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!
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.
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.
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.
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.
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.
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
