Mural Project’s Opening Festivities: with Icy & Sot, Chris Cardinale, Vexta, Cern, Queen Andrea and more

June 16, 2013

The Welling Court Mural Project officially launched its fourth year yesterday with a wide array of wonderful walls fashioned by a remarkable range of artists. Here are a few of the dozens that continue to alter the visual landscape of this Queens community:

Icy and Sot — wall in progress

Korel and Honexl Xi

Christopher Cardinale at work

R. Nicholas Kuszyk

Vexta at work

Cern

LMNOP

Queen Andrea

You can help fund Ad Hoc’s wonderful work in collaborating with members of the Welling Court community and the dozens of artists who made this project possible by making a donation here.

Photos by Tara Murray

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4th Annual Welling Court Mural Project Kicks off Tomorrow with Wondrous Art and Huge Block Party

June 14, 2013

One of NYC’s most spirited public art events celebrates its fourth year tomorrow with a huge block party at Welling Court in Astoria, Queens. For the past week, dozens of artists have been busy at work for this dynamic project, curated by Ad Hoc Art. Following is a glimpse of what we saw earlier this week:

Billy Mode and Chris Stain

Toofly at work with Fumero to the left

Lady Pink at work

Alice Mizrachi and Olek

The Royal Kingbee at work

Logik One at work

Dan Witz

Dennis McNett, close-up

Keep posted to our Facebook page for many more images in the week ahead.

Photos by Tara Murray

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Speaking with Al Diaz on Graffiti, SAMO©, Word-play and His Upcoming Workshop for “Writing On It All” on Governors Island

June 12, 2013

Veteran NYC graffiti writer Al Diaz will be a featured artist this Sunday, June 16^th, in the exciting Writing On It All project at Governors Island. We recently met up with Al who spoke about his early years as a graff writer on the Lower East Side and his text-based graffiti, rooted in his early collaborations with the legendary Jean-Michel Basquiat.

When and where did you start getting up?

Back in 1972 on the LES. I was 13. I hit mostly trains and trucks back then.

What was your tag at the time?

Bomb-One.

Is that because you were bombing lots?

No. That term didn’t even exist at the time. My friends gave me that name because I used to panic and blow-up.

What inspired you to get up back then?

My cousin was close-friends with Snake 1. And we spent a lot of time with him and other writers up at the Writers Corner 188 in the Heights.

Do you have a formal art education?

As a kid, I took painting and drawing classes, and I went to the High School of Art and Design.

Have you ever been arrested for graffiti?

Once they picked me up and held me over night in Coney Island. But, no, I was never arrested for graffiti.

Have you any early graff-related memories that stand out?

I remember when a truck driver caught me writing on a truck and beat the hell out of me, mangling my wire-framed glasses. It was probably not even his truck.

How did your family feel about what you were doing?

They hated it. Back then we were considered juvenile delinquents.

How did you transition into the word-play that you do today?

In 1977, I became friends with Basquiat. We met at City-as-School. I introduced him to writing on walls. We came up with the term SAMO (Same Old Shit). That was the beginning. What Basquiat and I did was soon picked up by the SoHo Weekly News and the Village Voice.

Any thoughts about Jean Michel Basquiat’s commercial success?

That’s the art market. It is what it is.

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

Why not? I’m too old to be idealistic.

Who were some of your influences?

Jackson Pollock. I love his manic energy. Picasso, Charles Bukowski and Tom Waits.

Tell us something about what you are doing now.

In 2008, I started pulling WET PAINT signs off the subways, cutting them up and making anagrams from its letters. At first I did it just to entertain myself. But the project continued to evolve and three years later, in 2011, I began posting these redesigned, recycled signs back on the walls in the train stations.

How has your work evolved in the past few years?

I’ve always loved words and language, and I’m continually becoming more adventurous in my wordplay. I now have a list of almost a thousand words made from WET PAINT!

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

I see my art as social commentary. The masses are generally asleep. It is the responsibility of the artist to wake them up.

You can register here to participate in Al Diaz’s WET PAINT project this Sunday from 12-3pm in the interior of an early 20^th century house that had served as senior officer housing when Governors Island was a military base.

All photos courtesy of the artist

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Speaking with Kkade

June 10, 2013

Swiss artist Kkade shared his splendid skills with us last month at 5Pointz. While he was here, we had the opportunity to find out a bit about this talented member of the Schwarzmaler Collective.

When and where did you begin writing?

I started writing in my hometown of Murten, Switzerland in 1999. I was 16 years old.

How did you get into it?

I used to love looking at graffiti magazines and watching films on graffiti bombing.

How did your parents feel about what you were doing?

They didn’t like the police calling them. But they were always supportive.

Any early inspirations?

My crew members Kese 27 and Mower gave me my first, big start. And, since, I’ve done lots of writing and traveling with them.

Have you any favorite writers?

This is hard to answer, but crews like HA or JBCB are dope. And my favorite Swiss writers are Kesy, Irons and Toast.

Besides 5Pointz here in NYC, where else have you painted?

I’ve painted throughout Switzerland and in many European cities. Among them are: Milan, Berlin, Cologne, Amsterdam and Budapest.

Have you exhibited your work?

I have my first solo exhibit coming up on June 27 at the Trace Gallery in Zurich. And I’ve exhibited many times with the Schwarzmaler Collective.

Any thoughts about street art and graffiti divide?

Street art wouldn’t exist without graffiti. Graffiti started on trains and made its way onto the streets. Some people think they can do stickers and stencils and that they’re graffiti artists. But that’s not what graffiti is about. These days, street art has a bigger hype than graffiti. Back in Switzerland, the media recently promoted Wes 21 as a street artist – rather than as graffiti writer – when he was exhibiting his work in a gallery. It’s scene thing. But we don’t let the hype get to us. Graffiti saved my life. It kept me from doing drugs and behaving aggressively.

How do you see the Internet in all of this?

I think it’s really good in connecting people with the art. But it also exposes people to too much crap. And not everyone can tell the difference.

Do you have any formal art education?

I went to art school and got an apprenticeship in graphic design. I studied it for three years. It taught me to be more open-minded, and it did push me to do better and better.

What’s ahead?

Perfecting my letters and sharing my skills with others.

Interview by Lenny Collado. First photo by Lois Stavsky; all others courtesy of the artist

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Speaking with Magdalena Marcenaro aka Magda Love

June 5, 2013

During the past few weeks, Argentinian artist Magdalena Marcenaro aka Magda Love has brought beauty and intrigue to Brooklyn’s Pacific Street with her inventive and infectious murals. We recently met up with Magda and had the opportunity to pose a few questions to her.

When did you first share your vision in a public space?

The first time was earlier this year in Miami’s Arts Wynwood District.

What inspired you to do so?

I was offered a wall, and I was thrilled to have the opportunity. Growing up in Argentina, I know just how strong the impact of public art can be.

Any early memories of it?

I mostly remember the political slogans that surfaced throughout my native Buenos Aires.

What is your preferred medium for getting up on the streets?

I love wheat pastes. Its ephemeral nature adapts beautifully to the environment. And it keeps on evolving.

Have you a formal art education?

Not a formal one. But my father is a sculptor, and I grew up among artists. From an early age, I assisted my father in his studio. He used to tell me, “Magda, you have a special eye, and it will take you far.” And by age 18, I was working as a fashion designer and photographer and running my own business.

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

Just about all of it! When my 9-year-old son isn’t in school, he’s often with me in my studio.

Have you exhibited your work in galleries?

Yes. I’ve shown my work in Buenos Aires, New York and in Miami. I had a solo exhibition at Gowanus Print Lab here in Brooklyn. And I’ve also participated in group shows at the Scope Foundation, Miguel Paredes Gallery, Peanut Underground, BOOM, The Brooklyn Waterfront Artists Coalition and The Urban Folk Art Gallery.

What is your main source of income these days?

Art sales and commissions.

Are there any particular themes or ideas that drive your work?

I’m particularly interested in the connections we forge among one another and how we treat each other.

How has your art evolved through the years?

It has reflected my personal growth, as a woman and as a parent.

Do you prefer working alone or collaborating with others?

I haven’t yet collaborated with anyone, but I’d love to.

Do you work from a sketch or do you just let it flow?

I don’t prepare a sketch – but I do have some images with me to give me a basic idea of where I’m going. But once I begin, my work takes on a life of its own.

Are you generally satisfied with your finished piece?

I know the next day.

Any favorite artists – particularly among those whose work you’ve seen on the streets?

Swoon, Rone, Roa, the Fleshbeck Crew, Reka, Lamour Supreme, Faile and Herakut come to mind.

What about cultures that have influenced your aesthetic? Are there any particular ones?

Certainly the Argentinian sensibility and its general openness to art. And from my father I developed a love for traditional German painters.

You moved to NYC 12 years ago. How does the general attitude towards art differ here from back home in Argentina?

Back in Argentina, people are more appreciative of art. There is more emphasis on culture, in general. And there’s more of a collective consciousness that its culture reflects. In Argentina, just about everyone goes to art fairs, not just a select few. But I do love the mix of cultures, along with the art that this mixture produces, here in NYC.

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

I don’t know if we can change the world, but we can make a difference.

What’s ahead?

I begin working this week with 5^th graders at PS 127 on an indoor mural project. This – I hope – will be the first of many collaborations in an educational setting. And I want to keep working on the streets and travel more in the years ahead. I’d also love to participate in street art festivals and events.

Tomorrow — June 6 from 7:00 P.M.- 8:30 P.M. — you can meet Magda, see her new works and view her mural room at Brooklyn’s NU Hotel, as she celebrates the unveiling of her murals commissioned by the Pacific Street Association.

7:00 P.M Meet-up in lounge of Nu Hotel

7:30 P.M. Walking tour of murals

8:30 P.M. Q&A and NU Hotel mural tour with Magdalena

R.S.V.P. to Events@independentcollection.com

Photos by Lois Stavsky

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Rooftop Legends Celebrates Its Sixth Anniversary with: Marka27, Don Rimx, Fever, Part One, Smoke, Toofly, Werds, Dmote, Wane, Aplus, Slave, Dr. Revolt, Ces, KR.One, Pesu, QA, Vers & more

June 4, 2013

The rooftop of the former Seward Park High School on Manhattan’s Lower East Side has evolved into one of NYC’s most enticing graffiti canvases. Following is a sampling of what we saw this past Sunday as Rooftop Legends, curated by New Design High School dean, Jesse Pais, celebrated its sixth anniversary.

Marka27 and Don Rimx

Fever

Graffiti pioneer Part One

Smoke

Toofly and Werds

Style masters Shank aka Dmote, Wane and Aplus

KR.One

Photos by Lenny Collado and Tara Murray

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SinXero, Sien, Fumero and Joe Conzo Fashion a Soulful Ode to the Birthplace of Hip-Hop

June 3, 2013

Last Monday – Memorial Day – SinXero, Sien, Fumero and Joe Conzo brought their vision to a new legal wall in the Bronx. Inspired by SinXero’s memories of growing up on 181^st Street and Prospect Avenue, the collaborative mural pays homage to the roots of graffiti and hip-hop.

Located at 1401 Ferris Place, this mural is the first of four legal Bronx walls by the TAG Team — in collaboration with such legendary documentarians as Joe Conzo, Ricky Flores and Henry Chalfant. Sponsored by All City Paint, the murals are intended as a tribute to those who played a significant role in the development of the borough’s distinct culture that continues to impact the world. These walls also represent, SinXero reports, an effort to bring a new form of street art, grafstract— with its melding of styles — to the birthplace of it all. Here are a few more images:

Sinxero pastes up his iconic “Ode to the Streets” image. Photo by Trevon Blondet.

Close-up of SinXero image with Sien to the right. Photo by Tara Murray.

Sien at work. Photo by Trevon Blondet.

SinXero and Fumero in front of completed mural. Photo by Trevon Blondet.

Joe Conzo with image based on his photo of Bronx hip-hop legends, the Cold Crush Brothers. Photo by Trevon Blondet.

Close-up of Cold Crush Brothers. Photo by Lois Stavsky.

Westchester Square Plumbing Supply Co., Inc has provided TAG with multiple legal walls for this project.

All photos by Trevor Blondet, courtesy of SinXero — except for SinXero and Sien close-up by Tara Murray and final close-up by Lois Stavsky.

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