Brooklyn Street Art

…loves you more every day.

BSA Film Friday 03.27.15

Posted on March 27, 2015



Our weekly focus on the moving image and art in the streets. And other oddities.

Now screening :

1. Kashink in Miami and her OUTSIDE / INSIDE project
2. Hold On, Just Going to Post This Letter – Почта России
3. Nuart 2014 via Hypebeast TV
4. Tost Films: Emigrantes en Yola
5. ROA teaser for Jonathan LeVine Gallery “Metazoa”


Kashink in Miami and her OUTSIDE / INSIDE project

Experimenter and Street Artist hailing from France, Kashink observes the absurd and reports what she has found. A brainy badass, Ms. Kashink uses vivid color, cartoon, and calculated critique to a scene, whether scripted or organic. Part painter/ part matinee idol, Kashink helps us to question the paradox of our art and creativity classification systems.


Hold On, Just Going to Post This Letter – Почта России

A social experiment with Russian post office boxes, here is a simple way to discourage the remaining 5 people who still mail letters.

Nuart 2014 via Hypebeast TV

A nice recap of the events at Nuart via HypeBeast.

Tost Films: Emigrantes en Yola

ROA teaser for Jonathan LeVine Gallery “Metazoa”

“ROA views the beaver, the state animal of New York, as a metaphor for the idea that nature has the ability to reclaim itself. The recovery of the beaver in New York City after it was previously thought extinct is exemplary of how humans and animals affect each other and reflects the artist’s interest in how animals evolve within urban landscapes.”


“Big City Life Rome” Part II

Posted on March 26, 2015

An update to the “Big City Life Rome” posting in February, here are the remaining murals in the neighborhood of Tomarancia. Produced and curated by 999Contemporary Gallery, these March walls are of equal size and dimension as the previous ones, bringing to mind the swatches of cloth sometimes used to create a quilt. Included here is new work from Caratoes, Jericho, Matteo Basile, Danilo Bucchi, SatOne, Pantonio, and Clemens Bher. The international group of artists have diverse styles, but the quality is high!


Jerico (photo courtesy © 999 Contemporary Gallery)


Jerico (photo courtesy © 999 Contemporary Gallery)


Jerico (photo courtesy © 999 Contemporary Gallery)


Caratoes (photo courtesy © 999 Contemporary Gallery)


Caratoes (photo courtesy © 999 Contemporary Gallery)


Caratoes (photo courtesy © 999 Contemporary Gallery)


Matteo Basile (photo courtesy © 999 Contemporary Gallery)


Matteo Basile'(photo courtesy © 999 Contemporary Gallery)


Matteo Basile does a red faced portrait of Ai Weiwei (photo courtesy © 999 Contemporary Gallery)


Danilo Bucchi (photo courtesy © 999 Contemporary Gallery)


Danilo Bucchi (photo courtesy © 999 Contemporary Gallery)


Danilo Bucchi (photo courtesy © 999 Contemporary Gallery)


SatOne (photo courtesy © 999 Contemporary Gallery)


SatOne (photo courtesy © 999 Contemporary Gallery)


SatOne (photo courtesy © 999 Contemporary Gallery)


Pantonio (photo courtesy © 999 Contemporary Gallery)


Pantonio (photo courtesy © 999 Contemporary Gallery)


Pantonio (photo courtesy © 999 Contemporary Gallery)


Clemens Bher (photo courtesy © 999 Contemporary Gallery)


Clemens Bher (photo courtesy © 999 Contemporary Gallery)


Clemens Bher (photo courtesy © 999 Contemporary Gallery)

Click here to see our Part I of the coverage.

We wish to thank Stefano Antonelli at 999Contemporay for his diligence on getting us the material to make this article possible. To see all the completed walls and more details on the project and the participating artists click HERE.

Gender, Caste, and Crochet : OLEK Transforms a Shelter in Delhi

Posted on March 25, 2015

The fluorescent pink and orange sari skims the svelte frame of Brooklyn’s Olek as she glides across the dirt lot in Delhi’s South Extension with bags of yarn, needles and fabric slung over arms and shoulders.

The massive new acid fluorescent epidermal transformation has taken a week to complete and the street artist is keeping her head while managing the many hands who are helping, but under the eclectic glamour is always raw labor – and a generous dollop of drama.

Olek (photo © Pranav Mehta/St+ARTIndia)

“It felt like I gave a birth to an oversize baby without any pain killers. I had to pull the black magic to make it happen. Physically and emotionally drained. Was it worth it? Absolutely YES,” she types onto her Facebook page to let friends and fans know that she has finished the seven-day marathon of crocheting and directing a full team of volunteers and St+Art Delhi organizers. Triumphant, she stands atop the woman’s shelter, a one story structure of corrugated metal and concrete 40 ft long and 8 foot high, with a fist in the air, a symbol of celebration as well as a show of solidarity with the sisterhood of those who helped her make it and those will seek refuge here when other options have been exhausted.


Olek (photo © Pranav Mehta/St+ARTIndia)

“Raine Basera”, a night shelter for homeless women lies just off Sarai Kale Khan here in New Delhi and it is not far from some industrial parks, surrounded by buses and noise from the traffic and temporary markets. A part of the festival called St+Art Delhi 2015 this particular project is conceived to raise awareness of the shelter and its very existence to those families who need it. Given the chaos of color and decorative motifs that have characterized many of Olek’s street works, this is one more that will be hard to miss. In this city of about 11 million, there are actually 184 night shelters in the city of Delhi, and 10 Indian artists will be working with the Urban Shelter Department to paint more.

Speaking with Olek you learn that this was a joyful, painful project – made possible with the help of a number of people, but mostly because of the steely determination of the Street Artist who is defining and re-defining what it means to be an artist in public space, as well as a woman in the art world. Her vigor and her vision is genuine and her struggles with issues regarding poverty, gender, and empowerment were brought to the fore on a daily basis during this project. As usual, we are of the opinion this is still the beginning of what Olek will accomplish in the Street Art world and in the lives of others – for her the goals are multitudinous.


Olek (photo © Pranav Mehta/St+ARTIndia)

We spoke with Olek about the experience in her first trip to India in the interview below. Following that is a short interview with one of the organizers from the St+Art India Foundation and the curator of this project, Giulia Ambrogi. Both help us position the work of Olek into a greater context in Indian society during this relatively new festival effort, now in its second year.


Brooklyn Street Art: Was there a motif that you added to your repertoire of hearts and butterflies that was specific to this project?
OLEK: You know how when you write for a newspaper or a blog you always have to keep your audience in mind so you use a specific language to describe your ideas and thoughts. So for this project I had to think about my specific audience. There were the people in the shelter and the neighbors around it. Many of them are are simple people without education and maybe even illiterate so I wanted to create a visual work that was accessible and meaningful for them.

So for this project I drew from the basic Indian Iconography such as the elephant, the butterfly and flowers. Of course I have crocheted these motifs before in my work but this time I kept an Indian aesthetic with the shapes and forms and they were more visible within the context of the overall piece. In the case of the butterfly I see it as having a special connection with women.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: Was it easy to bridge the gaps between cultures when working with the women who assisted in the project?
OLEK: Well the women I was working with found me to be fascinating. Here comes this woman with tools and yarns and crochet and I think they are used to seeing men doing most of these things – who come and boss them around and tell them what to do. In my case I was sitting with them crocheting together and we were part of a team and at some point I was also wearing Indian clothes and making things happen. They were happy to see me telling the men around us that I was in control and that things were getting done. So due to my experience working with so many different people around the world in small villages in Poland, China and Hong Kong this aspect of the project was the easy part.

The crochet was our language. Once you show them how it all works and explain the project to them you get the respect right away. They liked seeing me working so fast and were shocked that it was actually possible to do this so fast. So once you get their respect it is actually quite easy to work with them. The language of making and producing art is beautiful and universal and you get the connection right away. Some of the women were volunteers but most of them we hired to work on this project. Of course there were other elements in this project that were more difficult but I have never in my life had a problem working with women.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: In addition to its aesthetic nature, how do you think about your work when you consider that it is literally sheltering women tonight as they sleep?
OLEK: The most shocking thing for me in India was these massive amount of people who are born in poverty and under a lower class or caste and they are convinced that they will never ever see or experience anything different from what they are accustomed to and people with a higher status in their society see them as “untouchables” and inferior. They were born poor they should die poor – that is the mentality. So for the time where we were working on this project they felt that the spotlight was on them and for once they weren’t invisible as cameras and people and noise was all around them and I think they felt that there was something special about them.

Maybe when they come to the shelter at night to sleep and see it transformed they will feel different and maybe they will be inspired to do something else with their lives. My intention as an artist was to show them that there might be a chance to change what was supposed to be in their lives to what it can actually could be. That of course is too little of a contribution from my part.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: What did you learn about these shelters that you would like people to know?
OLEK: Right now there are more shelters opening around Delhi than before. It is important for people to know that if they are homeless they have the shelters at night to sleep with a roof over their heads. But the sad part to me is that the conditions in the shelters are not so great. I saw them wearing their same clothes every day and I realized that what they had on them is all they have in their lives. Yet I didn’t see sadness on their faces. They are used to living under these conditions and they see it as their life. So all this time I was thinking how actually the project should be about getting them out of the shelters and provide them with education. Access to education is important everywhere. It changes everything. The beautiful kids I think don’t even go to school. They spend all day on the streets.

So I felt that the project was only half done and I didn’t have the time or resources to do the next step with them and spend more time with them. It was devastating to me to see the amount of pollution and garbage and dirt and in some cases I have this impression that some of them didn’t want to be helped because they believed that that was their lot in life by divine decree. I couldn’t understand that and the whole trip was confusing. So the experience left me half empty in way with a sense that the project was done – but only half done.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: When you were a teenager you read a biography of Jerzy Grotowski and his various travels, including his descriptions of India. How did that writing affect your experience visiting the country for the first time?
OLEK: I studied theater for a while in Poland when I was a teenager and I would go to theater festivals and that really influenced who I am right now. Grotowski had a brilliant mind and was an influential theorist and when I read that he went to India and that the trip totally changed him I was very impressed and I thought India must be a special land. I’ve been wanting to visit India for a long time but I was also waiting for the right time to visit – when there was a purpose for the trip and the right project.


Olek (photo © Pranav Mehta/St+ARTIndia)

But the land that he saw with his eyes was during the 1970’s. I wish I had more time and I will have more time, to go back and travel and re-visit and really see the country more fully. But I think that what influenced me wasn’t necessarily about the religion, the colors, the textures, the beauty of the country. What influenced me the most was the poor India. I have never seen so much plastic and garbage in my life on the streets. I saw cows eating plastic on the street. The garbage and pollution is just growing and growing and it is insane. So this was my influence from this trip and I think I could never compare it to Grotowski’s trip during the 70s. But I can see how the trip to India changed him and influenced his life in theater.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: Tell us about your sari. We don’t remember seeing you making one of those for yourself before.
OLEK: I bought a sari because I was invited to attend a wedding while I was in India and I wanted to feel appropriate. I probably don’t fit in most places but when I’m invited I like to pay respect to the local customs. So together with my assistant we went to the store full of saris and took in the whole experience. You buy a sari then you have to hire someone to put it on you and I loved it. From the beginning I told people that I wanted to wear a sari while working instead of wearing western fashions. People noticed how comfortable I was wearing a sari for the first time and when they remarked about that I told them I’m around so much fabric all the time that I can easily wear a sari.


Olek (photo © Pranav Mehta/St+ARTIndia)

It is interesting because to me a sari is a sexy dress. Your body is so exposed so it was confusing to me to see all the women wearing such a dress in such a conservative country. It is a very comfortable dress and nothing falls off of you. They pinned everything to keep it all in place. You go to get fitted and out of the same fabric a tailor makes the top and the underskirt and you can choose from many designs for the top. The tailor is not in the store where the sari is purchased. You have to leave and go someplace else for the fitting. But they can make it all in two hours. I loved seeing the women in India being very comfortable with their bodies. Women of all shapes and sizes wear the saris with the utmost comfort.


Olek (photo © Pranav Mehta/St+ARTIndia)


A brief interview with Giulia Ambrogi from the St+art India Foundation:

BSA: For her installation Olek was assisted by a number of diverse volunteers whom she first taught about the crochet needs of the project. What was the incentive that motivated all these people who helped her?
Giulia: Actually most of the women were already trained because they belong to the “Indian crochet community”, a reality that we were pretty surprised to discover. All of them knew Olek’s work and were extremely enthusiastic to have such an occasion to be together and to practice their passion for a wider cause. This big community doesn’t have many initiatives dedicated to crochet so this project, by being so ambitious, public and based on a social cause was per se the main incentive  for all of them.

Many other volunteers instead have been with us since the day 1 of St+art Delhi 2015. They are mostly really young and they just love urban art and what all we are bringing in the city. Thus, they are keen to be part of the project, to be in a stimulating environment and to give their contribution. It was amazing to see how all these people from different backgrounds and different ages (from 18 to 60) collaborated together and how strong was the feeling to be a big family.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: Women in India are often at huge disadvantage financially and socially when compared to the status that men hold in society. What is the significance of bringing women artists to install their work on the streets of India?
Giulia: First of all realize artworks in the streets is already a sort of revolution. Public spaces, especially if peripheral, are most of the time neglected and are crowded mostly by lower social classes. The process of creating huge artworks for everybody’s eyes and the attitude of the artists and the team of involving everyone and gathering people under the signs of art-making and artworks – which is absolutely new in India, is an empowering breakthrough or a certain kind.


Olek (photo © Pranav Mehta/St+ARTIndia)

By calling women artists we enhanced this prolific dynamic. It meant that we introduced a  change, showing both to men and women that no matter the gender and the class, everyone has the same strength and rights of living, appropriating and positively acting in  public spaces. Olek’s work brings back to the streets a tradition that is usually practiced by women in the private and closed environment of their homes. Also, this work highlighted the power of people, especially women, when they cooperate together. Aiko’s work celebrates the most dangerous and powerful woman in Indian history, Rani Lakshmi Bai, who became and still is the symbol of women empowerment.

Many things are changing in India and it is a transitional moment in which we try and hope to give our contributions by designing artistic interventions based on critical and current topics.


Olek (photo © Pranav Mehta/St+ARTIndia)

BSA: We have written before about Aiko’s participation in St+ART Delhi. We wrote that her contribution was a departure from her highly sexualized iconography. Would it have been impossible for her to paint her sexually charged women in India? Can you tell us about the character whom she chose to paint and why she selected that character within the context of the festival?
Giulia: By painting her characteristic women in very sexualized scenes, her work would have been meaningless within the Indian environment. Not just deeply disrespectful it would have been totally sterile because it would not have been in dialogue with the cultural context. Since the beginning of the project Lady Aiko asked about Indian culture with the intention of creating a powerful and empowering work in relation to the country.

After some brainstorming she fell in love with both the story and the iconography of Rani Lakshmi Bai. She was the most dangerous leader in Indian history, a symbol of resistance to the rule of the British Company. In her brief time she cast aside many conventions to unite peoples of all castes and religions in her cause.

She encouraged other women to do the same and trained them to fight and support the army. She cut across the social norms of the time, refusing to accept her fate ‘as a woman’. So in this case Aiko’s piece was mainly the symbol of women empowerment…and much sexier than pin ups in this sense!


Olek (photo © Pranav Mehta/St+ARTIndia)


Olek (photo © Pranav Mehta/St+ARTIndia)


Olek (photo © Pranav Mehta/St+ARTIndia)


Olek (photo © Pranav Mehta/St+ARTIndia)


Olek (photo © Pranav Mehta/St+ARTIndia)



The organizers would like to thank fashion companies Tarun Tahiliani and Manish Arora for contributing materials and labor, Allkraftz & Usha Sewing Machines, The Polish Culture Institute, the Delhi Urban Shelter Improvement Board (DUSIB), and all the volunteers and participants who helped make this project happen.

We would like to thank the organizers of ST+ART Delhi; the curator Giulia Ambrogi and Pranav Mehta for the photos. And of course to Olek for taking the time to answer our questions.



Please note: All content including images and text are ©, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!



MOMO Paints Massive Work Across Lobby in Boston

Posted on March 24, 2015

Corporate Space, Happy Universal Shapes, and Additive Averaging

Two unusual aspects distinguish todays’ posting. One is that the featured project by the remarkable street artist MOMO is not actually on the street, rather it is in a corporate lobby – a quasi public/private place far removed from the origins and ethos of most Street Artists’ work. Secondly, the interview is conducted by our guest Kate Gilbert rather than us. An artist, curator, and creative strategist, Kate directs a Boston non-profit that curates and produces independent public art projects. We really enjoyed the conversation that she and MOMO had while he was in the midst of a two week installation – and we knew you would like it too.

~ by Kate Gilbert

In February the Brooklyn/New Orleans street artist MOMO arrived in Boston in the midst of Snowpocalypse ‘15, an unrelenting series of snowstorms and freezing temperatures that left Boston under 93” of snow. Undaunted by it all, MOMO completed a massive 250’ x 34’ mural over eighteen nights in the lobby of Boston’s iconic John Hancock Building bringing his signature combination of blending techniques, harmonious colors and universal forms to warm up the austere lobby and its wintery surrounds.


MOMO (photo © Geoff Hargadon)

The following is an excerpt from an interview I had with MOMO on his fourteenth night of painting, which followed a brief talk he gave with project curator Pedro Alonzo.

Kate Gilbert: So it’s 20 degrees in Boston tonight and the thermometer is stuck at 20 degrees. The snow isn’t melting, and there’s ice everywhere; it’s permanent. So first of all I want to thank you for bringing this to us. It’s great color and smart design.
MOMO: Cool, I’m glad you like it.

KG: One of the things I wanted to bring back from your conversation with Pedro is this idea of universal shapes and appealing colors. That’s something we don’t usually hear coming out of the mouth of an artist who originally started in the street.
MOMO: Pedro’s first question took me off guard because I hadn’t quite heard that from anyone. He said the murals made him feel good, and why was that. I didn’t quite have an answer ready then but I’ve thought a lot about it since and it reminds me that I have this great love for David Hockney’s swimming pools. A sunny landscape has a certain key of colors and mix of shadows and this variety of things that feels like it’s at the peak spectral combination of all these formal things like shade and value, and it lets us know it’s a sunny landscape.

Something about that really appeals to me. At different moments I’ve wished my art could be associated with swimming pools, cabanas, and beach towels – those things that are, for me, a godsend in terms of mood and inspiration.

I spent a lot of time in the south and I love a tropical climate and things like that feel really alive and vital. It’s no coincidence that I take so much inspiration from Jamaica. Not just the nature there but also their culture seems to respond to this vivid set of conditions. I want to put that in the paintings and I hope that is what’s coming through in what Pedro mentioned about being happy.


MOMO (photo © Geoff Hargadon)

KG:  I think so. It’s happy and, especially at this time of year in Boston, we’re all keyed in to anything that’s happy.
MOMO: Good. I realized quite late that I respond well to warm climates and it’s why I stay in the South primarily. And I do think a majority of these forms keep repeating. They’ve come up in different ways through the years.

KG:  Are they forms that you’re testing on the street? When you say universal, are they universal in your artistic vocabulary, or do you think for they’re universal for all of us?
MOMO: They’re meant to be simple and universal so the audience might enjoy these as their own, being just colors and lines, spectrums and harmonies.

For instance I’m relying heavily on just the impact of red. Or the right orange-red which I feel is lit by sunlight. It’s not so much a narrative or a meaning implied on top, it’s the concrete materiality of the work that has to carry the oomph.


MOMO (photo © Geoff Hargadon)

KG: Picking up on this idea of materiality, the space has this well, let me just say, it’s pretty unique. Have you ever worked in a space like this before?
MOMO: No, this is the best architectural chance I’ve ever had to do something, indoor or outdoor.

KG:  What are you responding to in this space?
MOMO: The chrome columns are undeniably weird and fun and that’s led me to make the fat lines somewhat in scale with them, or in-and-out of scale with them. There’re a lot of vertical bands. Down there [pointing to the NE side] there’re a lot of noodly ones that are just going their own way. It struck me that having a conversation with those floor-to-ceiling forms was an obvious way to respond.


MOMO (photo © Geoff Hargadon)

KG:  There’s this sort of forest effect going on.
MOMO: Yeah, there’s a forest! They have a gesture. Everything in here is real straight lines and clean and feels like it’ll last for the ages. But the columns do have a gesture and it’s right in front of the painting.

Besides the columns, everything in the lobby is a super straight, flat surface. I’ve tried to play off of that with soft forms so the building can show off. I’m doing something complementary in a way.


MOMO (photo © Geoff Hargadon)

KG:  You’re creating a visual conversation with the architects. I’d love to see you in a room with I.M. Pei’s office. What would you say to them?
MOMO: I’d be interesting to see how this building has grown or developed on its own because it’s probably not the way the architect left it. They’ve designed security in a way that wasn’t part of the initial pedestrian flow.

KG:  There’s this great performance going on here with people entering and leaving through the security desk, even now at 6 pm.
MOMO: And cleaning crews! It takes a huge staff to keep the building up to its standards.


MOMO (photo © Geoff Hargadon)

KG:  So did you consider this audience or who’d be coming and going when you were making the work?
MOMO: Yeah, of course. First thing, I tried to identify was where people would see the wall the most frequently, or where they’d spend the most time. Because the wall is framed by the columns, you get a grouping of available vignettes.

I took the ends to have special significance. At one end there are tables and chairs where you can relax in a communal café area. I thought those areas should be dressed up in a way so you could look at them for longer periods of time. Then the center, I kept things more serious and somber because it has this stately serious pretense with the check-in desk and security being there. I tried to look at the space anthropologically.

KG:  So the painting in the center is more serious? Is that represented in the darker, gray pinstripes created through…what do you call it, additive averaging?
MOMO: Yes, the particular color theory we’re working with when we add these gray tones is called additive averaging. I guess they just happened in the center by chance. The center is where subtle mixes are happening and the darker colors are coming through. In general, I want the whole thing to feel light but it needed to be grounded somewhere, especially there, so it didn’t seem silly.


MOMO (photo © Geoff Hargadon)

KG: I don’t think your work could ever be interpreted as silly.
MOMO: Oh that’s good because I want to take it right to the edge like a dance performance. Certainly dance can be seen as flippant or pure whimsy. But if it is balanced and well done, somehow it can go right to the edge and still be serious.

KG:  Your work is serious and I get the sense everything is very thought-out and methodical. Were there any surprises when you got here?
MOMO: We changed everything! It’s been so much work! Struggling, redesigning, you know, minutes before we go. Part of that is because we weren’t able to use the sprayers. That was my mistake in understanding how much dust they were going to dump into their surroundings. We struggled a few days trying to make it work with a spray tent and it was not possible. So without the sprayers we couldn’t do the giant sweeping color gradations.

That meant things had to be redesigned so they’d still be exciting while staying unblended. I tried to break up the backgrounds that the stripes are going over, so there’d still be a number of colors changing. It wasn’t a solution just to switch fades for single colors, because I had to break things up in a way that’d keep them interesting.


MOMO (photo © Geoff Hargadon)

KG:  That sucks.
MOMO: No, it’s okay actually. Somehow the sprays that I do outdoors are a rough thing. I don’t even know if they were working that well in this refined space. It has a texture that would be a little out of step with the high-polish feeling here.

KG:  As a result, have you invented any new techniques while working here?
MOMO: Oh, that’s a good question! I’m doing this thing between all of my helpers where I’m taking screenshots off of the computer where I’m designing, sending them in emails, and then we’re all following the sketches on our phones. I feel like there’s a big potential there to synch everyone up in a detailed way. I used to print everything out and keep it in a laminated pocket which is good so you don’t drop your phone in a bucket of paint, but this is kinda better.



MOMO (photo © Geoff Hargadon)

KG:  So maybe there’s a MOMO app in your future?
MOMO: Or maybe I need a phablet – a phone tablet where I can do all my Photoshopping and it hangs off my neck.

KG:  All right, let’s get you a sponsor! I did want to get back to that audience question. When you’re working outside doing your posters between 3 and 6 am I assume you don’t want to interact with anyone. When you’re here, are you interacting with people? Or are you just trying to get your work done?
MOMO: We’re interacting and keeping our ears open. It’s fun to just feel what the response is like. We hear a lot from the security guys because they’re here all night. It’s been really positive from those people and other people who’ve come by and have an interest in art.


MOMO (photo © Geoff Hargadon)

KG:  It is really hard to take in the mural all at once. Even from the outside because of these crazy columns, multiple doors and reflections. The most similar project you’ve done might be the Living Walls project because you could only see it all from within a car. Is there a way to see this mural? A narrative?
MOMO: I think it’s a sequential piece of artwork. Because you see pieces at a time and sorta have a chance to forget the first one that you saw by the time you get to the end. There’s not a way to see the whole composition all at once. That doesn’t exist. It’s like changing panels on any other media.

The thing in Atlanta has this opportunity for foreshortening. I tried to make it interesting if you were to stand in front of it, but also it collapsed all 1,000 feet into an instant image. Here you can’t really see everything collapsed.

It’s been fun to see how much it’s reflecting on the glass inside at night. I hadn’t seen that other times I’d checked out the spot. The chrome columns cast and catch all kinds of parts in new weird ways.

KG:  Yeah, it’s going to be a really fun challenge for someone to photograph! Is there anything else you’d want Boston and beyond to know about this work?
MOMO: I feel really privileged to be working here in such a great, high-level type community and given such an amazing piece of architecture to explore. I’m just extremely grateful to everyone that made this possible and extended the necessary faith. The support has been great and Pedro’s been amazing.


MOMO (photo © Geoff Hargadon)

Our special thanks to photographer Geoff Hargadon for sharing his shots of this hard-to-shoot mural for BSA readers.


MOMO’s mural is the first in a three-part series of temporary public projects commissioned by Boston Properties and curated by Pedro Alonzo. It is on view at the John Hancock Tower (200 Clarendon Street, Boston MA 02116) now through May 31, 2015.


Kate Gilbert is an artist, public art curator, and the director of Now and There, a new start up dedicated to creating impactful temporary public art projects in Greater Boston. When she’s not buried in snow she’s Tweeting as @kgilbertstudio and @now_and_there.


BSA Please note: All content including images and text are ©, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer’s name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!



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