
Our weekly interview with the street, this week featuring Aakash Nihalani, Chor Boogie, Labrona, Peat Wollaeger, ROA, Swampy, Swoon, and White Cocoa

Our weekly interview with the street, this week featuring Aakash Nihalani, Chor Boogie, Labrona, Peat Wollaeger, ROA, Swampy, Swoon, and White Cocoa
Thinkspace Gallery

Thinkspace presents:
‘Love Conquers All: Art for Equality’ group show
Main Gallery
Seth Armstrong
‘Well There You Are’
Project Room
Both exhibits on view: August 7th – August 28th
Opening Reception: Sat, August 7th 7-10PM
20% of the proceeds will be donated to Equality California (http://www.eqca.org/)
Co-curated by Andrew Hosner with Suzette Franck-Rosen and Nicole Rosen
Los Angeles, CA (July 13th, 2010) – Thinkspace is pleased to present Love Conquers All: Art For Equality, a special exhibition supporting the fight for equality which aims to raise awareness for the LGBT (Lesbian, Gay, Bisexual & Transgender) struggle. This special exhibition features the work of over 50 international artists and promises to open eyes and encourage dialogue. Also showing concurrently in our project room will be Well There You Are, an exhibition of new works from Oakland based artist Seth Armstrong, in what will be his debut solo exhibition with our gallery following numerous group show appearances including taking part in last December’s Aqua Art Miami during Art Basel.
So, why are we fighting for civil rights? As of July 2010, multiple states have laws on the books that ban gay marriage by explicitly saying that marriage is a union between “a man and a woman.” In addition, at the Federal level, LGBT individuals have over 1,000 rights that aren’t afforded to them because of their sexual orientation or gender identity. They cannot serve our country in the military, cannot jointly file taxes, cannot have a foreign partner made into a legalized citizen, cannot receive death benefits, etc. As you can see, this isn’t only about marriage it’s also about being equally recognized by the government. The issues at hand are much larger than solely marriage.
However, in our fight for civil rights, in this day and age, we have to start somewhere. And, in history the LGBT community has always had the world turned on its ear. Prop 8 served a purpose for those to define a government sanctioned marriage using a definition based on religion, they used gay marriage as a symbol of the undermining of family values and corruption of children and it served as a defining moment that they believed that Jim Crowe’s, “separate but not equal”, did not apply to LGBT individuals. For LGBT individuals, it served as a bastion of hope, a light at the end of the tunnel that even after it had passed would usher in a new era of civil rights…an era that would bring a more tolerant, more accepting society.
The fight for equality is not just an LGBT fight; it is a fight for all society. There are many straight allies, like those of us here at Thinkspace and the numerous artists that are involved in Love Conquers All: Art For Equality, that want to see LGBT individuals have the same rights as them. That is why Thinkspace and its co-curators have decided that a portion of the proceeds will go to EQCA (Equality California), because in the past decade, EQCA has successfully passed more than 60 pieces of civil rights legislation for the LGBT community – more than any other statewide LGBT organization in the nation. Working in partnership with California’s LGBT Legislative Caucus, EQCA is committed to building a better future for all Californians by protecting youth, strengthening families and empowering communities.
Artists taking part include:
Adam Caldwell
Allison Sommers
Ana Bagayan
Anthony Clarkson
Aunia Kahn
Bob Dob
Brooke Grucella
Bumblebee
Caia Koopman
Cate Rangel
Chet Zar
Chris Murray
Craig ‘Skibs’ Barker
Dabs Myla
Dave Pressler
David MacDowell
Delphia
Erik Siador
Ferris Plock
Genevive Zacconi
Germs
Harriet Lambers
Imminent Disaster
Jacub Gagnon
James ‘Dalek’ Marshall
Jeff Ramirez
Jen Lobo
Jenna Colby
Jesse Hotchkiss
John Michael Gill
John Park
Joseph ‘2H’ McSween
Josie Morway
Kelly Tunstall
Kelly Vivanco
Kevin Titzer
Laurie Lipton
Leontine Greenberg
Lesley Reppeteaux
Linnea Strid
Liz Brizzi
Luke Kopycinski
Mari Inukai
Mark Dean Veca
Melanie Moore
Naoto Hattori
NohJColey
Paul Barnes
Paul Chatem
Rene Gagnon
ROA
Scott Belcastro
Shaunna Peterson
Stella Im Hultberg
Tiffany Liu
Timothy Karpinski
Tony Philippou
Tran Nguyen
Take a ‘Sneak Peek’ at the works for ‘Love Conquers All’ coming together here:
http://www.flickr.com/photos/thinkspace/sets/72157624482555932/
ABOUT EQUALITY CALIFORNIA:
Since it was founded in 1998, Equality California has strategically moved California from a state with extremely limited legal protections for lesbian, gay, bisexual and transgender (LGBT) individuals to a state with some of the most comprehensive civil rights protections in the nation.
EQCA works to achieve equality and secure legal protections for LGBT people. To improve the lives of LGBT Californians, EQCA sponsors legislation and coordinates efforts to ensure its passage, lobbies legislators and other policy makers, builds coalitions, develops community strength and empowers individuals and other organizations to engage in the political process. In the past decade, EQCA has successfully passed more than 60 pieces of civil rights legislation for the LGBT community – more than any other statewide LGBT organization in the nation. Each year at the Capitol, EQCA monitors thousands of bills and leads the state’s efforts to defeat legislation that could have a negative impact on LGBT Californians and their families.
EQCA, on behalf of its members, is an organizational plaintiff in the historic lawsuit asking the California Supreme Court to strike down state law that bars same-gender couples from marriage. In court, EQCA has also successfully defended California’s domestic partnership laws and related state policies that have been implemented in response to EQCA-sponsored legislation
Website:

ALSO ON VIEW IN OUR PROJECT ROOM:
Artist Seth Armstrong, on view in our project room, creates narrative paintings. Exactly what these narratives are, however, he probably could not tell you. Whether the subject matter is based on found reference or from the imagination, an ambiguous storyline is always present. Even in a straightforward portrait, the circumstances that surround the subject(s) and the instance of the portrait are deeply considered. With an uncertain plot, the stories behind the paintings can be limitless. Sure, the artist has his theories, but these do not take precedence over those of the casual viewer.
Since the paintings themselves are approached individually, the relationship between one piece and another is often disjointed. As a result, a common thread among a body of work is realized (if at all) only after they are completed and viewed as a whole.
ABOUT THE ARTIST (Seth Armstrong):
Seth Armstrong was born and raised in Los Angeles, California. After studying painting in Northern Holland, he received a BFA with High Distinction from the California College of the Arts in San Francisco. He currently lives and works in Oakland, CA.
Take a ‘Sneak Peek’ at the works for ‘Well There You Are’ coming together:
http://www.flickr.com/photos/thinkspace/sets/72157624357955599/
Artist website:
ABOUT THINKSPACE GALLERY:
Established in November of 2005, Thinkspace exists as a catalyst for the ever expanding new contemporary art movement that is exploding forth from the streets and art schools the world over. We are here to help represent this new generation of artists, to provide them that home base and to aid them in building the right awareness and collector base necessary for long-term growth.
Our aim is to help these new talents shine and to provide them a gallery setting in which to prove themselves. It is our hope and dream that through these opportunities these individuals will prosper and continue to grow to amaze us all for years to come. With the love of and for our community, and with the talents of so many incredible artists involved, we believe that this movement will provide the necessary proving ground for the ideas and dreams of today to become the foundations of a new tomorrow.
thinkspace
6009 Washington Blvd., Culver City, CA 90232
#310.558.3375
Web: www.thinkspacegallery.com Blog: www.sourharvest.com
Hours: Wednesday thru Saturday 1 p.m. – 6 p.m. (or by appointment)
Thinkspace Gallery is located at 6009 Washington Blvd, in the heart of the Culver City Arts District, Culver City, CA 90232. Gallery hours are Wednesday through Saturday, 1 p.m. to 6 p.m. and by appointment. For more information, please call 310.558.3375, visit www.thinkspacegallery.com, or email contact@thinkspacegallery.com.
Our weekly interview with the street, this week featuring Gaia, Ludo, Liv, MBW, Beau, Yote, Clown Soldier, Faile, Man Standing, Roa, Sweet Toof, Headhoods, and Holy Family
Unfortunately the only flesh that could be hunted was one of the Lehman Brothers hiding in a cave in the Brambles since the crash and a couple of lost social x-rays looking for the old Tavern on the Green. More plastic than meat.
In fact New York has it’s share of wildlife, and I don’t just mean the Annual Zombie Crawl or Amanda LaPore, or even Macy’s One Day Sale. Since the early 2000’s the D.I.Y. kids fascination with putting lifelike animals on every available surface has continued unabated, and street artists have similarly loosed plenty of birds, frogs, cats, snakes, rabbits, wolves, squirrels, bees and multiple other species onto our streets. The occurrence of lifelike and fictional animals has been frightening, adorable, educational, and enjoyable.
One theory for the reappearance of the natural world in such numbers on our street walls (yes, there are theories) is rooted in native people prophecies that the animals are spirits coming to reclaim what once was theirs. Looking at how humans are rapaciously mucking up the natural world, I don’t know why they haven’t started diving at our necks already.
So, perhaps all of these street art animals are here to remind us how vital it is for us to to re-connect with them and live in harmony with each other. For instance, I give the squirrels and pigeons of our city much credit for making it here; Tough, resilient, and cranky, they may be the original New Yorkers. I’ve learned so much from them. When a pigeon refuses to move from the spot on the sidewalk where she is waddling I smile and walk around. New York is hers as much as it is mine, dammit.
The images below, some previously published on BSA and some brand new, are a tribute to both the artists and their subjects.
by Don John
Last week I attended Stroke02, a 4-day art fair for Urban Art that takes place in Munich, Germany. It is held in a former Federal Bank office building that is about 4 stories completely full of exhibitors.
I was with the gallery/store called Rocket, where I exhibited together with Lake from Berlin and Johannes König from Munich. Last year the Stroke festival had 7000 visitors and my guess is that this year was about the same.
The visitors did not only consist of young people, but also a fair amount of middle-aged visitors. I thought it was great that Stroke had succeeded in reaching out to this segment as well.
The fair also featured live paintings from: Case, Herakut, Ma’Claim, Claudio Ethos and Morten Andersen among others.
All in all I think it was great to participate as an artist, and I think that the visitors got a lot of great art for their 12 euro entrance fee.
I also grabbed the opportunity to do two paste ups while in Munich; one on Blumenstrasse and the other on Fraunhoferstr.
www.donjohn.dk
http://donjohnstencils.blogspot.com /
Pics from Stroke02: http://www.flickr.com/photos/48068772@N02/
Our weekly interview with the street, this week featuring Sweet Toof, Robots Will Kill, Ludo, Clown Soldier, Swoon, NanooK, Gaia, Faile, ROA, Shepard Fairey, Sting, Aakash Nihalani
While in town for his first solo show in NYC at Factory Fresh Gallery ROA has been busy getting up in Brooklyn. His new piece is nothing short of magic. In an unusual twist on a street art act usually considered a dis, ROA actually goes over himself — and transforms his gigantic hog into a dead rabbit..
Here is the original swine portrait, which ran for more than a year solidly without interruption (with some help from Noah Sparkes in the colorful background).
And here is the brand new rabbit pulled out of his imaginary animal kingdom. Following one of his themes, ROA reveals the inner skeletal structure of the animal – it’s bit educational for those who may be taxidermically inclined.
Thanks to everybody for the shout-outs about Fun Friday. We love you too.
I saw her at the party/auction/fundraiser on April 24th at Factory Fresh but I didn’t know she was shooting a video! So cool because she captured the fun crowd and the funnier DJ mixologists Sifunk and Garmunkle, who really rocked our already over stimulated brains with a rhythmic cut-copy-paste blend of funkiness. (get Paul’s New Mix FREE here) Anyway, thanks Natalie!
And on that note, thank you to all of the street artists who generously donated their time and work and creativity to the auction, which raised $16,000 for the programs at Free Arts NYC. Thank you also to the staff and many volunteers who helped make that show work – BSA recommends these people and these programs that provide valuable services to our neighbors and to NYC kids. A number of Street Artist already know about their programs and have volunteered as Big Brother/Sister mentors and worked with kids and families in the programs. Here, Cynthia and Alexis talk about their experience:
This year again, Free Arts NYC has committed to serving an additional 1,000 children to meet the high demand in New York for their programs. We hope you will consider donating today by clicking here to help them reach this important milestone and close the remaining $25,000 gap needed to expand their programs.
UR New York, true born and raised New Yorkers, not transplants like most of us, are taking their street art game another step forward in a positive way. You see their cool canvasses, but do you have any idea how many steps are involved in making a print?
Here’s a studio stop-action video that shows how the New York Duo 2Easae and Ski just churned out their first print called “Arsenic” with Art Asylum Boston. They only made 10, but it looks like a lot of effort. Using cans and brushes, these brothers are combining the best of their experience into their work.
UR New York, Street Artist Ron English has put up a bunch of new wheat paste posters on the Welling Court Mural Project in Queens, NY. The festival starts tomorrow and already the stuff that is up is worth the trip for this community event. English is taking the opportunity to lambaste Consumerism, Greed, Militarism, Religious Hypocrisy, Romanticizing Guns, and Advertising Hammerlocks on your Head — you know, all the lite topics – with a variety of graphic lampoons a la Mad Magazine in the 70’s.ee
See more pictures from Ron English’s online journal at Juxtapose HERE.
You may have missed this, and I’m so happy with it – so that’s two really good reasons to post this new NEW YORKY video we made with ROA this week. Have a great weekend!
BSA…………BSA…………BSA…………BSA…………BSA…………BSA…………BSA…………BSA…………
Artists that were part of the “Street Art New York” Auction Benefit for Free Arts NYC were Abe Lincoln Jr., Alex Diamond, Anera, Avoid Pi, Billi Kid, Bishop 203, Blanco, BortusK Leer, Broken Crow, C Damage, C215, Cake, Celso, Chris RWK, Chris Stain, Creepy, Dain, Damon Ginandes, Dan Witz, Dark Clouds, Dennis McNett, Elbow Toe, EllisG, FKDL, Gaia, General Howe, GoreB, Hargo, Hellbent, Imminent Disaster, Infinity, Jef Aerosol, Jim Avignon, JMR, Joe Iurato, Jon Burgerman, Keely, Know Hope, Logan Hicks, Mark Carvalho, Matt Siren, Mint and Serf, Miss Bugs, NohJColey, Nomadé, Peru Ana Ana Peru, PMP/Peripheral Media Projects, Poster Boy, Pufferella, Rene Gagnon, Roa, Royce Bannon, Skewville, Specter, Stikman, Swoon, The Dude Company, Tristan Eaton, UR New York (2esae & Ski), Veng RWK
Monday while most of New York street art enthusiasts were frantically chasing after Banksy’s new offerings in our city, BSA had the good fortune to spend the afternoon with ROA witnessing the Belgian’s masterstrokes with a spray can on the side of one of Brooklyn’s iconic water towers.
CLICK ON IMAGES TO ENLARGE. SEE BRAND NEW VIDEO BELOW.
It was gray and warmish, the sun was somewhere radiating behind the clouds, and enough spring was in the air to bring a mocking bird to the roof to dart from spot to spot and sit atop a satellite dish.
While ROA lithely paced the roof looking for the right position on the tower and tracing it with his fingers in the air, our fine flying city visitor popped off a few jazzy notes in search of a lady bird who might find his downy wings a refuge from the dirty breeze.
Any cityscape depiction of Brooklyn always includes the silhouette of a water tower or two, and having one of ROA’s distinctive animals embellished with peculiar sooty urbanity across the side of this icon completes some kind of cycle.
Once he began, it wasn’t long before ROA’s bird was poking his head out of the water tank to take a gander at the roof and the river and the industrial gray day that spread across New York.
Our little friend the mocking bird may have known what was happening, but he may have been more interested in the female that also darted by once or twice, and that’s why he kept singing. Looks like a cycle of spring was completed in front of our eyes.
Witnessing ROA at work, one sees that the decision of placement is key – and the execution is tempered and thoughtful. His singular animals are frank and unromanticized – at home on this unvarnished post, a counterweight to caged dilettantes posturing inside glass towers.
The new video about ROA’s arrival into New York and his creation of a stunning long-necked Ibis on the exterior of a tattered and weathered former rope factory in Brooklyn has the stop-action jerkiness of the mechanical crane; bowing and pecking and snapping forward and backward, mimicking the movements of a long necked bird in the wild while ROA meticulously wields a spray can to cover the fine-feathered friend.
Today we continue with our coverage of ROA’s arrival into New York and his second piece this week, a stunning long-necked Ibis on a tattered and weathered former rope factory in Brooklyn.
We all took turns on the cherry picker (hooked up by our buddy Joe F. ) which was a blast to operate and after we scraped the wall free of ivy and managed to not smash any windows, ROA hopped inside and put on his safety harness and drove that bucket smoothly, like your grandpa on a Sunday drive through the countryside.
Using only his eye, his spray can, and a confident hand, ROA mapped out the shape of the feathered creature with no false lines, and no chance of erasing. Periodically he brought the mechanical bird to the ground to step way back and assess his progress and make adjustments: the wild animals’ belly got a little fatter, the feathers more shading for depth. As the sun receded and the lights came on, the painting of the Ibis felt more like an “event”, a performance onstage in the floodlights by one of Street Arts’ rising talents who can command a stage and keep it real.
In Part 2 of ROA’s interview, he talked to BSA about his roots in graffiti, his transition to Street Art, and a few words about our move to the second wave of the street art movement. (see Part I here)
Brooklyn Street Art: How long have you been making animals?
ROA: I think I had a big period when I did all kinds of stuff – from letters to whatever when I was younger. Then I started doing characters. Then for myself I really changed my way of painting and I found out that I really wanted to paint animals. This is a couple of years ago. But then when I look back to the stuff I did when I was younger, there were some earlier tags that were, at that point, not important for myself but when I look at them now I realize that they were already there. In the last few years I think I really know what I am doing. There were signs that told what I might become.
Brooklyn Street Art: So you were writing graffiti first, lettering, tags?
ROA: Yeah, I started when I was like 13 so we copied things out of Spray Can Art and Subway Art – these things were for us like The Bible or something. So if we had a vision of how a piece should be it was like things we saw in these books — colors and a black outline and a white highlight. So for a long time that was what we did.
Brooklyn Street Art: These books were like textbooks for the school of graffiti.
ROA: In a way, definitely. When I started doing that I started skating and listening to Public Enemy. As a Belgian kid growing up in the late 80’s – early 90’s that was the strong influence, these kinds of things – so graffiti was one of these things. So in our minds, it should be done like that. So I think at that point nobody was doing anything else, there was just old-school graffiti..
Brooklyn Street Art: It had become globalized at that point…
ROA: And it is still there. It’s still being repeated now.
Brooklyn Street Art: When did you first see that there began to be a little divide in the graffiti/street art evolution? When did you first get an inkling that things were changing?
ROA: I think because I started to do different stuff, I started to see that there was different stuff. It was not really obvious. People were doing things that were more “characters” like a hip-hop MC with a cute female with a big butt and a chain around (the neck) and a big ghetto blaster. Then at certain points people started painting less of the MC styles – they started to paint extra old-school and “crappy “– in a deliberate way because they wanted “crappy”. A few years ago this was the first “unconventional” graffiti that I started to see – they tried to look crappy. That was for me the first moment that I started to notice a change. And that was the moment when I started to say “you have new styles”. It shouldn’t just be just the old style. You have new styles.
Brooklyn Street Art: So perhaps you had exhausted that vocabulary. You had done everything that you wanted to do and you wanted to discover something different.
ROA: I realized that I wanted to do something different. I had been drawing all my life and I sketched a lot. Most often my sketches were way more powerful than the finished pieces on the wall. So the moment I started to “sketch” with a can, that was the moment when I started to see for myself the change. When I stopped doing surfaces and I started doing lines… It is just a way of painting or drawing. You have a certain kind of culture where it came from but aside from that – it’s just paint and a surface to paint on so at that point I realized that there are so many things you can do and ways you can try to do it with spray paint.
Brooklyn Street Art: So now the proverbial horse is out of the barn and there is no use closing the door..
ROA: Yeah, I think so. It’s too late, that’s for sure. Of course you don’t know what the future will bring and I’m not saying I’m going to do forever what I am doing now. I try to keep on pushing it farther and sometimes I take two steps back and re-examine. It is not always clear, that’s the nice thing.
Brooklyn Street Art: So, for you it is like an evolution.
ROA: Yeah, I think so. It’s an endless evolution. That’s what is so nice about drawing or making stuff. It’s like a piece – when is it finished? Never. You can work on it for hours and hours more and then “Is it finished?” – you never know, eh? It’s like with drawing, too..… when are you a skilled artist? When you die probably, then. Then you are at the end of your journey, then you know what you know. Then you can not know more. Until then you can learn every day. With drawing it is not like a game you can complete. There is always a new level. Even if you get to the next level, then you have ten new levels. That is a nice thing about it, there is no ending.
Regarding the first wave of Street Art:
ROA: …everybody found a style and repeated it over and over and it was all around and people saw it and it was crazy what you could do with one small logo. Then at a certain point, it gets boring too. If you have the same logo over and over — I’m not the guy who says what other people should do, though. I want to do what I want to do.
Brooklyn Street Art: So you feel like now we can identify some of those practices as being a part of the “first wave” of street art?
ROA: I think that made a big difference. Then people made logos and t-shirts and toys and calendars and condoms and whatever, which is ,in a way, really funny. You can do it with stuff like that and you can be all over. But at this point I think we are at a new level and people can do stuff like that but it is more interesting if somebody does stuff with it and it continues and it grows and it lives and you can be surprised by most of the new work. It is not like this symbol repeated again and again with a different color and a little slight twist. In the end, it’s been done. Sometimes it is time to move. When DuChamp put his urinal in the museum it was really one of the biggest statements of the last century. Definitely. But the next guy who did something similar was less interesting. If you see what was done later in the same tracks, it’s really boring. It’s good that things get knocked down and rebuilt and knocked down.
Don’t miss ROA in his first New York Solo Show at Factory Fresh May 14.
The eagerly anticipated arrival of one of Street Arts’ spray can naturalists in New York was begun with a marathon 15 hours of painting of two walls in Brooklyn that in the early morning hours of today.
Energetic and excited to be here fresh from a successful show in London at Pure Evil Gallery, where he sparked great interest with his loud-speaking silent animals inside and outside the box, the down-to-earth realist ROA began his NYC tour with two incredible gifts to his host city. With days to go before his first New York solo show at Factory Fresh gallery in Brooklyn, it only seemed natural to ROA to get up strong on BK walls before heading inside to knock out new pieces.
“Brooklyn Free Style” was the word ROA decided to describe the approach he had yesterday to his work – a nod to the hip-hop culture of creating on-the-fly as well as the sometimes chaotic path a day in Brooklyn can take for a jet-lagged Belgium who didn’t really know where his new walls were, let alone what they would look like. Just like you might expect from a former graffiti/skater kid who still listens to Public Enemy and Suicidal Tendencies to keep balanced, this guy only wants to hit higher more difficult walls than the last time, and he does.
As we saw throughout the day, a bit of chaos is a natural environment for ROA and one he relishes creating within – embrace the imperfect world. He likes to take what comes flying at him and deal with it with dexterity and an intuitive flow. Our day included rented cars, roaring trucks, ladders, chairs, bricks, soil, plants, trees, a monstrous cherry picker (thanks Joe), pleasant sun/punishing sun, high winds, dark skies, blowing rain, flying garbage, old vines, utility lights, fat caps and thin, good paint and bad, rollers, a harness, utility lights, hand-rolled cigarettes, and some of Brooklyn’s best family biz food.
Like a wild willow sprouted from a patch of SuperFund soil in an abandoned industrial city lot, ROA bends and twists and re-configures effortlessly, ultimately standing strong no matter what flies his way. His credo is to find inspiration in adversity and yesterday he made obstacles seem effortless – welcoming the challenge, incorporating design issues and moving forward. It makes sense that his chosen subjects are the animals that get overlooked, are many times missed, yet persevere despite man’s dreadful determination to destroy.
In this first of a two-part interview, ROA talks to BSA about his approach to his work and his animals.
ROA: I’m not really prepared, but I have a lot of things with me. I have a lot of cans, caps, things with me so I can decide what I want to do at the point at whatever point I am in the piece.
Brooklyn Street Art: A little Brooklyn Freestyle
ROA: Yeah a little Brooklyn Freestyle.
Brooklyn Street Art: How did you decide on this particular bird today?
ROA: I think because of the shape of the wall and with the stuff that is in front of it, it makes sense. It is really important when you enter a place that the animal looks at you. If not, it would not the same dynamic. Also it is not necessary to fill up the whole wall – it is filled but it is not filled.
Brooklyn Street Art: It genuinely occupies the rest of the wall without really being there.
ROA: Yeah. That is not always possible, sometimes you have a ladder, sometimes you do not have a ladder to reach, some times you have a pole, some times you do not. What you make all depends on what you have and how high the wall is.
Brooklyn Street Art: So that is one of the first things that art students learn about : how to recognize and deal with positive space and negative space compositionally. A lot of your work definitely utilizes the negative space surrounding it.
ROA: Yeah, I think it grew by doing so many walls. In the end you begin to feel how something should be on a wall. It’s logical when you are a little kid and you begin painting graffiti and you have six cans and a wall and you just start right there. As you paint more and you paint bigger you begin to see the thing in its totality. I think placement is kind of important for the piece. But it is also the possibilities that exist that tell you what you can and cannot do. It’s always depending on the possibilities. You can see immediately what it should be, and you see what is actually possible. If the two come together then you’ve got the perfect situation.
Brooklyn Street Art: So you do what you can with what you have.
ROA: Yes, I think that is the main rule. And the wall is part of that. In a way, the wall tells you what you should make.
Brooklyn Street Art: You do tend to favor more difficult surfaces instead of smooth flat pristine surfaces.
ROA: Yeah, I like texture: I like when a wall, or an area, or a building tells a little bit of a story. It is sometimes really boring to paint on a wall that is just one color. It is always better to start from something that is interesting. That is probably the same reason why I don’t paint normal canvasses. There is not a lot of inspiration. But if you’ve got some dirty materials, it’s got a little bit of the story already. In that way it is like the walls… The shape and the textures tell you immediately what the possibilities are. There’s always more than one way.
Brooklyn Street Art: Do you have any animals at home?
ROA: Yes I have a cat and a turtle. The turtle was a gift from a really good friend of ours and the cat chose our home as its home so that’s how the cat came. At a certain point she was there and she didn’t want to leave so she stayed. We had moved to a new house with a basement and we were there for a month and I decided to check out the basement and I left the door open. At night we were watching TV and the came in. I thought it belonged to one of the neighbors so I put it outside and the next day she was back in the basement. So probably she was living there for a long time before us. We moved to 3 different houses and she moved with us and 10 years later she is still our cat.
Brooklyn Street Art: Did you ever do a portrait of her?
ROA: No. That’s not true I did some sketches of her – her form, a study of a cat. But I never painted her on a wall or something like that. I think animals like cats, even though they are powerful and beautiful, when you draw them you you can end up really easily with something that is a clichéd image of them. I have done an image of a cat with its skeleton inside but I’m always a little bit scared of doing cats, dogs, tigers – you know what I mean?
Brooklyn Street Art: Have you seen the cats that C215 does? He does those pretty successfully while avoiding “cute”.
ROA:Yeah, it’s true. The way he does it is not like a postcard or a cheesy album cover from the 80’s, you know what I mean? Anyway I like to paint unpopular animals. In a certain way I think it’s nice to paint animals that people expect.
Brooklyn Street Art: You also like rats…
ROA: I like rodents. Birds and rodents. Without having made a choice, I feel really good painting birds and rodents.
Brooklyn Street Art: Do you feel like you are telling their story?
ROA: I’m definitely representing for them. That’s for sure. Regarding their “story”; I don’t know what they want to be told. If you could ask a bird what they are thinking about what I’m doing…. Definitely people eat chickens, pigs, and cows but they are not so familiar with the animal itself. They know it as food and these animals are more useful animals in a “product” sort of way so I think it’s good to confront people with what they are eating or what they are not familiar with. But I leave it more for people to see what they want in the animal. There is not a message – maybe for myself but it should not be seen that way. It’s just nice to do animals that are not typical. A lot of people hate pigeons and rats but I like them a lot. I think it is fascinating that certain animals really did not die out because of humanity but instead they use humanity to survive. I think it is interesting to see birds making nests in old buildings.
Brooklyn Street Art: They persevere..
ROA: in spite of our total f*ckups and global destruction. So I think it’s really fascinating – more than our cats and dogs that are totally domesticated as pets.
Tune in tomorrow for PART 2: Amazing images of ROA’s giant second Brooklyn piece and we talk about his start as a graffiti kid, how he transitioned to street art, and why we may be entering the “second wave” of street art.