interview

Speaking with Ever

August 18, 2013

A masterful muralist and inspiring thinker, Argentinian artist Nicolás Romero aka Ever has graced countless cities throughout the globe with his wondrous vision. Earlier this summer, he stopped off in NYC, where he painted on a rooftop in Williamsburg, Brooklyn. That’s where I caught up with him.

When did you first start getting up?

I was 16 and into hip-hop. The first time I got up was with two friends in our school’s bathroom. We thought we were so cool. Then whenever I took my dog for a walk, I did throw-ups around my neighborhood.

So your neighborhood was your main canvas back then?

Mostly for bombing, but it made me nervous.

When did you become serious about it?

When I met Jaz and other members of DSR. They were professionals. They took street art and public art seriously. I started to share a studio with Jaz and began to think of myself as an artist. In 2003, I started making portraits.

How did your parents feel about what you were doing?

My parents encouraged me. When I was seven, they introduced me to Van Gogh and Goya. I became obsessed with Van Gogh because he cut off his ear. I had a problem with my ear, so I identified with him. When I was thirteen, I began taking art classes outside of school.

Did you continue to study art formally?

I studied architecture at the university for a few months, but it wasn’t for me.

Who are your inspirations? Any particularly artists?

I have many. I’m inspired by Mexican muralists — the way their art reflects the people and their social consciousness. I’m also inspired by such artists as Van Gogh, Lucian Freud and Francis Bacon.

What is your main source of income these days?

Half my income is from commissions and the other half is from sales.

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

It’s okay. I’d rather sell my work in galleries than do commission pieces for corporations.

Have you had any negative experiences while getting up on the streets?

The mural that I did in Lima, Peru was censured. I was accused of glorifying Communism. The image on the mural was changed, and it is no longer mine.

You’ve painted in so many cities. Have you a favorite one?

Paris. There is an openness there.

Any thoughts about the graffiti/street art divide?

I don’t see it.

How has your art evolved since you began painting murals?

I’ve become more abstract and I’ve begun to think of the body as “just a dress to use on Earth.” My portraits no longer have eyes. And I’ve begun to use religious symbols obsessively in my work, even though I don’t believe in a traditional God. My work has also become more socially conscious.

What inspired that?

Before 2009, I was apolitical. But in 2009, I lived in Paris, and I began to think of art as the means to inspire societal change. The revolution must start here — on the walls.

Interview by Lois Stavsky. Photos of Brooklyn rooftop and Baltimore mural by Lois Stavsky. Final image of wall in Santurce, Puerto Rico — which I caught only at the beginning — courtesy of the artist.

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Royce Bannon on Curating, SPECTRUM, and Gallery Brooklyn

August 13, 2013

One of NYC’s most prolific street artists, Royce Bannon aka Choice Royce is also a first-rate curator. His most recent venture, SPECTRUM, is on view at Gallery Brooklyn through August 31.

Your iconic monsters surface throughout the boroughs – both on the streets and in galleries – and you also have curated some of NYC’s most impressive street art shows. What got you into curating?

Back in 2005, my sister and her husband ran a gallery space in Harlem. I loved the idea of organizing an exhibit that would showcase my friends’ work. And since I had access to a space, I did just that.

Who were some of the artists in your first exhibit?

They were mostly members of my crew, the Endless Love Crew. Guys like Abe Lincoln, Jr., Infinity, GoreB, Anera…

I remember seeing Work to Do at 112 Greene Street a few years back in SoHo. It was amazing! How did it come to be?

In 2009, Steve Loeb and John Robie offered me their 4000 square foot studio space to curate an exhibit. With help from my friends, we organized an exhibit with 50 — 60 artists. Work was installed just about everywhere in every manner possible. The response was wonderful and it whet my appetite to curate more exhibits.

What about other spaces? Where else have you curated?

I’ve curated shows at 17 Frost and at the Mishka Store in Williamsburg and at the Woodward Gallery on Manhattan’s Lower East Side. My current exhibit, SPECTRUM, is at Gallery Brooklyn here in Red Hook.

Tell us a bit about your process of curating? How does it begin?

It begins with a concept. And once I have the concept, I contact the artists I’d like to feature and, then – sometimes — I have to begin searching for a space.

What about SPECTRUM? What is the concept behind SPECTRUM?

The concept for this show was actually See One’s. He suggested that I curate an exhibit featuring abstract graffiti with works by Col, Rubin and Hellbent and him. I added EKG.

It’s certainly a great selection of artists – all five are active on the streets, as well as in their studios. How did you hook up with Gallery Brooklyn?

I began contacting various spaces and Gallery Brooklyn – that had hosted Geometrics last year — was welcoming and enthusiastic. It was the perfect match.

And the installation is flawless!

Thanks! I couldn’t be more satisfied. I wasn’t sure what to expect, and the results are beyond my expectations! The works all complement one another.

How did the opening go?

It was fantastic. The response was all positive and it sold well.

What’s ahead?

More curating. More art. More writing. And more interviews for the Source.

Have you any new concepts for exhibits?

I’d like to curate an exhibit on the theme of characters.

That sounds great! I am already looking forward to it!

Interview by Lois Stavsky; photos of EKG and Royce collab, See One, Rubin and Hellbent — in that order — by Lois Stavsky; final photo of Col courtesy of Royce.

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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.

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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

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Speaking with Miss 163

July 24, 2013

A graduate of Cooper Union and a Fulbright scholar, Bronx native Sharon de la Cruz aka Miss 163 is a passionate artist and activist. Her first solo exhibit, Wild Thing, can be seen through August 11th at bOb’s at 235 Eldridge Street on Manhattan’s Lower East Side. Her most recent public mural surfaced last month on Boone Avenue in the Bronx.

When and where did you start getting up?

I was 17 and living in Florida. Life was dull. My mom bought me my first spray can and told me I could paint a landscape on the back fence.

How did that turn out?

It was terrible. I hated the way it looked. I was instantly discouraged and started bombing.

What, then, inspired you to start painting in public spaces?

During my junior year in college, I went to Amsterdam. I saw amazing — different — graff there, and I began to think of graffiti as art.

It seems that Europeans, in general, tend to respect graffiti as an art form far more than we do here in the States. Why do you suppose this is so?

Here — from early on — it was regarded as a symbol of chaos and vandalism.

We’ve seen your artwork in Brooklyn, in the Bronx and at 5Pointz. Where else have you gotten up?

I’ve painted all over Lima, Peru.

Did you paint alone in Lima or were you with a crew?

I painted with Maripussy Crew. There were six of us – five graffiti artists and one rapper. It was wonderful!

What is the riskiest thing you’ve done?

Painting way up high in Lima while standing on a rickety, wobbling ladder. It was not a good feeling!

Do you prefer to work on legal walls or on unsanctioned spaces?

I try to achieve a balance. It depends on the setting. But legal walls don’t have to be done in a rush and in the dark. And that’s an advantage.

Any thoughts about the movement of street art and graffiti into galleries?

It’s a different experience than painting on the streets. But I’d expect it to feel different. And that’s okay!

You designed a limited edition perfume bottle for Calvin Klein’s CK One Shock Street Edition For Her. How do you feel about the merchandizing or branding of graffiti?

It’s okay. In the past, it helped me pay off loans.

What percentage of your time is devoted to art?

When I’m not doing it, I’m thinking about it.

Any thoughts about the graffiti/street art divide?

I think it’s silly. And as graffiti continues to evolve, the lines between the two continue to blur.

Why do you suppose the “art world” remains reluctant to accept graffiti as a legitimate art form?

Because it’s participatory, political and immediate, it is seen as a threat.

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

I love it. One of my early inspirations was the Art Crimes web site.

Have you a formal art education?

Yes, I studied at LaGuardia High School, Dreyfoos School of The Arts and at Cooper Union.

Was your formal art education useful?

Absolutely. It encouraged me to evolve and explore. There’s nothing like being around people who believe in you and feel excited about what you are doing.

What inspires you these days?

I’m inspired by animation, cartoon characters and color. In terms of themes, I’m concerned with “sister strength.” Raising and answering the question, “What does it mean to be a strong woman?”

Are there any particular cultures that have influenced your aesthetic?

Brazilian, Peruvian and Old School Graffiti

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

My basic idea comes from a sketch, and from there it flows.

Are you generally satisfied with your finished piece?

Barely. I’m never satisfied.

How has your work evolved through the years?

I’m more willing to experiment, and my artwork is more detailed.

Any favorite artists?

Among them are: Inti, Nunca, Kano, Anarkia, Miss Van and my crew, Maripussy.

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

A main role is to highlight issues and create a space for solutions.

Interview and final photo by Lois Stavsky; all other photos courtesy of the artist.

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Speaking with Spidertag

July 18, 2013

Based in Madrid, Spidertag is known for his masterful geometrical and abstract artworks fashioned with yarn and nails. I recently met up with him during his visit to New York City, where he left his mark at 5Pointz.

When did you start getting up?

I started doing graffiti in 2000, and in 2008 I began working as Spidertag.

Have you any preferred surfaces?

I like abandoned places. Just like a spider, I only build my geometrical webs in out-of the way, deserted spaces. When people are present, a spider’s web does not last.

Have you ever been arrested?

Not for this, but I was arrested in Berlin for bombing.

What was that like?

They pepper-sprayed me and punched me. They kept me over night.

Wow! And I thought the authorities in Berlin were lenient!

Not if you’re caught bombing.

What percentage of your time is devoted to your art?

All day, all night.

What is your main source of income?

Freelance photography and design. Selling artworks.

Any thoughts about the graffiti/street art divide?

I try to connect them both. But, clearly, street art is more acceptable, and street artists have more freedom than graffiti writers. In some ways, street art legitimizes graffiti.

Do you prefer working alone or collaborating with others?

Both. I like working alone, but I also like the mix of techniques that comes with collaboration.

With whom have you collaborated?

Back in Spain, I collaborated with Señor X, Gaucholadri, EC13 and El Niño De Las Pinturas. And in Berlin, I collaborated with Hottea.

What do you see as the role of the Internet in all this?

It’s important — because what we do is so ephemeral.

Have you a formal art education?

I studied sculpture, but most of what I do comes from what I taught myself and through reading. I’m an avid reader.

What’s the riskiest thing you ever did?

Doing art while standing in deep cold water. It was irresistible.

Your work is certainly unique. What is the source of your inspiration?

I love to experiment with different materials. I’m inspired by geometrics. And I’m always trying to do something different and better. Particular spots, also, inspire me.

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

I usually don’t work with sketches.

Are you generally satisfied with your finished piece?

Sometimes. If I like it, it feels like magic. I jump for joy. And if I don’t like it, I forget about it.

Are there any particular cultures that have influenced your aesthetic?

Egyptian.

How has your work evolved through the years?

I’m more engaged with the materials that I use. These days nails have a hold on me. And I’m more particular with the spots that I choose.

What’s ahead?

A movie is coming soon. More experimentation, more geometry. I don’t want to repeat myself. I would like to Spidertag an entire abandoned town, my dreamed kingdom.

Gee – that’s quite ambitious. It sounds great! What do you see as the role of the artist in society?

I wish the artist did have a significant role in society. I’m not sure he does. But the way I see it — his main goal is to teach others to follow their hearts.

Interview by Lois Stavsky. First two images photographed by Lois Stavsky at 5Pointz in Long Island City, Queens. All other photos are courtesy of the artist.

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Speaking with Kyle Hughes-Odgers

July 11, 2013

Australian artist Kyle Hughes-Odgers creates enchanting public artwork and exhibits his work in galleries across the globe. With strikingly beautiful patterns in luscious colors — fusing figurative, abstract and narrative elements — he engages us visually and intellectually. We had the opportunity to speak to the talented artist on his recent trip to New York City, where he left his mark at the Bushwick Collective and on nearby rooftops.

When and where did you start getting up?

In 2005, I started with wheat pastes and stickers in Perth and Melbourne.

What inspired you to get up?

I was always drawing and painting. I saw doing street art as an immediate way to get my work out into a public forum.

Any early graffiti-related memories?

I was more interested in comic books.

What inspires you these days?

Everything. Architecture, patterns, narrative, decay…

Any preferred spots or surfaces?

I love rundown abandoned spaces with unique textures. One of my favorite spaces was an abandoned French mansion in Cambodia.

Have you exhibited your work in gallery setttings?

Yes. Shortly after I got my work up on the streets, I started showing work in galleries. I’ve had solo shows in Perth, Melbourne, Berlin and Amsterdam. And I’ve participated in group-shows all over the world.

What percentage of your time is devoted to your work?

I’m a full time artist. I work on gallery exhibitions, private commissions and large scale public art work. I also recently illustrated a children’s book.

Any thoughts about the street art/graffiti divide?

I don’t really focus on whether or not there is a divide. I’m open to anything creative.

Do you prefer working alone or collaborating with others?

I like working alone, but I think it is important to collaborate.

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

I think the Internet is great. It’s an amazing resource to access what’s happening all around the world.

Are there any particular cultures that have influenced your aesthetic?

None that I’m conscious of.

Are you generally satisfied with your finished piece?

Sometimes.

How has your work evolved through the years?

My first work was hand-drawn characters on brown paper. But then, as I started hanging out with people who use spray paint, I became more interested in texture and colors and learned more about how to use the medium.

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

It is the role of the artist to document our existence based on his or her observations.

Have you any thoughts about the role of the photographer?

It is very important. Street art is so ephemeral that if it’s not documented it’s as if it didn’t exist.

What do you see as the future of street art?

The lines will continue to blur between the different art genres.

Any favorite street artists?

There are many; but some of my favorites are Aryz, Escif, Roa, Phibs and Beastman.

What’s ahead?

More gallery shows, more installations and ten-story high pieces.

Good luck! It all sounds great!

Photos courtesy of the artist.

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Speaking with Facter

July 4, 2013

Fletcher Anderson aka Facter, the Melbourne-based artist, writer and editor of the popular webzine INVURT, recently spent some time in NYC during his extensive travels. While he was here, we had the opportunity to speak to him.

When and where did you start getting up?

I began bombing when I was about 14 back in 1989 in Perth, Western Australia. I was crap – terrible at doing anything more than tagging. I took an eight-year break to concentrate more on writing, and then about six years ago, I went back to it.

What inspired you back in Perth?

When I was about eight years old, my sister was seriously into graffiti — like everyone else — and turned me on to the movies Beat Street and Wild Style. Then, when I was in high school, just about everyone I knew was bombing, so I fell into it, as well.

Have you any preferred spots?

I’ll paint anywhere and everywhere.

Have you ever been arrested?

Never for actually painting or bombing. A few years after I began painting, though, I was busted when I was caught up in a house raid where stolen paint was stashed. I got off as I wasn’t involved in the theft, but things went a bit south from there and I moved up to Queensland to get away from it all. In hindsight that was kind of fortunate, as that’s where I really discovered my love of art .

How do your folks feel about what you do on the streets these days?

They love what I do and are very supportive.

What percentage of your time is devoted to art?

I work nine to five as a Business Analyst – it pays the bills. But it also helps fund different projects that I help make happen via my webzine, Invurt. After 5pm every night, I’m either blogging about the street art scene in Australia and NZ, writing and editing Damn It! Magazine with Jo Jette, or drawing. Weekends are full of more painting, and checking out gallery shows and attempting to have a personal life outside of it all…haha!

How does the street art scene here in NYC compare to the one back home in Melbourne?

I really do love the NYC scene. And as I’ve only scratched its surface, I hate to generalize. But there does seem to be more openness and tolerance in Melbourne. And it does feel like the scene back home has less of a competitive nature. Melbourne is a very cultured city, and most people try to work together towards the same goals of furthering the art they love – which is great.

Have you any favorite cities?

The Mission in San Francisco is amazing. NYC and the Bushwick Collective are brilliant. I love Boston. I find the people there so generous and helpful. Oslo was great fun, as were Tartu, Estonia and Valka/Valga That said, I especially love Hosier Lane and Aerosol Alley, back home in Australia.

Any thoughts about the street art/graffiti divide?

I hate the idea of a divide. The media and governments spent 30 years waging a war against graffiti. They couldn’t just turn around and let it go, so they came up with the term street art to save face and try to differentiate between things they liked and things they didn’t. Suddenly there was this whole big deal about it all, and it saddens me. If it’s on the street, and it’s art, then it’s all “street art” – even graffiti. And anyone that thinks graffiti isn’t art is… well…

Wow! That makes so much sense!

At the end of the day, we all love to paint walls, so we all have that in common. What’s the point in having any kind of beef against anyone who has that love?

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

Once it’s in a gallery, it’s not street art anymore – plain and simple. It’s a street artist exhibiting street art – derived work in a gallery. I think it’s great that more and more street artists are getting the opportunity to exhibit in galleries. Everyone wants to get paid for doing what they love to do – and it’s about time that they were recognized as the talented creatives that they are.

Have you exhibited your work?

I have had lots of group shows and solo shows in Australia, and I was in one group show in Toronto. My aim next year is to be involved in more shows outside of Australia.

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

I love it. Street art is the world’s first “as it happens” global art form. I honestly don’t think that the whole phenomenon would be what it is without the Internet.

Have you a formal art education?

Yes, but I never use it – I went off on a tangent long ago.

What’s the riskiest thing you ever did? And why did you take that risk?

Doing run-ups on trains always felt pretty risky. And I did it because trains are big, shiny and boring. One day, I hope, all the trains will be legally painted by the artists who were once arrested for doing so.

What inspires your aesthetic these days?

Science fiction, ancient cultures and robots. I’m also a huge dinosaur lover… haha.

Are there any particular cultures that have influenced your aesthetic?

I grew up in the middle of nowhere near an aboriginal community – in a place in the Northern Territory of Australia called Nhulunbuy. I learnt the value and beauty of traditional cultures from an early age. Mayan and Maori art have been a huge love since I was a kid – which is why I just spent three months in Central America visiting the ruins, having my dreams of seeing them for myself fulfilled.

Do you work with a sketch in hand?

No, I usually just let it flow. I like to surprise myself – lately though, as I’ve been travelling I’ve been starting to think about my planning a bit more, due to having limited time to fuck around on a wall … it’s a different approach for me.

Are you generally satisfied with your final piece?

Hell, no!

How has your work evolved through the years?

I’ve always had a distinctive style since I first started, but I continue to refine it – I think it has enormous scope for me to do some cool things with.

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

To visualize the collective dream.

What do see the role of the street art blogs?

In 20 years from now, I’m hoping that they will all serve as an amazing resource and snapshot of a brilliant art movement as it happened. That’s why I love writing about it and documenting it, and the only reason I do it.

That sounds right! What do you see yourself doing in five years?

More of the same of what I’m doing now! Writing, documenting, painting. Hopefully I’ll be doing more shows, travelling and painting amazing spots. I also look forward to helping launch and participating in bigger projects with more artists in Melbourne.

Photos: 1. Valka, Latvia 2. Oaxaca, Mexico 3. the Bushwick Collective 4. & 5. Oslo with Sinnskyshit 6. Boston; all photos courtesy of the artist, except Bushwick Collective by Lois Stavsky

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Speaking with Ecuadorian Artist Raúl Ayala

June 27, 2013

The new FABnyc sidewalk mural, fashioned by Ecuadorian artist Raúl Ayala, is among our favorite public artworks to surface this year. On one of our many visits to Extra Place in Manhattan’s East Village, we had the opportunity to speak to the amazing artist.

When did you start creating art?

When I was a child, I had difficulty sleeping at night. My mind was plagued by hallucinations, and I would panic. My parents didn’t know what to do with me. Then we learned that what I was experiencing is known as hypnagogic hallucinations, a kind of somnambulism. A doctor told my parents that in earlier times, this condition was considered a gift. So to fight the fear of night, I began to draw.

And what happened to the hallucinations and panic attacks?

They stopped.

Wow! Did you go on to study art in a formal setting?

Yes. I studied Visual Arts at the university back home in Ecuador. I graduated in 2007.

Was your education helpful?

These days my art reflects mostly what I learned after I graduated, but the formal education that I received gave me the opportunity to teach, and I love teaching.

What inspired you to get up on public spaces?

While teaching inmates in Ecuador’s prison system, I came up with the idea of using the prison walls as a canvas. I see walls as the ideal canvas – as they are a metaphor for separation – all kinds of separations…social, economic, physical.

What about graffiti? When did you start doing graffiti?

I went to Argentina for one year to study painting. There the walls are filled with graffiti. When I returned to Ecuador, I began doing graffiti with a spray can. I always preferred the brush, though, and I consider myself a muralist more than a graffiti artist.

What is the attitude of your parents towards your life as an artist?

At the beginning it was difficult for them. But now, they see me happy and productive, and they’re great about it.

What percentage of your time is devoted to art?

Just about all of it. During the day, I work as an art handler for a Chelsea gallery to pay my bills. Other times, I do my own art.

Do you prefer working alone or collaborating with others?

I like to work alone, but I also love working with others. I have collaborated with D*Face and Liqen, along with many other friends and partners in crime. I love the challenge of collaboration, and I think it’s the best learning experience an artist can have!

Do you work with a sketch, or do you let it flow?

I always have lots of sketches, but I’m not faithful to them.

Are you generally satisfied with your finished work?

No.

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

Once art goes into a gallery, it becomes merchandise. It’s all about money. The power of graffiti is its relationship with the city and the people. I see graffiti as a means to communicate with others and as social commentary.

Have you exhibited your work at in any gallery spaces, and how did you feel about it?

My first solo exhibit was at Arteactual FLACSO back home in Ecuador. I did it with the understanding that I could paint all the walls in the gallery. And then we sold prints. I feel that we artists have to take advantage of all the spaces available to us, and if we are going to use a gallery, we have to find a way to question that private space. I prefer outdoor walls, because my mission as an artist is to visually and intellectually engage a broad community of people.

Are there any particular cultures that influence your aesthetic?

Yes. Pre-Columbian and other Ecuadorian nationalities and cultures like the Shuar and Waorani from the Amazon Jungle, and Valdivia and Chachi from the coast.

Any favorite artists or influences?

I have lots of influences — many that do not come from visual arts. These days I am obsessed with the writer Roberto Bolaño, and I am also reading about the Reconstruction Era here in the USA. Among the younger visual artists I like are: Liqen, Hyuro, Escif and Vazco Basko. The more mature ones include: Dennis McNett and Miguel Varea. Some of the dead ones are: Guadalupe Posadas, Guaman Poma, Francis Bacon, el Bosco and los Muralistas Mexicanos. Tattoos and Brazilian Pixacao are other movements that I observe. In terms of music, I am more of a death metal head but I am, also, into Latin American music, specially old tunes.

What brought you to New York City?

I was living with my girlfriend in Ecuador, and she needed to move back to the U.S. to get her citizenship. We tried the long-distance relationship thing, but that didn’t work so well. So I decided to move here. We are now staying in New York City, and I am experiencing first-hand what it’s like to live and work as an immigrant. And we recently got married!

What is your impression of New York City?

I have only been here for a year and a half, so I am still pretty new in the city, Although I have found friends and support, I feel it’s a hard city. I see it as a rich playground, with the rich players blind to the workers behind the scene.

How does the street art/graffiti here in NYC differ from that back home in Ecuador?

The graffiti writers in Quito are very experimental. Also, one almost never gets arrested back home. There is a bit of a stigma to the use of the spray can, and so a police officer may stop you if you are using one. But graffiti is not regarded as a criminal act! You know that you can talk to the police, and they may leave you alone. You still need to be very careful and fast, but there is more freedom to paint in the streets in Ecuador than here in NYC.

Tell us something about your current project.

I’m working here at Extra Place with James Rubio from the Antagonist Art Movement on a FABnyc sidewalk mural. Inspired by a poem Dee Dee Ramone wrote about Joey soon after his death, it features wild creatures, representing punk rockers, carrying a dragon cloud — a symbol of Joey’s spirit. This mural is a tribute to Arturo Vega. It could have never happened without his influence and support.

What’s ahead?

I am a Fellow for the Create Change Professional Development Program at the Laundromat Project. I’m learning how to work with socially-engaged art here in NYC. I’m quite excited about this. I am looking forward to producing artwork in my current neighborhood in Bed-Stuy, Brooklyn. I will keep you posted! Also, I am participating in the exhibit For Which It Stands at The Lodge Gallery at 131 Chrystie Street on Manhattan’s Lower East Side. Curated by Keith Schweitzer and Jason Patrick Voegele, it opens tomorrow evening — Friday, June 28, 6-9pm and continues through July 28.

It sounds great! Good luck!

Photos by Tara Murray and Lois Stavsky

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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.