This past weekend — on one of winter’s chilliest days — we hit Bushwick, where we caught some new images and revisited others.
New from Brooklyn-based Elbow Toe with Veng‘s signature birds
Belgian artist Roa
4Burners‘ Dasic and Rubin with Madrid-based Okuda
Berst tribute to NEKST, RIP
Brooklyn-based Never
Brooklyn-based Bast
Bast, close-up
Photos by Lenny Collado
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With his hauntingly elegant wheatpastes of everyday folks, Baltimore-based Nether has transformed the visual landscape of his city’s bleakest blocks. Within the past few months, his vision has also made its way to NYC. And opening tomorrow, January 24, at Weldon Arts is Crumbling Cities, a solo exhibit of Nether’s works.
When and why did you first get up?
It all started – sadly – as a rebellious middle schooler trying to be cool.
Did any particular artists inspire you to move in your current direction?
The two artists who really got me going were Gaia and Tefcon. I was living and sharing a studio space with Tefcon, and just watching his relentless hustle and work inspired me. And around that time, I got to be friends with Gaia and filmed him at work with Nanook. I soon became super interested in wheatpaste. It was like a bomb went off in my head. It seemed like the perfect bridge between my politics and my art. And Gaia was super helpful showing me the ropes and sharing his print and other connections with me.
When did you begin getting your wheatpastes up?
Started really going hard about three – four years ago.
And what about the risks? What inspired you to take the legal risks?
Seeing what other artists like Cedar, Dume, Ways, and a lot of KSW/NSF writers were doing at the time inspired me. And I see my work on the streets as a way to empower other Baltimoreans.
In the past few years, you’ve made quite a mark. Your work can be seen not only in Baltimore, but in NYC, Philly, DC, Berlin, Shanghai, Paris and London. You seem to be on a mission. Could you tell us something about it?
I see public art as a vehicle for social change. And the artist — by transforming the landscape – is the facilitator of this change. By getting up on the streets, I can reach masses of people at the same time that I am beautifying the environment.
Are there any issues that particularly concern you?
My main focus is the issue of slumlords neglecting their vacant properties in Baltimore. People just deem these areas hopeless and don’t think to address the issue or find out who is responsible. I am trying to put it in their faces.
Any favorite spots?
Anything vacant. I love vacant doors, electrical boxes and glass.
How do the cops respond to your current ventures?
Generally, if the cops come by, it’s in a non-threatening way. They always have way more pressing issues on their plates. I just tell them that I’m trying to beautify the neighborhood, and they are usually just curious and confused. A few times they’ve actually watched my back! Most of the more intense run-ins with the police have been out-of-town.
What about your parents?
When I first started going hard with it, they were worried. I remember getting a call from my mom after she drove by one of my pieces on i-83. But now they are totally down and both really dig it.
What was the riskiest thing you ever did?
The riskiest thing I ever did was the dumbest. I was with my buddy Tony trying to put up a piece in daylight on the Amtrak Line. Two trains passed by, and then one came by super slow and stopped. Three transit cops jumped off and chased me. I ran off the track clearing, slid off this embankment and fell like 20 feet into the Jones Falls. Then I swam across and hid under a rock for like 45 minutes till they gave up looking for me. I got a really nasty cough after that.
What about the role of the Internet in all this? How do you feel about it?
I have mixed feelings about it. On one hand, it kills the experience of simply stumbling upon a piece. On the other hand, it allows folks all over the world to see the work I’ve created for a specific small community.
Are there any artists who particularly intrigue you these days?
I am really digging Pixel’s recent work and Ludo in Paris. Swoon has always been my favorite artist, and her new stuff continues to stun me. On the graf side of things, it’s Kuma and Goal.
Have you collaborated with any artists?
I’ve installed work with a bunch of artists from different places. Shouts to Mata Ruda, Harlequinade, Sorta, Gaia, Tefcon — and many others.
How do you feel about the branding of street art and graffiti? Are you open to it?
I think it’s sad, but often necessary. It’s all about who you get the money from and what you do with the money. On one hand, all this focus on money changes the nature of the underground. But, at the same time, the money allows us to pump funds into the street game.
What’s ahead?
I’m super-psyched about this new project with the Baltimore Slumlord Watch. We are going to wheatpaste artwork onto all of Baltimore’s neglected vacant properties. We will post large QR codes – next to the artwork – directing passersby to the Slumlord Watch website. On the doorways we will list the specific property violations and the contact info to report them. This project is intended to create awareness and pressure absentee slumlords into fulfilling their responsibilities. I am also working on a mural project with the Muhammad Ali Center.
It all sounds wonderful! And good luck with your exhibit at Weldon Arts.
Interview by Lois Stavsky; photos by Tara Murray, Lois Stavsky and courtesy of the artist
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Rubin’s exquisite murals surface here regularly in NYC on the streets of Brooklyn and the Bronx. Each one is a cause for celebration. We recently had the opportunity to speak with the talented artist.
When and where did you start getting up?
I started tagging in 1985 – age 10. I was living in Gothenburg, Sweden. I grew up there among the concrete projects. Their walls were my first canvas.
What inspired you?
I watched the movie Beat Street at my friend’s house. That started everything. The movie had a huge impact on me, as did growing up in the projects.
How did your family feel about what you were doing back then?
My mother worried a lot. But she was supportive.
Do you have a formal art education?
No. I never wanted to go to art school. I studied music and played in several bands in my native Gothenburg.
Back in Sweden, did you work alone or with a crew?
I painted with NTA (Night Time Artists) back in Sweden. But I also painted alone.
What about here – in NYC?
I’ve collaborated mostly with 4Burner members: Sen2, Dasic, Owns, Deem, Gusto and Logek.
Would you rather paint alone or with others?
I like painting alone, but painting with others is important for artistic growth.
Is there anyone in particular with whom you would like to collaborate?
I would love to collaborate with Futura. That would be something.
Have you any preferred spots and/or surfaces?
I love the concrete walls up in Hunts Point in the South Bronx.
What is the riskiest thing you ever did?
I climbed five or six stories on a drain pipe to get to the top of a building.
Why?
Because it was an impossible spot that no-one had reached before.
Your artwork seems to blur the lines between graffiti and street art. How do you feel about the graffiti/street art divide?
We should be on the same side, but we’re not. There is definitely a beef between street art and graffiti. I have always tried to bring these two opposites together in my art. It’s very challenging. There is so much ego in graffiti and street art trends seem to come and go.
How do you feel about the movement of street art and graffiti into galleries?
It’s exciting and interesting. I see it as a natural progression.
Have you exhibited in galleries?
Mostly in Sweden, but I exhibited along with Cope2 two years ago in Nolita.
What is your main source of income these days?
My main source of income is photography. I’m also involved with the production of a Swedish/Finnish arts and culture magazine.
How do you feel about the role of the Internet in all this? And do you follow any sites?
I think it’s great. I follow 12ozProphet and StreetArtNYC.
What inspires you these days?
Craftsmanship, Kraftwerk’s minimal electronic music and the contrasts between my two homes: Bushwick, Brooklyn and the gorgeous woods of Lapland, where I spend the summers with my wife.
Are you generally satisfied with your finished pieces?
Never.
When you look back to what you did two years ago, how do you feel about it?
Two years ago feels like an eternity, especially when living in NYC. I tend to look forward instead of looking back.
How has your artwork evolved through the years?
In the nineties, I was one of the most active writers in Sweden. In the mid-nineties my graffiti took a turn to the geometric. From 1999 to 2008, I took a break and focused on my band, Kingston Air Force. I can’t really describe my usual style. Someone once called it abstract geometry; that’s a pretty good description, but my style is still evolving.
Of all the cities in which you painted, which is your favorite?
New York City. I love the energy and the mix of people. Nothing beats New York.
Who are some of your favorite artists?
The Swedish artist Gouge. He’s amazing! Bates from Denmark, Dondi and Riff 170 from NYC, C215 and Nelio from France, Boaone from Germany and Sofles and Fecks from Australia.
What advice would you offer young writers and younger artists?
Work hard. Learn the craftsmanship. Perfect your technique. Practice. Be a good role model to younger writers. Be nice.
What do you see as the role of the artist in society?
Every artist is an egoist, and I’m no exception to the rule. I interpret what I see and how I feel through my art. I create for myself, but I’m very humbled every time someone appreciates my pieces. It means that they appreciate my take on what’s going on around us. That’s very flattering.
Where do you see yourself in five years?
I don’t even know where I’ll be next week. NYC has taught me how to live right here and now, and I’m really enjoying taking a day at a time.
Interview by Lois Stavsky with Lenny Collado and Tara Murray; photos by Lenny Collado, Dani Mozeson. Tara Murray and Lois Stavsky
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Just a short drive from NYC, a seemingly abandoned warehouse is home to a treasure trove of urban images — from sundry tags to stylish graffiti to wondrous murals. Based in Jersey City, the Green Villain serves as a gallery, a studio space for artists and musicians, a lounge, a showroom and more. Mesmerizing images — by both local and international artists — grace its interior and outdoor walls. Here are a few captured on our recent visit:
Newark-based Mr. Mustart, close-up from huge murals on interior walls
Then One, Mr. Mustart and Nasko artwork — for sale
Tags, tags and more tags!
Sqew
And among the dozens of images gracing the outside —
French writer Ezor
And currently underway are plans for the Green Villain’s first NYC event.
Photos by Lois Stavsky
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The new Nohble in Passaic, New Jersey sports not only cool urban apparel and footwear, but also the most vibrant mural in the county. Here are a few more images recently captured from its exterior wall that was transformed last month from bleak concrete into a vibrant mural.
Sen2, in progress
Fumero and student artists
The young artists bristled with pride as they spoke about sharing their talents in a public space.
Anthony Ojeda
Alexandra Ramos
Christine Noh, Nohble‘s owner, is delighted with the mural and the “amazing kids” who worked on it, alongside the established artists. She promises that this wall is the first in a series.
Photos by Tara Murray & Lois Stavsky
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This is the seventh in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:
Toofly on Manhattan’s Lower East Side
French artist Frank Duval aka FKDL in Brooklyn
Lady Aiko in Bushwick, Brooklyn
Hef in Williamsburg, Brooklyn
Russell King on the Lower East Side
Shiro and King Bee in the Bronx
Photos by Lenny Collado, Tara Murray and Lois Stavsky; Toofly image courtesy of the artist
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Queens-based artist Chris Stain is best known for his splendid stencil images that often reflect his concern with social inequality. We recently had a chance to speak to him following the opening of Sowing the Seeds of Love at Munch Gallery on Manhattan’s Lower East Side.
When did you start getting up in public spaces? And where were you living at the time?
In 1984. I was 11 years old and living in Baltimore.
What motivated you to hit the streets?
The movie Beat Street had a huge impact on me, as did the book Subway Art by Martha Cooper and Henry Chalfant. I also caught Style Wars on PBS.
Were there any particular writers who inspired you back then?
Most of us starting out in Baltimore were inspired by local writers, Zek, JamOne and RomeOne. Zek, considered the king at the time, was a lefty and had a distinct left-handed style that we all borrowed and tried to make our own. Another writer who influenced us all was Revolt who came down to Baltimore from NYC in the early 80’s.
Have you a first graffiti memory?
I was 11 when I did my first tag on the last house of a row of houses on my block. The kids on my block would usually find some flat black or white paint lying around somewhere in their fathers’ basement. But I used cherry red spray paint – the Testor spray paint that was bought for plastic car models — to put up my first tag.
What did you first write?
I wrote Savage. I wanted a name that sounded cool. Later I wrote Stain after hearing it rapped by Rammellzee in his song Beat Bop.
These days we identify you with huge stencils that surface on city streets. When did you first begin working with stencils?
I began in the late 90’s. In the beginning of my artistic endeavors I was into traditional graffiti lettering. Long after I graduated high school, I began stenciling to tell more of a personal story.
Have you ever been arrested?
Three times…when I was eleven, sixteen and thirty-nine. I remember being grounded for two months after my first arrest.
We’ve seen your work in a number of galleries here in NYC. Have you exhibited outside of the U.S.?
My work has been exhibited in London, Paris, Amsterdam, Hong Kong, Germany, and Norway.
Have you any thoughts about the street-art graffiti divide?
I don’t think about it. Both have their different energies. To me it’s all creativity.
With whom have you collaborated?
Among those with whom I’ve collaborated are: Josh MacPhee and the Justseeds crew , Billy Mode, Swoon, The Polaroid Kidd, Bill Daniels, Martha Cooper, Skewville, Login Hicks, C215, Armsrock, Know Hope, Nick Walker, Blek Le Rat, and Chris & Veng of Robots Will Kill, Hell Bent, and a host of others.
How do you feel about the role of the Internet in all this?
I have mixed feelings. On one hand, it’s taken away from the specialness – the underground secrecy – of the counterculture. But it also allows us to easily share our work with one another. And that is a plus.
Do you have a formal art education?
No. I never attended art school. Not formally at least. I tried some continuing education classes to build a portfolio after I got out of high school but I had a hard time with the discipline.
Your artwork reflects a strong social consciousness – both in your subject matter and placement. Could you tell us something about this?
I was brought up to respect other people’s struggles. It is important that we treat others the way we would like to be treated – regardless of race, nationality or social status. If there is a message in my artwork, it is that we need to be more aware of each other.
What do you see yourself doing five years from now?
Teaching art, still painting with Billy Mode and working with JustSeeds. And I’d like to continue to show my work in galleries and create public works as well.
That sounds great! We are looking forward to seeing your artwork anywhere!
Interview by Lenny Collado; photos of Chris Stain street art by Lois Stavsky; photo of Chris Stain and Billy Mode by Dani Mozeson
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Coordinated by Joe Ficalora and See One, the Winter Mural Project brought over ten artists together this past Saturday to Troutman and Wyckoff at Bushwick Five Points. The spirited afternoon was a cause for celebration for both the talented artists and the enthusiastic spectators. Here are some images:
London-based Stik and veteran Bronx-born artist Zimad
Queens-based Alice Mizrachi aka AM
Col of the legendary Wallnuts crew– to the left of AM
Brooklyn-based Danielle Mastrion
Geobany Rodriguez aka Bowz at work; final image here
Iranian artists Icy and Sot
Brooklyn-based Gilf! at work
Brooklyn-based See One
Brooklyn-based LNY at work
Photos by Lenny Collado and Tara Murray
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We are thrilled that both Dasic Fernandez and Rubin415 are back in town. Earlier this month, they were joined by Madrid’s Okuda as they fashioned intriguingly captivating murals on White Street in Bushwick.
Chilean artist Dasic Fernandez at work
Dasic Fernandez and Okuda
Okuda at work
Okuda
Swedish artist Rubin415 at work
Rubin415
Photos by Lenny Collado, Tara Murray and Lois Stavsky
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We discovered Federico Massa’s wondrous artwork this past fall on the streets of Bushwick, and we became instant fans. We recently had the chance to speak with him in his Brooklyn studio.
When did you first start hitting the streets?
Back in 1997. I was 16 years old and living in Milan. But even earlier, I was writing my name, Fede, all over my house — to my mother’s dismay.
We’ve noticed that you sign your work “Cruz.” Why “Cruz?”
It is derived from Santa Cruz, one of the most popular skateboard brands. I was inspired by the skateboard culture back home in Milan. I grew up with it.
Do you have a formal art education?
I studied set design at Academy of Fine Arts of Brera in Milan. I graduated in 2006.
When did you first come to New York City? And why?
Three years ago. I wanted more of an international experience as an artist.
We have seen your work in Bushwick. Where else have you gotten up here in NYC?
Two years ago, I painted a mural in Williamsburg on Hope and Marcy. I had an exhibit at the nearby Graphite Gallery at the time.
How does the experience of painting in the streets here compare to that in Milan?
It was much easier for me to paint in Milan. Here I need to get permission to paint, or I could face serious penalties. It is much more casual in Milan.
Did you do anything particularly risky back in Milan?
The riskiest thing I ever did was painting on moving trains. I learned how to run fast! I loved the adrenaline rush!
Any favorite surfaces?
No. Nothing in particular. I look for a surface that inspires me. Back in Milan, I loved pasting huge painted papers onto plywood panels on the streets. It was my way of reinventing them.
What inspires you to continue to work on the streets?
I like sharing my work with lots of different people, and it’s great when people stop and talk to me.
Great! We’ve loved watching you at work, and we’re so glad you’re sharing your art with us here in NYC. Do you always paint alone? Have you worked with any crews?
I created canvases and installations with The Bag Art Factory collective – a group of artists, including painters, sculptors, and set designers — in Milan. For eight years we collaborated on a variety of projects and constantly organized exhibitions of our works. I’ve also collaborated and exhibited with Biokip, a group that fuses visual art and electronic music.
What about branding? Any thoughts about it?
I have no problem with; it depends on the project. A number of years back, I customized bags, graffiti-style, for Mark Jacobs. I loved getting paid to do what I love most to do!
What is your main source of income these days?
I do set design. It is the perfect job for me, because I like to work with all kinds of materials.
How do you feel about the move of street art into galleries?
I think it’s fine. Just about every artist who works on the streets would like to show in a gallery.
Any thoughts on the graffiti/street art divide?
Lettering is the art of graffiti. Street art was born from graffiti. Street art has simply taken graffiti to the next level. The graffiti writers feel they are the original ones to claim the streets. And they are.
How have graffiti writers responded to your street art?
They like and respect it.
We’ve noticed Latin American influences in your art work. Tell us something about that.
The Mexican aesthetic has had a huge influence on my art. It continues to inspire me.
How do you feel about the role of the Internet in all of this?
I think it is great. It is the best way for one to find artists and for artists to get noticed.
What’s ahead?
I’m open to all kinds of collaborations. I like to work with different materials and ideas. I’ve collaborated with poets and sculptors, and I look forward to more such collaborations. I’m also always seeking huge walls. They inspire me!
Great! We are looking forward to seeing more of your murals on our streets here in New York City.
Photos by Dani Mozeson, Stefano Ortega (final image) and courtesy of the artist
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