Interviews
Crayone Bboy Samurai in San Francisco, CA. January 2012
Crayone Koi fish in Oakland Ca. April 2012
http://www.facebook.com/media/
Crayone “CR” in Santa Cruz, CA. April 2012
http://www.facebook.com/media/
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.
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 (www.codered.ru); it’s dedicated to graffiti, street art, graphic design, and more, and is aimed at the Russian-speaking audience.
Read more here http://senseslost.com/interviews/aske-interview/
Andrew Murphy Interview
by Matthew J
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).
Click Below for the rest of the story
http://senseslost.com/interviews/andrew-murphy-interview/
Day in the Lyfe Issue 9 cover was designed by Snow, check out this interview!!!!!
The nature of art has always been discussed and debated. Most people agree that there is not just one definition, but rather, art encompasses a variety of ideas, approaches and qualities. What about graffiti? Although many may consider this vandalism and destructive with no intrinsic value – it is emotional, it does communicate and many believe it really is legitimate art. Paterson native Carmelo Sigona has been painting graffiti for more than 30 years. His tag name, “Snow”, dates back to the late 70s when he was called Snow White because he was the only white kid in the neighborhood painting on the streets. Sigona has transitioned into a successful commercial career which includes licensing deals, album covers and music videos. He’s currently pitching a graphic novel to several studios in Hollywood with the hope of turning it into a film or cartoon series. (Video by Andre Malok / The Star-Ledger)
http://videos.nj.com/star-ledger/2011/10/video_paterson_artist_turns_30.html
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.
What 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!
Everybody 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!
You 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.
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!
You 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?
Looking 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 
, 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!
Any 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: sandoner.blogspot.com
One on One with a Medellin Graffiti King
Jim Glade
“My art is famous, not me,” explained 33-year-old Cesar Figueroa while inking on a tattoo for a client in his Villa Hermosa neighborhood home which doubles as a tattoo shop and art studio near downtown Medellin. Figueroa’s image of a bird, which he created five years ago, can be seen while traveling from barrio to barrio or city to city in Colombia.
“I needed something beautiful but simple,” explained Figueroa about his bird which is up all over the city in different sizes, shapes, variations and levels of detail. Walking around Medellin’s “centro” district, graffiti heads can find huge, full-block sized murals that took days to produce while his most simple tags can be thrown up in under 30 seconds.
Figueroa admits that the image of the bird has helped out his art business. The man getting the image of a gnarled, black and red tree tatted on his right arm had never met Figueroa, but was well aware of his tag from the streets of Medellin.
Figueroa was raised in the northern costal city of Valledupar, home to the love-soaked rhythms of Vallenato music, as well as FARC guerrilla leader “Simon Trinidad” and former paramilitary death squad boss “Jorge 40.” Art was in his blood. His grandfather was an artist. When he was 12 or 13 he began making his first few pesos through art by painting local store signs or doing murals at parties. He has never held a job that didn’t involve his art. The graffiti artist, who now has a successful tattoo shop, clothing line, and teaches one-on-one art classes, never had a day of formal art lessons in his life.
Going out to bomb in Medellin is different than in the United States explained Figueroa. Laws against graffiti are still non-existent or not properly regulated by authorities. “There is more fear of paramilitaries than the police,” said Figueroa. “One time a policeman saw me [painting], came up and asked if it was political. When I said ‘no’ he left me alone.”
Graffiti culture in Colombia is not focused on destruction and vandalism as much as it is in the United States, Figueroa explained. Writers and street artists use their pieces as communication with other artists and graffiti enthusiasts. On Medellin’s clean, brilliant-white Metro line –a would-be Mecca for a graff writer from NYC to throw up a piece—you won’t even find a small marker tag underneath a seat. This is because the people in the city take pride and care in the Metro system which connects poor, otherwise isolated barrios with the commercial center of the city.
The Medellin mayor’s office works well with graffiti writers in the city and allots them free space to paint, as well as supplies. Figueroa does not take part in city-sponsored graffiti because he believes it takes away from graffiti’s soul. “I don’t like this graffiti that turned into prostitution,” he explained, “Graffiti is better when it’s personal and no one tells you to do it.”
Cesar Figueroa has had many spur of the moment treks into the city to throw up burners but just two days after his father passed away of cancer in December of 2009, Figueroa felt compelled to paint.
He and a few close friends from his Narkografika crew hit the streets and headed to the Hospital station of the Metro line. In a nearby barrio they found a wall that wrapped around a corner, fresh and ready. They began painting and were two-thirds of the way finished when an angry, old lady came out screaming, waving a broom and threatened to call the police. “It was funny because she never used any foul language,” Figueroa reflected. “She cussed us out in the most polite way possible.” The mural of a snake with a third eye shining a beam of light out into the universe to symbolize his father’s journey back into the abyss was left unfinished and was completely erased soon after.
Today Figueroa is raising two energetic boys who run around the house/art studio/tattoo parlor chasing their fat, white rabbit in between jam sessions on their drum set. Cesar actively promotes their creativity and hopes that they will support art throughout their lives. “They have art in their blood,” Figueroa said. “It would be sad if they didn’t find art.”
In addition to his Stilacho tattoo parlor, Figueroa began a clothing line incorporating his designs with verses from a local street poet named Sore. The RockanLover fashion line is available now.
Xeme Interview
by Matthew J
We’ll start off really basic and get you to tell the readers a little bit about yourself. For those who don’t know you, who are you? Who is Xeme?
I am Xeme and I’m from Hong Kong. Along with my friends- Sinic and Redy- I run and operate Invasian Magazine; the first graffiti magazine to specialize in Asian graffiti and focus on its culture.
We first did an interview together back [in '08] around the time when Invasian Magazine was starting to circulate issues. The publication is now two-years strong and the website is steadily progressing, too. How would you say things have been going with Invasian? Are you meeting expectations? Overall how important do you feel the magazine has been Asian graffiti?
I always use our platform to bridge people together and let everyone know what’s going on in Asia. I’ve seen some good exchanges going on over these few years so it’s good in general.
I’d say things are progressing bit by bit in Invasian. I can’t tell how important we are to the Asian graff scene, but I hope we could influence some good people to push graff in Asia that’ll have a bigger impact than us.
What are some of the graffiti scenes like in Asia? Internationally, people tend to think solely of Japan when the topic of Asian graffiti is brought up and because of this more attention is given to Japan. I want to know what the other scenes in Asia are like. How do the scenes differ from country to country?
No doubt that Japan is really big in graff. They have the longest continuous graff history in Asia. A lot of writers in Japan are for real and they don’t quit easily. I don’t want to misrepresent any countries so what I’m saying below are based on my personal opinion.
- Korean writers are very talented, they are good with everything: realism, characters, letters etc. Their letters are influenced by the west coast.
- China has a good variety of different styles. A bit more commercial based stuffs going on and lack of bombing in this huge piece of land. There are loads of potential out there.
- Thailand has a good graff scene; people paint hard and still loads of spot to paint. A lot of foreigners go there to leave there mark too.
- Taiwan, Philippines and Indonesia all have loads of good spots to hit. There a lot of good street bombing writers. Some people like to paint cute comic style characters. A bit west coast influence on letters as well.
- Singapore is more piecing based country due to different restrictions. There’s a bunch of good piecing writers out there.
- Malaysia has a lot of people piecing as well.
I’m sure you get asked this question a lot, but I want to know what exactly spawned the creation of Invasian?
Me and my friends- Sinic and Redy- wanted to expose Asian graff and the local culture(s). At the time, there wasn’t much graff related publications in Asia, too, so we decided to give it a try and do this ourselves.
What are your immediate goals for the magazine?
If I can start buying local graff mags from different Asian country and see them having their own events and shows, the goal of Invasian, in my view, is fulfilled.
You intentionally write using Chinese characters rather than Western alphabet as a way to celebrate your culture. How have people responded to your use of characters? Is it catching on with other writers?
I get people appreciate me using my own language in my pieces. Normally I think people enjoy seeing stuff that they don’t see every day. Some friends also express their view that they can’t understand what I’m trying to write. So I try to keep a balance of Chinese and English writing. Yet if more people start to write Chinese I think it’s more important for us to keep pushing styles instead of using Chinese or other language as an exotic piece.
Note from Matthew J: I agree with what Xeme is trying to do by incorporating his own language into his work. I find it strange that people would make a fuss over the use of Chinese characters because you would never hear a non-English speaker complain to Futura about their use of English text in his work; the art is accepted because it’s good, not because of its language.
I understand wanting to “keep a balance”, but at the same time English-speakers need to be more open-minded in regards to the art. Graffiti is worldwide; language shouldn’t matter.
What can you tell me about your Ground Release project in the UK?
It’s an East meet West project. We want to bring some talented writers from the West to Asia. It’s hard for Asian people to travel to America or Europe, so it’s a really a good opportunity for both side to paint, learn, exchange and have a good time.
Please check out www.ground-release.com We will constantly update it and release some surprises 
Invasian Magazine has been around for a couple years now and things are progressing; you’re making a name for yourself. Where do you see Invasian going in the next few years? I know the Asian graffiti-magazine market is NOT as competitive -on mass- as Europe and North America, so what are you doing to keep the publication running strong??
The magazine itself has always been like a hobby thingy for us. We can only do it when we all have time to work together and we’ve never treated it as a money making thing. Thus we do it with our passion and thanks for my 2 partners for making it happen.
You were one of the artists featured in BOMB IT 2. What was that experience like and what does it mean to you be featured in such an important project?
It was interesting to be part in the project. I guess every time when I talk with different people it’s a good experience. You get to know yourself a bit more as well as learn different people’s point of view. Thank director Jon for having us in the video.
Have you had a chance to do any writing in Canada or other North American spots?
I haven’t done much in the past year. But hopefully I can make it there this year and hit some more spots out there.
Apart from the obvious cultural and differences, what would you say most differentiates Asia’s graffiti scene from that of North America’s scene?
We don’t have a long history base for graff, thus the meaning/definition of “graffiti” is slightly different from you guys.
I assume most people in North America started writing at a young age and probably started because seeing some other people’s tags or pieces. And here people tend to start at a later age due to some other reasons. They could be inspired from a fashion magazine, an art gallery show, design schools etc which makes the definition of “graffiti” very vague and unclear. If you talk with different people in Asia about graf, not too many people would focus on letters. Stuff like that I guess is really different from the West.
As far as Asia is concerned, there is such a vast diversity of cultures and philosophies, how is it that these different cultures are able to co-exist yet remain individualistic? I find here, in the Western world, people copy the East Coast style (New York/Philly) or the West Coast style (L.A) even though they don’t necessarily live in those regions. Writers in Europe copy American styles and vice versa. What keeps the Asian scene so unique? Or is it very similar to what is happening here?
To be honest, I think there aren’t much people that have a unique style in Asia, for sure; not myself either.
99.9% of the graffiti stuff we see comes from outside Asia, and it’s very natural that our foundation is based on the Western influences, as well.
Asia’s graffiti history (excluding Japan) is still young and I think it needs time to grow. As soon as people start writing for a longer time, they will realize that finding a unique style is important then there will be more good stuffs coming out from Asia.
I’m looking forward for the next 10 years. There are lots of talented writers/artists out here and I can see the potential for them to become successful in their field.
Outro: Any final words before we end this??
Big up to SensesLost for the interview; much appreciated. Thanks Redy for opening my mind and Sinic for the trust. And thanks for everyone who supported us in the past.
Invasian Magazine
www.invasianmagazine.com
Wall Lords
www.wall-lords.com
By Matthew J
As 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.
Tell 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)
Just 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.
In 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].
Let’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 booooooom.com, Hypebeast.com, 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: www.AaronDeLaCruz.com
By Matthew J For Senses Lost
Hey, 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.
So 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?
Anarkia: 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?
Anarkia: 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?
Anarkia: 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!” (www.luzcamerapichacao.com.br) 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: 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.
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: www.anarkiaboladona.com
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