interview

Speaking with Rubin

January 16, 2013

Rubin’s exquisite murals surface here regularly in NYC on the streets of Brooklyn and the Bronx. Each one is a cause for celebration. We recently had the opportunity to speak with the talented artist.

When and where did you start getting up?

I started tagging in 1985 – age 10. I was living in Gothenburg, Sweden. I grew up there among the concrete projects. Their walls were my first canvas.

What inspired you?

I watched the movie Beat Street at my friend’s house. That started everything. The movie had a huge impact on me, as did growing up in the projects.

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

My mother worried a lot. But she was supportive.

Do you have a formal art education?

No. I never wanted to go to art school. I studied music and played in several bands in my native Gothenburg.

Back in Sweden, did you work alone or with a crew?

I painted with NTA (Night Time Artists) back in Sweden. But I also painted alone.

What about here – in NYC?

I’ve collaborated mostly with 4Burner members: Sen2, Dasic, Owns, Deem, Gusto and Logek.

Would you rather paint alone or with others?

I like painting alone, but painting with others is important for artistic growth.

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

I would love to collaborate with Futura. That would be something.

Have you any preferred spots and/or surfaces?

I love the concrete walls up in Hunts Point in the South Bronx.

What is the riskiest thing you ever did?

I climbed five or six stories on a drain pipe to get to the top of a building.

Why?

Because it was an impossible spot that no-one had reached before.

Your artwork seems to blur the lines between graffiti and street art. How do you feel about the graffiti/street art divide?

We should be on the same side, but we’re not. There is definitely a beef between street art and graffiti. I have always tried to bring these two opposites together in my art. It’s very challenging. There is so much ego in graffiti and street art trends seem to come and go.

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

It’s exciting and interesting. I see it as a natural progression.

Have you exhibited in galleries?

Mostly in Sweden, but I exhibited along with Cope2 two years ago in Nolita.

What is your main source of income these days?

My main source of income is photography. I’m also involved with the production of a Swedish/Finnish arts and culture magazine.

How do you feel about the role of the Internet in all this? And do you follow any sites?

I think it’s great. I follow 12ozProphet and StreetArtNYC.

What inspires you these days?

Craftsmanship, Kraftwerk’s minimal electronic music and the contrasts between my two homes: Bushwick, Brooklyn and the gorgeous woods of Lapland, where I spend the summers with my wife.

Are you generally satisfied with your finished pieces?

Never.

When you look back to what you did two years ago, how do you feel about it?

Two years ago feels like an eternity, especially when living in NYC. I tend to look forward instead of looking back.

How has your artwork evolved through the years?

In the nineties, I was one of the most active writers in Sweden. In the mid-nineties my graffiti took a turn to the geometric. From 1999 to 2008, I took a break and focused on my band, Kingston Air Force. I can’t really describe my usual style. Someone once called it abstract geometry; that’s a pretty good description, but my style is still evolving.

Of all the cities in which you painted, which is your favorite?

New York City. I love the energy and the mix of people. Nothing beats New York.

Who are some of your favorite artists?

The Swedish artist Gouge. He’s amazing! Bates from Denmark, Dondi and Riff 170 from NYC, C215 and Nelio from France, Boaone from Germany and Sofles and Fecks from Australia.

What advice would you offer young writers and younger artists?

Work hard. Learn the craftsmanship. Perfect your technique. Practice. Be a good role model to younger writers. Be nice.

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

Every artist is an egoist, and I’m no exception to the rule. I interpret what I see and how I feel through my art. I create for myself, but I’m very humbled every time someone appreciates my pieces. It means that they appreciate my take on what’s going on around us. That’s very flattering.

Where do you see yourself in five years?

I don’t even know where I’ll be next week. NYC has taught me how to live right here and now, and I’m really enjoying taking a day at a time.

Interview by Lois Stavsky with Lenny Collado and Tara Murray; photos by Lenny Collado, Dani Mozeson. Tara Murray and Lois Stavsky

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Speaking with Baser

December 31, 2012

Baser’s masterful handstyle can be seen on sundry stickers on a range of public surfaces throughout Manhattan. We recently had the opportunity to pose some questions to him.

When was Baser born?

I started writing Base in 1986 in Pittsburgh. It mutated to Baser in 1999 when I began using stickers as my primary means of getting up. By then I was living in Brooklyn where I had originally been exposed to graff and where it had seeped into my brain.

Why did you choose that name?

The letter combination. I know that its connotation is drug-related. But that had nothing to do with it. Many people have suggested I change it, but I’m stubborn. Besides, after the Godfather dropped a signature in my black-book to that name, I felt it was official. So that’s it!

Any formal art training?

No. Just the desire to rock my name with style. But for all the kids out there: Go to school, master your craft and get paid!

What made you go postal?

I’d been getting up with labels since ’99. Not postals or name-badges. But my supply of free labels dried up about the same time a number of books came out on the subject. And except for a few clipped tags, Baser was nowhere to be found. Burn! It became evident at that point that I needed to broaden the palette. So I started using a variety of labels, developed my style and put in the work. This way, book or not, the streets would know and I’d be certain I put in my best effort.

What made you want to share your style?

I didn’t necessarily want to ‘share’ my style. Maybe more like competing for style. I’d put stickers up to entertain myself while walking the city. I certainly liked comparing various hand-styles and wanted to see how I fit in. The quality of style a few years back drove me to take stickers seriously. So I could look at my work and be proud.

Any favorite writers?

There are so many amazing writers today. And with the specialty paints and caps, it’s even easier to produce quality work. But personally, I would go back to the cats I grew up admiring and the pioneers before them. Dudes like RTW Crew, Dondi, TFP Crew, Seen (UA), T-Kid, Phase 2, Billy 167 and Fuzz. The list goes on.

What about handstyles? Are there any handstyles you admire?

I’ve always been a fan of many hands coming out of New York City. But to be specific, Zephyr, Revolt, Haze and Trike were the first to do it. Brooklyn and Manhattan styles, for me, unquestionably kill it. Later on the stickers of Sure and Faust, Twist and others of the late ‘90s and early 2000s lit a fire in me to skill up. I might add, though, that it’s a pleasure to see anyone from anywhere who’s doing it well.

How has your style evolved?

It’s constantly evolving because I always strive to do better. Well, I hope it’s gotten better and more pleasing to the eye. Balance, composition and flow are three ingredients I try to ingrain in the muscle memory. The less my hand needs direction the more room there is for improvisation. Then more of my soul pours out and people feel it. Anyway, that’s the theory and, hopefully, the evolution is evident.

Any past collabs?

Not really. I stick to myself mostly. I did some work with Sabeth718 on the zine Stuck #1. I, also, worked on the zine Bad Things Come in Two’s with Feecees from Miami, produced by TrustNoOne. And I did a few personal ones with Chris RWK and Paecher from Colorado. That’s it. I like to keep it limited because the reality is I’m out there alone. It keeps it simple. Besides, I got more fingers on one hand than I have friends.

Do you work with anyone these days?

Currently I’m doing some work with KA and MTK76. We’ve been hitting the same spots for years, and we hold a mutual respect for each other’s work. It just made sense to hook up. They’re definitely two cool and talented people. As for anyone else, it remains to be seen.

Have you any thoughts about the current graffiti and street art scene?

I miss everything about the pre-Giuliani New York, especially the graff scene. I’m not too hip to all these street artists. They do what they do, and some of it is really cool. But for me it’s always been about writing, and these days, limited to stickers. So I’m not sure I can judge the current scene. As long as they don’t go over me! Like Mare 139 said, “We may have lost the trains but we’ve gained the world.”

How do you feel about people peeling off your stickers?

I hope they last on the streets, no doubt. But I give away so many to the city that it balances out the fact that I sell sticker packs. I’ve always said, “If you don’t want to prop the dough on a pack from me, then start peelin’ and stealin’.” I don’t get mad; I just go in with more. Ha!

What’s your most memorable graffiti moment?

I could hit you with a few clean train chase stories. But the most memorable was back in 1989. A couple of so-called friends came in from out of town. I took them on a flick mission to different spots around the city. I knew Vulcan worked at the old Forbidden Planet near Union Square. So we decided to go down there and see if he would drop a tag in our books.

Did he?

When we got there, we went downstairs and there were these two cats there — one dude at the register and a dude with a Kangol hat. No Vulcan. It turned out he was off that day. But the guy with the Kangol was looking for him too.

“You don’t write, do you?” he asked us.

“Yes!” I replied, nodding toward my book.

He quickly glanced through it and handed it back, telling us he was Phase 2.

Wow! The Godfather!

He asked if we knew who he was. No doubt because of our age, we looked ignorant. But of course I did. I had subscribed to the 1980’s zine IGT he did with Schmidlap. Also I was an early collector of books on graff, so I had seen a photo or two of him and definitely his work.

“If you have time, we’ll head over to Union Square and I’ll do something in your books,” he said.

We headed over.

And what began as seemingly random lines all over the page turned out to be a masterpiece. I hadn’t seen anything like it. He did one for each of us, but mine seemed more complex. All the while, he schooled us on the history of writing and the birth of Hip Hop. It was a great oral history lesson. I will never forget that day and will always be grateful to him.

Have you exhibited your work?

Yes! Everywhere from 8^th Street stir up to 80^th Street! As far as galleries go, I had a few stickers exhibited at NYU’s Bronfman Center. I also recently donated a collage for the Sandy Relief Auction at Trumbull Studios. There might still be some of my work displayed at the Bomit Pop Up shop in California. But that’s it.

How did you start selling your work?

Early on I’d give them away or trade. But that didn’t work out too well. So as interest went up, I put a price on sticker packs and some of the larger pieces. I’m not making a living at it, nor is it why I do it in the first place. But I’m not one to turn away cash. Who is?

What do you see as the future of stickers on the streets?

Not sure. It’s looking pretty dim. There’s only a few of us left doing quality work. I miss the news boxes with their collages of first-rate handstyles that were all over the city a few years back. I was recently looking at some flicks from just a couple years back, and styles were great. Part of the reason I started doing collages on the boxes is because they were too vacant or sporting just a few stickers that were plain garbage. I guess we’ll see.

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

The Internet, with its entire social media, opened up a worldwide stage for us. It’s part of the game now. But nothing beats actually walking the streets or riding the trains and experiencing graff as it was meant to be seen. I still get that rush when I turn the corner and Bam! there’s a dope tag, fill-in or piece.

What’s ahead?

I don’t know. What are the choices?

Interviewed by Lenny Collado; photos by Dani Mozeson, Lois Stavsky and courtesy of the artist. Final image features noted photographer Henry Chalfant — checking out Baser’s stickers on exhibit at NYU’s Bronfman Center

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Speaking with Chris Stain

December 19, 2012

Queens-based artist Chris Stain is best known for his splendid stencil images that often reflect his concern with social inequality. We recently had a chance to speak to him following the opening of Sowing the Seeds of Love at Munch Gallery on Manhattan’s Lower East Side.

When did you start getting up in public spaces? And where were you living at the time?

In 1984. I was 11 years old and living in Baltimore.

What motivated you to hit the streets?

The movie Beat Street had a huge impact on me, as did the book Subway Art by Martha Cooper and Henry Chalfant. I also caught Style Wars on PBS.

Were there any particular writers who inspired you back then?

Most of us starting out in Baltimore were inspired by local writers, Zek, JamOne and RomeOne. Zek, considered the king at the time, was a lefty and had a distinct left-handed style that we all borrowed and tried to make our own. Another writer who influenced us all was Revolt who came down to Baltimore from NYC in the early 80’s.

Have you a first graffiti memory?

I was 11 when I did my first tag on the last house of a row of houses on my block. The kids on my block would usually find some flat black or white paint lying around somewhere in their fathers’ basement. But I used cherry red spray paint – the Testor spray paint that was bought for plastic car models — to put up my first tag.

What did you first write?

I wrote Savage. I wanted a name that sounded cool. Later I wrote Stain after hearing it rapped by Rammellzee in his song Beat Bop.

These days we identify you with huge stencils that surface on city streets. When did you first begin working with stencils?

I began in the late 90’s. In the beginning of my artistic endeavors I was into traditional graffiti lettering. Long after I graduated high school, I began stenciling to tell more of a personal story.

Have you ever been arrested?

Three times…when I was eleven, sixteen and thirty-nine. I remember being grounded for two months after my first arrest.

We’ve seen your work in a number of galleries here in NYC. Have you exhibited outside of the U.S.?

My work has been exhibited in London, Paris, Amsterdam, Hong Kong, Germany, and Norway.

Have you any thoughts about the street-art graffiti divide?

I don’t think about it. Both have their different energies. To me it’s all creativity.

With whom have you collaborated?

Among those with whom I’ve collaborated are: Josh MacPhee and the Justseeds crew , Billy Mode, Swoon, The Polaroid Kidd, Bill Daniels, Martha Cooper, Skewville, Login Hicks, C215, Armsrock, Know Hope, Nick Walker, Blek Le Rat, and Chris & Veng of Robots Will Kill, Hell Bent, and a host of others.

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

I have mixed feelings. On one hand, it’s taken away from the specialness – the underground secrecy – of the counterculture. But it also allows us to easily share our work with one another. And that is a plus.

Do you have a formal art education?

No. I never attended art school. Not formally at least. I tried some continuing education classes to build a portfolio after I got out of high school but I had a hard time with the discipline.

Your artwork reflects a strong social consciousness – both in your subject matter and placement. Could you tell us something about this?

I was brought up to respect other people’s struggles. It is important that we treat others the way we would like to be treated – regardless of race, nationality or social status. If there is a message in my artwork, it is that we need to be more aware of each other.

What do you see yourself doing five years from now?

Teaching art, still painting with Billy Mode and working with JustSeeds. And I’d like to continue to show my work in galleries and create public works as well.

That sounds great! We are looking forward to seeing your artwork anywhere!

Interview by Lenny Collado; photos of Chris Stain street art by Lois Stavsky; photo of Chris Stain and Billy Mode by Dani Mozeson

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Speaking with Federico Massa aka Cruz

December 12, 2012

We discovered Federico Massa’s wondrous artwork this past fall on the streets of Bushwick, and we became instant fans. We recently had the chance to speak with him in his Brooklyn studio.

When did you first start hitting the streets?

Back in 1997. I was 16 years old and living in Milan. But even earlier, I was writing my name, Fede, all over my house — to my mother’s dismay.

We’ve noticed that you sign your work “Cruz.” Why “Cruz?”

It is derived from Santa Cruz, one of the most popular skateboard brands. I was inspired by the skateboard culture back home in Milan. I grew up with it.

Do you have a formal art education?

I studied set design at Academy of Fine Arts of Brera in Milan. I graduated in 2006.

When did you first come to New York City? And why?

Three years ago. I wanted more of an international experience as an artist.

We have seen your work in Bushwick. Where else have you gotten up here in NYC?

Two years ago, I painted a mural in Williamsburg on Hope and Marcy. I had an exhibit at the nearby Graphite Gallery at the time.

How does the experience of painting in the streets here compare to that in Milan?

It was much easier for me to paint in Milan. Here I need to get permission to paint, or I could face serious penalties. It is much more casual in Milan.

Did you do anything particularly risky back in Milan?

The riskiest thing I ever did was painting on moving trains. I learned how to run fast! I loved the adrenaline rush!

Any favorite surfaces?

No. Nothing in particular. I look for a surface that inspires me. Back in Milan, I loved pasting huge painted papers onto plywood panels on the streets. It was my way of reinventing them.

What inspires you to continue to work on the streets?

I like sharing my work with lots of different people, and it’s great when people stop and talk to me.

Great! We’ve loved watching you at work, and we’re so glad you’re sharing your art with us here in NYC. Do you always paint alone? Have you worked with any crews?

I created canvases and installations with The Bag Art Factory collective – a group of artists, including painters, sculptors, and set designers — in Milan. For eight years we collaborated on a variety of projects and constantly organized exhibitions of our works. I’ve also collaborated and exhibited with Biokip, a group that fuses visual art and electronic music.

What about branding? Any thoughts about it?

I have no problem with; it depends on the project. A number of years back, I customized bags, graffiti-style, for Mark Jacobs. I loved getting paid to do what I love most to do!

What is your main source of income these days?

I do set design. It is the perfect job for me, because I like to work with all kinds of materials.

How do you feel about the move of street art into galleries?

I think it’s fine. Just about every artist who works on the streets would like to show in a gallery.

Any thoughts on the graffiti/street art divide?

Lettering is the art of graffiti. Street art was born from graffiti. Street art has simply taken graffiti to the next level. The graffiti writers feel they are the original ones to claim the streets. And they are.

How have graffiti writers responded to your street art?

They like and respect it.

We’ve noticed Latin American influences in your art work. Tell us something about that.

The Mexican aesthetic has had a huge influence on my art. It continues to inspire me.

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

I think it is great. It is the best way for one to find artists and for artists to get noticed.

What’s ahead?

I’m open to all kinds of collaborations. I like to work with different materials and ideas. I’ve collaborated with poets and sculptors, and I look forward to more such collaborations. I’m also always seeking huge walls. They inspire me!

Great! We are looking forward to seeing more of your murals on our streets here in New York City.

Photos by Dani Mozeson, Stefano Ortega (final image) and courtesy of the artist

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Speaking with the Legendary stikman

November 28, 2012

Our beloved stikman has been part of New York City’s visual landscape for as long as we can remember. We’ve seen him in an amazing array of styles on countless surfaces. We’ve always wondered about the artist behind one of our favorite street art characters. StreetArtNYC recently had the opportunity to ask him a few questions.

When was stikman born?

This year marks his 20^th anniversary.

What inspired you to create him?

I was flea market – hunting when I came upon an old plaster plaque depicting a man made of sticks who had, somehow, fled the hold of the plaster. I was intrigued. His escape and the many forms and shapes he could take on his journey gripped my imagination. And that was the beginning of this artistic journey.

Where did your first stikman surface?

In 1992 in the East Village. I constructed about 50 that first year – all from unpainted basswood. About four years later, I started painting 3-D stikmen and also designing stickers.

Had you a presence on the streets before stikman?

I started getting my name up when I was 14 years old, and later on I was into writing anti-war statements in public spaces. I’ve been building brick and stick towers since then as well.

We’ve seen our beloved stikman in a variety of media. Can you tell us something about them?

I’ve fashioned stikman from a range of materials including: metal, wood, cloth and plastic objects. Among the objects I’ve painted over are: LP record covers, prints, playing cards and book pages.

Have you any favorite surfaces?

I like flat metal as well as walls covered in paste-ups and stencils. But I especially love old, deteriorated urban elements that have been altered by time.

Have you any message to convey with stikman?

No. I like my art to speak for itself. There is no hidden message or meaning in the traditional sense, but it is possible to analyze the work on many levels if one is so inclined. I do hope that the viewers develop a keen sense of the visual environment that is all around them.

Stikman has been quite ephemeral in certain locations. How do you feel about folks removing your art?

It’s disappointing, but I don’t view my art as “precious.” When it vanishes, the space eventually returns to its previous state.

As evidenced by what we’ve encountered on the streets this past year and seen at Williamsburg’s Pandemic and Philly’s Stupid Easy galleries, stikman continues to evolve – in quite ingenious ways. What percentage of your time is devoted to him?

Most of it. And I spend lots of time in flea markets and wandering the streets, which are constant sources of inspiration.

How does your family feel about all this?

My wife and kids love what I do. They’re all big stikman fans.

In addition to Pandemic and Stupid Easy, your work has been featured in exhibits at Factory Fresh and at Woodward Gallery. How do you feel about the movement of street art and graffiti into galleries?

Conscientious galleries can help the public understand art that is new and challenging. I encourage anyone who’s making a living by producing and exhibiting art.

Any thoughts about the graffiti/street art divide?

At its core we all work in that vibrant zone where art meets real life in the space we all share. There are so many art movements, and they all inspire one another.

Have you found inspiration in any particular public art projects?

Christo’s “Wall of Oil Barrels-Iron Curtain, Rue Visconti, Paris” circa 1962. When I was young, I saw photos of it I realized I was also an artist.

Have you had any particularly frightening or disturbing experiences while out on the streets with stikman?

Almost getting run over while stenciling him onto the pavement at a busy intersection was somewhat scary. And I’ve been in some areas I shouldn’t have been in though I believe in taking my art into troubled neighborhoods.

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

I embrace it. It has allowed artists and art enthusiasts from many places and cultures to have an awareness of art projects they were unlikely to experience any other way. My personal experience, however, is that encountering this art in its natural location has the most visual satisfaction and transcendent possibilities.

What’s ahead?

Nothing is planned. Stikman will continue to evolve. It’s all serendipity. I am working on the 7^th edition of the ten year cycle tribal/insect stikman. Look for him on the streets starting in January.

‘sounds great. We are looking forward!

Photos by Dani Mozeson and Lois Stavsky

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Speaking with Mario Rosales about his film “The Return of Lencho”

November 8, 2012

In 2002, Mario Rosales left his native Guatemala to pursue an MFA in Media Arts Production at The City College of New York. In fall 2008, Mario began production on his first feature film “El Regreso de Lencho.” Presenting a poignant portrait of his country’s searing suppression of street art and hip-hop culture, “The Return of Lencho” begins a one-week run at Manhattan’s Quad Cinema, starting tomorrow.

You seem to blur the boundaries between artist/filmmaker and activist. What was your intent in this film?

My intent – as an artist — is to create awareness and, ultimately, bring about social and political change. The focus of The Return of Lencho is the state’s persecution of youth and street art culture.

Who is the inspiration for Lencho?

My younger brother. He was shot and tormented by the police in Guatemala for no reason. He was assumed to be a gang member simply because he has tattoos on his legs. My brother is an anthropologist. In the course of the film – ironically and tragically – one of the main actors, Carlos Chacon, aka El Chino, a graffiti and hip-hop artist, intent on passing his skills onto others, was assassinated. The movie is dedicated to his memory.

In The Return of Lencho graffiti is presented as a people’s movement that reclaims the streets from advertisements and desolation. What do you see as the role of graffiti in society?

The role of all art should be to give a voice to the people. In the 1980’s all of Guatemala’s expressive voices were silenced. An entire generation of artists, photographers and painters was annihilated. Graffiti represents the voice of the suppressed.

What do you see as the future of graffiti in your country?

It has begun to explode and I’m certain it will continue to do so.

The scene with the curator comes off as metaphorically rich. Is this particular curator modeled after someone in particular or is she simply a symbol of imperialism and warped values? The sex between Lencho and her seems quite hostile – with a reversal of roles, with her as the victim, almost as though she’s taking on the guilt of her entire race. Can you tell us something about what’s going on here and the kind of response it has elicited?

Yes, she is a symbol of an exploitive Western imperialism. I’ve had many responses to that scene. I’ve been asked, in fact, to remove it. That is how I know just how effective it is.

Was it difficult to get permission from the government to produce this film? Was it possible to get funding?

I promoted it as a film about muralism. We spoke to the ministry of culture, and we never talked about the film’s political content. The Guatemalan government does not provide any support at all for the arts unless you have a connection.

Who is the intended audience?

It is wide — from Guatemalans and Latin Americans and immigrants to a general audience in the U.S., particularly those people who are not aware of the impact of this country’s international policies.

You seem to imply a counter relationship between graffiti and globalization. Can you elaborate?

Globalization has become synonymous with colonization. Graffiti is a means to reclaim our spaces from global corporations. Yet at the same time — quite ironically — graffiti has become a world-wide movement as a result of globalization.

What’s next?

The U.S. theatrical premiere of The Return of Lencho will begin tomorrow, Friday, November 9^th at the Quad Cinema and continue through the 15^th. There will be Q&A’s after the 7:50pm show tomorrow and Saturday and after the 5pm show on Sunday. We plan to continue touring college campuses with the film and bring all the artists featured – Stinkfish, Bastardilla, Aeon and Soft – back to Guatemala early next year.

Photos of film stills featuring Stinkfish’s art courtesy of Mario Rosales and Occularis Films; photo of Lorenzo Masnah’s art on East Village shutter by Lois Stavsky.

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Speaking with LNY

November 6, 2012

Recently selected by RJ Rushmore of Vandalog for Complex Magazine as one of the “fifty greatest street artists right now,” LNY has shared his visions with us in NYC on walls in Chelsea, Williamsburg and Bushwick. We recently had a chance to speak with him before he left for the streets of Korea.

When and where did you begin getting up?

I began in high school – doing some toy crap, here and there, in Jersey City and West New York, NJ. What I really liked about it was the freedom to try and also to fail. It was just play. But things got serious four or five years ago, when I started drawing again – making portraits of friends. I was living in Seoul and visiting Japan, and I found myself making life-size drawings of people and pasting them onto walls. That was a turning point.

Why did you begin writing on public spaces? What made you continue?

At the beginning it was just something fun to do. But now it’s a way for me to share my vision with others, as I like telling people’s stories through my eyes. Also, it’s my way of giving back to the people. And it all makes so much sense. I wouldn’t do anything else.

Do have any preferred surfaces?

Anything really, the more textures, the merrier. I see the work on the streets as just another layer added to the city’s history, architecture and community. I consider street art successful when all these layers come together.

Do you have any preferred spots?

I enjoy the travel aspect of making art. I’m in a sense nomadic. My favorite spots in a city are those that seem to scream for interaction, for care or for a second look.

Who or what inspires you?

Anybody who is going hard and doing his or her thing… either art-wise or not. This game is not about limits or rules so you’ve got to make your own. I try to surround myself with people that inspire me and they range from friends to family members to public figures like Newark’s Mayor Cory Booker.

Have you any memorable moments from your work on the streets that stand out?

Most memorable are people’s reactions — either acceptance or rejection of a piece — by a particular community. Kids coming by and giving you props is the best. But any reactions – even criticisms – are good.

With whom have you worked?

I have worked with a range of people including fashion bloggers, scientists, painters, architects and writers. I love collaborating with people like ND’A because of the bold rhythms in his brush strokes or OverUnder because of his way with lines and his productivity. I enjoy working with anybody who is passionate, and I like to be as open as possible because the mix of mediums and people can only push the work forward.

Have you been arrested?

Yes. I was arrested yesterday. I opened my mouth when it should have stayed shut.

Well, I’m glad you’re here today. Where else – besides here in Bushwick — have you gotten up?

I’ve gotten up in Korea, Japan, China, Berlin, Paris, Ecuador, Mexico, Philadelphia, New Jersey, Atlanta, Mexico and other spots. I will get up anywhere life takes me.

How does your family feel about what you are doing?

They love it and are very supportive. As long as they see me safe and happy, they are happy.

Have you made money from your art?

Yes, and I thank all the people who have supported my vices and adventures by buying work directly from me or from galleries. I’m grateful to all those institutions, festivals, foundations and individuals who have facilitated grants and invited me to work with them. I appreciate everyone who’s given me materials or just a helping hand. Much, much, much love and keep it up.

What are some of your other interests?

I love shooting videos and editing them because I have no idea what I’m doing — same with taking pictures. I am an avid amateur at a lot of things. As an artist, I am open to all cultures, as we artists impact our immediate surroundings and help create them. So I eat up books, watch an insane amount of movies and TV shows, read blogs, look at fashion, watch season games, try all types of foods and drugs and listen to all kinds of music. I was about to try the cinnamon challenge last week, but I’m glad I didn’t.

What do think about the street-art/graffiti divide?

I don’t see a divide, but I can feel one. In New York it is more of a personality or ego-driven divide. Graffiti and street art cannot exist without each other. They owe a lot to each other as modes of expression and they’ve developed a symbiotic relationship in the market place. Graffiti is an act of assertion and ownership that comes out of a feeling of disfranchisement. It’s a free form of expression that started back in the day in Philly and the Bronx and has traveled across the globe. Passed from one generation to the next, it has translated into an act that reclaims public space and builds upon that freedom to be active in a society that would rather keep you passive. This is precisely what street-artists are doing, and you can see the different directions the movement is taking with activist work and masterful muralists around the world. Most of the beef I see is ego-driven and I hate that noise, because it denies the greater possibilities of both.

How do you feel about the movement of street-art and graffiti into galleries? Have you exhibited your work in galleries? If so, where and which ones?

Graffiti and street art can never exist in galleries. The intention is different. The audience is different. But both graffiti and street artists can create work for galleries and for the people who visit galleries. I appreciate both arenas. I have shown in tons of galleries all over, but I don’t really keep track or add them to a CV. But some of my favorites were in Korea and Berlin and now in Brooklyn – where I will have a solo show early next year at LowBrow Artique.

What do you think of the role of the Internet in all this?

The internet is a double-edged sword, as it allow anyone to be famous for 15 minutes. But fame on the Internet does not equate with talent, so be safe out there.

Do you keep up with the current street art scene?

I have never felt like I belonged to any scene, so now being part of one that is international and multifaceted is perfect! With the Internet it is super easy to have eyes all over the world. I keep up with the local scene with blogs like Brooklyn Street Art, 12OzProphet, Arrested Motion, Vandalog, Animal New York and yours. But I also check out what’s happening on the streets of South America and Europe with Buenos Aires Street Art or Graffitimundo. And even though I don’t even read French, I follow these French stencil blogs. And Instagram keeps me up with both street art photographers and artists. I have met a lot of people through Instagram, so hit me up @lunarnewyear.

How do you feel about the evolution of graffiti and street-art?

Both are getting institutionalized and being tamed as they become accepted by the mainstream, so what interests me is how these art forms are going to stay culturally relevant. I’m interested in seeing who keeps them alive in a time when their explosion and exposure have added a lot of voices to the conversation. And let’s face it — a lot of these voices are not saying anything new or worthwhile.

Have you received formal art training?

I studied at the university level, but I saw studio work as limiting, although at the time I didn’t know why. What I was missing was the immediacy of communication that you get from working in public and everything else that this brings. But I’m not going to front. I learned so much from the artists I met in school and all the friends I made. Plus you can’t destroy an idea before you understand it.

Can you tell us something about this current mural at Bushwick Five Points?

I’m never sure what a wall will look like or say until I paint it. And even then, I am not sure. I love this ignorance. I like not knowing, as it keeps me fresh and honest. So this mural is — at one level — a portrait of Malik, a young man I met through developing workshops with Young New Yorkers, a Brooklyn-based restorative justice program that works with underage kids who are tried as adults in the city. My experiences led me to view the entire American justice system as a corruption which strips minorities of freedom and turns doing this into a lucrative business. We used to call this slavery. I think it’s called cost-effective business now. This portrait is a celebration of one of our system’s victims — who represents hope for change. I see my mural as a form of public prayer.

What do you see yourself doing five years from now?

It’s hard to say. It might be another city, or maybe even another continent. But I know it will be a natural progression from the work I’m now doing. I am also very conscious of where I don’t want to be or what I don’t want to do with my art so this will also guide me. I will be adding to the conversation, moving things forward and giving back all the love I receive.

Interview by Lenny Collado; photos by Tara Murray, Dani Mozeson and courtesy of the artist

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Speaking with Lorenzo Masnah about “Hard Times/Tiempos Difíciles”

October 29, 2012

For the past several years, the young Colombian artist Lorenzo Masnah has been culling images of human rights violations, national tragedies and global disasters from a range of international magazines and newspapers. These images – recycled, recreated and screen printed by the artist – have made their way not only onto public spaces, alternative settings and galleries, but also into a series of hand-made books, Nuevos Tiempos.

Lorenzo Masnah’s most recent book, Hard Times/Tiempos Difíciles focuses on natural disasters and presents haunting images of lost and frightened people in the face of tragedy. We recently had the chance to speak to Lorenzo, who is based these days in NYC and is at work in the East Village on a number of political murals.

The images in your book Hard Times/Tiempos Dificiles are quite disturbing. Why did you choose to create a book with images that focus on life’s bleaker side?

When disaster struck in Haiti in 2010, I was particularly moved by newspaper photos that revealed the facial expressions of the Haitian people in the wake of tragedy. I began collecting these images and mounting them throughout my living spaces. They seemed to speak to me. At about the same time, heavy rains struck Bogota and, again, I was drawn to the facial and bodily expressions that surfaced in the printed media, as they reflected what I was seeing as I walked around the city at the time. The following year, I was on the West Coast when heavy rains struck again. Reworking images I collected and self-publishing them was my way of honoring those people struck by unforeseeable disasters that could happen to anyone at any time. It is also my therapy.

How did you go about selecting the images that you include in the book?

I have endless boxes filled with images I collect that engage me either politically or emotionally. From time to time I review these images and I categorize them. Then, I choose my favorites. Those are the ones I include in my books.

Tell us something about the process of publishing these books.

After I select the images that I want to include in the book, I dissect and rework them – often with lines and elements influenced by graffiti – and then I screen print them. When I’m satisfied with my selection of images, inks and colors — with feedback from folks at my local deli — I bind the pages with cardboard covers, recycled from boxes I get from nearby restaurants.

What motivates you to keep working on this particular project?

My intent is to give new meaning to news that is generally discarded at the end of each day. I see what I’m doing as a long-term project – recreating visual narratives that speak about and to a range of people across the globe. I am interested in preserving memories.

Masnah’s books are available directly through the artist at thirdwolrdpirate@gmail.com. His prints, along with those by other members of APC — the Animal Power Crew that Lorenzo co-founded with Stinkfish back in 2006 — are available at Mula Printing. Photo of Lorenzo with book by Lois Stavsky.

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Speaking with Christian Cortes

October 25, 2012

NYC-based painter and illustrator Christian Cortes has been increasingly exploring combinations of graffiti typography with surrealism, abstraction, South American iconography and New York City culture.

Your extraordinary artwork has graced the walls of 5Pointz for years. Where else have you gotten up?

I’ve painted in France, Germany, Spain, Japan, Ecuador, the Dominican Republic and in Puerto Rico. I’ve also gotten up in Seattle, Miami and Fort Lauderdale. And here in NYC, I’ve recently painted in the Bronx.

Any favorite place?

Probably Puerto Rico. I had many Puerto Rican friends as a teenager, and I feel a strong connection between NYC and Puerto Rico.

When did you first start getting up in public spaces?

I was in 7th grade when I began paying close attention to what was happening on the 7 train, on rooftops and along the 59th Street Bridge. Soon afterwards I was bombing those surfaces. I was most active on the streets – as Waqs A3crew– between 1990 -1995 piecing. But then I took a ten-year break.

Do you have a formal art education?

I attended the High School of Art and Design and I began fine art studies at three different colleges. But I dropped out of all of them, as I became increasingly involved in my own work.

What kind of work were you doing?

I was doing lots of commercial work such as record covers, backdrops for videos and steady commissions for rap groups. Among my projects was a video for Jeru the Damaja. This was ideal work for me, as I’ve always felt strongly connected to musicians. When I hit a wall with other artists, it’s like we’re all making music!

What got you back into painting on the streets?

5Pointz – for sure! Also traveling and the Internet. I share much of what I do on YouTube these days. I feel a responsibility towards the younger writers, and I love the interaction with them.

Have you any advice for young artists?

Aspiring artists need to learn the value of discipline. Art doesn’t happen quickly or easily.

Who inspires you?

Mode 2 from France and I’ve developed a new appreciation for Seen. I’m also inspired by musicians – such as Sadat X of Brand Nubian and Eddie Vedder of Pearl Jam.

Tell us something about your skulls. They surface in so many of your pieces.

Skulls have forever been a theme in all genres of art. When I first started painting skulls – while still in high school — I was suggesting that graffiti is dead. But now I think of skulls as a celebration of life through acknowledging death. And in relation to graffiti, the skulls have come to imply rebirth, as graff has been reborn.

What do you see as the future of graffiti?

I see it developing into more of a grass-roots movement. I see us developing our own events, along with smaller brands, as the huge brands have been dictating what kids see.

How do you feel about the street art vs. graffiti divide?

I don’t see them in conflict with one another. I see them simply as two separate genres. But I have difficulty understanding, for example, the Banksy phenomenon.

What’s next?

More traveling, more black book videos, more tutorial videos and more walls. I’m planning to paint next in Brooklyn and I’m starting something new at 5Pointz. Next month I will be heading down to Miami for Art Basel.

Good luck! ‘sounds great!

Photos of Cortes at 5Pointz by Dani Mozeson; in the Bronx by Lois Stavsky and painting in the Bronx by Lenny Collado

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Speaking with Stik

October 19, 2012

One of London’s best-known and most active street artists, Stik has been creating his elegantly stark stik characters for over ten years. On his recent trip to New York City, Stik found a home for his Stik people up in the Bronx and at Bushwick Five Points. We were delighted to have the opportunity to pose a few questions to him:

When was Stik born?

In the early part of the century.

Who is he/she/it?

My little meditations…my way of transforming the complex into the simple. Stik is a loud whisper.

Why did you decide to get Stik up on walls and share him with others?

I wanted to keep him safe. I’ve always been drawing living things, and I didn’t want them to stay on paper. I feel they are safer on the streets. And it is also my signal to the world that I exist – somewhat in the vein of a graffiti artist. The street is like a theatre. When I get up there, I join the dialog. My art becomes my voice.

How do you decide which walls to hit?

When I walk by a column or wall, I try to imagine Stik there. I like the idea of giving a personality to a wall that will be visible to others.

What about the risky aspects of what you do – both physically and legally? Why are you willing to take such risks?

It’s a matter of putting my mark on the land. And when I’m painting, I feel connected to the wall. I feel safe. It’s my sense of entitlement and ownership. There is also a social purpose to what I am doing. Advertisers tag public spaces to push consumerism – it’s almost as though they can buy and sell our lives. People are the products. I’m pushing aesthetics. I feel as though graffiti writers get the rap for the frustration folks feel towards the advertisers.

What if a major corporation were to approach you and ask you for their use of Stik for commercial purposes?

That has already happened. My answer is, “No.” I will not allow companies to use my image to sell products.

How have folks responded to Stik?

They love him. They respond to his simplicity. I like watching people’s reactions to Stik from my studio window.

Tell us something about your style.

It’s always been simple, and it seems to be getting simpler as time passes. I appreciate simplicity.

What are your feelings about street art in gallery settings? Are you comfortable creating Stik on canvas or paper and selling him?

I keep the street street and the gallery gallery. The gallery can be a whore house, but it’s an honest living.

What brought you to NYC?

I wanted to meet people in New York. I want to find out what real New Yorkers are like. I want NYC to fess up and show me its vulnerability.

Has it? What do you think of NYC?

It’s still a big scary beast of a city, but if you’re lucky, it will roll over and let you tickle its tummy.

What’s ahead?

I have a couple of big social projects coming up in the UK and other countries. And I plan to return to New York in the near future.

That sounds great! We are already looking forward to your next visit.

Photos by Lenny Collado, Dani Mozeson and Sara Mozeson

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