fine art

Michael Alan on His Recently Released Book, Artistic Freedom and more

December 8, 2014

Earlier this fall, the wonderfully talented multi-media artist Michael Alan released a book of selected drawings and writings. With the limited edition just about sold out, Michael offers some insights into it all.

Why did you decide to publish this book?

I am tired of artistic control. The government. The police. Most outlets for publication. I am also tired of solo shows in New York. Super stress to basically make some dumb money and hear people talk about beer. So came the idea of the book. My work is too intricate for the web. It needs to be in your hand. People need to slow down. That’s what books do. They slow you down. I also wanted my friends and fans who can’t — or don’t want to — buy a painting to be able to own a handmade affordable piece. The book is a work of art. And I’ve been sick. In case something happens to me, I don’t want anyone rewriting my mind.

How did you decide what to include?

Kristen Collins chose the works. She is a lovely, brilliant artist who made this possible. She is passion.

What are your personal favorites and why?

They are all my favorites. My work is about change. Energy. Life. These differ every day. That’s why I work in multiple styles.

How have folks responded to the book?

The response has been great. It’s attracted a range of fans – from as far as Australia. We had only gotten the word out on Facebook and Instagram, and we are almost sold out. This will be the first blog to cover it.

If you are interested in owning a signed copy of the book, you can contact the artist at artisticrevolution@gmail.com.

All images © Michael Alan

{ 0 comments }

Speaking with Matthew Denton Burrows

November 6, 2014

A wonderfully talented fine artist and illustrator, Matthew Denton Burrows began sharing his distinct vision with us on public spaces in January 2013. We recently had the opportunity to interview Matthew whose first solo exhibit opens tomorrow at 8pm at Greenpoint Gallery.

We first discovered you over at East First Street when you were painting for the Centre-fuge Public Art Project. Can you tell us something about that? How did it come about?

When I was in grad school at SVA, I was the only one in my program who was into street art. I loved the concept of sharing one’s art in a public space. And one of my professors who knew about Centre-fuge suggested I contact the folks running it. And so I applied, and in February 2013, I painted my first public piece on a huge trailer off First Street.

What was that experience like?

It was nerve-wracking! I generally work with pen and ink and colored pencils on paper in my studio. It was a new experience, and strangers were observing me at work over the course of five days. But I was instantly hooked! The interaction with the community was addictive!

We’ve since seen your artwork elsewhere.

Yes, I’ve painted in Bushwick, at the Northside Festival in Williamsburg and in Miami.

Your artworks on paper are quite different from what we’ve seen on the streets. They’re intricately detailed and extraordinarily complex, both visually and conceptually. When did you first begin drawing?

I’ve always been drawing! When I was in elementary school, I used to get into trouble for drawing so many people with guns!

You work just about full-time as an artist these days. At what point did you decide that you wanted art as a profession? And are you happy with that decision?

At the end of my sophomore year at Lehigh University, I decided to major in art. And, yes, I’m definitely happy with that decision. I love what I do, and I’ve sold a substantial amount of work.

You’ve had a formal art education. Can you tell us something about it? And was it worthwhile?

I received a BFA from Lehigh University, where I had the school’s first-ever solo art show just a year into my degree. Back in New York City, I earned an MFA in Illustration at the School of Visual Arts. My formal education is worthwhile only because I was first self-taught.

How do your parents feel about what you are doing these days?

They’re very supportive. My mom is an artist and she loves street art!

What percentage of your time is devoted to art?

All of it! When I’m not creating my own art, I work as project manager and assistant curator of the Centre-fuge Public Art Project. And I am also the CEO and co-founder of the recently launched company, Dripped on Productions.

Has your aesthetic been influenced by any particular cultures?

A multitude of cultures, particularly marginal ones.

What inspires you these days – both in the studio and on the streets?

I’m always inspired by the energy of my native city, NYC! But current events, my experiences, my travels, and alternative cultures also fuel my creativity. And I’m an avid reader. When I read that Rio had won the bid for the Olympics, and the World Cup, for example, I did extensive research that evolved into a body of artwork.

What are some of the particular issues that concern you?

I’m especially interested in matters related to the environment, social inequality and the impact of technology.

How, then, do you feel about the increased link between art, particularly street art, and corporate or for-profit enterprises?

I think the link, which seems to be growing stronger, is a positive thing. I think it will help enhance the movement in terms of fans, but there is always a danger when a pure artistic expression — such as street art — binds with the corporate world. The corporate world has the ability to suck the creative purity out of things. But artists need to be paid like anyone else, and if an artist can find a link where they still feel integrity and creative freedom, I would support it.

How has your work evolved in the past few years?

I feel that I’m influenced more and more by street art.

Have you ever collaborated with another artist?

No! But I’d really like to.

Do you work with a sketch in hand?

No. I have a general idea of what I want to do and my work evolves organically.

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

To expose others to a more interesting world. To remind people that something exists beyond their everyday lives.

What’s ahead?

My first solo exhibit, Are You Aware of The Ongoing Experiment will be held tomorrow, Friday, November 7, at Greenpoint Gallery from 8 -12 pm. I am headed to Art Basel next month. And in January I am participating in a group show in Aspen, Colorado.

Interview by Lois Stavsky with City As School intern Tyler Dean Flores; photos: 1 and 4, courtesy of the artist; 2, Tara Murray; 3, 5, and 6, Lois Stavsky

{ 0 comments }

Speaking with Raquel Echanique

July 30, 2014

Born in 1986 in Guayaquil, Ecuador, Raquel Echanique is making her mark in NYC – both on the streets and in galleries. I recently had the opportunity to speak to the talented young artist whose solo exhibit, Chain Reaction, opens tomorrow evening at 7pm at Spinelli Galleries in Chelsea.

When did you first paint on a public surface? And what inspired you to do so?

The first time I ever painted in an open space was for the Welling Court Mural Project in Astoria, Queens in 2013. It was by chance! My boyfriend – at the time – had been assigned a wall. But because he had to DJ that day, he offered it to me.

What was the experience like?

I loved it! It was surprisingly easy. It actually felt easier than painting on canvas or paper.

Your works on canvas and paper have made their way into galleries worldwide. When was your artwork first exhibited?

I was 17 when my work was first shown in a museum back in Ecuador.

Wow! You were quite young. How were you “discovered?”

When I was 15, I participated in a live painting competition. I won first prize.

How does your family feel about what your work as an artist.

They have never supported it. My mom encourages me, instead, to pursue steady, permanent work.

What percentage of your day is devoted to your art? Do you have a “day job?”

During the day I work at the Whitney Museum. When I’m not working, I’m doing my own art. Art occupies my mind all day!

What are some of your other interests?

I write poetry and I’ve won awards for my poetry back in South America.

Any thoughts on the graffiti/ street art divide?

I love them both. But I think of graffiti as a superior art form – in terms of the skills that it demands.

How you feel about the role of the Internet in this scene?

I think it’s fantastic. We can see what other artists are doing and other artists and the general public can see what we are doing.

Did you study art formally?

For brief periods of time! Twice in Ecuador and once in Argentina.

What inspires you these days?

Everything I see inspires me!

Have any particular cultures influenced your aesthetic?

Certainly South American culture and its tradition of portraiture.

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

When I work in my studio, it is without a sketch. When I’m on the streets, I have with me a sketch with a concept.

Are you generally satisfied with your work?

I love it!

How has your work evolved in the past few years?

It’s been getting stronger, especially since I moved to NYC.

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

To put something really good – aesthetically pleasing – out there.

What about society’s view of the artist? How do you feel the artist is perceived?

The artist is – paradoxically — both respected and degraded.

How do you feel about the photographers and bloggers in this scene?

They are important, as they offer an alternative, more authentic, voice than the mainstream media.

What’s ahead?

My solo show, Chain Reaction, curated by Frankie Velez opens on Thursday, the 31^st, at Spinelli Galleries in Chelsea. On Saturday I am participating in the exhibit, Justice, at Succulent Studios in Greenpoint. Next week I will be painting in the TAG Public Arts Project. And — looking ahead — on Friday, October 3, I will be participating in Street Murals: An Exhibition, curated by Kevin Michael.

It all sounds great! Good luck!

Interview conducted and edited by Lois Stavsky. Photo 1, by Lenny Collado; photo 2, Welling Court, 2014 by Lois Stavsky; photo 3, Centre-fuge Public Art Project and photo 4, collab with Fumero by Dani Reyes Mozeson

{ 0 comments }

Speaking with Multi-Media Artist Michael Alan

July 23, 2014

A multi-media artist who translates energy into mesmerizing artworks, Brooklyn-based Michael Alan is also the founder and director of Living Installations, where human beings are transformed into living art images. Michael Alan’s art has been featured in nine New York solo shows, over 200 group shows and in over 200 living installations. We were delighted to interview this gifted, prolific and passionate artist.

How did you first get into art? What inspired you?

I’ve been into art for as long as I can remember. My first inspirations were the Muppets and baseball. As a kid, I would draw cartoons.

Could you tell us something about the subject of your artwork these days? And the process?

My subjects are often people I observe while sitting here in McCarren Park. I try to read their energy. I start by drawing a particular person’s body with a pen. And then when I’m back home, I often add watercolor or markers as I interpret the energy that I’ve felt.

What about your Living Installations? What was the initial idea behind them?

I wanted to create a space where people could come together in a positive way. I wanted people to feel that they could accomplish whatever they set out to do. And I also wanted them to know that they don’t have to follow any pre-determined path.

How has your family responded to your passions?

They’re proud of me. My mom actually participated in some of my performances.

What percentage of your waking hours is devoted to your art these days?

Including music, about 95%.

Can you tell us something about the role of music in your life?

When I’m working at home, I listen to music. And I always have music playing during my living installations. Music and art become one.

Have you collaborated with any other visual artists?

I’ve collaborated with my cousin Moody and with a few fine artists including Alex Katz.

How do you feel about the role of the Internet in the art scene?

If it weren’t for the Internet, I don’t know if I’d have a career.

Do you have a formal arts education? And was it worthwhile?

I have a BFA from the School of Visual Arts. As an art student, I received lots of positive feedback and, yes, that did make a difference.

What’s the riskiest thing you’ve ever done? And Why?

After damaging my spine at the Dumbo Arts Center, I continued moving and dancing. Why? Because I was ignorant. Also – setting my hat on fire while performing in Spain was quite risky.

Were you ever arrested?

A few times. Once the cops assumed that I was going to use a mask I had made for an installation to rob someone. And assorted materials – like photocopies of living installation projects – that the cops have found in my car have also led to arrests.

What inspires you these days?

Different people I meet and the energy they give off. Things that happen and how they make me feel – like my grief over the death of my dear friend DG.

Are there any particular cultures you feel influenced your aesthetic?

I’ve been influenced by indigenous cultures, punk, new wave, African art, growing up in NYC and everything I’ve seen at the Museum of Natural History.

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

I work from line drawings.

Are you generally satisfied with your work?

Making art — in general — satisfies me. And if a drawing doesn’t work for me, I will somehow reuse it.

How has your work evolved in the past few years?

It is more mature, smoother and freer. I’m always learning in art, just as I’m learning in life. Art is life.

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

To touch as many people as possible and to set people free.

What’s ahead?

I can’t even think about it. If I could, I’d be scared. But I know that I will keep going. More art and more struggle. And currently I’m at work on “The Muppets Take Manhattan,” a Living Installation for children.

Have you any message to others?

Whatever you do, push yourself and work hard at it. Working hard and creating art have kept me sane.

Interview conducted by City-as-School intern Travis Hicks with Lois Stavsky; images courtesy of the artist.

{ 0 comments }

Speaking with Miles Wickham aka RESKEW

November 3, 2013

Based in Gowanus, Brooklyn, Miles Wickham aka RESKEW surfaced on the NYC graffiti scene in 2000. These days, he is best-known for his outstanding graffiti tutorials, his community outreach and the abstract graffiti-infused works that he creates on a range of surfaces from canvases to sanctioned public spaces.

When and where did you first get up?

It was back in 1999 in Brooklyn. I was a 15 year-old high school student when I noticed one of my classmates tagging a gym mat. It looked like a cool thing to do, and we — ZIP ONE and I — became friends. That was the beginning.

Have you any earlier graffiti-related memories that stand out?

As a young child growing up in Italy, I could see the main train station from my fifth floor window. I was fascinated by what seemed like shifting colors in motion. I didn’t even know at the time that it was graffiti.

Here in the States, did you represent any crews or did you paint alone?

Both. I’m part of All City Crew, an old school NYC graffiti crew, and MBK, a west-coast graffiti crew that started in El Paso, Texas.

What is the riskiest thing you did?

Hitting tunnels while trains were whizzing by and climbing heights without knowing how I’d get down from them.

Why were you willing to take these risks?

I liked the tremendous sense of freedom it offered. And it was fun.

Have you ever been arrested?

About six times. A number of years back, I faced a year in prison for bombing a subway tunnel. But as there wasn’t enough evidence to support the charges against me, I was given community service instead. And that’s what led to my tutorials. I knew that I had to stop getting up illegally, and I wanted to help others avoid some of the frustrations I felt.

Can you tell us something about the tutorials?

In January 2010, I created my first instructional graffiti and art tutorial to teach basic graffiti techniques and to encourage beginners to take their skills to a higher level. I personally answer all questions via email or through comments. It’s been extraordinarily successful with my You Tube channel gaining subscribers daily.

That sounds great! Getting back to your work — do you work with a sketch-in-hand or do you just let it flow?

I let it flow. I hate plans.

Are you generally satisfied with your finished piece?

It’s not finished until I’m satisfied with it.

Do you have a formal art education?

No. But I’ve always been drawing.

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

Anywhere between 50 -70%. I also act, practice martial arts and cater. Catering helps pay the bills.

How do your parents feel about what you are doing?

They’re supportive.

Are there any particular cultures that have influenced your aesthetic?

I’m influenced by ancient scripts.

Any thoughts about the graffiti/street art divide?

Street artists and graffiti artists need to learn how to get along and respect one another. Graffiti writers generally take far more risks than street artists. And street artists need to respect that and stop going over graffiti.

Any favorite arists?

Van Gogh.

How has your work evolved in the past few years?

My flow and general skills have improved. I express myself better through line movement.

Have you any thoughts about the movement of graffiti into galleries?

It’s great.

Your work’s been exhibited at Park Slope’s Ground Floor Gallery, and it graces its gate, as well. Where else have you exhibited?

I’ve shown in a range of exhibits and spaces. Among them: the Writers Strike exhibit at the Lott Gallery in Chelsea; a solo show at the Sapphire Lounge on the Lower East Side and the Brooklyn Workshop Gallery, where I also worked as a teaching artist.

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

It’s a good thing. It makes art more accessible to many more viewers. It also serves as the platform for my tutorials.

Have you any feelings about the photographers/bloggers in the scene?

Most don’t know as much as they should. Their scope is, generally, limited.

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

To remind us that creative expression exists and to inspire us get in touch with our own.

What’s ahead?

Painting more and continuing to inspire the masses to discover and express more of who they really are.

Interview and photos by Lois Stavsky.

{ 1 comment }

COCO144: The Evolution of an Artist

September 16, 2013

COCO144 is a pioneer New York City-based graffiti/street artist. He started tagging in 1969, co-founded United Graffiti Artists and introduced the stencil into the graffiti movement in NYC. This interview was conducted and edited by Yoav Litvin. Yoav is a writer, photographer and author of a forthcoming book on NYC graffiti/street art.

You were there at the beginning of it all. How did graffiti start?

Graffiti is what the media called it. What I call the writing movement started in NYC back when I was in junior high in 1968. It began in the Inwood section of Manhattan with Julio204. Then in 1969, it took off in Washington Heights, with writers like Phil T. Greek and TAKI 183.

Why did writing start?

Writing was a reflection of the times — the socio-political and economic realities back then. It was a combination of the spirit of the anti-war movement, frustration with economical and social inequality, and racial and political tensions.

How do you feel about the evolution of it all? Where’s it heading? What’s the difference between today and back when graffiti just started out?

It has changed from a social scream of the inner city to a large-format, graphic design-like urban beautification movement. Go out right now and try to write your name on a wall, you’ll get arrested! Try to paint anything else and you’re more likely to get away with it. Back then, we wanted to be known within our circle of writers for destroying the system; you hit, do your thing and were cool to be incognito rather than celebrating who you are. That’s changed today.

Why do you think this movement has spread throughout the world?

Making your mark is a contagious virus with no known vaccination or cure.

Who do you consider are the pioneers?

My contemporaries, far too many to name, but I also feel that folks who are really interested in knowing the history of the movement should do their research.

How did you get your name – COCO144?

COCO was a term of endearment given to me by my parents when I was 3 months old. I grew up on 144^th St. in Harlem.

What are some of your preferred mediums?

Markers, spray paint and later I developed the stencil for obvious tactical reasons.

What were some of the concerns and dangers you had to consider?

Going into the yards you always had to consider the third rail. Other than that, there wasn’t much security to worry about at that time.

How have you evolved as an artist?

My name has developed and evolved in a calligraphic sense. I’m still working with my name. I see it as a process of constant rediscovery of myself; my name is a big part of who I am. Today I am influenced by my workplace, a Science Research Institute in Manhattan. I integrate the sciences into my name. I find it fascinating that both art and science utilize and emphasize the process of experimentation/trial and error. Both also greatly value and rely on curiosity and modesty as driving forces. Lastly, both accentuate the importance of the process as much as that of the final product.

1) Photo, 1970

2) Photo, 1972

3) Photo, 1974

4) Photo, 1984

5) Photo, 1995

6) Photo, 2009

7) Photo, 2010

All photos ©COCO144

For a slideshow by COCO click the following link: COCO

For an interview with Yoav on Street Art NYC see here.

{ 5 comments }

Speaking with Priscila De Carvalho

August 6, 2013

An award-winning multidisciplinary artist, Brazilian native Priscila De Carvalho currently lives and works in NYC. We recently caught up with her in the Bronx, where she was working with local teens on a mural to commemorate the 40th anniversary of the Bronx Museum of the Arts.

When and where did you do your first public mural?

In Puebla, Mexico a few years ago.

Are there any particular cultures that influence you aesthetic?

The street art culture and urban life, in general. I used to skateboard and surf back in Brazil.

Your work is not only beautiful; it also intellectually engages us. Does it have a particular message or theme?

Most of my work relates to the economic and socio-political issues surrounding the out-of-control urbanization of slum dwellers. I juxtapose my observations about sub-cultural communities with other contemporary issues such as climate change and pollution

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

I usually have a basic sketch design layout. But it doesn’t always go accordingly.

Do you generally work alone? How do you feel about collaborating with other artists?

Yes, most of the time I work alone or with some assistants. I enjoy working alone, but there’s also the communication and camaraderie — so important among artists — that only collaboration can bring.

What percentage of your time is devoted to your artwork?

At this point of my career, it’s a full time job. It’s not just the creative end of it. There’s also the administrative part. And gallery exhibits demand a huge amount of work…lots of business work, including networking.

Any other passions?

Music. I studied piano for six years, but I just didn’t have what it demands.

As a muralist who works in sanctioned spaces, what are your thoughts about graffiti?

I’m highly inspired by graffiti — its energy and vitality.

Any thoughts about the graffiti/street art divide?

Graffiti has its distinct history and techniques. It has evolved from tagging into a complex art form. Many street artists started as graffiti artists. Street art and graffiti are connected.

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

It can turn art into a commodity. But it must remain an option, as every artist has to earn a living.

Where have you exhibited?

I’ve exhibited in Spain, London, Paris, Berlin, Nepal and Mexico. I had my first solo exhibition at The Jersey City Museum in 2009.

What’s the riskiest thing you’ve done as an artist?

In Nepal, I had to climb a 30-foot bamboo structure with no scaffolding. I was tied to a harness, and it was hard for me to visualize what I was painting. But it one of the most rewarding work/travel experiences I’ve had.

Do you have a formal arts education?

No. I studied painting/sculpture informally for a few years before I started with my studio practice.

What’s ahead?

Some permanent public art projects and more exhibitions.

Interview by Lenny Collado; first photo by Lois Stavsky; all other images are courtesy of the artist.

{ 0 comments }

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

{ 1 comment }

“Pier Pressure” in Chelsea: Artists Transform Ground Level of the Marina @ Pier 57 into Mesmerizing Medley of Styles

July 10, 2013

Armed with spray paint, paintbrushes, markers, pencils and assorted implements, a diverse group of artists have transformed the ground level of the Marina at Pier 57 into a mesmerizing medley of styles, shapes, colors and concepts. Here’s a sampling of what we recently captured on the “magic carpet” under 36 suspended shipping containers:

Iranian stencil artist Icy; Sinned painting, top left

Icy’s brother and partner Sot

Daniel Patrick at work with words

Queens-based artist Sinned, close-up

Painter Bruce Wall at work on piece in collaboration with Josh Miller

Garrison Buxton of Ad Hoc Art

NYC-based RJ Raizk

Brooklyn-based Subtexture

Not pictured are works by Depoe, Rrobots and In Pursuit of Magic.

Commissioned by YoungWoo & Associates, the completed artworks can be seen at the Marina at Pier 57 at West 15^th Street within Hudson River Park through July.

Photos by Dani Mozeson, Tara Murray and Lois Stavsky

{ 3 comments }

Speaking with Wes21

June 24, 2013

A member of schwarzmaler, a collective of outstanding graffiti writers, street artists and illustrators, Swiss artist Wes21 creates stunning, detailed works that blur the boundaries between reality and fantasy. We recently spoke to him during his visit to 5Pointz.

When did you first start getting up?

I was about 11 years old when I hit my father’s garage.

Where was this?

In a small town near Berne.

What inspired you at the time?

Graffiti was all around me. I grew up without a TV, and I was always drawing. So it seemed like the natural thing to do.

How did your parents feel about what you were doing?

They encouraged me. My father used to bring me photos of graffiti. They love it.

Have you any preferred spots?

I love painting anywhere but I especially love rooftops and places near water.

Have you ever exhibited your work?

Yes, and I do many exhibitions every year. I’ve shown my work in both group and solo shows in Switzerland, Germany, Hungary and Italy.

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

I feel fine about it, so long as it’s well-done. Showing in a gallery pushes me to the next level. And then I’m a better artist when I paint in the streets!

Have you a formal art education?

Yes. I studied graphic design and illustration in art school for four years.

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

I don’t pay much attention to it.

Are you generally satisfied with your finished piece?

Not completely. If I were, I wouldn’t be motivated to paint another one!

Is there much of a graffiti/street art divide back home

Not really. Most of the artists who hit the streets are open-minded.

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

To capture a moment — real or imaginary — for eternity.

All photos courtesy of the artist

{ 0 comments }

← Previous Entries

Next Entries →

fine art

Categories