interview

Speaking with 0H10M1ke

February 27, 2014

You may have seen 0H10M1ke on the streets of NYC or at a public event where he creates instant matchbook portraits of strangers he meets. We discovered him at work on his serially numbered one-minute portraits at the opening of LA2’s solo exhibit at the Leila Heller Gallery this past December. We recently had the opportunity to find out more about him.

When did you begin drawing? Is this something recent?

I never had a formal art education, but I’ve been drawing all my life. I started way back as a kid in Ohio. I can’t remember a time when I wasn’t doodling or sketching on some surface.

When did you first come to NYC? And what was your initial experience like?

I moved here in 2002, and I became involved with a cult. I gave two years of my life to it, and by the time I left it, I couldn’t even draw a circle. I knew then that I had to reinvent myself.

How did you go about doing that?

The year of my 30^th birthday – in 2006 – I did 1,000 drawings. I started my matchbox series of portraits, and my work was featured in a show in Williamsburg. I completed portrait 10,000 on June, 2011 at Governor’s Island.

Have you continued to exhibit your work?

Yes, I’ve exhibited in a range of places from Berlin, Germany to Governor’s Island here in New York City.

What inspired you to create your artwork in public settings – where you interact almost entirely with strangers?

My inspiration came from seeing UFO’s work on NYC streets. I love the way his iconic character surfaces unexpectedly.

These days, about what percentage of your time is devoted to art?

About 50%. I am a social worker by profession.

How has your work evolved in the past few years?

I began with one-line drawings and I have moved to color, digital and live drawings that I incorporate into performances.

How does your family feel about what you are doing?

My family loves me, but I don’t think they get it.

Any other interests?

Music. All kinds of music. I draw to music. It’s all about art and music. I create live drawings to the music of Comadante Zero, a Brooklyn-based electro funk music/art collective.

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

I’m over it. We’ve been oversaturated.

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

I learned from Robert Henri how important it is to be a creator. According to Henri, the artist “enlightens and opens ways for better understanding.”

What about you? What’s ahead for you?

My goal is to create 100,000 matchbox portraits and tour with my band as its resident artist.

Editor’s note: 0H10M1ke will be drawing live with Comandante Zero at The Rubin Museum April 4 at 7 PM.

Photo 1 and 2: 0H10M1ke at the Leila Heller by Dani Reyes Mozeson; photo 3: 0H10M1ke sketch, courtesy of the artist; photos 4 and 5: PhotosL1ght Graff1t1 projected onto Brooklyn rooftop by Oz Skinner

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Speaking with George Colon aka AIM SSB

February 20, 2014

Old School New York City writer George Colon aka AIM SSB credits graffiti with having saved his life in the early 70’s. Decades later, he is back in the game — this time with a message beyond his name.

When and where did you first get up?

I was living in Williamsburg, on South 3^rd Street off Bedford. It was in 1970. I was 10 years old. I remember looking at a clean wall in my hallway building and thinking. “My name would look good there!” I started off using shoe polish.

What other surfaces did you hit up back then?

Other hallways, mailboxes and telephone booths. The city became my playground. Soon I was hitting trains and station walls.

What inspired you to keep tagging?

I saw how much it was embraced at Art and Design, the high school I attended at the time. And it gave me something to do.

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

Seeing phenomenal handstyles — such as those of Super Strut, Stay High and Super Kool 223.

Did you generally go out alone or did you get up with crews back then?

Two of my classmates at Art and Design took me up to the yards up at Baychester and Parkchester. Once I discovered them, I was on my own! But then in 1972, I went on to form SSB, one of the largest crews in NYC. We SSB members saved each other’s lives. And graffiti saved us all, by giving us a voice and offering us an alternative to the drugs, gangs and violence that were everywhere around us.

How were you known at the time?

I gained popularity as AIM-SSB, but I was also known as OH-222 SSB to confuse the cops.

What did AIM stand for? How about SSB?

AIM was an acronym for Artist in Motion and SSB for Soul Stoned Brothers.

Who were some of the other SSB members?

There were many: Lee Quinones, Shadow, CAM, Do, Rise, Bang 2, Taxi, Fear, Toke, Bomb-One, Jazz, Jazz 2, Pace, Don1, Dime 139 and more.

What is the riskiest thing you did? And why did you do it?

Laying on top of a train while it was running from the Bowery to Essex Street. I was with Chino 13 at the time, and we did it to escape the TA rats.

How did your family feel about what you were doing?

When I first started drawing, my mother encouraged me. She would buy crayons and pastels for me. But when I got into graffiti, my mom was concerned. She’d say things like, “Why are you getting paint on your sneakers?” But they didn’t pay all that much attention to what I was doing.

Have you ever been arrested?

About a dozen times. Mostly for tagging and stealing. I would run fast, but not fast enough.

These days, about what percentage of your time is devoted to art?

Not enough. I do about two pieces a week, but my day job as a recovery coach and a motivational speaker takes up much of my time.

When you do work, do you sketch first or do you just let it flow?

Both. About 70% of the time I work with a sketch.

Are you generally satisfied with your finished piece?

Absolutely!

Do you have a formal art education?

Just the year and a half I spent at the High School of Art & Design. I’m largely self-taught.

Are there any particular cultures that have influenced your aesthetic?

There are Greek and Italian influences. My father is Italian, and I’m inspired by Greek graffiti.

What inspires you these days to engage with the graffiti culture?

The eagerness of young people to learn about it. I love their innocence and ability to explore. My organizations, Imagine Ink and United We Paint, promote graffiti and urban arts events for folks across the generations.

Do you prefer working with others? Or would you rather paint alone?

When I was younger, I preferred to work alone. But I’ve recently enjoyed collaborating with Orlando Rine Torres and Sexer.

Any thoughts about the graffiti/street art divide?

I really can’t answer that. I’d like to learn more.

Why do you suppose the “art world” has been so reluctant to embrace graffiti?

Graffiti was originally seen as a threat. The defacing and destruction of property was perceived as an “uprising.”

How has your work evolved in the past few years?

I’ve diversified my styles and am more open, in general.

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

It’s an asset to the movement; it gets our work out there.

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

I feel positive about them. They give us exposure.

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

To awaken awareness within others.

What do you see as the future of graffiti?

My hope is that it can be taught on many levels and used in a positive way.

What about you? What’s ahead for you?

Continuing to create art and educating others about graffiti.

Interview conducted and edited by Lois Stavsky; all images courtesy of George Colon; the final image is a collaboration between George Colon and John Paul O’Grodnick

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Speaking with Angel Ortiz aka LA2

February 3, 2014

Based on the Lower East Side, LA2 creates bold, brightly-colored energetic works on a range of surfaces. Befriended by the legendary Keith Haring as a young teen, LA2 is best-known for his distinct tag that has earned him accolades both on the streets and in galleries and museums world-wide. I recently had the opportunity to interview him:

When and where did you first start tagging up?

I was 10 when I first started tagging. The street was my canvas. I lived on the Lower East Side, and so those were the streets that I hit.

Who or what inspired you at the time?

I noticed kids at the Boys Club and in school tagging up. And I was inspired by Lee Quinones’s work that I saw on subway cars and on walls in my neighborhood.

Did you tag alone or did you work with crews back in the day?

It didn’t matter. I just wanted to tag up. I worked mostly alone, but I did get up with TNS (The Non Stoppers) and El 3 (RIP), who later died when he was electrocuted by the 3^rd rail.

You went on to collaborate with Keith Haring. How did you first meet Keith?

Keith was looking for me. He had seen my tag and wanted to find me. When Keith was working on a mural at Junior High School 22, Richie SOE came to my house and told me that Keith wants to meet me, and so I went over there.

How did Keith Haring’s work change after meeting you?

Before he met me, he was doing mostly simple characters. After we began working together, his work became more energetic. And soon after Rock Hudson announced that he had AIDS, Keith came out of the closet, and his artwork took on a more sexual tone.

What was it like collaborating with Keith?

It was great. I’ve always been fond of Keith as a person and as an artist. We travelled to Europe together, and Keith made sure that I was paid what was due me. I feel grateful to Keith, but not to the Keith Haring Foundation. But that’s another story.

Your artwork has been exhibited in galleries worldwide. How do you feel about the movement of graffiti and street art into galleries?

I think it’s great. It’s a win-win for both galleries and artists. We artists have to make money to keep doing what we’re doing.

Any thoughts about the graffiti-street art divide?

There’s less and less of a divide. After Keith Haring collaborated with me, the museums had no choice but to accept graffiti. This past year, I became the first writer to paint in the Children’s Museum of the East End in the Hamptons.

Who are some of your favorite artists?

They’re all dead. Keith Haring, Andy Warhol, and Basquiat were my favorites.

Do you prefer working alone or collaborating with others?

I generally work alone. But in addition to Keith Haring, I’ve collaborated with quite a few artists including Richard Hambleton, Kenny Scharf and my girlfriend’s daughter, Jasmin. And when Stik was in from London this past fall, I collaborated with him.

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

I think it’s great. Since my girlfriend, Ramona, created the website, we’ve received invitations from galleries overseas in such countries as Italy and Germany.

Do you have a formal art education?

No, I’m self-taught. I dropped out of Seward Park High School to travel with Keith Haring and help him establish his career.

What is the riskiest thing you ever did?

Just getting my tag up is risky. I’ve spent time in jail for that. Whenever I take my dog, Nico, for a walk, I tag when he pees. And I’ve gotten locked up for that, along with Nico. He’s gotten locked up, too!

What inspires your art?

It’s inspired by my emotions…the things I go through… my thoughts and feelings. Creating art is how I express myself.

Do you work with a sketch in hand?

Never, it’s all straight out of my head.

Are you generally satisfied with your finished piece?

I’m always happy. I love them all.

How has your work evolved through the years?

It has gotten more detailed. There’s more line work and people tell me that it’s tighter.

What do you see as your role — as an artist — in society?

My particular role is to educate kids on how to express their creativity in a healthy way. They need to use the right materials and to cover their faces. I developed health problems (COPD) by not protecting myself when painting. I love lecturing kids and working with them. I will be doing a workshop with children this spring at the Angel Orensanz Center in conjunction with the Fridge Art Fair.

What do you see as the future of graffiti?

It’s going to become more and more valued as an art form.

The Europeans have always seemed to value it more than we have. Why do you suppose they are so much more receptive to graffiti than we here in the States are?

It’s because they appreciate art more, in general. It’s always been that way. And on a personal level, Paul Kostabi sold my art in Italy 20 years ago, gaining the attention and appreciation of Europeans.

What’s ahead for you?

Traveling, exhibiting both here and overseas, educating the youth and continuing to become healthier.

Editor’s note: A selection of LA2’s work in on exhibit at City as Canvas: Graffiti Art from the Martin Wong Collection at the Museum of the City of New York. Curated by Sean Corcoran, it opens tomorrow, February 4, and continues through August 24.

Interview conducted and edited by Lois Stavsky; first two photos — of LA2 collaborating with Keith Haring and of LA2 tagging — originally published in Keith Haring, Rizzoli — courtesy of LA2; all other photos by Dani Reyes Mozeson

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Speaking with Korean Artist Yoon Hyup

January 28, 2014

With influences ranging from traditional Korean art to the skateboard culture he embraced at an early age, Yoon Hyup has developed a distinct aesthetic that has recently made its way into downtown Manhattan. We came upon him at work earlier this month outside rag & bone on Elizabeth Street off Houston, where he was painting a mural on a particularly frigid day! I recently had the opportunity to speak to him.

You’ve painted on a range of surfaces and in a variety of places. You’ve exhibited your work in galleries, and you continue to paint on the streets. What initially drew you to the streets? When did it all begin?

I began skateboarding when I was nine years old. That was my introduction to the culture. And then in the mid 90’s, I discovered hip-hop and graffiti magazines at a nearby US Army base.

What was the graffiti/street art culture in Korea like at the time?

It was quite unsophisticated. The spray cans were very basic, and there were few colors available. Canvases consisted of tunnels or alleys that the writers claimed as their spots.

What inspired you to share your talents on the streets?

I was inspired by photos I saw of the artworks that Basquiat and Futura and other artists at the Fun Gallery had painted on the streets of downtown Manhattan back in the day. And then while attending the Art Institute in my late teens, I learned everything — from where to buy spray paint to how to master particular techniques — from ‘Bluce 666’.

You went on to study Graphic Design at Hanseo University. Did your formal art education help you develop as an artist?

When I was a sophomore, I decided to take a break from the university and check out the “real world.” During that time, I did a lot of exhibitions, and I began collaborations with businesses like Nike and MTV. There was so much I had to figure out on my own and solve myself. I would say that a formal education helps, but experience in the “real world” is crucial to an artist’s success.

Tell us a bit about your recent mural outside rag & bone in Nolita. How did that happen? It is one of our favorite spots in town! And your mural looks splendid here!

I had submitted my portfolio to rag & bone, and soon afterwards, I was invited to paint. I think I was lucky to be selected.

Your style is quite distinct. Could you tell us something about it?

Many traditional Korean forms, such as vine clouds and wind clouds, surface in my paintings. I often paint with the five colors associated with my native country – red, blue, yellow, black and white. It is my homage to my heritage. It is how I honor my roots.

You’ve shown your work in gallery settings, as well as in public spaces. How do you feel about the movement of street art into galleries?

It’s fine so long as the artists continue to create artwork on public spaces.

And what about the corporate world? You’ve collaborated with such corporations as Nike and Tommy Hilfiger. How do you feel about that?

I don’t have a problem with it, so long as I can be true to my own vision.

Is there anyone – in particular – with whom you would like to collaborate?

I would have loved to paint with Kandinsky. I’m particularly fond of him.

I can see that! Your work is a bit of a fusion between street art and fine art. How has your art evolved in the past few years?

I feel that I paint more naturally. My style is becoming looser and freer. My cloud forms have become more abstract.

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

I work with a general layout. But my handstyle flows freely.

Are you generally satisfied with your finished pieces?

Not really! I’m always challenging myself.

Have you any other passions or interests?

I love skateboarding. I’ve been doing it since I was nine. And I love music. My mother, who was president of a music institute, has taught me to appreciate all kinds of music. Both skateboarding and music, along with art, are essential in my life.

What’s ahead?

I’ve been developing a new body of work and will soon be collaborating with a talented Korean toy maker.

Interview conducted and edited by Lois Stavsky; first photo by Lois Stavsky; all others courtesy of the artist. 1. new mural outside rag & bone; 2. Unlimited Path, Krink on wood, 2013; 3. Nike Air Max 90 Premium Tape – Multi Color Camo, 2013; 4. For “Haechi Parade, spray paint on sculpture, 2009; 5. Rhythm and Flow (Primary’s Masks), Acrylic, ABS Resin, 2013

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Speaking with Pioneering Graffiti Writer and Photographer FLINT

January 17, 2014

Back in the 1960’s, Flint Gennari was getting his name up, without even realizing that what he was doing was a precursor to modern graffiti. It was wonderful to have an opportunity to meet up and speak with this graffiti pioneer.

When and where did you first get up?

It was back in 1966. I was nine years old, and I was traveling and camping cross-country with my family during our summer vacation. I was already aware of the mindless scribing on the bathroom walls. I’d seen “John loves Mary,” “For a good time, call…” Why not write something profound or, at least, interesting — since you have a captive audience? I started writing sayings and signing them FLINT. Anything that caught my fancy would work — something from a fortune cookie, a great lyric from a song or a quote that offers advice. It didn’t matter that people didn’t know what to make of it. I had a secret identify, and it kept me busy.

Gee! You must have been quite precocious! And what about your name? What inspired you to start writing your name in public spaces?

I had been learning about World War II in school, and I became obsessed with the phrase, “Kilroy was here.” Who was Kilroy? And why did he write his name everywhere? Like Kilroy, I liked the idea of advertising myself. I had hearing and speech problems, so I couldn’t understand much of what was happening in the classroom. This made me me a loner, but I found something that could make me part of the world. I was sensitive to social change. It was the 60’s. Things were changing, and I wanted to be part of it.

Did any particular writers or artists inspire you?

There were no writers at the time. Graffiti – as we’ve come to know it – didn’t yet exist. I was influenced by Madison Avenue ads and slogans. They would bombard you with whatever they were trying to sell. The artist Peter Max was commissioned to make art to be placed on mass transportation. He always made his name the centerpiece of the work and placed his art — angels, butterflies, fairies etc — around his name. Was he smart? I think so.

What about your name? How did you acquire the name “Flint?”

I spent lots of time – as a kid — with Marvel comic books and movies. These characters were cool; they would do what they wanted. I became a real James Bond fan. And so I took the name of Flint, the master spy who spoofed James Bond.

How did your family feel about what you were doing back then?

They hated it. They hated the name “Flint,” but it was my given name. I gave it to myself. Yes, I was the black sheep of the family and I was always in trouble.

What about crews? Did you join any crews?

As time went by, many more writers started in Brooklyn. Scooter and Dino Nod lived in the same apartment building two blocks away. And Flip One lived In the other direction — one block away. Erasmus High School was nearby, along with Mico, Mani and Wicked Gary. Dino Nod was the president of the ExVandals — the first-ever graffiti crew — and I ran with him. Then with my writing partner, LSD OM, I founded the Rebels. Future Rebels members included writers such as Shadow and Zephyr.

Were you influenced by these other writers? Did meeting them affect your style?

It was when I met these other writers that my sayings changed. I started writing more for them, and messages like For Those Who Dare, For Ladies Only, Bad but Not Evil and The Time Will Come... started turning up.

What is the riskiest thing you ever did?

Every time a writer gets up, he is taking a risk. But probably the riskiest thing I did was climbing down from the el to avoid the cops.

Do you have a formal art education?

I attended the High School of Art and Design, the greatest “writing” school out there. In the lunch room we all sat at the “Writers Table,”passing around our black books and refining our tags. In fact, Art and Design is where I met Al Diaz and influenced him and Basquiat to write messages.” On a more formal level, I took some classes at Pratt and at the International Center of Photography. But I’m largely self-taught.

You are an active photographer as well as an artist. At what point did your focus shift to photography?

I stopped hitting train stations and most public surfaces in 1976. And the following year, I began a 10-year project of photographing a drug addict. But even as a young child – before I could afford a camera – I loved photography, and I would borrow my father’s camera to photograph my friends. There was a time when it became a choice between doing pieces or photographing my friends doing them. This is how the video footage for my graffiti song came about. I remember when my friends Flip One and Dime139 asked me to hit the yards. I ended up doing more photography than hitting that day, but this was 1975 already.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited both my graffiti and photography. Before I graduated from high school, my work had won a Scholastic Art Award and was exhibited nationally. Then in 1998, Hugo Martinez, the founder of the United Graffiti Artists (UGA), saw my tag behind me at B&H photo, where I was working at the time, and gave me an exhibit at his gallery in Chelsea. That opened my eyes to how big graf had become: I had no idea! Since, I’ve exhibited worldwide and was featured in Born in the Streets at the Fondation Cartier in Paris.

Why do you suppose the Europeans are more receptive to graffiti than we Americans?

Europeans have always understood and respected art, particularly art that’s a bit out of the mainstream. Just look at how receptive they were to jazz musicians!

What percentage of your time is devoted to art?

All of it, though most of it is focused on my photography business. I’d like more time to focus on my own art. I do get orders for canvases and water colors all the time.

Any other passions?

Music. I play the guitar and I write songs. I was the rhythm guitarist for the Ex Vandals Band. Stan 153 played bass; wicked Gary was on percussion and Bama/Amrl was the leader and on drums.

Any thoughts about the graffiti/street art divide?

It’s all a means of expression, and we influence each other. It means something special, though, that we graffiti writers are a part of New York City’s history, and that we writers have invented a new American art form which is still evolving. But I’m not a purist. I think Banksy is terrific.

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

It’s great. I’m seeing and enjoying new things all the time. And it goes without saying how easy it has become to showcase what you are doing to a much bigger audience.

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

It’s all good.

What do you see as the future of graffiti?

At the beginning, graffiti was considered nothing more than vandalism. When you became a writer, you entered a brotherhood with benefits. You belonged to a family of like-thinkers who, along with you, were creating something — without knowing exactly what. I’ve had life-long friendships with many of the pioneers such as Tracy 168, Stayhigh 149 (R.I.P) and Taki 183. Back in the day, we never would have imagined just how influential graffiti would become – that it would impact everything from fashion and marketing to the “art world.” Graffiti will continue to evolve, and its influence is likely to increase.

Interview by Lois Stavsky with Richard Alicea; all photos courtesy of the artist; first photo, Flint and Tracy 168.

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Speaking with Col Wallnuts

January 7, 2014

For over 20 years Col has been gracing our public spaces with his distinctly graceful aesthetic. His street murals, along with his small works on various media, are among our favorites. It was wonderful to have the opportunity to recently interview him.

When did you first get up?

I began tagging and doing some outlines in Staten Island/Brooklyn about 1993-94.

What inspired you at the time?

I was inspired by the tags and pieces I saw along highways. I always wondered who had done them.

Have you any early graffiti memories that stand out?

I loved seeing Cost and Revs in the Meatpacking District. The area has come a long way from the violence and corruption that once characterized it. But it’s great to see a piece of that time still around.

Do you paint with any crews?

I was active with CTO (Check This Out), as both Vers and Edge had taken me under their wings. I’m currently part of Wallnuts, MST, MTA and KD. Wallnuts is comprised of writers from both the States and Europe. Among them are: Muse, Chester, Been3, Ree2, Soco, Riot, Phyme, Met, MadC, Zest, Dos, Free5, Kern and Mad.

Do you prefer working alone or with others?

It depends on the project. Painting with good people motivates me, sets a fire under my ass and inspires me. Painting alone is good too. It’s like nothing else exists.

Do you generally paint with a sketch-in-hand?

Almost never. A sketch prevents one from being organic. I want to see where my idea goes and to produce what I see in my head.

Do you have any preferred surfaces?

I love to paint on anything. I prefer painting on surfaces and in areas where no one has painted before. I enjoy challenges. Obstacles are fun. And I love working large scale on buildings. I grew up working on walls, so the bigger the better.

What about neighborhoods? Have you any favorites?

I prefer working in bad neighborhoods. There are real people there. In good neighborhoods, you’re faced with bullshit. I’ll take Marcy Avenue over Park Avenue any day of the week! Painting in an impoverished neighborhood gives it life and positive energy.

What percentage of your time — would you say — is devoted to art?

I paint seven days a week. I work through holidays. I’m always working on paper, canvas or on my computer.

Have you exhibited your work in gallery settings?

Yes. I’ve exhibited at Art Basel (Miami), in NYC, LA, Chicago, DC, and in Europe.

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

As a painter, that’s progression. And it all begins with the tag. A tag is an art form. It’s a craft that not just anybody can do. Tags, then throw-ups and then you eventually evolve into doing pieces. And galleries have a responsibility to preserve them and share them. Although I’m still not completely comfortable with gallery settings, it’s a good feeling to make money from my art when my work sells.

What are your thoughts on the street art/ graffiti divide?

Fifteen years ago, it was only graffiti. But we are no longer the only ones getting up. And that’s not a bad thing. I have a lot of respect for street artists. They are doing fresh stuff. Street art actually helped graffiti. Since the emergence of street art, graffiti writers have had more opportunities to exhibit their work in galleries. If you’re a wheat-paste artist keeping the movement alive…how can I hate that? There are rules, though, to graffiti and some street artists need to learn them.

Have you ever been arrested?

Never for graff. But I’ve been chased a lot. Back then, cops used to catch you with paint and write on you. Then they’d let you go with a warning. Those days are over.

How did your family and friends feel about what you were doing?

My family hated it. My family didn’t want the kids doing anything illegal. They saw it as a dead end…not doing anything with yourself, but putting up your name. I also lost some friends over graffiti. But your true family will never turn their backs. Ultimately, you learn, too, that you only have yourself at the end.

Do you have a formal arts education?

I studied Fine Arts and Advertising at FIT and at the Academy of Art University. But all my spray painting training is self-taught. I learned the hard way with Krylon, Rustoleum, American Accent and Dutch Boy. The kids today have it easy using Montana and Belton.

Are you generally satisfied with your work?

It’s fifty-fifty. Sometimes. Other times I want to just buff and start all over. If you care about what you do, you’re your own worst critic.

What’s the riskiest thing you’ve done for your art and why were you willing to take that risk?

Painting in Israel by the Syrian border right in the line of fire. It’s the sort of thing we as artists live for. Art is stronger than war. And that’s why I did it.

Are there any particular cultures that have influenced your aesthetics?

I love the abstract movement. I enjoy the works of Pollack, Rauschenberg, Fran Stella, Jasper Johns and de Kooning. The abstract movement went against the grain of what was popular in Europe.

How has your work evolved throughout the years?

I’ll say it’s more deconstructed these days. Back then, the majority of my work was 3D, but that got old and boring to me. I went into breaking letters and transitioned from 3D to silhouette.

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

I’m happy with my progression and where I’m going. I’m glad I didn’t listen to people around me. I’m glad that the progression came naturally, and I can’t wait to see where it goes within the next few years.

What do you think the role of the artist in society?

It’s about being a role model and reaching the youth. You got to give something to them they can grasp. You have to make them feel excited about what you are doing. The artist has to inspire and lead by example. He has to teach others that being an artist is a positive thing.

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

It’s a part of you when you wake up; it’s a part of you when you go to sleep. It’s an outlet for everything we do. Before the Internet, guys were grinding…dealing with people first-hand. You had to present physical material. Today it’s digital, and it takes two minutes. There are tons of positives and negatives to the Internet. You have to use it in a way that it works for you.

Any thoughts on the photographers and bloggers out there?

I support them. They shoot my work, they are very supportive and their eye is important. I like that they provide an opportunity to others to see my work.

Any shoutouts?

Shoutout to my WALLNUTS and URNY family. The homies: Hellbent, SeeOne, Depoh, Phetus, KA, Werds, Touch, Rubin. Semz (Rest In Power) and my grandma. Semz did so much for the graffiti scene. His is a name everyone should remember. My grandma was my biggest supporter. She never understood my art, but always pushed. She was a self-taught traditionalist artist. She told me, “Never stop and don’t ever let anyone tell you that you’re not an artist or that you’re not a painter.” She’s with me in everything I do.

Interview by Lenny Collado; photo 1 at the Bushwick Collective by Lois Stavsky; 2 at the East Harlem Hall of Fame by Lois Stavsky; 3 at the Bushwick Collective by Lois Stavsky; 4 in Prospect Heights by Tara Murray; 5 in Bed-Stuy with Muse by Lois Stavsky; 6 in Inwood with Ree by Lenny Collado; 7 in Tel Aviv by Lois Stavsky, and final photo courtesy of the artist.

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Serringe on Element Tree, Graffiti, Jersey City, Video Production & more

December 26, 2013

I came upon Serringe’s artwork on the streets of Jersey City earlier this year. I soon discovered that he was the force behind Element Tree and dozens of first-rate videos. I was delighted to finally have the opportunity to meet up with him at his store in Weehawken — just minutes away from Manhattan.

Tell us something about Element Tree. When did it launch?

Element Tree started as a blog in 2009. I grew up in Jersey City around a bunch of talented people, and I needed a platform to post their work and share it with others in hopes of promoting them and myself. Artists like Snow, T.Dee, 4sakn, Loser, Then One, Mr. Mustart and Distort — to name a few. There are others, but these are some of the original artists I felt people should definitely know about if they already didn’t.

When did Element Tree become a store?

I rented the space in Weehawken in February 2012. If I can’t do graff 24/7, I want to be around it. I also like the idea of nurturing the culture and keeping it healthy, and this store gives me the platform to do that.

What inspired you to start your own business?

I have a strong entrepreneurial streak. I don’t want people telling me who the “real artists” are. I want to help the people – whose work I love — make money.

Besides the first-rate art that you show here, you also sell art supplies. What do you see as the future of this space?

I will continue to provide affordable art for folks who love graffiti and street art. Not everyone can afford to spend $1500 on a canvas. And I’m interested in providing opportunities for artists — such as commissioned murals, design work for album covers and general creative direction. I see Element Tree as a house of creative energy and incubator for ideas.

What initially spurred your interest in graffiti?

I was always into graffiti from the time I was six years old. My older brother was a writer for a short period of time in the 90’s, and he sparked my brain, along with all the other local writers that were doing their thing when I was a kid. If they could do it, so could I. When I was a young teenager, my mom became ill and begged me not to write graffiti on the streets. She believed in my art, though… so until I was 19 years old, I detached myself from graffiti out of respect for her. She passed in 2004 — and aside from the occasional tag, I know she would be proud of me.

Did you develop any other passions while growing up?

I grew up in 80’s and 90’s: DJs, producers, skateboarders, punk rockers were everywhere. I became interested in all kinds of creative expression, and I began to create home videos with friends as a way to explore filmmaking. Within the past three years, I created 140 videos.

And you also paint in public spaces these days. Since you began doing so, have you had any particularly memorable experiences?

Art Basel 2012. It was the first time I traveled to paint on a wall that was sponsored at a major art event like Basel. Art Primo powered us with the paint and Element Tree’s Mr. Mustart and Distort showcased their talents for all who passed by. It was great experience to paint among people we respected.

Have you exhibited your work?

I’ve been in a handful of shows, but Mustart, Then One and Distort stay doing their thing, showcasing and exhibiting through Element Tree-based projects and also on an independent level. We are currently working on setting up the first Element Tree official group show… so if you’re a gallery owner, don’t hesitate to reach out!

Any thoughts about the graffiti and street art divide?

Eventually they will meet. Street art is still a baby in relation to graffiti. There are many street artists I respect. Banksy is a genius! Other favorites include: Blek le Rat, Invader and Shepherd Fairey. Oh, and if you don’t know… check out LNY. I see good things in him.

How would you explain the reluctance of the art establishment to embrace graffiti and street art?

Most people don’t understand it, and if you don’t understand something, you don’t know how to deal with it.

What do you see the future of graffiti?

It can’t be stopped. And eventually, it will gain acceptance as a legitimate art form.

No doubt!

Interview and photos by Lois Stavsky, photos 1,2 and 3 of Serrenge; photo 4, Mr. Mustart; photo 5, Distort and final image, Then One.

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Speaking with Frank Malt aka Steam 156

December 16, 2013

Brighton native Frank Malt aka Steam 156 has been active in the global graffiti scene for over 30 years – first as a graffiti writer in the UK, and then as a passionate documentarian of graffiti and street art around the world. Within the past two years he has published two highly acclaimed books, 100 UK Graffiti Artists and Street Art London. I recently met up with him in NYC.

When did it all begin?

I started in 1984 in Brighton as a b-boy. NYC’s Rock Steady Crew — that visited London in 1983 — and the hip-hop videos I saw on British TV turned me on to the break-dance culture. And from that I moved on to graffiti.

What surfaces did you hit back then?

Mostly train lines. My first hit was an electrical box off the train tracks.

Were you ever arrested?

I was chased lots, but I’m a good runner. And I like the adrenalin rush.

Have you ever shown your work in a gallery setting?

I only got involved with producing artwork for a few gallery shows. It was not really something I enjoyed doing that much. One of the shows I put together with a friend was called Icons. It was around 17 of the best British graffiti artists and I also managed to get two legendary New York artists to come over: Iz the Wiz RIP and Sar — both leading figures in the crew the Master Blasters. The show was back in 1992.

Do you have a formal art education of any kind?

No. I hated school. I was always a rebel. I got kicked out when I was 15, and I never went back.

Any particularly memorable experiences from back in the day?

The experience that always stays in my mind happened on one of my first visits to NYC back in around ‘88/’89. I had a guy show me around the Bronx. And when we reached the 238^th Street Bridge, we jumped over the fence and got onto the Amtrak lines. I immediately started taking photos of all the graffiti there. Before I knew it, a whole gangs of guys came out from behind the wall throwing rocks and bats at us. I took off running down the tracks, while a huge Amtrak train was tooting its horn for me to get off the tracks. I ran as fast as I could to the next bridge and managed to get over the fence to find a subway station to get me back downtown. I survived.

We’re glad you did! Is there much of a graffiti/street art divide back in London?

Absolutely. Unlike graffiti, street art gets lots of positive exposure and gets picked up by galleries. Banksy kicked it off and pulled others into the scene. Street art has taken over London. It speaks to many more people than graffiti does. And most graffiti writers dislike street artists, and this gets acted out on the streets.

How do you feel about NYC’s current graffiti scene?

I guess it has changed a lot from the early days when I was coming to document the scene here. I remember I found a guy who was willing to drive me around every street in the Bronx for two days so I could take photos. It was pretty incredible back then. I found so many walls, handball courts by Seen, Cope, TKid and all those amazing FX walls. I know they had a big clean-up, but no doubt New York is still the place to be. It’s incredible how much goes on here.

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

For me the Internet was good and bad. It was good, because I did not have to queue at the post office to send photos overseas. Everything became so much easier. I used to spend a fortune on postage costs, because I was trading photos with so many writers around the world back then. The bad thing was — I guess — it took the excitement away from hunting to find graffiti. To me part of the buzz and excitement was to see the wall fresh — to hunt it down without seeing it on every media site before the paint had even dried. I love seeing new graffiti before I have seen it online.

How do you feel about the current crop of bloggers and photographers?

There are too many jumping on the bandwagon. Many don’t bring any information. And far too many people who know nothing are putting out books. There’s the potential for exploitation.

Who are some of your favorite artists who work on the streets?

Revok. He’s brilliant. Other favorites include: Risk, Vulcan, Aroe, Smug, Roa, Cope2, TKid, TATS Cru. Too many people to name — so many talented people out there in the scene.

What do you see as the future of graffiti?

Who knows? I just think it will become more and more technically advanced. It will always keep evolving.

What’s ahead for you?

I just want to continue to pursue my passion and share it with others. I have a new book due out next year with an amazing line-up of European artists. I can’t say too much about it at this point, so stay tuned!

It all sounds great! Good luck and keep doing what you’re doing!

Interview by Lois Stavsky; photos courtesy of Frank Malt.

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Speaking with Dasic Fernández

November 29, 2013

Chilean artist Dasic Fernández has been captivating us with his sumptuous styles since we first met him up in the Bronx, while painting a bus in collaboration with Cekis. We recently caught up with him in Newburgh, New York, where he’d been busy at work transforming the city’s visual landscape.

When and where did you first get up?

I was 13 when I started tagging in Rancagua, Chile.

What inspired you?

The hip-hop scene! Graffiti was part of the movement. And I knew how to draw – so that was my way into it.

Have you any early graffiti memories?

Nothing specific! Just hanging out late with my best friend and bombing.

What percentage of the time is devoted to your art?

One hundred percent! If I’m not doing it, I’m thinking about it or dreaming about it.

Any thoughts about the graffiti/street art divide?

Everything I’ve learned about painting on the streets and appropriating space I learned from graffiti. I never felt any tension between street artists and graffiti writers. I still use the same fat cap to paint as did to tag.

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

I respect it only when artists have had long courses in the streets first and continue painting in the streets once they’ve shown their work in galleries.

Have you exhibited in a gallery?

I had my first solo exhibit in Santiago, Chile in 2009.

Do you prefer working alone or collaborating with others?

I’d rather work by myself. I feel more comfortable, and I can take my time.

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

I don’t use it much. I feel like graffiti belongs on the streets. At first, I didn’t even photograph any of my works. But when a graffiti book came out that didn’t include any of my work, I decided that I had to.

Do you have a formal arts education?

I studied architecture back in Chile, but I quit less than a year before earning my degree.

What is your ideal working environment

The streets. That’s where I feel most comfortable. It is my natural environment. I love connecting with people while I’m painting outside. It makes me happy.

Are there any particular cultures that have influenced your aesthetics?

The mural culture in South America and Chile’s political murals, which are poetic and graphic. And I have also been influenced by hip-hop culture.

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

When I’m commissioned to do a wall, I generally have to have a sketch. But other times, I’ll simply photograph the wall before I paint it

Are you generally satisfied with your finished piece?

Never! Sometimes I’m close to being satisfied, but I’m never completely satisfied. I’m far too critical.

How have your work evolved throughout the years?

I paint on a bigger scale and I use more colors.

Any feelings about photographers?

They used to bother me, but now they don’t. I still don’t like, though, when they upload photos of unfinished pieces.

Why do you suppose the art world has been so reluctant to embrace street art and graffiti?

Because it’s the most powerful graphic movement out there.

Where have you painted?

I’ve painted throughout Chile and in Argentina, Uruguay, Brazil, Peru and in Canada. And in the US, I’ve painted in Chicago, Texas, Michigan, and New York.

Have you any preferred spots or surfaces?

I like when a wall has context to spare, so that it can assume an identity through a mural.

What’s ahead for you?

Many personal projects with different timelines. I’m working now on completing a series of commissioned walls and canvases. I’m then planning to return to Chile and work on a book featuring my artwork. Then – more walls and an art festival that I’m organizing in New York and probably a solo exhibit. Basically I’ll keep flowing, painting and traveling. And there’s more!

Interview by Lois Stavsky with Tara Murray; photos 1. with Okuda and Rubin in Bushwick by Lois Stavsky; 2. in Bushwick by Tara Murray; 3. with Rubin in the Bronx by Tara Murray; 4. in Newburgh school by Lois Stavsky; 5 & 6. in Newburgh, NY by Lois Stavsky 7. with Logek in the Bronx by Tara Murray.

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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.

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