Trans-graffiti and the Trans-National “Mextonia” Festival

May 26, 2018 Artists

Mexico and Estonia; an unlikely couple. But sometimes love is like that. In a time when orthodoxy globally is seemingly self-combusting and obviously falling short in meeting the needs of people, it is perhaps no surprise that the unique hybrids of shared strengths are those that arise and can lead.

Consider “Mextonia”.

Édgar Sánchez and Sigre Tompel. Mextonia Co-Founders. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

A cultural love child combining the traditions of these two nations has resulted in a surprising amount of cross-cultural exchange and mural making in the last year or two. Today we have just some of the artworks made during a two-part event held in each country, the first in Tallinn, Estonia in June 2017 and the second in Querétaro, Mexico during March 2018.

The unlikely pairing by two sociological searchers who love graffiti, Street Art, and the mural traditions of the past as much as the modern mural phenomena now speaks a common language of aesthetics in multiple spheres.

Renata Mtz. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Together Édgar Sánchez and Sigre Tompel have mounted two large cross-culture jams, attracting numerous artists and trans-national interpreters (nearly 100), presenting and renewing interests in history, indigenous people, traditions, and the environment challenges of today.

By highlighting the similarities and distinct differences in traditional and modern culture, these two are the magnetic field around whom a multi-faceted public art practice is developing that showcases urban and mural artists.

You haven’t seen a hybrid like this before.

Goal. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Together the two say that the effort is “a reminder of what makes us feel proud of being Mexicans, Estonians, and even better, what unites us beyond our nationalities: our cultural freedom. Our responsibility of making this place, this world, a better place than how we found it.”

The enterprise is frequently steeped in metaphor and symbolism and a search for meanings in the overlapping of traditions. One that is often sited is the Blue Deer/Fern Blossom intersection.

In México, according to ancient Huichol tribe tradition, people go to hunt Blue Deer to search for wisdom and inner vision. Searching is also involved in the Estonian ancient tradition of searching for the Fern Blossom that is said to appear only during the summer equinox of June, which they call Jaaniöö. Both traditional cultural stories represent prosperity, protection and fertility, they say.

Sänk. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

“Mextonia is a gift to remind the world about the Spirit; a collective soul in the shape of a Blue Deer, in finally finding a Fern Blossom,” say Sánchez and Tompel.

For Mr. Sánchez, the Mexican co-creator and author of the Mextonia Manifesto, there is a belief that there are larger forces at work in the Universe and that Mextonia is a platform and vehicle for the new generation.

When reading his observations you will see that the platform is hoping to lead Millennial artists to reconnect with a sense of culture and identity, two things that are sadly slipping away due to the dopamine-laced fire hose of mass media stimuli, social and otherwise, that we are collectively exposed to.

Brushleee. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

For Tompel, the Estonian co-director of this bi-national transcultural journey, “Mextonia was born from a personal ‘vision quest’ to better understand the native wisdom of Mesoamerican natives.”

She says the enthusiasm and knowledge of Sánchez guided her to better appreciate ancient traditions like those of the Mexican Huichol tribe, and that this new appreciation enlivened her interest in her own homeland of Estonia, which she began to study in earnest. Together, the two of them have poured the molten iron of their combined roots and cast a foundation that many artists are now adding their interpretation to.

Markus Richard Tallvee. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Whether it is costume or symbols or rites or ceremony, you can see a deep desire to be inclusive in the styles and expressions. The spring festival, for example, extended its message with the collaboration with the PangeaSeed Sea Walls effort, headed by Tré Packard and his team in pursuit of “combining art and activism on this level and caliber to champion for the oceans,” and often sited aspiration.

Tania Quezada. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

“Art and public activism can educate and inspire the global community to help save our water resources,” says Packard. “Regardless of its location, large metropolitan city or small coastal town, all drains lead to the ocean and the ocean provides every breath we take. The Earth cannot exist without healthy oceans and water resources.”

With this in mind the city of Querétaro was chosen for the multiple aqua-related public artworks as a way to draw attention to the city’s own reliance on water that is transported from a hundred kilometers outside the city. This chapter of “Mextonia” was also known as “Water is One”.

Ricardo Moste. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

The experience and study has even helped coin new terms, like transgraffiti and transgraffiti muralism.

“Muralism and Street Art have proven to transform cultural symbols and catalyze culture,” says Sánchez. “Now, Transgraffitti is a trans-personal kind of muralism, which distances itself from both; names and pop culture, by taking deep cultural symbols and re-expressing them in a transcendental and contemporary way.”

Reyben. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

In this respect, it is a unique view of Street Artist and graffiti writers in contemporary practice from an evolutionary perspective. In the Water is One Manifesto 2.0 that was released this spring the organizers write:

“In today’s world we see millions of young people expressing on walls, influencing the streets and society. They write their names to identify with their space: we call them graffiti writers. As they grow and explore, some look beyond the writing of a personal name and embark into trans-personal-creation.

They research social challenges, paint visual metaphors and transcend borders. They discover the power of their painting over streets and culture. They become a kind of contemporary shaman, producing street incantations.

This is the transpersonal-graffiti, and we call it Transgraffiti muralism.”

Mr. Cinzah. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Sermob. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Jonky. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

As BSA correspondent from Tallinn and Querétaro, veteran photojournalist and ethnographer Martha Cooper attended the installations, exhibitions, celebrations, and ceremonies in both countries and she collected a wealth of important information to share.

In her own words Cooper says, “Street art is a worldwide art movement and Mextonia has shown how creative two different cultures can be when combined. Excellent idea – brilliantly realized.”

As mentioned Part 2 in Querétaro, Mexico was a collaboration with Pangea Seed and it was a concerted effort to highlight water resources, and “The Water Is One” theme was reflected in the murals.

“We forget that the water cycle and the life cycle are one.”
~Jacques Yves Cousteau

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

While these 40 or so photos are resplendent in conveying the spirit and dedication shown daily by participants, they are ultimately a very small sample of the hundreds Cooper took.

Similarly a blog platform like this cannot comprehensively cover the events or the perspectives in their entirety, but we hope that you can gain a greater appreciation for the depth of feeling, scholarship, and talent that is represented here in Martha’s photographs and our descriptions.

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

We conclude our text here with an interview that Ms. Cooper conducted for BSA with Sigre Tompel to better understand the breadth of the festival and also to get more detail about a sacred spiritual ceremony that Cooper attended with native peoples and the artists during her Mexican visit this spring.

Martha Cooper: Can we call “Water Is One” in Querétaro Part 2 of Mextonia? Are you planning Part 3?
Sigre Tompel: Yes, it is a sequence of Mextonia, part 2 (Mextonia in Estonia was the element of Fire, Water Is One was the element of Water. Yes, we are planning part 3 and 4 (Earth and Air).

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)
Montreal-based artist Jason Botkin met and exceeded human and creative limits at one point by successfully and arduously rappelling down, up, and around this great dome to recreate an astounding version of the Aztec calendar which can only be appreciated by flying overhead. Ms. Cooper tells us that all artists working on the cupola or dome were required to have a periodic medical check to ensure their good health during the installation of the frescoes.

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Nueve Art Urbano Team)

Martha Cooper: How many artists participated in both the Estonian and Mexican festivals?
Sigre Tompel: In Estonia we had 60 artists and in Mexico 33 – together with graffiti writers and neighboring walls of the Dome. These 5 artists were actually in both festivals – Aaron Glasson (New Zealand), Sänk (Estonia), Sermob (Mexico), Renata (Mexico), Goal (Mexico). Our whole core crew is a total of 15 people.

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Martha Cooper: What was the name for the type of group that performed the ceremony at the walls? What was burning in the pot that produced the smoke? Copal?
Sigre Tompel: They are called Concheros, they use Copal , smudging for blessing. The message was smudging the artists to thank them for their work and to bless their way back home, so they can arrive healthy and happy. The name of this particular group of Concheros is “In Xochitl In Cuicatl”, Flor y Canto (Flower and Singing) and they are lead by Conchero General Manuel Rodriguez. The name is in Nahuatl, the ancient language of the Mexica.

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Paola Delfín. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Martha Cooper: Does the ceremony have a name? Can you say a few words about what kind of blessing it was or what message they were sending the artists?
Sigre Tompel: The Concheros hold the tradition of the old Mexican belief system. After being conquered by the Spanish, they decided to hold balance and harmony between the two belief symbols, so they started honoring Christian symbols, while honoring also Mexican symbols, usually in secret. Concheros need to be reconsidered as a Cultural Heritage of the World, they are not “syncretic” by ignorance, but to keep the sacred balance of cultural hybridization.

The Concheros were very happy because the artists expressed the metaphors of their dances into the murals, and because this represents a kind of Mexican renaissance that returns to an earlier time, reinterpreting the ancient classic pre-religious Mexican belief systems.

Paola Delfín. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Ryper . Goal. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Mantra. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Curiot. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Sänk. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Demencia. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Nosego. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Smithe. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Pogo. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Aaron Glasson. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Nueve Art Urbano Team)

Renata. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Sermob. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Juez. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Valiñas. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Atole Parra . Solé. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Graffiti Wall. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Artists participating include:

Aaron Glasson (New Zealand)
Curiot Tlapazotl (Mexico)
Dementia (Mexico)
Goal (Mexico)
Jason Botkin (Canada)
Mantra (France)
Nosego (United States)
Paola Delfín (Mexico)
Pogo (Mexico)
Renata (Mexico)
Ryper (Mexico)
Sermob (Mexico)
Smithe (Mexico)
Sänk (Estonia)

For more information on Mextonia please visit Mextonia.com

For more information on PangeaSeed please visit PangeaSeed Foundation

Read this article in Spanish / Leer este articulo in Espanol aqui:

TRANS-GRAFFITI Y EL FESTIVAL TRANSNACIONAL “MEXTONIA

Publicado el 26 de Mayo, 2018

México y Estonia; una pareja improbable. Pero a veces el amor es así. En una época en la que la ortodoxia global es autocomplaciente y obviamente no satisface las necesidades de las personas, quizás no sorprenda que sean los híbridos únicos de fortalezas compartidas los que pueden liderar en el mundo.

Consideremos “Mextonia”.

El retoño que combina las tradiciones… MAS

Our sincere thanks to Martha Cooper for her leadership on this effort as well as her talents documenting the action.

BSA Film Friday: 05.25.18

May 25, 2018 Artists

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

Now screening :
1. Street Vendors in Abidjan with YZ Yseult Digan
2. The Yok & Sheryo: Public Silo Trail. Albany, Australia
3. “Chile Estyle.” Trailer
4. Faith XLVII Talks About Her Installation for “Beyond The Streets”

BSA Special Feature: Street Vendors in Abidjan. YZ Yseult Digan

“I pay attention to the intensity of the gaze and the posture, so the passerby is challenged and seeks to question the project.”

A sociological experiment and intervention on the streets by the French Street Artist YZ takes place in Abidjan and camera work in the crowds allows you to appreciate the action on the street. A city of 4.7 million people and the economic capital of Côte d’Ivoire, the city has a lively culture of street vending that is unregulated and often populated by children.

YZ speaks with the folks she meets who are vending, who she refers to as “girls” although many are women. Her goal is to better understand them, she says, and to create a Street Art campaign of their portraits.

“I realized that their situation was very different from the men. So I wanted to know more about them. So I started the project ‘Street Vendors’,” she says.

The Yok & Sheryo: Public Silo Trail. Albany, Australia

The Yok & Sheryo brought a clever creature across an enormous four tower wall in Albany, Australia as part of a public art program funded by private interests like BHP, the Anglo-Australian multinational mining, metals and petroleum company. The Public Silo Trail is bringing artists like HENSE from the US and Phlegm from the UK to paint Artworks on grain silos, transformer boxes and all sorts of unexpected infrastructure to connect a series of regional towns.

“Chile Estyle.” Trailer

“Every social movement creates a cultural response,” says an organizer from the late 1960s who helps us trace the origins of Chilean Street Art and graffiti to the murals that became a crucial part of public discourse here. “We painted all of Chile for the Allende election campaign.” The trailer for the upcoming movie now in post production features a highlight of INTI and many open discussions of the evolution of graffiti and muralism simultaneously, eventually leading to the fascination for murals that currently reigns.

Faith XLVII Talks About Her Installation for “Beyond The Streets”

Faith leads you to the abandoned spaces and investigations of lives and stories that she often conducts when looking for the ideal places to make her art. “There is almost a holy, sacred feeling in that silence,” she says as she traverses places and stories and brings them together for an alter of sorts in the new exhibition now in Los Angeles called “Beyond the Streets.”

With special thanks to Chop ’em Down Films.

Colombia Diary: The Completed Works, The Gold Rush, and the Jaguar in You

May 24, 2018 Artists

Today a wrap up of BSA at an unusual location in Colombia to see a new initiative with Street Artists in an abandoned distillery brought back to life with their imaginations and penchant for transformation.

“Uh, yellow, black, with some white… because it’s high up,” Ben Eine says as he sketches out the four letters, G-O-L-D on a small piece of paper. He’s codifying an idea to paint the letters across the four huge storage tanks where M-City has painted a metaphorical gold-mining scene upon over the last few days. The massive piece is timely and timeless; referencing to the current informal gold rush happening here in Colombia, once again altering the physical and political landscape.

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

A rotating mist fan is slowly stirring the thick tropical air while we sit at the round wooden table in this industrial compound watching Ben with a pen as he shows M-City his idea for topping off the piece – in his own charming manner.

“Yellow, black outline, little shadow. Your shit goes like this, blah blah blah. And then white outline. Or maybe like super light blue outline so it bounces off the silver. Yeah-yeah,” says the English graffiti writer with some final certainty on his vision.

Ben Eine sketching the idea with M-City. May 2018. (photo © Steven P. Harrington)

Ben Eine added GOLD to M-City ‘s piece at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

“Okay, perfect,” says the agreeable M-City, who quickly begins sourcing paint in a nearby pile of cardboard boxes. As a Street Artist who is curating this first phase of painting at this old Colombian distillery for Dictador Art Masters Foundation, he is helping others to hit their goals as much as he is directing his own creative work. Finally the collaboration is finished and it beams across the drying muddy field in the sun.

Ben Eine added GOLD to M-City ‘s piece at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

It’s this kind of collaborative camaraderie that often characterizes the Street Art scene across the world and one that sets this project apart from many “festivals”. For one thing, this project is private and small and away from the roaring crowd that can often accompany street works, and developing your idea as an artist can be done with minimal interruption.

The smaller artist roster also means that many of these creators have an opportunity to get to know one another better, to seek feedback, to formulate, to share perspectives. The old distillery setting itself is a highly unusual gallery environment that perpetuates the feeling of an extended studio.

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

“We are completely amazed by all the stuff here on every level. All the objects, the whole factory,” says Jan, one half of the Polish duo Monstfur as he surveys a rounded tank that they are spraying layers of grey, black, and white to form a stenciled cranium that also matches the one tattooed on his arm.

“Feeling the textures, seeing the patterns. Everything is so full of inspiration for us,” he beams. Placed in this laboratory of ideas, the guys seem right at home with their layers of decay and their Frankenstonian mythmaking – including their collective name that combines the English and Polish word for monster.

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

As you climb rusty ladders and duck under cobwebs or the occasional silently swooping bat, you see the possibilities for childlike ideation, opportunities to launch imaginary tales and adventures, directing energy and stirring alchemy.

Toxicomano takes the journey even further.

“Have you heard of Yage?” he asks, eager to share stories of a hallucinogenic plant that people who live in wooded, mountainous regions have used for years to transcend this reality. “It’s a strong beverage in the Amazonian,” he says. “When you drink it you are stoned.”

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Fair enough, but how does that relate to the 4-story high yellow and black jaguar with nice hair that is staring at you like a feline Mona Lisa? You’ve seen him going up and down the cherry-picker carefully laying out and spraying the stencils here for days and this intense model has unveiled, then commanded, this brick wall.

“All persons have a jaguar that is inside,” he explains with a sincere stare into your eyes. You reflexively make a quick internal inventory of yourself to see if it is possible to confirm the veracity of that statement. Well, maaaaaayyyyyybeeeeeee, now that you mention it.

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

“When you drink this yage you can begin to think differently about your place in the world, your people, your environment,” he says. “The jaguar is the tiger of South America. From Mexico to Argentina we have the same jaguar. I think they are really pretty. I think in this area it is possible to find jaguars as well,” he says, which seems to indicate an excellent opportunity to scan the adjacent field of tall grass.

What does this Colombian Street Artist’s jaguar want to do? “I think my jaguar wants to communicate to the others and tell people that everyone has a jaguar inside.”

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

M-City adds a NYC touch on a conduit at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

A great note to end this hot and sticky week in the farmlands and mountains of Northern Colombia. Mixed with the sun and the mud it has also seemed like a possibly mystical place that once housed the precise and time-honored industry of distilling. Now enlivened with the new works of English, Polish, and Colombian graffiti writers and Street Artists, it becomes an installation in an unusual location full of possibility – and we are curious to see where the next phase of this adventure leads.

Artists include: D*Face, Ben Eine, M-City, Monstfur, Toxicomano, Stinkfish, and Erre.

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

Toxicomano at the old distillery Colombia. May 2018. (photo © Jaime Rojo)

Toxicomano at the old distillery Colombia. May 2018. (photo © Martha Cooper)

Stinkfish at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Stinkfish and Toxicomano at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Stinkfish at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Erre at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Monstfur at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Filmmaker Collin Day at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Martha Cooper and Steven P. Harrington at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

This event has been made possible by Dictador Art Masters Foundation. To learn more about the foundation click here.

Thank you to Martha Cooper for sharing her exclusive images with BSA readers.

INO and “LOST” in the Port of Piraeus, Greece

May 23, 2018 Artists

She’s lost, so much on her mind.

INO. “Lost” Greece. May 2018. (photo © INO)

The triangulation of financial, governmental, and corporate power locked Greece (and Europe) in a downward spiral only three years ago, and although there are some signs of stabilization this year, the downturn “wiped out a quarter of the nation’s economic value (and) runs deep and is still vivid in the minds and pocketbooks of the country’s 11 million citizens.”

INO. “Lost” Greece. May 2018. (photo © INO)

Perhaps this contributes to the troubled mind of INO’s latest full mural on the side of a hotel in the Port of Piraeus, Greece.

And what a port! Now 51 percent owned by the China Ocean Shipping (Group) Company (COSCO) , Piraeus is on track to be the busiest port of the Mediterranean in terms of container traffic by 2019.

Surely she must be overwhelmed by that prospect as well.

INO. “Lost” Greece. May 2018. (photo © INO)

Possibly, she’s just mad about a boy – and springtime tends to mess with young people’s hearts more than others. Reminds you of that blues standard, “I’ve Got it Bad and That Ain’t Good.” In a more contemporary vein she may be closer to Rianna’s new standard, “Love On The Brain.”

In any case, “They finally took off the scaffolding,” INO tells us. He says, “It’s a pretty woman who is thinking. She has a blue vortex on her mind.”

The title is “Lost”.

INO. “Lost” Greece. May 2018. (photo © INO)

INO. “Lost” Greece. May 2018. (Constantino Mass)

Postcards from The Yok & Sheryo in India, Sri Lanka, Cambodia…

May 22, 2018 Artists

A unique duo of autonomous Street Artists from different backgrounds and paths somehow have melded themselves into a traveling tornado of tags, throw ups, and theatrics in a style that is theirs alone. The Yok and Sheryo (Perth and Singapore) continue to compliment, push, and pull against and with each other stylistically with a healthy dose of competiveness, inquisition, mutual respect and love for the fantastic and funny. If you take yourself too seriously with this pair, you lose baby, and no fools are suffered. This is badass, serious fun and when combined with lust and wanderlust, it takes you around the world.

Busting a trick in front of mural by Yok & Sheryo. Sri Lanka. (photo © The Yok & Sheryo)

We didn’t invent the word “spraycation” (we think) but we first started using it in earnest years ago when showing their videos to audiences in auditoriums and theaters because adventure, graffiti, work, painting, surfing, and motor biking were always competing with each other – along with monsters, devils, pizza, and sexy ladies. Now back in the US after a 10 month tour, lets see some of the new installations and walls that Sheryo and Yok made in their travels around Cambodia, India, Sri Lanka, China, Berlin, and Indonesia.

Varuna’s vessel (India)

We worked with some rad Bollywood set builders and a local fisherman who donated his boat for the installation. We created the installation based off a local folklore story called “Varuna & Makara” about a Sea God riding a sea creature.

The Yok & Sheryo. Varuna’s Vessel. India. (photo © The Yok & Sheryo)

CAMBODIA for “Paint Phnom Penh”

“We spent about 20 days hanging out with an amazing group of friends painting laughing and riding motorbikes in Cambodia for @paintphnompenh, says Sheryo. “After the after after party we managed to get this wall painted – Cambodian Paradise.”

The Yok & Sheryo. Cambodia. (photo © The Yok & Sheryo)

SRI LANKA

A long, multi-character monocromatic wall really shows off the energy and regenerative imagination that Y&S can pull off on a mural for friends with a surf/yoga camp. “Loved spending a month cruising around Sri Lanka in a tuk tuk looking for waves,” says The Yok, ” and finding elephants, monkeys, turtles, lizards, dodging manic bus drivers, paying off cops. Amazing people, delicious food and a secret pirate village.”

The Yok & Sheryo. Sri Lanka. (photo © The Yok & Sheryo)

SINGAPORE at the Art Science Museum

“After some Piña coladas and falling into waves kook-slams stylez, we went onwards to the big/small smoke of Singapore to paint a wall for the Art Science Museum about a post-apocalyptic material world,” says Sheyro. The full artist list also included artist like Remi Rough, M-City, Eko Nugroho, Tarek Benaoum, Zevs, Speak Cryptic, and YZ.

The Yok & Sheryo. Singapore. (photo © The Yok & Sheryo)

Australian Silos

“A 35 metre seadragon mural has been completed on the side of huge grain silos at Albany’s historic waterfront,” reports the Sydney Morning Herald, of the project featuring Phlegm, HENSE, and Amok Island creating new works along a trail near the coast. To be clear, it is a “ruby sea dragon”.

The Yok & Sheryo. Australia. (photo © The Yok & Sheryo)

Pouvelle Collaborate on Composition in Sant Feliu de Llobregat

May 21, 2018 Artists

Community murals give opportunities to young and old to try their hand at self expression and go big on a wall. Here in this municipality in Catalonia, the duo called Pouvelle say, “We like to think of art as a way of expression that brings out the child we carry inside, letting ourselves be guided by the pleasure of applying shapes and colors and feeling its materiality.”

Pouvelle. “CtrlU”. Contorno Urbano Foundation. 12 + 1 Project. San Feliu de Llobregat, Barcelona. (photo © Alex Miró)

With professional skills that include art direction, graphic design, illustration, the two use a back and forth sharing of the creation, with each completing what the other has begun. “Our way to form the composition is similar to the assembling of a puzzle, in this way each one continues the forms that the other begins,” they say, “superimposing and introducing new ones until a balance is found.”

This one is for Project 12 + 1.

Pouvelle. “CtrlU”. Contorno Urbano Foundation. 12 + 1 Project. San Feliu de Llobregat, Barcelona. (photo © Alex Miró)

BSA Images Of The Week: 05.20.18 / Colombia Special

May 20, 2018 Artists, BSA Images Of The Week

You guys watch the royal wedding yesterday? We got the highlights, enough to make us cry. Not everyone is happy about these things, but then they see the hats and feathers and let it all go.

Of course we wish the very best to the beautiful couple.

Great week in Colombia this week as we had the pleasure of hanging with the likes of Ben Eine and D*Face, even if we couldn’t keep up with the drinking games and late night graffiti runs. Someone has to be responsible! From Cartagena to Valledupar to Bogotá, the sights, sounds, smells, and tastes of the country are stupendous. And we need more time in Bogotá because that Street Art scene is crazy!

Luckily we were back in NYC just in time for the big Spanish speaking/singing block party outside of the apartment of racist lawyer Aaron Schlossberg, who made headlines this week for being a jackass and intimidating people with less power with his big white-man blabbering about Spanish speaking employees at a fast food restaurant, even threatening to call Immigration authorities.

Not only is he insulting himself and all New Yorkers (and the spirit of the USA), he may be indicating that he doesn’t get outside very much. If he did, he would realize that “while there is no precise count, some experts believe New York is home to as many as 800 languages — far more than the 176 spoken by students in the city’s public schools,” according to a 2010 article in the New York Times. Our favorite video this week is the one of him running from reporters while the Benny Hill theme song plays along. Bienvenidos a su ciudad Señor Schlossberg !

Here’s our weekly interview with the streets, this week featuring APC Crew, Ben Eine, Chinz, Collin Day, D*Face, ERRE, Monstfur, Stinkfish, 6ryzor and Toxicomano.

Top Image: Ben Eine for Dictador Art Masters Foundation. Colombia. (photo © Jaime Rojo)

Ben Eine for Dictador Art Masters Foundation. Colombia. (photo © Jaime Rojo)

Toxicomano. Valledepur, Colombia. (photo © Jaime Rojo)

APC Crew. Valledepur, Colombia. (photo © Jaime Rojo)

A motley crew at the old distillery. (photo © Jaime Rojo)

A little free-wheeling graffiti from M-City . 6ryzor . Chinz . Eine . Toxicomano . El Chopo . Erre. Valledepur, Colombia. (photo © Jaime Rojo)

M-City . 6ryzor . Chinz . Eine . Toxicomano . El Chopo . Erre. Valledepur, Colombia. (photo © Jaime Rojo)

M-City. Valledepur, Colombia. (photo © Jaime Rojo)

6ryzor. Valledepur, Colombia. (photo © Jaime Rojo)

Chinz. Valledepur, Colombia. (photo © Jaime Rojo)

Eine. Valledepur, Colombia. (photo © Jaime Rojo)

Toxic El Chopo. Valledepur, Colombia. (photo © Jaime Rojo)

ERRE. Valledepur, Colombia. (photo © Jaime Rojo)

Monstfur at the old distillery. Colombia. (photo © Jaime Rojo)

Monstfur for Dictador Art Masrters Foundation. Colombia. (photo © Jaime Rojo)

M-City. Valledepur, Colombia. (photo © Jaime Rojo)

D*Face at the old distillery. Colombia. (photo © Jaime Rojo)

Chinz at the old distillery. Colombia. (photo © Jaime Rojo)

Stinkfish. Valledepur, Colombia. (photo © Jaime Rojo)

Toxicomano at the old distillery. Colombia. (photo © Jaime Rojo)

Untitled. Director and handsome hatter Collin Day at the old distillery. Colombia. May 2018. (photo © Jaime Rojo)

BSA Curates at 3rd Artmossphere in Moscow 2018: Open Call For Artists

May 19, 2018 Artists

BSA founders Steven P. Harrington and Jaime Rojo are part of the Curatorial Team for the 2018 Artmossphere Biennale and today BSA is pleased to announce the “Open Call” for artists to apply.

The Street Wave Art Biennale, Artmossphere. Open Call for artists.

Paulo Ito at work on his installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

Artmossphere is the only Russian biennale that focuses primarily on Street Art and its corollary practices, with the first two launching in 2014 and 2016. You may remember the full coverage BSA had in 2016 at the Moscow Manege;

60 Artists at a Moscow Street Art Biennale: “Artmossphere 2016”

Among the artists participating on previous editions of Artmossphere have been people like The London Police, Brad Downey, Claudio Ethos, Agostino Iocurci Miss Van, L’Atlas, Sickboy, Jaz, Nespoon, Martha Cooper, Remi Rough, Alexey Luka, Remed, Li Hill, Jessie and Katey, Moneyless, El Tono, and many others – but clearly you can see that the quality and diversity in practices and backgrounds is well represented here.

L’Atlas at work on his installation for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

For the 2018 edition of the biennale we will be curating the program along with some of our respected peers internationally in this field and collectively we are asking artists to consider what it means to be “Offline”. So much of graffiti and Street Art’s roots extend back to a practice of making work for a largely local audience that is limited to geography.

Today much work in public space is conceived of, at least in part, for its ability to traverse to audiences on social media, blogs, video, and all manner of digital platforms. As we constantly are flooded with online Street Art, is it possible to be ‘Offline”?

Sepe at work on his painting for the 2nd Edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

The 2018 main exhibition will take place in the Excise Storehouse of Winzavod Centre for Contemporary Art in Moscow from August 30th to October 17th. Additional special exhibitions will be held in the Red and White Halls, as well as in the art cluster outdoor territory.

The open call is open to Russian and international artists and applications with projects exploring this year’s theme will be reviewed by an international jury consisting of Steven P. Harrington and Jaime Rojo, co-founders of BrooklynStreetArt.com and curators at Urban Nation Museum of Urban Contemporary Art (UN), Peter Ernst Coolen, curator of the Amsterdam Street Art Museum, Cedar Lewisohn, curator of the Street Art project in Tate Modern, Ethel Seno, researcher of street art and curator, Anna Dimitrova, curator of Adda Gallery, Paris and MTN Gallery, Barcelona, and Nikolay Palazhchenko, the founder of the Winzavod Centre for Contemporary Art in Moscow.

To take part in the biennale, Artmossphere artists should submit their portfolio and their project application for the biennale before June 18th, 2018. All the projects should be made exclusively for the biennale. Click here for all details.

Krzysztof “Proembrion” Syruc at work on his painting for the 2nd edition of Artmossphere. Moscow 2016. (photo © Jaime Rojo)

#ARTMOSSPHERE #BKSTREETART

BSA Film Friday: 05.18.18

May 18, 2018 Artists

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

Now screening :
1. ETHEREA: Edoardo Tresoldi
2. Berlin Mural Fest 2018 Begins Now!
3. XAV -Library Rats in Barcelona
4. Blek Le Rat Solo in San Francisco.
5. TAYONE Leaves “Wet Paint” in Barcelona

BSA Special Feature: ETHEREA: Edoardo Tresoldi

Neoclassical. Baroque. Chicken wire.

Italian public artist Edoardo Tresoldi brought 3 sizes of his full-scale wire mesh sculptures to Indio, California for the Coachella Valley Music and Arts Festival this year, and thousands of people got their first opportunity to see his work rise above them, catching the light, evoking old cities and classical architecture. Counter-culture? Nah.

Berlin Mural Fest 2018 Begins Now!

Die Dixons actually know what they are talking about! This is the 1st Berlin Mural Fest and BSA is happy to support. Shout out to Don Stone for keeping us in the loop.

XAV -Library Rats in Barcelona

We showed you the process photos of this wall a few weeks ago in 3 Library Rats from XAV for Contorno Urbano 12 + 1.

Today we have the video for you.

Blek Le Rat Solo in San Francisco.

Long after the days when gallerists were rude to him and wouldn’t even take a look at his work in New York, Street Art originator Blek Le Rat is having a solo show at Weinstein Gallery in San Francisco. Something must have changed.

Film by Birdman

TAYONE Leaves “Wet Paint” in Barcelona

Following up on our posting” “Wet Paint” : TayOne for Contorno Urbano 12 + 1 says “Acabat de pintar”

Today we have the video showing TayOne’s full install for Contorno Urbano Foundation’ 2 + 1 Project in Barcelona.

Blue Steel from the Streets. Colombia Diary : Day 4 / Interview with ERRE

May 17, 2018 Artists, Interview

Colombian Street Artist Erre began her career on the street in her home city of Zipaquirá as a teen but moved an hour’s drive south to the capital city Bogotá a few years ago to attend university and dive into the explosively growing scene on the streets there.

With nightly outings in the larger metropolis, she and some mates have used political themes of their punk-inspired graphic works to push social attitudes about corruption, hypocrisy, race and gender equality.

With strong female figures that shout confidence and rock and roll, you can see the ERRE is helping define the kind of heroines she admires who take and active role in making change.

After assisting Toxicomano to complete his large mural for this project, Erre had some free time to hit up some prime spots of her own in this distillery. Sometimes she worked freehand, and other times she dug into the stencils that she typically leaves on the walls in Bogotá.

We asked her a few questions about her work.

Brooklyn Street Art: “Unete Al Disorden”. What does that mean?
Erre: “Join the chaos” – or something similar. I am inviting people to join in.

BSA: When did you begin making art for the street?
ERRE: My first stencil was about 10 years ago and I have done many stencils in my home city Zipaquirá.

About five years ago I decided I would begin painting for a living and I have dedicated myself to this work.

BSA: Do you always use stencils?
ERRE: I always paint with stencils but sometimes I make an exception and do a piece by hand

BSA: Can you talk about the stencil that you made here which appears to be a message of empowerment for women and girls?
ERRE: Yes for women in Colombia there is a big problem – really in all of Latin America – with the rights of women. They do not receive equal pay for equal work, they do not get enough respect. There is a strong culture of “machismo” that exists with the men all of the time. So a lot of my work is intended to empower women.

BSA: Where do you get inspiration for your style?
ERRE: I think I draw a lot of inspiration from cartoons and illustrations like that. I draw all of the designs in a smaller size with the computer I enlarge them for this work

BSA: You often have skulls in your pieces. Can you talk about the symbolism of using skulls for you?
ERRE: Yes I use the skulls as an human symbol because everyone has a skull inside you know? It’s a way for me to represent humans and people generally without referring to their race whether they are black, brown, yellow or white. It is sort of a universal symbol.

This event has been made possible by Dictador Art Masters Foundation. To learn more about the foundation click here.

Selected Scenes from the Colombia Diary. Day 3 – Moments

May 16, 2018 Artists

This week BSA is in an unusual location in Colombia by invitation to see a new initiative with Street Artists in an abandoned distillery now being brought back to life with their imaginations and penchant for transformation. Come along with us for a few days to see what we discover.

As we are chronicling the movement of the Street Art story into new spaces such as this hybrid venue that transforms an aged factory into a unique ex-urban gallery, it occurs to us that the revolution of this street culture movement has always been in its ability to adapt.

After last nights’ tumultuous rains that turned much of the dusty ground into thick chocolate mud we walked amongst these hulking steel giants of manufacturing again, seeing everyone and everything with new eyes.

Climbing up the rusted rickety staircases and rotting corrugated floor panels and peering out upon painters and vandals alike as they plot their next proposition, you remain alert for unscripted turns in the plot.

Invariably a pause, an ellipse, a stolen moment may reveal something more about the artist and their passage into the creative ether. With a documentarian sense, you’ll want to capture it before it blinks away.

When the creative spirit is fluid in environments such as these, it is possibly impossible to articulate the complex set of actions, reactions, strategic calculations, synchronous movements, awkward missteps, punk pirouettes, and the occasional virtuosic executions that can take place.

Once you accept that the process of creativity for Street Artists and those who enable them is rather full of magic, you have equipped yourself to see that magic wherever you look. It happens as quickly as the flight of the short-tailed bat that grazes rapidly passed your hat on its way to the roost .

These are fleeting moments.

This event has been made possible by Dictador Art Masters Foundation. To learn more about the foundation click here.

This is How It’s Done : Colombia Diary. Day 2 – Process

May 15, 2018 Artists

In factories and in art-making, process is crucial to success.

Back at this Colombian factory site for a second day of work, the artists are climbing ladders, tracing out shapes, stepping back to check perspective, and lunging forward for the first genuine phase of painting. The brand new initiative on this industrial site sparks your mind with ideas – nothing seems impossible, actually. The future is unwritten.

So it seems especially appropriately audacious when you see Ben Eine and his son Collin rolling by you on a massive lift that holds them aloft overhead with cans in hand. You deftly dart out of the way so you are not smushed underneath the massive rubber tires that roll toward you, carefully ducking the occasional leafy limb that is snapped off the tree they are grazing in their metal bucket as they paint, now wrapping to another side of the building.

They are spraying out a series of Eine’s iconic lettering across the top floor of one of the compound’s brick facades, and suddenly you may have the feeling that this is the first page of a new book being written. We may not yet know what it will say, but you can appreciate the process, two guys from different generations extending their arms toward the wall, can in hand, propelling clouds of aerosol forward, writing a common missive.

Scattered through these rusty dusty caverns and crooks there are Street Artists at work; with birds and bats and beats filling the air. A new of industry at work, one can appreciate now how the image is built. It’s a mysterious and sometimes spell-binding unveiling, carefully considered.

With no specific aesthetic guidelines from their hosts and no review of sketches, we are privileged to see these self-driven murals disclosed in real time without prejudice on walls of the artists choosing.

There are myriad processes at play. Placed in the hands of artists who can appreciate the opportunity to create quality works , there is attention to detail and context. Whether it is D*Face’s ironic reappropriation of symbols/text and dramatically tragic heroes – or the pop culture humor of Toxicomano’s leopard queen, or the golden disk framing Stinkfish’s neo Colombian intergalactican icon, its a studied process that makes it happen.

M-City drips with rivers of sweat in the merciless humidity while peeling away one more panel of his four pillar stencil opus called “Goldmine”, his paint encrusted hand dropping another wet cutout with a deft gesture – leaving it to drift in the heavy breeze 3 stories beneath him to the ground.

The Monstfur duo carefully balance on ladders to reach and hold stencils, spraying out each textured layer of industrially inspired grayness, careful to align the successive hand-cuts that they are gridding across a tank that previously carried toxic fluids.

As this projects’ character is taking shape while we are watching, you see that these artists are pouring themselves into the act properly, giving top flight performances.

It’s part of the process.

This event has been made possible by Dictador Art Masters Foundation. To learn more about the foundation click here.

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Édgar Sánchez and Sigre Tompel. Mextonia Co-Founders. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Renata Mtz. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Goal. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Sänk. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Brushleee. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Markus Richard Tallvee. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Tania Quezada. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Ricardo Moste. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Reyben. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Mr. Cinzah. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Sermob. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Jonky. Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

Mextonia Part 1. Tallinn, Estonia. June 2017. (photo © Martha Cooper)

“We forget that the water cycle and the life cycle are one.” ~Jacques Yves Cousteau

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Nueve Art Urbano Team)

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Paola Delfín. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Paola Delfín. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Ryper . Goal. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Ryper . Goal. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Mantra. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Mantra. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Mantra. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Curiot. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Sänk. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Sänk. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Sänk. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Demencia. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Nosego. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Smithe. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Pogo. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Aaron Glasson. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Jason Botkin. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Nueve Art Urbano Team)

Renata. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Sermob. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Juez. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Valiñas. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Atole Parra . Solé. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Graffiti Wall. Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Water is One/Mextonia Part 2. Querétaro, Mexico. March-April 2018. (photo © Martha Cooper)

Consideremos “Mextonia”.

El retoño que combina las tradiciones… MAS Our sincere thanks to Martha Cooper for her leadership on this effort as well as her talents documenting the action.

BSA Special Feature: Street Vendors in Abidjan. YZ Yseult Digan

The Yok & Sheryo: Public Silo Trail. Albany, Australia

“Chile Estyle.” Trailer

Faith XLVII Talks About Her Installation for “Beyond The Streets”

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine sketching the idea with M-City. May 2018. (photo © Steven P. Harrington)

Ben Eine added GOLD to M-City ‘s piece at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

Ben Eine added GOLD to M-City ‘s piece at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

M-City at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

M-City adds a NYC touch on a conduit at the old distillery in Colombia. May 2018. (photo © Martha Cooper)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

Ben Eine at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

D*Face at the old distillery in Colombia. May 2018. (photo © Jaime Rojo)

“We forget that the water cycle and the life cycle are one.”
~Jacques Yves Cousteau

El retoño que combina las tradiciones… MAS

Our sincere thanks to Martha Cooper for her leadership on this effort as well as her talents documenting the action.

In any case, “They finally took off the scaffolding,” INO tells us. He says, “It’s a pretty woman who is thinking. She has a blue vortex on her mind.”

The title is “Lost”.