Day in the Lyfe Graffiti Magazine’s Online Blog Updated daily with graffiti, street art and original photography from around the world.

Tag: matthew j

Aske, before we talk about CODE RED and its story. I want you to talk about your personal relationship with graffiti. How long have you been involved? What inspired you to start?

I’ve been drawing since my childhood. Once, when I was in a summer camp drawing the kids who saw my pictures called it graffiti. Back home I decided to find out more about graffiti on the Internet (I was really lucky that my dad introduced me to the Web back in 1995). I was very impressed with what I discovered and made my first letter-based sketches in 2000, and in 2001 I made my first piece on the street.

Thinking about it now, I feel very lucky that I made friends with all the guys from those early days of Russian graffiti and I still remember the great atmosphere of that time.

From the very start, I was more interested in the creative side of graf rather than in vandalism. I was constantly trying to develop my style looking for some new ways to express myself. That’s why at some point I began exploring graphic design and tried to base my work on my graffiti experience and background.

aske art work

Ok. Now let’s move onto the story of CODE RED Magazine. How did the magazine get its start and how has it changed over the years from a magazine to a clothing brand?

Today, CODE RED is a daily blog about graffiti, street art, and other forms of creativity, as well as an independent Russian street-wear brand. It all began in 2003 when a friend of ours named Yuri Kadantsev self-made a small zine called Ulitsa (meaning ‘a street’ in Russian) as his graduation project. It was one of the first zines dedicated to the Russian graf scene. Two years later, in 2005, he decided to make a real graffiti magazine. He contacted me and offered to publish my works; eventually I helped him with the layout and came up with the new name for the mag: this is how CODE RED started. Sadly, Yuri died in a car accident in 2010.

Since 2005 we have published six issues. CODE RED was the first Russian coloured high-quality mag dedicated to graffiti and street art covering mainly the Russian, Ukrainian and Belorussian scene. It was bilingual (Russian-English) and contained hand-picked images, exclusive interviews with both Russian and foreign graffiti writers, artists, and photographers, as well as photo materials from different graffiti jams and festivals. It actually has had a great influence on all local graf mags that were started later.

In 2007, our team produced the first series of can bags and backpacks to support the mag financially. Our products became really popular with the [writing] community, allowing CODE RED to grow and evolve into an independent streetwear brand. Since 2010 we have been producing limited editions of pants, shorts, hoodies, t-shirts, headwear, and other accessories. Over the last year the brand has overgrown the graffiti community and has become quite popular with the young crowd.

Also, in 2009 we launched a daily blog (; it’s dedicated to graffiti, street art, graphic design, and more, and is aimed at the Russian-speaking audience.

Read more here


Andrew Murphy Interview

by Matthew J

andrew murphy photography window black and white

I feel you can introduce yourself to the readers far better than I ever could, so I’m going step back and let you handle the introduction here. Who is Andrew Murphy? What does he do? And what exactly is the Monochrome God?

I’m a photographer (now, I don’t mean that I make a living as a photographer, don’t be silly!). But outside my critical roles as husband, father, and friend, nothing is more important to my psychological well-being than shooting. Well, really good beer is awfully important, too.

My work is almost exclusively shots of people, in non-studio environments; always with available light. I shoot nearly everything with 35 and 50 mm lenses (nothing longer than 85 mm), because being intimately involved with a subject is usually critical to getting a good shot.

When I get the chance, I like to do work that has a social-justice component: I like to help a good cause (and if that means sticking it to The Man, then all-the-better).

andrew murphy photographer

Click Below for the rest of the story


Sand One Interview By Matthew J

Before we get rolling into this interview, tell me a little bit “Sand One”. Who is she? Where is she from? What does she represent?

Sand One is a beaner from East L.A! (I’m joking). Sand is an independent self-sufficient young artist pursuing an established name/career in the fine arts/street art world. Where is she from? East Los Angeles California Baby! What does she represent? Independence, street smarts, dedication commitment, self-respect, traveler, wonderer, hustler, juggler of many trades, unstoppable, unbreakable, untameable.

Ok, now that we have the overview, let’s get a bit more in-depth. How did you get your start in the graffiti?

It’s been less than 4 of me deciding I was going to be a street artist. I love painting and so it began one day in one December, right after high school, I was broke (moneyless) my mom was divorcing and asked if I would commit to contributing to the family needs. Oh man! I was going crazy! I mean I hate working. I used to work at a fried chicken place called “Pollo Campero”, until I was fired for eating most of the profit on a daily basis. So I decided I never wanted to feel that horrible feeling that made me feel small and insignificant; as they told me to take my last check and never come back. I decided to never bow down and work for anybody. So my mother is divorcing and I have to work?! Nice. Not happening. I decided I was going to be a pie baker since it was November near Thanksgiving. My boyfriend, at the time, laughed at me as I told him my survival plan, he said it was a “grandmother’s hustle”, a backwards hustle (ha-ha, so much for mental support ).I went door to door selling cheesecakes and pumpkin pies to everyone that I knew, my drug counselors, my mother’s co-workers, neighbors, you name it! I was hustling it to them. Now that was the beginning of my never -ending street hustle. I made $300 profit; from stuff that I bought with food stamps. I was ghetto balling! So the next step was double that money. In the hood, we double money in a dirty ways (smiles) but I was not going that route. I went shopping that week, and on the street I was shopping at I saw two fat guys window painting. I asked what, how and why they were doing it. The next day I decide to be a window painter and that’s where my street art vocation initiates. From pies and window painting to pay the bills, to in your freaking face, cute girls murals on walls all over the slums of Los Angeles, Miami, Mexico City, Arizona, San Francisco ,Puerto Rico, Chicago, Guatemala and counting. I’m happy to be telling you my story, and I haven’t even gone through art school yet, that might not be a chapter in my book (laughs).

Do you think going to an art-school would benefit your work? There are obvious benefits to school, but do you feel in the world of street art, that college/university methods can add to your work or would it hinder your progress? I’m not trying to mold your thinking, I’m just curious to know your thoughts… sometimes I question the way art is taught in school.

This is my honest opinion: in school you will never learn the value of pounding the pavement raw-straight-from-the-streets. I am not against college I just can’t sit still so I do what suits me best. I believe in quality, so I push myself to learn new ways of coloring my cartoons, new mediums. I’m teaching myself as I go. I know I have a lot to learn and my stuff is not the best looking but I’m doing great things with what I learned off my kitchen table. I want to keep my street art organic; rugged, 100% hood breed. Maybe I’m wrong, maybe I’m just afraid to sit on a desk and take someone else’s direction and perceptions in what art is and how it should be done. I paint how I want. I draw how I feel deep inside – so to me it’s right. As for me attending school now? Not for a minute, not at this time. Is there a school for gangsters? I want to go enrol there so I can learn some new skills and trades.

sand one graffiti basketball netWhat is the meaning/story behind the name “Sand One(r)”? Was that name given to you or did you come up with it yourself?

I came up my name; it means Sand blasting your wall ese! (lol) .Sand Blasters are very potential, high pressure cleaning devices, I guess I can relate to them. I’m pressure sensitive.

Pressure sensitive, really? Care to elaborate on that [laughing]??

Okay, homie! Now you are being a serious perv. I’m sensitive as in if you stroke me and I’ll blast your wall with a cartoon. Oh gosh, that kind of sounds bad! Hahaha. Okay, NEXT QUESTION PLEASE!!! There are kids reading this for God’s sake!

[Laughing] Ok, next question, let’s get back on track. Do you consider yourself a graffiti artist or a street artist?

Street artist, I’m consistently painting maybe like a graffiti artist would. But my forte is Street art, and I am so happy to be a part of Los Angeles urban arts movement and all over the world as well, I don’t think I can ever be normal. Abnormal for life!

sand one graffiti laEverybody interprets art in a different way based on individual preference and with those [preferences] comes different definitions as to what this culture truly represents. Would you share me your thoughts and feelings on about this form of art? What is it about graffiti/street art that draws you into it?

Graffiti? Gosh, it’s so free. It’s a worldwide art form; it’s like marijuana, the first step towards a stronger high. It’s everywhere; on cracks and walls, colors, structure, haters and anonymity. I love it. So many attempt, but fail. I hear it all the time..”Oh I used to write but then I stopped”, “OH I used to do graffiti but then I grew out of it”, WATAFAK? You became a giant and grew out of the world’s most gigantic art form, which even grandmothers are doing it! It’s the influence to street art, I look at graffiti for inspiration in my street art, it’s not a fade or a style, it’s a lifestyle full of struggles and egos and not much money. Thing is everybody in every corner of the world is having their own graffiti problems. I LOVE GRAFFITI and STREET ART! Here’s a thought: Just fuckin’ do it! And to the girls: GET YOUR ASS UP AND GO PAINT!

Recently, you put on huge show in LA called, “Bow Ties”, which turned out to be a huge success. Could you tell us a bit about that show, its history, and the concept(s) behind it?

I build my solo show from scratch, found a gallery, obtained sponsors, and brought together 12 beautiful smart women to join me in order to build a good exhibit. What was the end result? Awesomeness. The artwork was off the hook, good for a little East L.A chick, que no? The exhibit was about empowering young independent females, using the theme “Bow Ties”. Since bow ties represent masculinity we were just playing off that. For the whole month of my exhibit I focused on having cartoons on street murals and on my fine artwork wearing black and white bow ties. It was very exciting to meet all the individuals that support and enjoy viewing my art. Thanks to all that attended my exhibit!

sand one sand chicksYou have created a line of work centered on characters known as Sand Chickz. I want to know how you come up with that particulate style of characters.

I have always drawn girls, Jessica Rabbit, Poison Ivy, Witch Blade, and The Little Mermaid. I’m obsessed with the female form, the delicateness of the lines, body expressions, and facial features. So I decided to paint giant girls, its empowering in a male dominated world, you cannot go by without observing them. The enormous lashes that I put on my cartoons come from my mother; she puts so much mascara she should have already been sponsored by a make-up company. Lashes brand my cartoons with classiness, the voluptuousness and roundness of their physical figure gives them sensuality and a true woman’s feel. The colors I use are vibrant, and fruity. My style is not yet set, it’s still under ongoing development, still experimenting.

sand one graffiti street art
What kind of girl makes a Sand Chick and how have they [the collective] evolved over time?

[A Sand Chick is] the kind of girl you fear at a job interview, if you think too much, she will take your job position with her astuteness and witty personality. They have a concealed gangsta swagger, lots of classiness and sensuality. Beat her to the punch? She’ll move on and never acknowledge your existence. Insult and criticize her? No worries she’s too busy buying a dress, high heels and mascara for her featured appearance on a wall somewhere in the world. Sand Chickz love Cheesecake, money, gifts, traveling, exquisite dishes, smart educated thugs. And they love shaking they’re goodies to the beats of Snoop Dogg, Tu-Pac, Too Short, Nate-Dogg, Gang Starr, Al-Green, Isley Brothers, Cypress Hills,R-Kelly, Mariah Carey and Classical Music.

How would you describe the LA scene? What does it mean for you to get outside and paint on the streets?

L.A has built the challenge instinct in me. There’s so much of everything only the most consistent outshine. It’s beautiful! I’m one in a million here in Los Angeles so I feel the need to daily push myself, I never want to show a painting and call it “abstract” because in reality my ass can’t paint for shit! So many girls SUCK balls, so they doodle and paint their clothes to assimilate the artist look. “Ay mija por dios! “ When I leave L.A I feel free to run buck wild all over the place, confidence is the key, and I have so much of it I will soon auctioned on E-Bay. Get yours!

sand one graffiti girlsYou have done some shirt with the legendary Conart Clothing brand. What does it mean to you- personally- as an artist to get that sort of recognition and acceptance from them?

Personally, I feel honored since all of Conart’s artists are so sick! “Guys, don’t be scared of me, I just want to paint”. I love CONART for what they started, the name they represent. I always knew of them, so when I got the call I was pretty stoked. It’s an honest brand; they have helped open doors for me in certain aspects. Glad to be working along the lines of great brands.

I’m a huge fan of Los Angeles graffiti and street art; there seems to be such diversity, both stylistically and in the individual artists. What is it about the city of Los Angeles that has caused it to steadily produce so many talented writers and graffiti artists?? There must be something in the air or water because the people seem to be reinventing themselves constantly.

Competition, the city of opportunities, too much of everything makes you perfect your craft to the up most details. I know right! Los Angeles has some top notch shit. I think were rough out here. We eat off of each other. Beat someone to the punch over respect. It’s swaggerism, respect, an image and a culture. There’s a group and a world here for everyone, the gangs, the artist, the hipsters, nerds, transsexuals, bisexuals. Low tolerance to bullshit

As you were coming up, in graffiti and developing your art, who took the time to look out for you and teach you the ways of the culture? It’s a sad but true cliche that female writers usually get less support starting out, so I want to know who helped you out and how did that help impact you?

Truly supported me and pushed me to join the whole graffiti /street art craziness: MANDOE MAK,CAB LOD K2S,CALE K2S STN,ATOMIK TSC,BUK 50,THC,honored to have had their acceptance and teachings of the culture I was entering.

What is some advice you would like to pass along to writers -female or male- who are starting up in graffiti now?

Go buy some cheap paint and get busy! Don’t really stress it or try to understand why you want to paint. Just run with that feeling, that instinct that tells you to paint. Listen to no one but your own self. Find walls, trucks, paint everything and anything that’s visible to the bird’s ( chirp,chirp, lol). Never fall for internet comments it’s just an illusion apart from the real world. Keep your friends close, for they will reassure you when you begin to doubt your art endeavors. And enemies? Huh? What’s that?

sand one iphone casesLooking to the future, what do you have planned next for 2011?

Puro Pinche Party! (Pure Partying) I will get pregnant, go on child support, and end my art career. Ok I’m playing. It’s more like this; traveling to Europe for sure, while there I will be swimming backwards in the Death Sea, finding a good European boyfriend that understands that painting will always come first :D , bigger projects, maybe I’m coming up with a coloring book. I am looking forward to Art Basel in Miami, this December. Look for more Sand T shirt designs, [designing] some shoes and backpacks. And to just stay focused on the grind; never settling for less nor letting negative comments obstruct my path. Here’s something to go by when there’s crack and rocks in your path;”Be like water making its way through cracks. Do not be assertive, but adjust to the object, and you shall find a way round or through it. If nothing within you stays rigid, outward things will disclose themselves.” — Bruce Lee.
Let no one get in your way baby!

At this particular moment, what are your biggest aspirations/goals in life? They don’t have to necessarily be graffiti related.

Be at a better position than the one I am at the moment- mentally, monetary, and emotionally.

Teach my brother his time tables, which he has a hard time learning.

My hair grows so freaking slow. I can’t wait to have it long.

Have my own apartment in Echo Park or Venice so I listen loudly to Too Short “I need A Freak” extremely loud!

Without being shut down, and so I can bring in all my booty calls without having to say hi to my mom whenever they walk in (laughs).

Learn how to cook Thai Food and Sushi

Get my mom off of working for eveeer.

Lose 20 pounds so I can feel extra hot when I’m climbing on a ladder!

Eat more cheesecakes. I love cheesecake, all countries are welcome!

Find my European lover; he must be 6′2 inches or taller (smiles). This is so out of context but that’s what’s on my mind!

sand one muralAny last words: (When you look at the works you have created what sort of meaning do you draw from all of it?)

I’m doing what I always wanted to do. I said what I said, and I meant it. I said I was going to paint huge cute girls and travel. And drive around the streets and have my girls posted in every city.

Be sure to check out Sand One’s blog:

By Matthew J

Aaron De La CruzAs always, the introduction is the most important part of any interview; any meeting. Since this interview is about you I’m going to let you introduce yourself to the readers. Who is ADLC? What’s he all about?

Well Aaron De La Cruz is artist/designer from Fresno, California but I am now based in San Francisco. I’m about all types of things most importantly mastering the art of the perfect burrito (haha). Not really sure how to answer this could you be a little more specific?

How would you classify yourself, artistically? Are you a graffiti writer? Are you a muralist? Do you consider yourself to be a painter?

That is a great question. Do I consider myself a graffiti writer? No. I have been exposed to graffiti since the age of 7 and participated in what I considered graffiti since the age of 12 or so. What I created back then and why I did it was a completely different purpose and direction. What I create now definitely has elements of graffiti but personally I don’t consider it graffiti. Yet I find that people categorize my work in all the above titles and I am very comfortable with that.

Aaron De La CruzTell me about your project with Luma Bikes. How did this whole arraignment come together?

I was approached by 2Xanadu/Luma with the help of a close friend Jasper Wong (awesome person) This was my first time working on a project and not meeting in person to discuss the project. Being able to meet in person and discuss is something I always try to make possible because I find it very beneficial in the final project. I jumped on board due to the fact that I ride a bike myself and am surrounded by bikes everyday here in San Francisco so giving this chance was a no brainer.

You have a show coming up in Hong Kong, what sort of pieces will you have on display?

Now I can’t tell you what I’m going to show but I can tell you the name of the show and who I will be showing with. The title of the show is called “Mano Y Mano” and I will be showing with Samuel Rodriguez. The show will be at the Above Second Gallery in Hong Kong. What I can tell you is that it will be big (literally)! I also just landed my first solo show in Hawaii this year so I’m pretty juiced about that.

[NOTE: Due to a delay ON MY PART, we weren't able to post this interview before the opening of the Mano Y Mano show. Because of that [delay] I contacted Aaron and asked him to share his thoughts on the show and how it unfolded. Here is what he had to say…]

Sooooooooooooo I am now back from HK and the show was beyond what I expected. The show was a success and I ended up creating a piece that covered the side of the exterior wall of the gallery and wrapped around to the inside. I had four other pieces that were engraved with my designs and one huge canvas that was probably not a great idea as most art consumers in HK tend to buy small pieces due to their living quarters but I was not going to let that stop me from doing what I do best and that it working big. (let me know if you need more info)

aaron de la cruz muralJust like any other outside observer, I can give you a list of adjectives to describe your style, but that doesn’t matter because ultimately the artist’s view of his or her work is paramount. How do you describe your artwork?? What does it all mean to Aaron De La Cruz?

My work is always changing in terms of the surfaces and spaces I chose to work within and on which plays a huge part in the process and how the viewer interacts with my work. I am always challenging myself to create the largest reaction out of my viewers with my work but at the same time challenging myself by using the least amount of materials/mediums.

Your own personal website has been recently updated with new content. What plans do you have for the site? Do you have anything new or exciting in the works?

Yes, speaking on that topic I am going to FORCE myself to keep my audience up to date with my process on future projects. I find it hard to showcase everything I do in my “work” section so there will be a lot of things I will keep in the “blog” section and expect more video work as well. I don’t like to use computers much or at all but I am aware that they are a major tool that can be used to connect me with my audience. Since putting out the recent videos I have had a lot of people contact me from all around the world and I am VERY thankful for all the kind words and new projects that have came as a result of it.

aaron de la cruz paintingIn regards to you the painting on your videos, how much of your “lines” are free-styled as opposed to being predetermined? I have been watching your videos and do not see you using any kind of sketchbooks. Is that how you work or are just really good at video editing?

[*laughs* ... joking]

When I work my lines/designs are completely freestyle. The only thing that is predetermined, in my work, is the balance of negative space within the lines and creating an even composition. I don’t use any sketches, although I do sketch a lot [in my sketchbook] which helps me come up with new directions and ideas. My process is purely in the moment but the design layouts I choose to use are sometimes predetermined depending on the space I’m working in and on and emotions I’m experiencing when creating the work.

This is kind of a ‘leftfield’ question, but what kind of music do you play when getting in the artistic mode?

This is the hardest question yet. I listen to ALL types of music but currently listening to the Exray’s. To be honest half the time I work with headphones on nothing is playing. Maybe you can put me up on some local acts?

[As far as Canada is concerned, I'd suggest you check out Eternia & Moss or maybe Shad. If you're looking at American music, I'd say Big K.R.I.T., Aloe Blacc, Trombone Shorty, or Battleme; who's an acoustic/folk style artist.. Don't forget, Carla Morrison from Mexico ... wow].

aaron de la cruz stairway paintingLet’s get abstract for a second and talk about the future. “The future is uncertain” or at least that is what people tell me. I know it’s hard to visualize what will go on in the next few years, but I want to know, where do you see yourself in the next 5 years? Your answer can involve your personal life, art, or anything you want. So when 2015 rolls around, what will Aaron Del La Cruz be doing?

Well in terms of my art I would like to have an entire city street in Mexico paved with my designs in them (cobblestone would be nice!). If not I will settle for a 20+ story building facade with my designs on that as well. I am really interested in working with public space and large scale spaces so the hard part is just making that happen. As for anything else, I will just play that by ear.

Do you have any last words/shout outs you want to give before ending this interview?

Shout outs are a must. I would like to say hello to my beautiful Wife (she hold it down when I’m out and about traveling around. My family back in my home town Fresno, CA a place I visit when I find time. I would also like to drop a few names of artist I think people should take some time to check out (these people are some of my biggest inspirations and closest friends Jasper Wong, Samuel Rodriguez, Ogi, Suitman, Jeff Hamada aka,, Distill, 123 Klan, and the entire Pow Wow Posse. I know I am forgetting a bunch of people but I need to save some names for other interviews. Oh yea thanks for reaching out and making this interview happen, Matthew. I hope this is the first of others to follow.

[Note: there will most definitely be more to follow, for sure]

Check out, Aaron and his updates at:

By Matthew J   For Senses Lost

panmela anarkia artHey, Panmela. Did you realize it’s been almost two years since you and I did our first interview together for BSCi ? A lot can happen in twenty-four months so I’m curious to know what’s new with both you and Anarkia?

Anarkia: Wow! Two years ago is a long time! Things have changed a lot since that last interview. I made a transform in my mind at the time and have since become a feminist. Before I used to be confused by lots of thing that I thought were wrong in the World, but I didn’t know if all these thoughts were just mine or if others shared my opinions. Eventually, I discovered that there were other people who think like me so I started getting in contact with them and everything became clearer [to me]. Because of all this I made a big change in myself and also the way that I look and accept the life; reflecting and creating a big revolution -change- in my art.

panmela anarkia graffiti trainSo now with all of these personal changes and new found philosophy, how has your overall approach to art change??

Anarkia: Today, I use my own experiences, when exploring the streets, to construct my artwork. I think about the city as a jungle territory, looking at it from the viewpoint of a woman. It is not just about putting the paint on a wall, it is about attitude behind the art. This is my inspiration: To think of women being in a place or position which people usually do not expect them to be in. I want to create something that surprises the viewer, makes them curious, and gets them thinking.

Speaking of changes and Women’s issues, Brazil recently elected its first female President, Dilma Rousseff. Being that you’re first and foremost a woman and an activist what does President Rousseff’s election mean to you, personally? What are some of the hopes and dreams you have for Brazil and this new Presidency?

panmela anarkia graffitiAnarkia: One point that I like to expose about to have a woman president is the symbolic paper that it has. Dilma is a symbol that the woman got your place in our society and can do and be whatever they want. Of course there are lots of changes that we still need now to help continue with this [social] revolution, but the new generation of girls are growing up in a country with role models not just like this incredible woman, but others that are broking the barriers.

Last year, 2010, was a very busy year for you in which a lot of great things were accomplished. One of your major accomplishments was the award you received in New York from the Vital Voices Global Partnership in the HUMAN RIGHTS category. That is a huge accomplishment, especially for a graffiti writer to win. Tell me about your involvement with the project. What has that whole experience been like and how are you using your new momentum to impact lives?

panmela anarkia and hilary clintonAnarkia: Recently, I founded the Nami Feminist Urban Art Network that is a way to continue with my work with others girls that divide with me this felling and love about the faith of change the world. It is important to try to talk with people in a way that they want to listen. People wants to say things but today we have so much information in everywhere that people can´t pay attention in everything, especially if it is boring. To talk with youth, you have to talk with the same language of them. Nami do this job. Since I start with this work about use graffiti as tool to promote women rights, people has been interesting about how it can happens, specially because of the graffiti that for then is a different kind of media that is lots of time been seen just as vandalism. Really special women have been honored with the same award such former Chilean President Michelle Bachelet and the Nobel Laureate Muhammad Yunus, and for me was very important to be in the same position as these powerful women and to see my work in Rio with the graffiti girls being recognized. Working in our homelands, sometimes, we cannot always see how important our work is important and how much we are helping the others. Vital Voices was founded by the sub-secretary Hillary Clinton, when she still was the First Lady of the United States, and is doing a good job promoting and acknowledging important work made by women who are trying to make the World better.

You’ve been putting in a lot of work as an activist, not just for graffiti, but for women’s equality issues, too. I know this touches on what we discussed earlier about Feminism, but I still want to know a bit more about what motivates you to fight these fights? There are many people who don’t get involved in social commentary, but you do. Why is that?

panmela anarkia tagsAnarkia: As a Brazilian citizen I feel an obligation to contribute in any way needed to make things better and equal for my people. The way that I find to do this job is using my images to fight against issues that I have experienced myself and multiplication this feelings to have more and more people helping to make a better world.

Pichação is not graffiti. It is a different culture that we just have in Brazil. It is two different ways to think especially in a country that people like graffiti and consider it arts! This is why the tag movements of pichação got a different way in Brazil.

This year the director Gustavo Coelho is launching a film documentary called “Luz, Câmera, Pichação!” ( and I am one of the principle characters in the documentary. The purpose of the film is to make people think not just about the theme related to art but also the society which generate this kind of people. I started in the street doing pichação and now I do graffiti. I think that my character shows the limit between one and the other.

In the last interview, we discussed you being the FIRST woman to with a HUTUZ award. Since that time, I want to know whether or not the male-majority has begun to embrace female artists in Brazil? There are so many talented women artist. Are women getting a fair representation in Brazil?

Anarkia: In 2010 I had received the same award in Brazil as the Graffiti Artist of the Decade with Ment and Graphis. It was great but I strongly feel that we need more and more girls to be at the same positions, in quality and quantity, as the men; not just in graffiti but in all areas considered “masculine spaces”.

Awhile back you did some work in Toronto with Canadian artist EGR. I know your schedule is very busy, but do you have any plans of coming back to Canada, soon?

anarkia and egr graffiti torontoAnarkia: Yes! Toronto was one of the places I visited and I liked it a lot and made some good friends there. I want to go to Montreal, too. I painted with EGR in Festival Manifesto in 2008 and I would like to be invited again. EGR is a nice woman and a brilliant artist. I would like to show her my city and she her reaction when she figures out the amount of space we have to paint. Plus, we have good weather all the time! (haha)

In regards to 2011, what can we expect from you this year? Do you have particular projects we should be looking for?

Anarkia: I am dedicate this beginning 2011 in my new series about doing graffiti on men; their bodies. I call it “EAT ART” and ironically it is feminist artwork. The great thing is not to explain the images, but to wait to see the reactions of the people who come in contact with the pieces.

anarkia graffiti

Do you have any final words you have to the readers, especially female writers? Anything you say is appreciated.

Anarkia: I just want to tell them that graffiti is more than color, is about attitude. If you want be a good graffiti writer, you have to go to the streets and put in the work.

For more information on Anarkia as well as the Nami Feminist Urban Art Network, check out:

Give Up Interview

By Matthew J

give up

Tell me a bit about yourself and your back-story, so the readers can get to know you better. Who is Give Up? Where are you from? How long have you been writing?

Give Up: I grew up in a chemical town just south of Houston, Texas. I’ve been living in Houston since probably ‘97. I started writing graffiti in the mid ’90s but realized a few years in that my ego was bigger than my ability. I still wanted to get up but wanted to do something I could really own as my shit so i started doing GIVE UP around 2000, 2001.

Every name has a story behind it and I’m sure a lot of people have theories behind the meaning of your name. I want you to tell me the significance to your alias? Where did it come from?

Give Up: I never really thought of GIVE UP as a moniker. When I originally came up with the razor image with the text underneath it I thought of it more as a stamp or identifier than a signature. I thought it was this kind of tongue in cheek thing that was both self deprecating and threatening that my friends might get behind but would be a fuck you to everyone else.

give up

What’s the scene like in your area? How competitive are the artists?
Give Up: Houston is big so there’s a lot of real estate. Everyone wants to get noticed, you know, but there’s not a lot of need right now to go over anyone. There are only a handful of guys doing poster stuff. and even though most ’street art’ guys don’t really know graffiti rules they’re not trying to go over anyone so no one’s really getting mixed up or crossed out right now.

As far as Houston is concerned, who are some of the “illegal” artist out there whom you feel are truly putting in work to help keep the scene in Houston alive?

Give Up: As far as writers go ABELS, LINGO, and all the RTL and DTS guys are staying busy. For wheat pasting and the more ’street art’ stuff DUAL and EYESORE have been really active.

Everybody has their own reason for participating in this culture; whether it is fame, money, or just art for the sake of art. What would say is the main motivation behind your art? What is it about this particular medium that keeps locked in?

Give Up: Writing graffiti was all about getting up and getting noticed. When I crossed over to the GIVE UP stuff it was more about the expression. Being able to cultivate an idea and really push myself visually and artistically without the limitation of the spray can. I just wanted to create this stuff that I was feeling, try to develop more as an artist than a writer but my head was so locked in this graffiti mindset that once I had something it just made since to put it up publicly. Now at this point I think being on the street is as much a part of a particular piece as the image itself. I don’t think I could produce in the same way without the motivation of going out, but at the same time if I wasn’t fucking with art period, I wouldn’t know what to do with myself.

Continuing with the subject of motivation: I want to know who are some the artists that have inspired you to write?

Give Up: In the mid 90’s a lot of the skateboard videos and magazines would have graffiti in the backgrounds at skate parks and stuff and then a lot of hardcore bands were using hand styles on their fliers and t-shirts and shit. Being involved with those things, writing just seemed like the natural thing to do. When I was coming into the city around that time the DTS stuff really stood out. Also, I liked what AEROSOL WARFARE was doing with their videos and stuff like it. I remember seeing this sticker in probably ‘96. I think it was from SPACE crew. Everyone was just doing hand styles on postal labels and ‘hello my name is’ stickers, but they had photocopied a picture of some astronauts onto sticker paper. It just seemed so different than anything else I was seeing at the time. That really stuck with me.

give up graffiti

For any artist worth their salt, with motivation follows longevity. You have put roughly ten years of your life into this art form. What do you attribute to your longevity? And how would you say your art has evolved over the past few years?

Give Up: I think it’s just that I still enjoy it. If the streets weren’t still holding my interest I’d stop.

As far as evolution within my own art I think whatever has happened as far as themes or imagery has come really organically. I think allowing your style to evolve is important so you don’t get stagnant, but at the same time you can’t force it; you just have to let things happen on their own.

give up design

Of all the styles, you utilize (wheat paste, stencil, and designing) which would you say is your preferred medium to work with and why?

Give Up: I like doing the wheat paste posters mostly now because it really allows me to develop the image in a way that might not be conducive with a can. Convey what I’m trying to do within my own art ideas or visuals that don’t fit into the format of traditional graffiti. Since the majority of my work is photo based and then since they’re just paper and ultimately pretty fragile it keeps with the temporal nature of the work. let’s me get on some ‘art’ shit but still feel like I’m getting up.

Let’s go a bit further into the world of wheat-pasting. I want you to explain the actual artistic process you go through when making this art. Some of your pieces are massive -covering full walls- while other pieces are small enough to cover a street sign. How the creative process differs between each individual piece?

Give Up: Other than rollers it all starts the same way. I’ll come up with an idea and then shoot photos that represent visually what I’m trying to do. Then take those photos and manipulate and arrange them with scissors and glue sticks at the photo copier. When I’m finished with that I’ll blow the final work up to whatever size and shoot positives and screen print them from that. more often than not the prints come before the wall since I’ll want to get multiple spots with the same thing, and then I’ll tile them or otherwise make them fit each spot but sometimes if I have a really good spot in mind I’ll work on something sized specifically for it.

give up graffiti stencil

Looking back at Houston, Texas. Recently, you were voted BEST ARTIST by the readers of the Houston Press. This is a good look, because few major cities will actually place a non-mainstream street artist’s work on any of the “BEST” list. What does that accomplishment mean to you personally and what do you hope to do with this recognition? Commissioned pieces?

Give Up: Getting that acknowledgment was pretty fucking cool, especially since it was a reader’s choice thing. There wasn’t a multiple choice type ballot or anything, people just wrote in. So it really meant a lot to me seeing that people noticed or gave a shit enough to do that. I didn’t even know it was going on or that I’d be in contention until a friend showed me the paper. I don’t really know what will ever come of it now, but it’s a pretty cool thing to have under my belt.

give up frame

There is a lot of attention being given to you in Houston; books and other coverage are coming to light. How do you see Houston improving?

Give Up: There was never any kind of goal. There was never a thing that I was working toward other than producing this stuff for myself and then putting it up on the street. It’s really nice to see now that people have noticed and more so that some are into it. ‘Street art’ seems to be becoming more and more prevalent here. Houston graffiti has been going strong for a long time, and produced some writers that have gone on to garner fame in other cities as well. But now it seems more people are doing more other stuff. In the past not a lot of people were paying attention to what’s going on here outside of here. But hopefully now with the STAY UP book and the internet and STICK ‘EM UP that will change.

give up stickers

I’m glad you mentioned STICK EM UP, because I recently saw the trailer and am interested in seeing the movie. I know that you’re featured in it, but apart from that and Houston’s “illegal art” scene, what can you tell me about this film? And who is PRIMO?

Give Up: I met PRIMO, the filmmaker/editor/mind behind the movie, a while back when he was doing a short internet video spot to promote a show I had at aerosol warfare gallery. We kept in touch and he got the idea to do a film on Houston street art. Originally it was going to be like any other graffiti movie, except focusing more on wheat pasting and stencilling. But now it’s grown into this full on documentary. He’s shown me some of the edits and it’s looking really good. PRIMO kills it. We’ve gone out and gotten some good spots. There are some good billboards (and other stuff) so I’m hoping to have a good chunk of the movie. It’s supposed to premier early 2011 and then hit the film festivals.

What is Lonely Days and Wasted Nights book come together? Explain to us the story behind this book. Why’d you do it? What inspired it?? Etc

Give Up: Like I said before, I never had any ideas or intentions other than to make ‘art’ and get spots. at some point I started shooting photos of some of the stuff I was getting up. Mostly for proof of my own existence since sometimes stuff has a short street life and catches the buff real quick. Eventually I had kind of a ton of photos. And since so much of my work is photo based anyway, I had all these other photos of shit I was shooting in the process and along the way. I guess at some point my ego told me these photos needed to exist outside of a cardboard box in my closet and since graffiti and skateboarding and hardcore has always had this DIY kind of mentality I put them together in a book and put it out there. It was one of the hardest things I’ve ever worked on but I’m really happy with the way it came together.

give up stickers

You’re expanding your resume more and more each day with t-shirts,prints and books on the go. Along with that you have done some graphic designing, too. How do folks contact you for merchandise or for your designs?

Give Up: I got a website going ( with my contact and stuff on there. I never really had any intention of ever doing shirts or any shit like that, but people asked for it from time to time and it was pretty flattering so I made some. I have prints and stuff too. Yeah, I’m down to do design work for bands or whatever. I never considered myself a graphic designer but I can admit that most of my stuff definitely has that feel. So if anyone is interested get at me and if I’m feeling the project we can work something out.

give up stencil graffiti

Looking ahead to 2011, what’s next for you? Do you have any big plans lined-up for the New Year?

Give Up: I feel like I’ve done some work in Houston, now I’m trying to get on the road. Get out of town for a while and try to shit my ‘art’ down the throats of another city.

Ok, last question. I’m going to go full-circle and wrap this up by asking, how you would describe yourself as both an artist and an individual?

Give Up: That’s a strange thing for me. I guess technically I’m an artist. I create art works and support myself thusly. But I don’t really think of myself as the ‘artist’ type. For whatever the ‘artist type’ might mean. I push up rollers and catch tags, but I don’t think I can really claim to be a graffiti writer in the traditional sense. And while I do paint stencils and paste up posters and otherwise put my ‘art’ on the streets, I don’t really align myself with ’street art’. ‘give up’ isn’t a name, so I am not ‘give up’, but ‘give up’ is everything that I am. And from the concept to the execution to the spot on the street, it encompasses every facet of my life. Without it I’m nothing, but it is nothing in itself. I am just an individual and don’t hope to be anything more than that. But I am here now, and when I’m gone I want there to be something more left behind than a check stub.

By Matthew J for Senses Lost Website!!

From what started out as blogumentary to becoming a full-fledged site dedicated to representing the females in Los Angeles’ graffiti scene, LA Graffiti Girls has steadily built a strong following over the years making it one of the sites to keep an eye on. The success of this website can be accredited to its creator Tiffany Evans who is the driving force behind the site. Not only does she represent the culture properly, but Tiffany also studies @ Cal Sate University Long Beach, working towards a degree in journalism (*salute*).

Despite having a loaded schedule of schoolwork, maintaining the website, and life-in-general, Tiffany was gracious enough to give her time and thoughts to Senses Lost for this interview.

You know, there are a lot of people in this scene who talk about all the work they put in, yet have very little to show; truth be told, Tiffany is lapping a lot of you (you so-called “kings” and “queens”, included). To steal a line from Dilated Peoples, “pace yourself, so you can face yourself. Run hard you really only race yourself.”

Be thankful you’re only racing yourself, because whether dealing with graffiti or journalism, Tiffany shows no signs of slowing down. To the victor!

tiffany evans la graffiti girls
(photo of Tiffany was taken courtesy of Amanda Luna)

Ok, let’s start off with an introduction: Who is Tiffany Evans? What’s her story and how did L.A. Graffiti Girls come into existence? What do you hope to accomplish with this platform?

Tiffany Evans: Tiffany Evans is currently 21 year old senior at Cal State University Long Beach earning a bachelor’s degree in Journalism (with a specialization in Public Relations) and will minor in Women’s Gender and Sexuality Studies.

LA Graffiti Girls began in 2008 as a “blogumentary” project for an Art History independent studies class (AH 495) .

I had a really great professor, Glenn Zucman, for my Art 110 class, who included graffiti art in his lecture, as a graffiti artist myself I was thrilled to see a teacher that embraced creative art, even as illegal and socially ‘taboo’ as graffiti.

I spoke to him after class one day and he convinced me to do a lecture for his classes about the different elements of graffiti art. (The class took place in the university theater, so there were 200 students+) It was rewarding to see the students’ fascination with stories of my experiences as a writer. I exposed people to a part of culture that is often overlooked. I was thrilled.

Anyway, I eventually became his teaching assistant and gave the graffiti lecture for his classes several times. As a part of the TA program, I had to do an independent project. Originally, my project was going to be a simple documentary video about graffiti in general, but that’s been done so many times. I didn’t just want to mirror what has been already done. I wanted my project to include all of the important and very different aspects of my life: journalism, graffiti and feminism.

Glenn and I coined the term “blogumentary.” A burgeoning blog tailored to internet culture that documents, in this case, Los Angeles women in graffiti art.

And we thought that a website may be more suitable for the project considering our lack of funds for equipment and a film crew.

You’re study journalism, but once that is completed will L.A. Graffiti Girls remain running as a website? Or do plan on going elsewhere with your [journalism] certificate?

Tiffany Evans: Well, my LA Graffiti Girls project officially ended in 2009, but I decided to continue the website because I felt like there was so much more that needed to done. I want to continue LA Graffiti Girls after I graduate and one day write a book that would include a compilation of the interviews, photos, my research, and my own personal experiences as an artist. But I still have a lot to figure out so I don’t think this will be anytime too soon.

Right now, I’m just hoping to get an internship somewhere, preferably doing PR work or writing for a magazine, if I’m lucky. I’m hoping that my work on LA Graffiti Girls will be a stepping stone to a future career and maybe even a book.

tiffany evans painting

This may seem like a silly question, because its obviousness is glaring, but I’ll ask it anyway. In your opinion, how important is it for female writers to get equal shine in the graffiti world? Your site is catching some major buzz, but even with that, do you feel females are getting a fair share of the recognition/acknowledgment?

Tiffany Evans: In my honest opinion, women have rarely gotten equal shine or recognition for achievements in almost every aspect of culture, graffiti being one of them. Unless it’s pink or covered with hearts, almost everyone assumes that bomb, piece or tag was done by a guy. It’s like a default setting society puts in our heads, it’s up to us to see the world through an unbiased lens and question what we see.

Do you feel that existing sites need to wake up and start spotlighting more females? Or is it up to the ladies to make it happen for them?

Tiffany Evans: When it comes to graffiti, it’s up to the artist to make it happen for them, male or female. A major foundation of graffiti is “getting up”. If your art work isn’t out there for us to see, then you’re keeping yourself out of the spotlight.

Who are some of the female writers, in Los Angeles, that you feel are being overlooked as far as recognition is concerned? And who are getting the respect they deserve?

Tiffany Evans: I don’t feel comfortable dropping names.

tiffany evans and steve grody

That’s more than fair. Moving forward! You’ve been steadily building a solid portfolio of artists that you’ve interviewed –Steve Grody comes to mind. As you continue to make more moves and connect with more people, who are some of the people that are on your interview “wish list”?

Tiffany Evans: Omega, Opea, Chalk, Cuddle, Jel, Kair, Meek, Kween, Glossy, Beka, Minx, Sand, Dots, Eris, She, Girl, off the top of my head. I’m sure there’s more.

I’ve seen them all up somewhere. That’s what counts.

But getting in contact with these lovely, yet elusive ladies is the hard part.

Thus far, what would you say has been your personal favourite moment in relation to running the L.A. Graffiti Girl website? It must be great being boss. What moment has been the highlight for you?

Tiffany Evans: One of my greatest moments was actually meeting Evidence (of Dilated Peoples). When he tweeted “@LAGraffitiGirls run shit” I was hysterical (since I’m a huge fan) … and LA Graffiti Girls instantly got 50 more followers. A few months later I met him at one of his shows, he recognized me and said I was a great girl and he respected what I was doing with the project. That was one of the greatest and most rewarding experiences, to be respected by someone I admire.

buket tiffany evans

I want to move away from the website, for a second, and find out what exactly about this culture that attracted you to graffiti?

Tiffany Evans: It wasn’t necessarily the culture that attracted me to graffiti, but just seeing everywhere sparked my curiosity. As a young kid in the early 90’s, I always saw “Armer TRL” up everywhere. I was so fascinated, even by his basic bombs. I told myself that I wanted to do that one day and I did.

Studying to be a journalist is not an easy thing to do on its own. On top of that you’re managing website and living in one of the biggest cities in the world, Los Angeles. I imagine juggling life, work, and a website are not as easy as some people would assume yet you are doing it every day. What’s your secret? How are you able to balance school, the website, and day-to-day life?

Tiffany Evans: I’m going to be honest, I feel like I’ve neglected my website. I guess I could say due to lack of resources, assistance, and school. Not having a car sucks too because it limits where I can go and who I can meet up with and I’m constantly writing for school so by the time I want to edit an interview I feel exhausted. But somehow I manage to spit out an interview for people to read every now and then and hope that I’ve changed someone’s perspective not only of graffiti, but women too.

This is a bit of a generic question, but relevant nonetheless: I was wondering if you could explain to me and the readers -outside of your city- what makes the Los Angeles graffiti and the scene so significant? Living in Eastern Canada, when it comes to graffiti we usually get a “New York overdose” in regards to the artists, styles, and history that we’re taught. Not too often do we get to hear about Los Angeles’ contribution to the culture. So without putting you on the spot, I want to know, in your opinion, what differentiates Los Angeles from other scenes and who are some of the people/events that helped put Los Angeles on the map?

Tiffany Evans: Los Angeles, CA is a very big and culturally diverse city with so much life. It’s an invigorating and exciting place to live and it is the home of west coast hip-hop and graffiti culture and of course Hollywood.

Most people here have that “Hollywood Mentality” (being famous is an important part of life) and it shows, even in graffiti. And I think that is a part of the graffiti culture that differentiates Los Angeles Graffiti from other places.

Some key contributions:

  • LA is famous for its freeway graffiti (suicide walls and bridges) and the LA River
  • The world famous “MTA” and “Saber” rollers became landmarks and even attracted tourists to the LA River.
  • 2007 LA River hosted the worldwide graffiti event “Meeting of Styles”
  • LA’s art galleries display many works of Los Angeles graffiti like Crewest, MidCity Arts
  • Books like “Graffiti LA” and “The History of Los Angeles Graffiti”

So apart from your Art History Professor encouraging you to present a lecture on campus, have you come across any other faculty members who have been as open to your involvement in graffiti?? I ask because, often times at a University level, there is NOT a lot of openness to any thought-process that is “outside the box” of tradition; graffiti is definitely outside of that accepted viewpoint.

Tiffany Evans: I’m sure you don’t run around campus proclaiming your love of graffiti, but do you ever worry that your involvement could interfere with your future career as a journalist??

If I was an art student, I might share that information with professors, but it’s still not really a comfortable thought. The only reason I spoke to Prof. Zucman about it was because he was the only professor I knew of that considered graffiti an aspect of art that was worth lecturing about. So I felt comfortable sharing this information with him. On the other hand, I wouldn’t share much with my journalism professors because most people don’t consider graffiti as an art form but rather just an act of vandalism. I have however mentioned my website to some of my journalism professors when they ask about any projects I might have going on, but I emphasize my work as an interviewer and writer, and leave out details about my personal involvement because it’s irrelevant to my study.

Although most people have been supportive I have one friend that keeps telling me that my involvement with graffiti could hinder my chances of getting a job as a journalist and even more so as a public relations practitioner (which is what I want to be) because it’s all about the image. But I’m hoping for the best and working hard.

Let’s look at goals and ambition. It’s obvious that you’re a goal-driven individual, so where do you see both Tiffany Evans and L.A. Graffiti Girls standing within the next 5 years? 10 years? 15 years?

Tiffany Evans: In 5 years, I hope my website will be close to fulfilling itself. Maybe have a legit web designer to make it look pretty by then. In 10 years, I hope to have a book out by then. In 15 years, well, I don’t even wanna think about how old I will be… Can we just skip that one?

My final question, for you, deals with MOTIVATION. Where does your drive come from? What’s the driving force behind everything you’re doing??

Tiffany Evans: I love education and I love being able to tell the sides of stories that people may not always hear. Offering a new perspective on something, is what I believe, the real job of journalists are. We give all the facts, and let readers make their conclusions based on this information.

Graffiti is an art that is often misunderstood. Most people base their opinions about graffiti on what they watch on television or movies, or read in newspapers. Their assumptions about graffiti are often one-sided; most of the public doesn’t have the opportunity to learn about it from the “other side.” But this is changing. Today, there are numerous websites about graffiti (growing in popularity) and many have in-depth interviews with the actual artists, therefore, providing the public with the “other side” of the story. BUT since the graffiti art scene is mostly male-dominated, most people learn about the men’s perspective of the art… not women. This is where I come into play. I think it’s important to educate the public from every side, every perspective of the story… This need to tell the story by providing the most accurate information is my motivation.

To more information and articles on LA’s female graffiti scene, check out:

Well start off a good intro: Who is Patrick Martinez; the man and the artist? Whats your back-story like? Where are you from? And why should people read an article centered on him?

Patrick Martinez: I’m a laid back dude that loves the arts. I grew up in Pasadena, Ca which is like 10 minutes from Downtown Los Angeles. I started drawing at a young age. I would copy comic book / cartoon characters into my sketch book almost every day. Robocop, Teenage Mutant Ninja Turtles, the Smurfs, and the whole Marvel roster. I got into graffiti at the age of 12 going to local yards with cheap ass paint trying to get my can control up to par. I would draw pieces in my black book with sharpies and markers me and my brother would rack from Office Depot. I was silk-screening my own t-shirts with my pops in our garage with a one color homemade silkscreen set up, I was 13. I was young and now that I look back, I was always producing art. I get my work ethic from graffiti. The fact that you had to bust a sketch or draw your piece; then get the paint for it and finally produce it illegally, at the age of 15, it takes a lot of initiative to produce a piece. I carried that type of work ethic into my present career with my fine art. I still value my graffiti roots and keep that in my arsenal for sure. I think my visuals are more interesting than what I have to say. I speak with visuals; thats my language. So with that being said, just look at my art. If you are reading this, thank you.

The legendary Los Angeles photographer and director, Estevan Oriol once said that you are one of his favourite artists. Now thats must be a huge boost to your self-esteem considering all of the well known artists whom [Estevan] has worked with. What does it mean, personally, to have that man supporting your work?

Patrick Martinez: Estevan is a big asset to Los Angeles. He has done so much to push L.A. culture out to the world. His name is synonymous with Los Angeles street culture and art. He has developed a style of photography that has been bitten and continues to be taken from even now with the advancements in digital cameras. Estevan and his father, Eriberto are always pushing me with their positive words. I mean every time I see them they have kind words of wisdom for me or even when we are at a gallery opening or something they are telling people that they are talking to at that moment “Do you know Patrick’s work?” then they introduce me to that person. It means a lot to have someone like Estevan with such raw talent say, “I like your shit.” It’s better than a paycheque to have your peers gives you an honest positive critique on your work and I know lots of people can co-sign on that. Estevan doesn’t just doesn’t give props to anyone.

Will there be any type of Patrick Martinez x Estevan Oriol collaborations in the future?

Patrick Martinez: He is taking photos of my big head for my Juxtapoz Magazine feature which will soon be out. Other than that … we will see what the future brings.

As far as visual art is concerned, what do you hope to accomplish through this medium? Do you have a definite long-term goal in mind? What is the mission statement of Patrick Martinez?

Patrick Martinez: I wanna grow as an artist, not just in terms of skill but really digging deep and capturing peoples imagination. Connect with them in a real way…you know make the viewer feel some kind of emotion. I wanna leave a mark on this earth and also with the people on it with my pure unfiltered expression and ideas. I want my personality to shine through the art that I create so people can view my images and visit me even after I’m gone. Keep the money and the cars; I want the museums and books to feature my work so people can continue to visit my visuals. Thats the long term goal. I don’t really have a mission statement. I wanna keep it organic so I can grow with the art.

Your work is beginning to catch a buzz here in Canada. I know that Torontos Show & Tell Gallery is showing you some love. How did you initially link up with them? And what kind of reception and feedback are you getting from the crowds here? How would you compare that audience to the ones in your native California?

Patrick Martinez: Well, Show and Tell hit me up last year for a group show that never happened because of schedule conflict. It was a group show which featured: Greg Lamarche, Stephen Powers, Justin Green, Above and myself. They enjoyed the work and I love what they are doing with the gallery so we continued to build. Naturally it just blossomed into them representing my work in Toronto, the East Coast and beyond. I am really glad to be working with Show and Tell Gallery and hope to bring my work out to Canada early next year for a Solo at Show and Tell.

Also, I heard that youre working on something with Known Gallery? Care to speak on that or is it too soon?

Patrick Martinez: Yeah. I am doing a solo show next year at Known Gallery, sometime in April or May. I’m excited to be showing in that beautiful gallery. Known Gallery puts it down and always produces top of the line shows that never disappoint. They are definitely taking it to the next level for Los Angeles in terms of street inspired art as well as contemporary art. If anyone has a chance to check out a show at Known Gallery in person be sure to do so. It really doesn’t matter what show it is about, you for sure won’t be disappointed.

Check out the rest of the interview at:


Estevan Oriol is probably the most relevant photographer in our day in age. The man’s work has been featured in such publications as The Source, Juxtapoz Magazine, Mass Appeal (R.I.P.), Complex, Anthem, and Rolling Stone, to name a few. Beyond the newsstands, he has been put in work with Soul Assassins, Joker Brand Clothing, and the production of music videos for most of your favourite emcees.

The man is established (no doubt), so when it was announced that he would be releasing a book titled “L.A. Women”, a follow-up to his successful 2009 calendar, by the same name, I was more than excited. To not anticipate an Estevan Oriol project is to not appreciate real art.

Obviously with a title like “L.A. Women” this book is going to be loaded with shots of beautiful women, some with less clothing than others, yet none of that takes away from the overall artistry of these photographs nor do any of the women appear to be exploited. (You know the man is good when he can have a two-page spread of a naked woman and the image does not convey anything pornographic nor sleazy.)

Some of the featured models will be unknown to people outside of Los Angeles yet there are some recognizable faces here such as: Angel Veil (the cover model), DJ Lady Tribe (TKO), Kiana Dior, Joy, Kat Von D (from L.A. Ink), Julia Bond, and Kim Kardashian.

Apart from the women, everything from low-riders, guns, and simple background environments bring added dimension to his photos; they work as extensions of the art rather than distractions.

The use of camera angles, lighting, background environments, and color schemes give this book a more distinct look than other “street art” books on the market today. As a matter of fact, the techniques used surpass what is found in most mainstream photography books, as well.

Read the Rest of the Article by clicking the link below…