After partially white-washing the image, Tristan retraces and pulls the subject forward.
Tristan Eaton of New York’s Thunderdog Studios was working last week in Miami during the Primary Flight exhibition with many of his peers and yet-to-meet friends. The show was an opportunity for people to show their skills, gain appreciation from a new audience, and enjoy the pleasures of a sanctioned wall.
“The background was wheat pasted, then white washed, then hand painted with enamel, brushes, markers and mop tops, ” says Tristan.
Brooklyn Street Art:How did you get this wall in Miami? Tristan Eaton: I got it from my pal Books who organized all the artists and walls for Primary Flight. It was on Easy Street Gallery which was founded by Crome of MSG.
A Wild Beauty, Indeed! (Tristan Eaton)
Brooklyn Street Art: Can you talk about the inspiration behind the project? Tristan Eaton: It’s gonna sound really corny, but I was inspired by something my Mother said about ‘Wild Beauty’. Before painting, I had no pictures or layouts of the wall, so I couldn’t really plan what to do in advance. I had to make it all up on the spot over the course of 3 days and hope for the best.
Tristan Eaton
Brooklyn Street Art:What kind of preliminary work did you have to do before getting there? Tristan Eaton: I normally get my giant photocopies (for background) made here in the city then cut them out by hand at my studio in LIC. We prepared about 1,000 square feet of wheat paste graphics for this mural and general bombing and stuff.
Ron English stops by to talk and pose for a pic.
Brooklyn Street Art:Did you get hit by the rain or have other distractions? Tristan Eaton: Yes! We had torrential rain on and off over 2 days. We kept having to stop and wait it out. Luckily it only rains for about an hour in Miami! On top of that you have legends like Futura and Ron English are just walking around town all week at Art Basel, so we’d stop to BS every once in a while when someone came to visit our wall.
Brooklyn is always in the mix. (Tristan Eaton)
Brooklyn Street Art:Are you satisfied with your final project? Tristan Eaton: I think so. Working on that scale in that time frame, little things always go wrong. It’s not supposed to be perfect I guess, so I’m okay with a certain amount of messy mistakes. I’m most satisfied with the response from locals so far. Even if I could of done better, they love it!
Friends stop by for immoral support. Pictured are Phetus and KaNo in front, Alex of Easy Street, Tris, Den & Sket in back (photo courtesy T. Eaton)
Factory Fresh welcomes The London Police, who get themselves into the oddest situations while in pursuit of art. (video still courtesy London Police)
The World Premiere of full-length Galo Video!
Italian street artist Galo enjoys a glass of wine while painting a canvas (video still courtesy the artist)
FRESH Canvasses paying tribute to NYC!
A tribute to their host borough, street artists The London Police combine Brooklyn architecture and a stylized central discombulation of their “character” (photo Steven P. Harrington)
Blowing northward along the coast from Miami’s Art Basel like warm air from a subway grate up my homegirls’ skirt, this trio of street art brothers are some really fresh geezers here to warm you at Factory Fresh.
It’s The London Police and Galo – a motley joyfest of brotherly jest in color and black and white. Their hand work is a contrast of free-form (Galo) and pre-meditated crisp line control (London Police). There are still-wet canvasses and the newly constructed Factory Fresh Screening Room to see two cinematic features. Helpfully, the entertaining videos in this show are not conceptual, so you won’t need a brochure to accompany them.
This quickly mounted show (3 days) is only possible because these guys have a bit of mileage under their belts (12 years and 50 countries, in Chaz’s case), are complete professionals, and they know how to turn out the canvasses while having fun.
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Galo was previously a graphic designer who decided to dedicate his energies to his art, which is colorful, line-based, and concentrates on what he calls his “character” – who really turns out to be more than one guy.
“This is my character. I just draw until I’m satisfied, you know? I think it has a sort of graphic balance. Normally I’m pretty flexible with myself. I like to have the faces squeezed. It doesn’t matter if they have the perfect eye. It’s pretty much informal,” says Galo.
“It is a sort of family because I first started with the one character with the round eye and slowly I started to draw the same kind of lines but with different kinds of eyes and different position of the mouth and so let’s say that they are three brothers. They are always changing”
One of Galo’s favorites from the show. ” Normally I don’t paint big canvasses like this because it is troublesome to ship them. So I shipped the canvasses and I re-framed them here.” (photo Steven P. Harrington)
Upon his recent return to Brooklyn, Galo retrieved some old paintings stored here, which he says he wants to light on fire. “These canvasses basically disappeared for four years. They were in the storage of a friend of a friend who moved to Mexico. So I didn’t see them anymore, they just got ruined. Just to clean my hands I just want to burn them. So I nailed them together. I’m going to burn these and we’ll see what happens,” says the pyromaniacal artist.
Galo stands with a stack of canvasses destined for destruction in the back yard of Factory Fresh, which he painted in about 3 hours with a big fat cap. (photo Steven P. Harrington)
Galo shows some technique with the can. “Miami was great, absolutely amazing. The best I’ve ever seen – so many people out there. I painted a really big wall so I was busy painting every day, but for sure in the evening it was just partying, hanging out with other artists.”
Galo peers out through his work in this still from his new full length video premiering tonight at Factory Fresh.
GALO – a Brief Introduction – the full story tonight!
The London Police are Chaz and Bob – Bob does the crisp linear cityscapes and architectural detailing, and Chaz draws the “LAD” character (who is based loosely on the man himself), now happily morphing and shape-shifting into blobs and motifs that echo the original little happy fella they are known for.
On the topic of the endless interpretations and generally ripping apart of the original theme, Chaz explains that he felt their fans might have gotten a bit bored with just the one character, “Once you’ve done one head and then two heads and then three or four heads…after going out and doing the same thing it got to the point where I wanted to go out and do ten heads, fifteen heads.”
This year they limited themselves to strictly black and white, but do not rule out using color in the future.
The City according to the London Police; “”We’re really proud and pleased with the work we are doing this year. We enjoy it, and I don’t think you can really ask for more than that. We work a lot on these paintings. It takes a long time. Everything you see here is doubled, because we use the ink pens. The first layer leaves it a little bit shallow so it needs to be doubled up,” says Chaz (photo Steven P. Harrington)
A student of architecture, Bob worked for an architectural firm a few years ago, which sharpened his acuity, “I’m crazy about architecture but as a living it’s a little bit stale. But it was really good because it was so in-depth that your drawing gets better. Your understanding of architecture gets better and your world grows. Now I can pretty much close my eyes, remember an image and then draw it from my brain,” he says.
And about incorporating the architecture of his host city into TLP’s work, ” I did quite a lot of actual research, visually, and reading up on Brooklyn. The contrast between Manhattan and Brooklyn, obviously is huge. But I like the rawness of Brooklyn. I always have. I’ve been here a few times and I like that you have the low-level housing, three or four stories high, and then you’ve got this huge factory next to it. It’s really bold. That’s what is iconic about Brooklyn.”
In this still from the “Brothers in Arms” documentary to be screened this evening, Chaz takes a little catnap as his hand-cuffed art-mate labors on their deadline. (image courtesy the artists)
“In this show we are showing a documentary film we made in L.A. which was basically us handcuffed together twenty-four hours a day. We lasted five days. It was pretty intense. We didn’t break. I thought there would be a breaking point where I would just need personal space, especially at the obvious times”
The “Brothers in Arms” flyer is posted in the gallery just outside the cinema. Check your local listings for times.
Produced by Ashton Kutcher and Jason Goldberg, the brief documentary shows the “brothers” in a variety of natural and staged situations that come off as endearing, entertaining, and a bit goofy.
“It produced a funny, nice documentary so when people come to the show tonight there will be a bit of cinema about every 20 minutes and you can watch the film about Galo, and the film about us handcuffed together, which is stupid, corny, and funny,” says Chaz.
Chaz chats while doing some finer line-work in prep for tonight’s show at Factory Fresh (photo Steven P. Harrington)
Two new smaller canvasses feature scenes inspired by New York disaster movies that have proliferated in the last 25 years. Both Chaz and Bobbie site the movie “Ghost Busters” as a formative influence in their artistic careers. (The London Police) (photo Steven P. Harrington)
Chaz works on a canvas patiently while handcuffed to Bobbie, who is getting a tatoo. “It’s really simple, it’s just my girlfriend and my son’s name in script. She was really gobsmacked. She really loved it. I was really fearing showing her, and she was really touched,” says Bob. (still from “Brothers in Arms” courtesy the artists)
About the movie, we discovered that really the idea was Chaz’s and Bobbie just went along. Was there a point when Bobbie regretted the decision?
Says Bobbie, “Yeah, about after five minutes. I was having a terrible time”
“I just couldn’t, – Bear in mind you’re setting up for a very important show – you just couldn’t get anything done. The whole thing – it was okay hanging out with Chaz, you know we had a good laugh. But you couldn’t get anything done. You just can’t physically do anything, it get’s really frustrating.”
But don’t mind this brother, because later in the conversation, he reverses himself and says it would have been great to do it for 2 or 3 weeks. “We wanted to do more than five days but the problem was that show was to open so that was the maximum that we could do but if had had more time that’s when you would have gotten some really good material. It was all novelty, it was all fun. If you went to a party people were really interested – but it would have been great if you could have gone on for two or three weeks.”
Were people waiting for one or both of them to have a meltdown? Says Bob, “Yeah, that’s what they were hoping! But it was five days and because we’re best friends it was never going to happen”.
“Love Monster” a piece at the Joshua Liner Gallery by Aiko
Aside from all that fabulous globe-trotting, Aiko is a also a pretty down-to-earth person who enjoys work with artists and giving to the community. She has taken part in a number of murals in New York over the last few years as part of the Younity Collective, a 40+ member group of women in NYC who love to paint large projects together.
This image by Aiko comes from an piece she put in the Bicycle Film Festival Show in New York this summer
We are very excited that Aiko has written a very nice piece for BSA detailing her recent experiences in Shanghai, China this fall. In it she recalls a small event that recalled her early memories of starting out as a New Yorker and a street artist.
Shanghai street scene (photo by Aiko)
My Shanghai Evening
by Aiko
The last time I visited Shanghai was in the spring of 2006. It’s been only 3 years but it seems like the city became much more powerful, more of a commercial center, and more developed. Instead of finding my favorite local massage place and cute junk stores that I liked to go to, I found many squares with new buildings, luxury stores, offices, restaurants, bars, and international chains like Starbucks and Burger King.
The largest city in China, Shanghai is getting ready to hold World Expo next year. Shanghai’s landmark, The Bund, is getting fully renovated for the event and tall new buildings are flashing colorful lights and neon signs in the night sky. The whole city is full of dust caused by the never-ending demolition and construction.
The neighborhood of Mo Gan Shan Lu reminds me a bit of Chelsea and Soho in NYC; old industrial warehouses turned into Chinese contemporary art galleries. I’ve heard that there is a lot of tourist traffic from different countries that comes to shop for very expensive art there. As a sharp contrast, there are long graffiti walls and abandoned houses on the other side of the same street. I am sure they will be torn down and turned into more fancy buildings soon. Knowing this, I had a sudden impulse to leave a little piece of my art on this street before heading back to Brooklyn.
A typical scene of a neighborhood under construction (photo by Aiko)
At 8pm that night, I arrived in Mo Gan Shan Lu on that same street. This was when I realized that some of those “abandoned” houses are actually not abandoned. Some of these darkened houses still have families living there; they were having dinner and drinking on the street with small chairs and tables. I got a little nervous. What if these people start to scream at me and call the police? What if they want to charge me money or create another kind of issue? I’ve had some trouble like that before in different cities and I was worried that this may be the moment when my first street art experience in Shanghai could be end up as the worst one…
I thought for a moment and said to myself, “Well. Let me just hit it. It takes only a few minutes anyway.”
One of the pieces made expecially for this trip. (photo by Aiko)
As soon as I started spraying on the wall, people in the neighborhood also noticed the noise and the smell of a stranger. I had to keep going – I didn’t want to leave an unfinished piece there. A few people walked toward me and as they came closer they began talking to me. I don’t understand Chinese, but their voices were very loud. Their loud voices attracted other people, who began to gather around me. I kept only looking at the wall until I finished it.
When I was finished, I looked around. I didn’t realize until then but I had a large audience standing behind me watching and talking. Men and women, even a couple of security guards from across the street.
I said “Ni hao (hello)” with big smile, then “Hao?(good work?)”. A few of the guys started yelling at the painted wall, and it sounded to me like they were very upset. I asked my friend to translate.
“You don’t need a bikini on her. Next time you should better paint her just naked,” said one drunk man as he pointed out the breast. This made all of us begin laughing.
“Oh watch, a cop is coming!,” somebody else said. They pointed to an old lady slowly walking towards us to see what was happening. We all laughed at that joke too.
Amazingly, it seems like I was some entertainment for their evening and we all had a little moment together. My mission had ended very well!
A well-dressed friend poses in front of Aiko's new pieces (photo by Aiko)
That night overlaps with memories of my early street art experiences in NYC. When I arrived in NY, I was not able to speak English at all and I felt a great disability because of it. Art was (and still is) my language to communicate with people and to get to know about a city. I am happy to create art, share with friends and random people who I meet in the public sphere and I like to see them enjoying my art. My experience on that night made me think about how I first got into street art and why I love street art again.
Art Basel Miami Beach and all it’s satellite fairs have come and gone for this year for the 8th time and reports rolling in from down in America’s mainland tropical paradise are that sales were modest, and buyers were not as adventurous as previous years. Also, it rained.
Well, not everyone was bothered by the rain, obviously. But when you are a street artist and your stuff is outside, it can complicate your life.
Thanks to Primary Flight and the Wynwood District for putting on a showcase for the artists who created a ton of live public art for 5 days. Luckily, a lot of this will still be exhibiting for your enjoyment for a long time to come so book your vacation now. Sometimes it’s sunny in Miami Beach too, we hear!
Looks like Street Art is not beyond the scope of Scope.
Such clever headlines like that you are not getting anywhere else.
Street Artist Gaia just finished up one of his new biowonder agri-tech nightmare pieces in beautiful (minus the monsoon) Miami for the Scope Fair.
Rorshach Rooster by Gaia
It’s really fun that we saw some of the preliminary sketchy ideas on his laptop a couple of months ago and now there is this giant siamese FrankenChicken on a wall someplace.
The full 10′ x 40′ expanse by Gaia
Probably one of the pharma-agri-chemical companies will sue the wheatpaste right offa that piece for inflammatory inferences about genetically modified food.
Gaia (photo courtesy the artist)
This portrait probably looks better placed than most of Gaia’s usual street art wonders because it has a back drop of vibrant aqua and some kind of patterning.
A watchful gaze, or a blank stare? How many chickens have you known personally? (Gaia) (photo courtesy the artist)
Alas, since it is on the street it is also obfuscated by things like cars parked right in front of it when you are trying to take a durn pic of it.
Thanks Gaia for keeping us abreast of the animonster evolution!
This many pieces going up together in Miami would normally be a delightful opportunity for the paddywagon to just drive around and hoist the paint splattered artists off to the hoo-hah with great efficiency…. like me plowing through the Poughkeepsie Thanksgiving spread three times last week. Burp.
But this is officially the largest site-specific streetside installation of street art at one time, and Miami is welcoming it with open arms. Here’s Day 3
The Primary Flight Opening Party Wednesday night blast featuring Dr. Dre and Peanut Butter Wolf lasted late into the morning hours and Logan Hicks was on his hotel ledge contemplating a couple of manatees late Thursday afternoon with his head in his hands, quietly, while street artist Bask was working with some birdies of his own on a wall.
Take a look at some of the progress!
Thanks to Jeremiah Garcia for capturing some of the action!
Bask rendered a splashy orinthine trio with flair.
Tes One sends a mixed message in stark tone.
Lee Quinones considers hopping the fence just for old times sake.
Adam 5100 at work on an elongated form in the foreground of a foreboding scene. This can come to no good.
Ron English is knocking outlines for his giant animated wall.
No slouch in the magnificence - Ron English has bitten a big piece offa that street art cake.
A roster of 80 artists are participating in this years Primary Flight exhibition in Miami – which officially starts tonight. Last night preparations and discussions about the walls and the logistics began before the fans and otherwise curious folks show up.
In attendance in the empty lots and barren walls were Shepard Fairey, Kaws, and Ron English, each scoping out the size of their assignments.
A big pile of clamp lights in the empty lot augur some action for the cameras to come from Ron English
Shep will be smacking up a 200′ by 20′ tall wall, which seems pretty large. But what will he put there, that’s what I wanna know. Maybe it will be related to the pro-gay marriage “Love Unites” posters he did for a fundraiser last month.
Shepard Fairey makes a point with Kaws and an identified person.
Thanks to Logan Hicks for the pics!
And if you are there they have a totally fun and off the hooker opening with a couple people you may have heard of. Thanks but I just washed my hair…
“The Workhorse” gallops through Brooklyn and Sets Another Record
Stencil artist Logan Hicks completed his largest stencil to date today on the streets of Brooklyn. Then he posed for a few photos and ran off to his next art gig.
Logan Hicks (photo Jaime Rojo)
As he goes he leaves in his wake a 30′ x 8′ mural dedicated to somebody that keeps Logan’s horse power pumping at full speed, titled simply “Sailor”.
Fresh from his trip to Toronto for a show with another modern stencil master C215 and just before heading to Miami for Primary Flight to do the world’s largest site-specific street level mural with artists like D*Face, Shepard Fairey, Chris Stain, and the London Police, Logan Hicks gave his biggest present to his current hometown of Brooklyn and to his family.
Logan Hicks (photo Jaime Rojo)
Moving away from subject matter involving city canyons, tunnels and teaming crowds that he has been closely identified with over the last couple of years, Hicks has been feeling lately like it is time for him to concentrate on the stuff that really matters to him. Family, art, sanity.
Logan Hicks (photo Jaime Rojo)
The 5-layered piece required about 150 stencil plates to execute, and we watched what a logistical bad dream can ensue just laying out all the pieces on the sidewalk and following the plan. Not to mention how wind can whip those well placed plates down the sidewalk toward the East River.
Logan Hicks (photo Jaime Rojo)
Curated by Brooklyn Street Art for Espeis Outside, this mural is a hot blast of Logan Red to take us through the impending winter holidays and into the new year. Not that the burly plain-talking-force-of-nature stencil master has any plans for 2010.
Unless you count the shows he’s scheduled to do in Hong Kong, Paris, Gambia, London, Rome, Vienna, Miami and of course The People’s Republic of Brooklyn (at the Opera Gallery).
“Next year is going to be a little nuts. So basically I am not going to sleep until 2011. I keep telling myself that this is the life that I asked for. The stress gets to be a little much, but I think I secretly like it.”
Logan is pretty psyched to be working in what he calls “vector-based” stenciling, and his process is quite complex, even when planning a portrait of a boy with a toy train (photo Jaime Roj0)
Adding a layer, Logan Hicks (photo Jaime Rojo)
Brooklyn Street Art was really happy to hang out with hard-charging but surprisingly somewhat normal Hicks for a couple days this weekend, even helping out with a paint brush once in a while. The sun was pretty bright although it’s duration brief, and the wind did keep everybody humble – but the continuous racket of skateboarders in this industrial neighborhood kept the pace of work lively. Below is an interview where Logan let’s us know what the story is behind the piece he debuted here.
Yep, Brooklyn is part of the Empire State. (photo Jaime Rojo)
Brooklyn Street Art: Your earlier subject matter tended toward architecture and large anonymous crowds on the street. More recently you have become more personal in your work. Where did you get the inspiration for this piece?
Logan Hicks: My son – Sailor Hicks, and watching him grow. The funny thing about time is that you don’t realize how fast it is passing until you have a kid to remind you. Each day my son grows, and although I love watching him sprout up, it reminds me of how quickly time is passing. Because I communicate with so many friends through email, I don’t normally realize that so many months have gone by when I see them in the flesh. Now though, when I see someone, I can take note “I haven’t seen you since Sailor started walking” or “I haven’t seen you since he started talking”. It really punctuates how quickly things go by.
Logan Hicks putting the black frame on to finish the piece (photo Jaime Rojo)
So watching him, it has made me reflect on my life. Made me thing about how much I am changing. Not so much in the physical aspect, but mentally. Striving to refine my craft. Striving to sustain stability. Striving to be a good parent. All this makes me want to be a better person. I look at myself 6 years ago, and I don’t even recognize that guy any more. So with this mural, I just think of it as a quick snapshot of my life. It give me a chance to pause and appreciate my life as it exists now.
Father and son. (photo Jaime Rojo)
Brooklyn Street Art:Does Sailor know he’s going to be immortalized?
Logan Hicks: No, but I don’t think he’s too pressed to take note of anything other than trains, letters, toys, and cars. I wouldn’t have it any other way. One of my reasons for doing this piece is because of an early conversation I had with C215. When I first met C215 I noticed that he kept doing a stencil of this one girl. I asked him who it was and why he kept doing stencils of her. His response floored me. He said that it was his daughter. He didn’t have full custody of his daughter and didn’t get to see her as often as he would like. He said he did at least one stencil a week of her because he didn’t want her to ever think that he forgets about her. That punched a hole in my heart. It was the most brutally honest comment that he could have said. I was amazed that he opened his life up so quickly and said something that was so personal. I guess for me I have always been a bit guarded. The older I get though, the more I realize that I’d be better if i shared more, instead of trying to protect it.
Logan Hicks with the original illustration he did taped to the mural (photo Jaime Rojo)
Brooklyn Street Art:How can an artist put something so personal out in the public?
Logan Hicks: How can an artist NOT put something that is personal? For so long I feel like I have been striving to hone the craft of using stencils. I have worked on the technical side of things and I feel like in the past year or two I have, for the most part, conquered that. So now the question becomes, not how you make it, but what you make with it. For me. I feel like I have started back at square one. I have started to speak about what is most personal to me. I am tired of trying to be witty or technical or vague.
I am trying to filter out all the background noise in my life and make my art. All the haters, all the fans, all the blogs or magazines, or other artists. I think it’s gotten to a point where the best thing that I can do is just retreat into myself and speak honestly about what I am going through. For so long I have worked to gather information. Information about galleries, artists, processes, blogs, magazines, curators, etc. Lately I realized though that none of it matters. The only thing that matters is the here and now. The only thing that matters is what I am going through.
Brooklyn Street Art:How many layers are involved in this stencil?
Logan Hicks: There are 7 colors, but only 5 layers of stencils.
Brooklyn Street Art:What are some of your goals as an artist who works on the street sometimes? Logan Hicks: Just to do a good job
Logan Hicks (photo Jaime Rojo)
Brooklyn Street Art:Does Sailor know he’s going to be immortalized? Logan Hicks: No, but I don’t think he’s too pressed to take note of anything other than trains, letters, toys, and cars. I wouldn’t have it any other way. One of my reasons for doing this piece is because of an early conversation I had with C215. When I first met C215 I noticed that he kept doing a stencil of this one girl. I asked him who it was and why he kept doing stencils of her. His response floored me. He said that it was his daughter. He didn’t have full custody of his daughter and didn’t get to see her as often as he would like. He said he did at least one stencil a week of her because he didn’t want her to ever think that he forgets about her. That punched a hole in my heart. It was the most brutally honest comment that he could have said. I was amazed that he opened his life up so quickly and said something that was so personal. I guess for me I have always been a bit guarded. The older I get though, the more I realize that I’d be better if I shared more, instead of trying to protect it.
It’s an artist’s tradition to use their own life for inspiration. (photo Logan Hicks)
Brooklyn Street Art:How can an artist put something so personal out in the public? Logan Hicks: How can an artist NOT put something that is personal? For so long I feel like I have been striving to hone the craft of using stencils. I have worked on the technical side of things and I feel like in the past year or two I have, for the most part, conquered that. So now the question becomes, not how you make it, but what you make with it. For me. I feel like I have started back at square one. I have started to speak about what is most personal to me. I am tired of trying to be witty or technical or vague.
I am trying to filter out all the background noise in my life and make my art. All the haters, all the fans, all the blogs or magazines, or other artists. I think it’s gotten to a point where the best thing that I can do is just retreat into myself and speak honestly about what I am going through. For so long I have worked to gather information. Information about galleries, artists, processes, blogs, magazines, curators, etc. Lately i realized though that none of it matters. The only thing that matters is the here and now. The only thing that matters is what I am going through.
Writing the dedication (photo Jaime Rojo)
Brooklyn Street Art:How many layers are involved in this stencil? Logan Hicks: There are 7 colors, but only 5 layers of stencils.
Brooklyn Street Art:What are some of your goals as an artist who works on the street sometimes? Logan Hicks: Just to do a good job
“Sailor”, by Logan Hicks (photo Jaime Rojo)
Brooklyn Street Art:How important is risk-taking in art?
Logan Hicks: Guess it depends on how you define risk. For me I just want to feel like i have accomplished something. I want to feel that i have done a service to my craft. to my trade. I want to feel that I have spoken honestly about my work, and done the best that i can. One of my favorite quotes is by Paul Rand, who designed the logos for companies like IBM, ABC, UPS, Westinghouse even Enron. He said “Don’t try to be original. Just try to be good.” That’s a motto that I have sort of lived by. I just try to do a good job. If that means that there is risk involved, so be it, but I don’t search out risk. It’s the sort of thing that you drive by on your way to the final destination.
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Check out the time-lapse we did with Mr. Hicks – and at the end you’ll see the Sailor himself in action with his train.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
