Street Art NYC | From the streets of New York

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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Guys on Walls: Icy and Sot, Nick Walker, Meres, SinXero & Joe Conzo, Fumero, Tito Na Rua, Belin & Kingbee and Erik Den Breejen

July 2, 2013

This is the first in a series of images of males who surface on NYC public spaces:

Icy and Sot at the Bushwick Collective

Nick Walker on Manhatan’s Lower East Side

Meres at 5Pointz in Long Island City

SinXero and Joe Conzo do the Cold Crush Brothers in the Bronx

Fumero at the Bushwick Collective

Tito Na Rua on Lower East Side rooftop

Belin and the Royal Kingbee in the Bronx

Erik Den Breejen does David Bowie in NoLita

Photos by Lenny Collado, Dani Mozeson, Tara Murray and Lois Stavsky

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Bushwick Graffiti Mural Tribute to NEKST Takes It to the Next Level: Pose, Dabs Myla, Rime, Dmote, El Kamino, Vizie, Wane, Revok & more

June 30, 2013

An astonishing array of first-rate murals have transformed three Bushwick blocks into a spellbinding tribute to the late graffiti writer NEKST. Here’s a selection of the varied, strikingly stylish murals — many fashioned by MSK members — that recently surfaced in the vicinity of the L train’s Morgan Avenue station.

Pose

Dabs Myla

Rime aka Jersey Joe

Dmote

Skrew

Fas and El Kamino

Vizie

Steel

Trav

Owns

Omens

Wane

Revok

Keep posted to our Facebook page for more outstanding Bushwick NEKST tribute murals.

Photos 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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The Girls Up on Boone Avenue: UK Girls on Top (G.O.T) Join Local Writers for “My Thuggy Pony All-Girlz Jam”

June 26, 2013

Last month, Girls on Top aka GOT, UK’s all female crew established in 2000, visited NYC. Along with some of NYC’s finest female graffiti artists, they hit up a huge wall on Boone Avenue in the Bronx on one of the rainiest days of the season. Here are some images captured this past week from the historic My Thuggy Pony All-Girlz Jam.

Manchester-based graffiti artist and educator Chock and founder of G.O.T

London-based active G.O.T. member Pixie

Bronx-based artist, educator and leader Miss 163

Queens-native visual artist Abby — with 1980’s graffiti roots

Passionate Bronx-based graffiti artist and jam facilitator Erotica 67

NYC-based designer and graffiti writer extraordinaire, Queen Andrea

And Neks

A range of art works by members of G.O.T can be seen and purchased through this weekend at an exhibit curated by Jessica Pabon at bOb Gallery at 235 Eldridge Street on Manhattan’s Lower East Side. Here are two of the many on view:

Syrup

Lyns, Da Crew, 2013

Photos by Lois Stavsky

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Brooklyn-based Artist Joshua Gabriel Fashions Two Elegant Murals in Bedford-Stuyvesant, Brooklyn

June 25, 2013

The corner of Myrtle Avenue and Spencer Street in Brooklyn’s historic Bedford-Stuyvesant neighborhood is now home to two huge distinct murals. The works of Brooklyn-resident Joshua Gabriel, they exude a soulfully mystical aura. We spoke yesterday to the artist about these distinct works.

We’ve been captivated by these walls since you began fashioning them awhile back. How did they happen — at such a well-traveled intersection?

The owners of International Stone Collections, a custom stone artisan shop at 703 Myrtle Avenue, had placed an ad on Craigslist seeking an artist to create a “textural mural.” I wasn’t exactly sure what a textural mural was, but I brought it my portfolio, and I was hired.

Wow! Had you worked on the streets before?

I had gotten some stickers and posters up — mainly promoting my music events — but, no, I never painted a public mural before.

What was the experience like?

At first, I was somewhat self-conscious. I had some anxiety about working in public. The entire process is definitely more challenging than working in a private space. But then I came to love it. I loved the engagement of the passersby.

What was that like?

In the past year, since I began these murals, hundreds of folks have stopped to talk to me. The Hasidim — whose presence seems to be increasing in the neighborhood — ask questions like, “Are you allowed to do this?”… “Do you make a living from this?” The local teens love it and ask me to do their tattoo for them. Artists speak to me about the process. And long-time local residents keep thanking me! Everyone has been respectful.

What’s going on here?

The murals weave together patterns and images from nature — such as the ripples in water, the textures of leaves, the shapes of clouds with figurative elements, including a giant lion’s head, a sea of eyes, and a pair of ancient Egyptian heads. It’s my subconscious at work!

Have you a particular message or theme that you wish to convey?

The corner of Myrtle Avenue and Spencer Street is the intersection connecting three diverse communities. Pratt art students, born and bred Bed-Stuy residents and members of Williamsburg’s Hasidic populace all meet here. The theme of my work is that all of us — despite our differences — are interconnected.

There’s quite a bit of mixed-media here. What materials did you use?

I used exterior paint, spray paint and over 100 metallic paint markers.

There are lots of shades of blues and metallics here. Can you tell us something about your choice of colors?

The wall had originally been painted dark blue, and I liked the way it looked. I decided to repaint in a similar color, and I chose to work with metallics because I love the way they pop out.

Did you work with a sketch-in-hand?

I don’t work with sketches, but I do use photo references. And I always have notes with me. The actual process, though, is spontaneous.

Have you any influences? Or artists who particularly inspired you?

Alex Gray is a definite inspiration. Others include Keith Haring and my mother, Rochelle Marcus Dinken.

Are you satisfied with the results of these murals — your first public artworks?

Yes. I’m quite critical of my works, but the reaction has been so positive. And they do look cool!

You can view the murals and meet Joshua Gabriel at a reception to be held this Thursday, June 27, 5-8pm at 703 Myrtle Avenue.

Photos by 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.

Are you generally satisfied with your finished piece?

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

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

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

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

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

All photos courtesy of the artist

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Faces in NYC Public Spaces: Jess Busj, Russell King & Matt Siren, Mata Ruda, Joseph Meloy, Toofly, Daek and Cekis

June 23, 2013

This is the second in an ongoing series featuring the range of faces that surface daily on NYC’s public spaces:

Australian artist Jess Busj at 5Pointz in Long Island City, Queens — close-up

Russell King and Matt Siren at Welling Court in Astoria, Queens

Mata Ruda at the Bushwick Collective

Joseph Meloy at 5Pointz in Long Island City, Queens

Toofly at the Bushwick Collective

Australian artist Daek on Manhattan’s Lower East Side

Nelson Rivas aka Cekis in the Hunts Point section of the Bronx

Photos by Lenny Collado, Tara Murray and Lois Stavsky

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Bortusk Leer Brings his Lovable Monsters to NYC

June 19, 2013

NYC became a bit more colorful and joyful these past few weeks, as Bortusk Leer’s lovable monsters found their way here — both on the streets and at CULTUREfix on Manhattan’s Lower East Side.

When did you first start getting your artworks up in public spaces? And where?

In 2006 in London.

What inspired you at the time?

I was working at the Leonard Street Gallery, where I became friendly with lots of street artists. And both Sweet Toof and Cyclops said to me, “Why don’t you just put your work out on the streets?” And so I did. I began stenciling pigeons onto newspaper and cardboard and stuck them up. The monsters came somewhat later.

Your monsters are quite joyful!

Yes. I was seeking an antidote to all the negative images that I passed daily on the streets. I wanted to get something out there that would cheer folks up.

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

Most of it. Between commissions and art sales, I’ve been earning enough money to be a full-time artist.

Have you a formal art education?

Yes. I studied art in a formal setting for six years. First at Canterbury Tech and then at the Falmouth College of Arts.

Any thoughts about the move of street art into galleries?

In my case, I was exhibiting artwork in galleries long before I shared it on the streets. It’s a different experience. I certainly don’t have a problem with street artists selling their work in galleries.

Any favorite cities?

Amsterdam – where I’m based these days. It has everything a big city has – without its madness.

How has your work evolved in recent years?

It’s become more stylized. I’m actually trying to loosen up a bit.

Are you generally satisfied with your finished piece?

Generally, yes!

How would you describe your ideal work environment?

Lots of music, space and light!

What inspires you these days?

Everything! I can’t stop drawing.

Are these any particular cultures that have influenced your aesthetic?

I love the primitiveness of ancient cultures. And I’ve also been influenced by cartoons!

Any favorite artists?

I love Picasso. And I’ve been particularly inspired by the members of the CoBrA Movement and the works of one of its founders, the Dutch painter, Karel Appel.

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

It’s a good tool for networking and a great way to find out what’s happening.

Any thoughts about the graffiti/street art divide? Is it apparent to you?

There is a divide, but it doesn’t really affect me. Graffiti, I feel, demands greater technical expertise. And I can understand why graffiti writers might resent street artists who gain acceptance more easily. But I do feel that both forms will eventually merge into one.

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

Many roles! But mine is to cheer people up.

Bortusk Leer’s lovable monsters remain on exhibit at CULTUREfix through Sunday.

Photos by Tara Murray and Lois Stavsky

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