interview

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Q> In your bio you said that graffiti art is pure because it isn't tainted by some snob's dollar, teacher's grade, or marketing director's approval (I love that). In your opinion, what exactly is the difference between art that seeks the approval of others and art like graffiti?

I think the underlying motive; essence of any art piece comes through on some level. I give credit to commercial artists who can visually 'wow' the viewer into a trance, and then sucker-punch them with a product logo or slogan. It speaks a lot about their skills and abilities, but a whore is still a whore. Even fine artists who write grants and/or look to sell their work in galleries are still for sale; their story is for sale.

Graffiti on the street is definitely not for sale, and most of the public already hates it, so it's not seeking their approval. However, there is a very developed subculture in which respect is not easily come by, and peer recognition is highly pursued. I think a lot of tagging is approval-driven, for the fame or infamy alike. Being seen as rebellious can be a source of peer recognition, especially for younger writers. As a youth peer approval is so important, while financial stability becomes more influential as an adult. I feel fortunate that I can create art without worrying whether or not I'll eat if it doesn't sell.

In any artwork, there's a balance to be found between the artists' own concept and their ability to communicate it, share it with the observer. In a consumer-based society, the balance is already way out of whack. The dollar-wielding customer becomes the driving force. Whether the purpose is to sell a product, make the consumer 'feel cool', or to make something to hang in their living room and match the furniture. All too often artists give into this type of force, and are basically 'selling-out'. The art inevitably becomes a consumer vehicle, and is sucked-dry of its soul. The artist can fight to take it back, which can be done, but from what I've seen it's a tough battle.

I make direct references to selling-out in the snob and marketing director examples of my bio. I need to qualify my inclusion of teachers in my example; not all teachers are like this. They are, however, generally required to instruct a certain curriculum, which guides artists to fit into a system that unfortunately is structured to destroy the artist's creative soul.

Q> How do you use street art/ graffiti as a creative outlet? What does this type of painting do for you and how does the creative process make you feel?

I think there's something basic about graffiti, maybe the danger of being caught that taps into core fear. It induces a sort of fight-or-flight reaction that's very powerful. In a non-sexist way, the ability to be creative under this type of pressure 'separates the men from the boys'. When you're out breaking the law and getting chased by police, the idea of something like artist's block is a joke. Deep down in the depths of my psyche is where my best creativity comes from. Since it's devoid of influences like money or public approval, I feel like I have nothing to lose and I create whatever I want. Thus the creative process for me is the essence of graffiti, and is extremely fulfilling. I feel like I take something with me after every piece.

Q> What does the expression help you with?

Expression helps me with being sane. The more I think about art and do art, the more I see how boring most of the world is. As a person with some artistic ability, I feel it is my duty to fight the forces of boring uniformity.

Q> Do you ever tag/paint/make art that no one else sees, art that is just for yourself? What might make you choose to keep it private, as opposed to putting it out there on the streets?

If a tag is tagged on a wall that no one sees, does it still leave a mark?...

Graffiti, by definition is almost always done in public or quasi-public spaces, so to some extent it is always done with the idea that someone will, or at least could see it. I have had some fun in doing graffiti in very obscure spaces, only to hear someone has seen it and been shocked. So it almost always is done under the pretense of being seen, or at least the possibility is there.

Art done purely for oneself is important. I think some art really is not meant to be shared; it's about the release, the experience, like meditation. It's like a diary, or writing a letter you never send in the mail, versus an article written for the public. Art therapy, I think it can be called is like a personal journey too. Also, touchy-feely subjects usually don't always go over particularly well in the graffiti world. Graffiti writers are quick to cross out or paint over work that isn't very good, or comes across as weak. The public wall isn't the best place to get in touch with your inner child.

However, I have done artwork that definitely has personal elements in it. Some of my better pieces were done during times of challenge; I decided to express my feelings through art, sublimation. I didn't withhold it, but rather tried to convey the feeling symbolically or figuratively, rather than literally. People tend to be drawn to common threads of feeling, whereas something too literal alienates the viewer. With this approach, I get to experience the pleasure of creating it, and someone else might be able to relate to the feeling and take something from it him or herself.

I have done art that may never be seen. For example, I've done some pieces that were painted over the next day. So even I didn't get to see it during the daylight. One of my largest productions was painted over within a week. Ironically, photos of it were published in a book.

Q> What is the main message you are trying to send the people who see
your work?

The message really depends on what's going on at the time. It's not really me, but rather I try to let myself be a conduit. I feel like I ingest life through all my senses, then let be what it's supposed to be. Then I dress it up, twist it around, tweak it this-way-and-that, bring it back around to itself, and then give it back to the world. The message is already there, I just rephrase it.

Q> Why is it important that people see your art?

It's not particularly important to me personally; I basically put it out there to be seen or not seen. I like seeing other people's art, and people seem to enjoy seeing mine. If they get something from seeing my art like a new perspective, idea, or inspiration, then that's important. In that sense it would be selfish for me to keep it to myself.

Q> You said that when you tag, it is to make a statement that you have been there. Do you think you would still make graffiti if nobody ever saw it? Why or why not?

Firstly, I want to clarify something: randomly tagging various places isn't very creative. 'This is where I've been', is about the extent of the message. There are some writers that have very intricate, amazing tags that are like calligraphy script. Some tags can be creative, but clearly most aren't. They're markers, like breadcrumbs. This is what the public predominantly sees, so it's understandable why there are strong misconceptions about graffiti.

For a period I was on a minor crusade to change people's opinions about graffiti. I thought if people could be shown how artistic it can be, and how talented some writers are, then I would gain their recognition. I came to find the majority of the public is bent on hating it. They automatically associate it with gangs, or are more preoccupied with the fact that it's illegal so they can't appreciate the creativity. As far as my reasons for doing it, their approval becomes irrelevant.

Most writers paint for the sake of painting for themselves and other graffiti writers, with a few peers mixed in. I think this attitude is common in the graffiti world. There are writers who are a lot better than me that make little to no effort to share their work with the public, beyond initially creating it. They do it purely for the experience, and for the handful of people who come across it or see the happenstance photo taken before the work is destroyed. In my opinion, the observer plays an important role in the communication of art. With no viewer, that communication would be lost. If absolutely no one saw my art, I would continue to do it, but I would probably do it differently. It would probably become more of a visual diary.

A lot more people can see graffiti now that it's on the internet. Graffiti, like installations, involves a physical location as well as the painting itself. Detailed, non-commissioned graffiti art is often done in hidden, typically fucked-up places. The contrast to the surroundings and accompanying dynamic isn't captured in photos. But then again a lot of people are too scared to go where graffiti is actually done, so you get a safe little window through the computer. As a result of the positive response from writers and non-writers alike, I've lately made more efforts to put my graffiti out on the internet. I've put some effort into it, but it's been somewhat of a secondary effort.

Q> Have you ever changed your art to please others?

It's important to listen to criticism, good and bad. And it's important to hear how my art communicates. And I know there's a dynamic between artist and observer. Graffiti is often blind to the observer, which makes it unique. I might make an adjustment if it has widespread misinterpretation, but I would never change it just to please others. I would probably stop doing art before changing it to please others; it would be dishonest. Observers can give feedback, but they shouldn't call the shots.

Q> Have you ever sold it? Would you?

Graffiti is done in public places, usually without permission. It's a form of art that doesn't lend itself to being sold. I've heard people say graffiti isn't marketable. There's not a big gallery market for graffiti, and even commissioned murals tend to look like they're commissioned. One of the best parts about graffiti is that the freedom comes through so clearly. It can't be contained or controlled. Graffiti balks at confinement. There's something very powerful about graffiti. Few graffiti artists have made any significant money, but graffiti continues to flourish and has become an international phenomenon.

I've done some work as an illustrator. There's a whole different set of rules. When I approach art in this way it's for someone else's purpose; I'm documenting someone else's idea. To the extent someone else's finger is in the pot, it becomes less and less my art. It's fine to the extent that I'm doing some form of art, and there's money. But after having had the pleasure and freedom of doing graffiti for years without constraint, the money I've gotten for art really hasn't fulfilled me. If I choose to do art for money, that's my M.O. I'm completely aware of it, but it's typically a very empty experience. I feel badly for all artists that are subject to this type of torture on a regular basis.

My graffiti is available to view for free on the internet, so selling it seems silly. Fortunately I don't have to earn a living from it, either. With consumerism so prevalent in the world I understand people's desire to 'own' or possess a piece of everything. I've considered selling something to satisfy people's hunger, but I'm not selling anything right now so that's about how important it is to me.

Q> What does graffiti art give you that engineering doesn't?

Poverty, just kidding. I need to be creative or I will go crazy. I think a world without creativity would be like a prison. I'm grateful to have been given artistic and analytical/ mathematical abilities. It would be wasteful to not use them both. Engineering is highly influenced by rules, properties, and laws. There can be a beautiful harmony and balance when something is designed well. It's inspiring and fascinating when a new phenomenon or application is discovered through science and engineering. With art, especially graffiti art, I feel a sense of unhindered freedom that I don't get from engineering.

Q> Full name and age?

I work in an environment where graffiti is highly misunderstood. I'd like to maintain my anonymity, so maybe Sir Delux is best to use.

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