This is the first in a series of posts featuring the range of creatures that share our streets with us:
Roa in the Brooklyn Navy Yard
Never at the Bushwick Collective
DalEast in Dumbo
Craig Anthony Miller aka CAM in Dumbo
Mr. Prvrt at the Bushwick Collective
Jordan Betten in Chelsea
Willow in Gowanus
KingBee in the East Village
Photos by Dani Reyes Mozeson, Tara Murray and Lois Stavsky
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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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The now-iconic trailer on First Street and First Avenue is undergoing yet another transformation. For its current cycle, Cycle 11, the Centre-fuge Public Art Project invited artists who’ve painted there this past year to return. Here are a few images captured earlier in the week from the still-in-progress huge, energetic collage of distinct styles.
Matthew Denton Burrows at work; Damien Miksza on left; Phetus on right
Phetus with Nicole Salgar & Chuck Berrett on right
CS-Navarrete at work
Royce Bannon with Miishab on right
Elle, Damien Mitchell and Korn
Keep posted to our Facebook page for more photos of the completed pieces.
Photo of CS-Navarrete at work by Lois Stavsky; all others by Dani Reyes Mozeson
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We are thrilled that Puerto Rican native Nepo has brought his superb skills to us here in NYC, delighting us with his wondrous characters, sensuous styles and bold colors. He’s been busy in Bushwick these days, where he will be painting live and exhibiting his work with New York Street Gallery next Friday, November 15th.
When and where did you first get up?
I began bombing and tagging my name back in 1996 in Puerto Rico. I was 16.
What inspired you to start writing?
At first I didn’t write. I used to help my friend Ensa with his fills when he did pieces. I also served as his look out. Eventually I started tagging. And Ensa was the one who gave me the name Nepo. It was kind of a joke, but it stuck.
Had you any preferred surfaces back then?
No. It was location that mattered. We focused on getting a spot where as many people as possible would see the work. Surface didn’t matter. Although, I’ll say, I do love shutters. They present a challenge I enjoy.
Do you paint with any crews? Or do you paint alone?
Both. I get up by myself and I also paint with El Coro and NST – both here and in Puerto Rico.
Have you exhibited your work?
I have. In Puerto Rico, I contributed to Carry On, a collective that went on to tour in Boston and in Oakland. I had two solo shows back home, and I’m working on an upcoming one here. I’m also now preparing for a group show with Bushwick’s New York Street Gallery.
How do you feel about the movement of street art and graffiti into galleries?
Artists need to make money. In Puerto Rico, there are underground art galleries that support graffiti and really show love for it. I haven’t felt that here in NYC.
How does your family feel about what you do?
My mother and father didn’t get it for a long time. They thought it was crazy that I was spending so much time and money without getting paid. But then after they attended some of my shows and read about me in the news, they knew that I was progressing as an artist. And they grew to appreciate it.
What percentage of your time is devoted to art these days?
I’m almost always working on a canvas, flyer, T-shirt, print, painting or wall. It may not yet be 100%, but I hope it will soon be.
Have you earned any money from your artwork?
I have. I designed a sign for the Well Project that brought me some money. And I will soon begin working for the Roberto Clemente Center, painting outdoors with five other artists.
Any thoughts on the graffiti/street art divide?
I have tremendous respect for graffiti and I identify with it. But these days I’m more of a street artist or muralist. I like doing legal walls because I can take my time. There is a divide, though, even though many street artists started as graffiti writers.
Is there anyone you would like to collaborate with?
I’d like to do something with Os Gemeos. And if they were still alive, I’d work with Diego Rivera and Basquiat. Ha-ha!
Do you have a formal arts education?
Yes. I studied art with a focus on traditional graphics, silkscreen, etching and printing.
Are there any particular cultures you would say have influenced your aesthetics?
The many bright colors that I use and the animals I reference are influenced by Puerto Rican culture.
Do you work with a sketch in hand or do you work free hand?
For murals, yes, I use sketches, especially for proportions.
Are you generally satisfied with a completed work?
Yes. When I have given my all to a particular project, the quality is there.
When you look back at what you’ve done in the last two years, is there anything you would have done differently?
I’d have done bigger work, larger scale murals and more of them. Here in NYC, I’ve done four and that’s not enough.
How has your art evolved throughout the years?
Initially, I began with paint brushes. But because I love to learn and expand, I moved on to spray paint and became obsessed. I continue to enjoy learning new spray paint techniques.
What was the riskiest thing you’ve done as a graffiti writer?
Ha-ha! I actually tagged the door of a Senator’s house in Puerto Rico. My friends and I were drunk, and we decided to tag it at four in the morning. Since we didn’t have our cameras with us, we ran home to get them. But by the time we returned, someone was already power-washing the tags off the building.
How do you feel about the photographers and bloggers on the scene?
We need them. Their job takes time and love. It’s not just about the artists; it’s also about the people who share their love for what we do with others.
What’s ahead?
I’m part of the first New York Street Gallery group exhibit that will take place next Friday, November 15, at 272 Messerole Street on Bushwick Place.
Interview by Lenny Collado; Photo 1 in Bushwick by Tara Murray; photo 2 at 5Pointz by Dani Reyes Mozeson; all others courtesy of Nepo
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This is the eleventh in a series of posts featuring images of girls — and women — who grace New York City’s public spaces:
Cern in Williamsburg, Brooklyn
Judith Supine in Greenpoint, Brooklyn
Cake in Williamsburg, Brooklyn
Parisian artists Djalouz and Doudou at 5Pointz in Long Island City, Queens
Bunny M in Williamsburg, Brooklyn
A Groundswell Mural Project with Crystal Clarity as lead artist in Hunts Point, the Bronx
Kimyon Huggins in Manhattan
Photos of Cern, Bunny M and Kimyon Huggins by Dani Reyes Mozeson; of Judith Supine, Cake, Djalouz and Doudou, Groundswell Mural Project and Kimyon Huggins by Lois Stavsky
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This is the fifth in an ongoing series featuring the range of faces that surface daily in NYC’s open spaces:
Rimx in Bushwick, Brooklyn
Axel Void in Bushwick, Brooklyn
Danielle Mastrion painting young Pakistani activist Malala Yousafzai at the Bushwick Collective
Ever in Bushwick, Brooklyn
Andre Trenier in Inwood, Manhattan
Nicer, Tats Cru at Hunts Point in the Bronx
Photos of Rimx and Axel Void by Tara Murray; of Danielle Mastrion and Ever by Dani Reyes Mozeson and of Andre Trenier and Nicer by Lois Stavsky
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This past Saturday, the masterful chalk artist Hani Shihada — known for his stunning images that have surfaced on NYC’s pavement for decades — brought his skills to FIT on 27th Street and 7th Avenue. On Monday, it was the students’ turn. Here are a few images captured on Monday afternoon from the project: 60 Artists/60 Pieces/#Chalk FIT:
Students at work in a range of styles and themes
From the whimsical
To the gory — in the spirit of Halloween
Photos by FIT graduate Dani Reyes Mozeson
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With his wondrous skills, Italian artist Zed1 has been enhancing the walls of our city. His signature characters have recently surfaced in Brooklyn and at Welling Court in Astoria, Queens. Earlier this month, we stopped by Williamsburg’s Bottleneck Gallery, where he was painting, and had the chance to speak to him.
When and where did you first get up?
Back in ’93 in Tuscany. I was 16. I started the way just about every graffiti artists does – with tags and letters.
What inspired you?
A friend showed me photos of graffiti walls in the U.S. that he had discovered in a book store. And then when I began hitting walls, it seemed like the perfect way for me to express myself.
What is the riskiest thing you did?
Painting on moving trains.
Why were you willing to that that risk?
I love making people happy by bringing trains to life. I also like the adrenalin rush that comes with painting trains.
Have you ever been arrested?
I was stopped only once. But the police liked what I was doing and let it go. The whole attitude towards graffiti is different back home and the police are different. They are more relaxed.
Do you work with a sketch-in-hand or do you just let it flow?
I like the freedom that comes with working without a sketch. But if the wall that I’m doing is especially challenging, I usually bring a sketch with me.
Are you generally satisfied with your finished piece?
No. It always seems incomplete to me. It never feels finished.
How has your work evolved through the years?
It has evolved tremendously. I started off as a graffiti writer, but now I am more of a muralist. Also, I am much more concerned with the concept behind the work than I used to be. And I’m intent on communicating with the public.
Could you tell us something about your second-skin work – the pieces you create that evolve into something different with time?
I came up with the idea about two years ago when I created an animal with the head of a man that peels away to reveal another face. I love giving folks the opportunity to interact with my work and play with my art. And there’s a message here: We all see things differently. We each have our own perspective. And if you want to understand another person’s way of perceiving the world, you must change heads.
That certainly makes sense! Do you prefer working legally or illegally?
I like both. Working illegally give me more freedom, but working in a sanctioned space gives me more time.
Have you exhibited your work in a gallery setting?
I much prefer to paint on the streets. It is far more democratic. I don’t like most galleries, and I don’t paint to get the attention of gallerists. I’d rather paint on a public wall than on a canvas. That way I can share my work with everyone, not just the elite. But I am beginning to show my work in galleries that respect my vision.
Have you a formal art education?
No. I studied graphic design, but I was never a good student.
How do your parents feel about what you do?
They don’t understand. My mother tries to, but my father has an entirely different notion of “success” that’s tied in with material things.
Do you make money from your art? What is the main source of your income?
I earn money by doing commissions and I sell art. Art is my life.
Is there much of a graffiti/street art divide back home?
Not as much as here, and the lines continue to blur. Festivals invite both graffiti writers and street artists, and many writers include characters in their pieces. But there is some tension, as far fewer people understand graffiti. Street art is far more accessible to most folks.
Have you painted in other countries – besides Italy and the US?
I’ve painted in Denmark, Romania, Norway, Spain, the UK and Brazil.
Have you any favorite places to paint?
I especially like to paint in poor, run-down neighborhoods. I like interacting with the people who live in them, and I like enhancing their spaces.
Any favorite arists?
Particular favorites include: Blu, Banksy and Os Gemeos.
How do you feel about the role of the Internet in all this?
It is very important. It has given birth to many careers.
What do you see as the role of the artist in society?
I can’t speak for other artists. But my role is to communicate with people by bringing beauty into their lives and raising issues they might not – on their own — think about.
What’s ahead?
More travel. I love painting in different countries. And more artworks and videos illustrating my second skin concept.
Interview by Lois Stavsky; photos 1,2, & 3 Zed1 in Sheepshead Bay, Brooklyn by Tara Murray; photo 4 at Welling Court and photo 5 at Bottleneck Gallery by Lois Stavsky; photo 6 in Williamsburg, Brooklyn by Dani Reyes Mozeson, and final photo in Greenpoint, Brooklyn by Tara Murray
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Working together with Groundswell teens who had been affected by Hurricane Sandy, Swoon has been busy gracing the famed wall at Bowery and Houston with an elegant Sandy-themed mural. The mural’s official unveiling takes place tomorrow, Tuesday, October 29th. Here are some images of the work in progress:
Neenee
Another close-up
Groundswell youth at work
The mural as seen on Thursday
Photos 4 and 5 by Tara Murray; all others by Dani Reyes Mozeson
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This is the fourth in an occasional series featuring images of males who surface on NYC public spaces:
Banksy on Manhattan’s Lower East Side
Peat Wollaeger at Welling Court in Astoria, Queens
Icy and Sot in Bushwick, Brooklyn
Dr. Revolt in the East Village
Manny Vega in East Harlem
Owen Dippie in Bushwick
Photo of Banksy by Lenny Collado; of Peat Wollaeger and Manny Vega by Lois Stavsky; of Icy and Sot and Owen Dippie by Tara Murray; of Dr. Revolt by Dani Reyes Mozeson
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