Taking a decade long view of your creative life can be astoundingly instructional if you are brave enough; perusing over the body of work that you have taken with eyes focused and blurred may reveal broad outlines and finer features of a creative life-path – a psychological mapping of the inner world and its outer expression with all its impulses, longings, expressions of received truths and newly discovered wisdom.
Franco Fasoli aka JAZ has looked over his last decade (2009-2019) of work as a street artist and fine artist and offers you the opportunity to examine his public and private side as well in this new two-volume compendium. Painting on the streets since the mid-nineties and his mid-teens in his hometown of Buenos Aires, the visual artist knew his path would be a creative one. His family and role models, comprised of well-schooled artists and educators, had provided a foundation of critique and appreciation for him to build upon from the earliest years.
Now with many miles of travel on his personal odometer and introduction
to greater opportunities and institutions his visual output is here codified,
examined, and assessed in printed and bound form, to be respected and valued.
As observed in an essay by his street painting compatriot Elian, “Today it is
no longer about what physical space we select for each of these terms and their
respective experiences, it is about extremely sensitive decisions on what we
decide to transport from mental territories to others.”
Extremely sensitive is an appropriate descriptor. These massive and fragile and indestructible works all respond to weighty matters of history, struggle, nationalism, mythology, archetypical roles; now mingled uncomfortably with the ethereal nature of modern living that collapses, compresses, cheapens aesthetic values and relationships. Here is adolescence clamoring for maturity, idealism melting with monsters of the imagination, truth abutting uncomfortable irony.
In “Publico: Privado” JAZ has invited you to go on the trip with him. Artist,
teacher, and curator Diana Aisenberg writes in her essay, “I imagine the work
as a ship, a means of transport, as close to teleportation. It is the one that
moves and finds its place, there where it is necessary.”
Posters knows his street art and activism history.
From Beuys’ practice of ‘social sculpture’ and John Fekner’s blunt upbraiding of urban planning hypocrisies to AIDS activists using street art to shame government homophobia and the paint-bombing of a Mao portrait that led to the arrest and torture of the artists/activists for counter-revolutionary propaganda, he’ll give you a solid foundation on precedence for this rebellious art life in “The Street Art Manual.”
He also knows how to yarn-bomb.
And myriad other techniques for freelance intervening in city spaces that you own, that all of us own, but which are often commandeered for commercial messages, political propaganda messages, or commercial-political propaganda messages – otherwise known as fascism.
His new book on hacking public space is one of the most instructive, constructive, serious and light-hearted romps through your world with new eyes. He has mastered a balance of educational and fun, sane and irreverent as he takes you methodically with text, photos, and cleanly modern diagrams through practices such as graffiti, stencils, paste-ups, subvertising, large-scale murals, yarn bombing, guerrilla theater, dropping banners, light projections, launching paint projectiles, and mastering aerial art via drone.
One may say that it is a handbook for taking back your voice in a sea of disinformation to advocate for a point of view. But don’t take yourself so seriously, dawg. Also, mind your manners. For being a rule breaker, Bill Posters wants you to be gentlemen and gentleladies and gentlepersons – Don’t just hit the streets as a hormone-fueled dunderhead who rides roughshod over others in a toxic, abusive way.
Check out his list for how to do the most fundamental of forms, graffiti. The “DO” list includes admonitions to “say something more than your name. Stick up for those less privileged”, which may sound like a tear-jerking sermon. But then he also tells you not to bring your cellphone to the train yard, which just seems logical.
In the “DON’T” list he suggests you don’t go into train yards without experienced writers, and he implores aspiring aerosol mark makers to be original, “Focus on developing your own voice and your own style.” In many ways, Bill Posters is the supportive dad you never had, which probably would have helped you avoid this whole vandalism lifestyle to begin with.
But since you are a vandal or are unwittingly breaking some municipality’s law by wrapping a sculpture with crochet to look like a clown, he does offer direct advice on dealing with authorities, knowing your rights, knowing what your options are, and knowing that some times police actually like your art and might let you off if you don’t act like a jerk. All that said, this book is not about breaking laws, it’s philosophically about reclaiming public space and having a voice in your society.
history, people have used creativity to push against conformity in search of
experiences that create more meaning,” he says in his introduction. “Street
art, and its predecessor, graffiti, are two art forms that do just that.”
when doing your subversive or society-saving art installation under cover of
night, elsewhere he recommends, “Don’t forget to scope things out and check for
onsite security. Dogs are a real issue when you’re stuck on a fence, hanging
there like a tasty human sausage.”
The Street Art Manual by Bill Posters. The Street Art Manual new US on-sale date is now Sept. 8th. 2020. Published by Laurence King Publishing Ltd. London, UK. 2020.
Crossroads, the new monograph from Alice Pasquini is full of the young daring and confident girls and women whom have been traveling with her since she began painting walls around the world two decades ago.
Rendered in aqua and goldenrod and midnight, withstanding winds and rains, these figures are willing to be there as a testament to the daily walk through your life. A survey and diary of her works and experiences, her style is more human than international in its everyday appeal, advocacy gently advanced through the depiction of intimate personal dynamics and internal reflection.
Perhaps this quality alludes to the invitation of interaction, the ease of integration with the public space in a way that the cultural norms of her Italian roots influenced her.
“In Rome, where I grew up, everything is urban art. Any little fountain or corner was made by an artist. And there were always a lot of expressions of freedom in this city,” she says in an interview here with writer Stephen Heyman.
Alternating between aerosol rendering, ink sketches on
paper, and the sharpened portraiture of street stencils in hidden places,
Pasquini can distill a moment that is perhaps remarkable, perhaps everyday
“I have discovered that art is a universal language,” she
says. Working in the streets I have found myself in countless situations,
whether exhilarating, educational, or expected. I receive immediate feedback,
whether it be surprise, joy or curiosity of the passerby, irrespective of age
Elsewhere in an essay addressing the still-current imbalance of representation of males and females in the Street Art scene internationally, she speaks of a social aspect to her practice, a fulfillment of her desire to engage and encourage women to be themselves and be present, fully immersed in public life.
“Maybe women are presented with a behavioral model that limits our liberty to be ourselves. They tell us how we should be. By painting the women I see, I try to show to them – like a mirror – what they could be but what they repress. It is an incitement for women to do what they wish to do.”
With page after page of images in these Crossroads, the artist presents many people, not unlike herself, and undoubtedly extensions of her. Tender, confessional, timidly hiding in plain view, these figures are public expressions for introverts, observers and dreamers who must confront the harsh chaos of the metropolis, but who are happier without the tumult and able to conjure beauty without the drama.
Longtime stalwart friend, advisor, and manager Jessica Stewart gives readers a warm and close view of the artist and her practice, adding a timbre needed to fully appreciate the work.
“I’ve often remarked to Alice that she’s lucky that she knew what she wanted to do since she was a child. I sometimes think that she doesn’t realize just how rare it is to not only have that calling but to be fearless enough to follow your heart. Through her example, who knows how many others will be brave enough to also take the leap.”
With extensive biographies, careful detailed analysis and research, and generous page real estate dedicated to art, artist, and process, “New Orleans: Murals, Street Art, and Graffiti Volume 1” by Kady Yellow is a thorough look at a street scene in one of the US’s most storied cities.
The author tirelessly documents with a sense of the history while drawing out stories that illustrate the present in a scholarly way. A blend of left and right brained appreciation and analysis, this first project by the young author gives a sense of environment and community as it contributes to the practices of graffiti and art in the streets.
“It became clear that New Orleans has a remarkable new story to tell, a story of its street art scene,” says the author. “In telling that story, I sought to respectfully and delicately collect the history of the art in two neighborhoods of New Orleans by way of research and interviews with the artists themselves.”
With anthropologically framed storytelling applied to a very eclectic selection of art practices and styles, Perry includes personal accounts of aspiration, pragmatic descriptions of craft, and a frank examination technique – all presented within the context of a local story informed by the international one.
Interspersed in the book are school primer features like an urban art terminology glossary, a New Orleans timeline tracing benchmarks in its graffiti/Street Art history, a street mural map, and a number of small essays and media article quotations – each providing one more perspective for examining the nature of this organic people’s art movement. If a city’s graffiti/Street Art scene can be fairly captured in a moment, this book has clearly made it a priority and has more than succeeded.
Nothing to lose your head about, but you’ll be thrilled
to hear about the long-anticipated release of the new monograph by the
ingenious troublemaker and largely incognito Chicago Street Artist DONT FRET.
Emerging on the streets for a decade or so with painted wit and misshapen characters wheatpasted where you least expect them, he’s the sharp observer and human humorist whose work is as brilliant as your cousin Marlene, as funny as Johnny at the funeral home, as handsome as the guys behind the counter at Publican Quality Meats.
maybe not that handsome.
“This is place-based Street Art, a running commentary on life in this neighborhood that captures the off-the-wall imperfect nature of humans in a pock-marked and still proud American city after capital leaves it, slowly imploding, coasting on fumes, hopefully rallying, quickly stratifying into luxury lofts and the rest of us,” writes Steven P. Harrington in the foreword to this hefty chunk of comedic meat. Peering through these pages, the feeling is inescapable; Somehow you sense like you know DONT FRET’S people – probably because many of them came directly from these streets.
“I think you have to live life like you are invincible,” says the artist on the back cover of Life Thus Far, “but I also think you have to live life understanding that that sort of thinking is a result of a serious psychological disorder.”
We’ll talk to
you more about this in a few weeks, and with the artist, and we’ll find out
about his circuitous route to the streets of working class Chicago, how a fish
rots from the head, the significance of the original Billy Goat on lower
Wacker, and why Studs Terkel is more relevant today than ever.
DONT FRET “LIFE THUS FAR” Schiffer Publishing, Atglen, PA. 2019
In the Street Art continuum that presents itself to the passerby on city streets, the early practice of hand-drawn tags on stolen postal stickers eventually morphed into mass-produced slick runs of personal branding and large scale one-off hand rendered/cut paper pieces wheat-pasted with a brush. This story, ever-evolving, is more inclusive than some may think of when you talk generically about “slaps” on a door or on the base of a streetlamp in the city’s visual dialogue. For the book Stickers Vol 2, author DB Burkeman takes a wider survey of the practice, however, and in his second compendium, he goes where BSA has always followed the creative spirit; wherever it leads.
In practice, there are few strictly “sticker artists”. More often there are artists and taggers who also use stickers as part of their public practice which may include painting, aerosol tagging, freehand marker tagging, printing, wheat pasting, sculpture. By adapting the techniques and language of advertising, propaganda, and branding, artists have seized the opportunity to have a voice in the public sphere that is more often only reserved for commercial interests.
Street Artists’ practices of self-promotion are
indistinguishable from those of commercial or political interests – and why
not? The public space has always been used as a battleground for ideas, a
marketplace for attention, a proving ground of identity and power, a theater
for capturing imagination, a Socraterial classroom for presenting and probing
ideas and the examination of our assumptions about them.
In a fiercely democratic way, with a very low admission
price, all motivations are presented here, and all of them are flawed, and all
of them are perfect.
Burkeman’s sophisticated examinations of sticking practices are equally wide in his survey – his own full immersion into art, music, performance, consumer psychology, pop culture, and advertising giving him a comprehension and appreciation of its seeming seamlessness.
Burkeman’s introductory essay addresses topics ranging from billboard busting, culture jamming, market forces and Warhols’ bananas – admitting that his baseline appreciation has not waned even as his own study lead him ever deeper and deeper into an ocean he still hasn’t fully fathomed since launching his first sticker volume, Stickers: Stuck-Up Piece of Crap: From Punk Rock to Contemporary Art.
“Even after ten years of having this adhesive monkey on my back, I’m surprised that I can still get a kick out of the conversation that happens on the street when someone puts up a sticker,” he says. “It’s like a radiating signal to have others put their own stickers up next to it, as if to say, ‘hey, what’s up?’ The result is a cluster of paper and vinyl personalities.”
Keeping it contemporary, he also calls in experts from this idiosyncratic world of expressions to further your appreciation for the sticking practice as a reflection of society and a catalyst for it – from the Street Artist Invader to the blue-chip curator/innovator Jeffrey Deitch to fans/visionaries like Stretch Armstrong, C.R. Stecyk III, Dante Ross, and The Super Sucklord.
Using his first book as calling card, many doors have opened to Burkeman, enabling access to collections and rarities, deep dives into the crates, selections of unknowns that you would otherwise not have access to – let alone the opportunity to appreciate. You also get a selection of stickers for your own collection by serious names, including Bast, Lister, Shepard Fairey, Skullphone, Futura, Ron English, and Neckface.
“Cheap, immediate, and unapologetically in your face, the sticker remains the go-to, lo-fi expression for many a band, brand, and fan,” says Don Letts, a founding member of Big Audio Dynamite, among other things. Clearly, the images and messages sent and received using this method have been a boon to those looking to have a voice, and the sticker practice will continue apace. Undoubtedly, DB Burkeman has it covered.
Enthusiastic authors like Serge Louis can make Street Art sing, even in print. His new “Stencilists/Pochoiristes” is a finely illustrated hardcover of iconic images from the street. The carefully selected plates are placed within interviews in French and English.
The 17 stencillists whom he has selected are from a populated field of possibilities but he captures a fair range from his travels in Europe – with a few from the US to compliment them.
In the intro from Samantha
Longhi, who wrote a weekly stencil column here at BSA years ago – in
addition to being a gallerist and former editor of Graffiti Art magazine – you
get the sweetest memory of a Miss Tic stencil being buffed in her neighborhood,
and a sense for how it rocked her world.
“I had truly lost it that day. I felt that this ‘Birth of Venus’ that
was re-interpreted by the Parisian stencil artist literally belonged to me,”
she says. “It was the stencil I looked at every day, morning and evening, and I
had made it mine. It was the beginning of everything for me.”
You can tell that
this is the same level of appreciation that Mr. Louis invests in his book, with
ample space given to the artists to express their specific approach to the
lunacy of art on the streets.
“The first trigger was living with two graffiti artists when I was a student,” recalls stencillest Jaune talking about his introduction coming from graffiti. “They would go out tagging at night, putting up small works in the streets… This is how I discovered the graffiti movement. I was very interested in the fact that artists could, just like that, write something completely unauthorized on walls! But I didn’t want to do it myself because visually it wasn’t me. The second trigger was the stencillist Banksy.
Speaking of the famous Bristol-born stencil artist, there are a couple
of topics that recur throughout these interviews; most of these 2nd/3rd
generation practitioners point to their pioneers like Blek Le Rat, Banksy, Mis
Tic, Jef Aerosol, Ernest Pignon-Ernest, and C215 for setting the standard. The
second topic that comes up frequently is that cutting stencils is a time-consuming
practice and it is far more involved than most people appreciate.
The photorealist Niz talks about her work in a way that many artists can appreciate. “If you were working with a regular job, if you work an eight hour day, you come home and all your creative energy has been used for something else. Because actually, you need to have time and energy to think about your stencil. You need to execute it. You need to look for materials and do all that stuff. So, unless you are rich and wealthy and you can afford a lot of free time that is disposable, it is challenging doing stencils!”
” …you have to carry this wet and sticky template around with you, which adds some serious complications to bombing. Secondly you have to have some type of tight spray can control to pull it off. Thirdly there is a lot of thought to put into stencil design prior to painting. I think anyone that has ever tried stencil art and is actually pulling it off, would agree with me.”
From painterly and multi-layered, to the simplicity of symbols, in the vernacular of advertising, or with a knowledge of art history, the collection represents a good cross section despite the limited size of the list. In his essay, the author is an idealist, and a philosopher – revealing his engagement to be as civic as it is poetic.
“Stencillists are first and foremost profoundly human. And radically humanistic,” he writes.
“They release citizens to express themselves… their criticism of the world is essential and vital for us. They take risks. They raise awareness. Stencil artists radically change how we look at things, as a passerby or as a resident, making us more attentive and more alert to the urban condition..”
Maedia Publishing will host a book signing on June 1st at 212 Arts Gallery in Manhattan. Click HERE for all the details.
Amid the detritus of the urban cityscape in decline, it is a
welcome contrast to see a dandelion or wild daisy sprouting up from a crack in
the sidewalk. Not only is it a reminder of the original inhabitants of the land
you are standing on it is an ever-present truth that the plants and the trees
and the animals will inherit the earth again, no matter what grand ideas you
have for it.
The simplest symbol of nature in the layered debris of urban
margins, and a decorative one, is the flower that Micheal De Feo has been
“planting” on walls since the early 1990s. The practice has sustained him
through many cities and travels abroad, introducing him to artists and fans and
collectors, eventually pushing him into explorations of contemporary art.
“Conceptually, I had stumbled upon something that made sense to me on so many levels,” he says in his new hardcover book,”Flowers”, published this spring by Abrams, New York. “Using whimsy and beauty, I was inspiring smiles and also making connections to ideas about the cycle of life and the ephemeral nature of all things.”
The collection of early images of this simple flower popping up in many streets and scenes remind you of your connection to nature and to his art, almost taking it for granted.
learn from watching your artwork set roots in a city,” say the Street Art duo
Faile in their intro to the book, “causing people to pause in an alley or on a
side street, to stop and look: You see the city in broader terms.”
Now expanding in studio to abstractions and a gestural piling-up of brushstrokes around and upon commercial figurative photography and more recently over top images of classical painting, De Feo is refining and redefining his practice. The newer works are well suited for magazine covers and living room walls as he transitions to a decorative contemporary oeuvre. But the simplicity is still there, happy to be in your world.
so you’re the flower guy!”.
If you are in NYC this Thursday, April 25th Michael De Feo will be hosting a Pop-Up party, exhibition, book signing and the release of a new special print in celebration of his book FLOWERS. The Pop-UP will be held at 198 Allen Street from 6:30 – 9:00 pm on April 25th and on Friday, April 26th from 10:00 am – 5:00 pm.
Anyone born after 1960, and that includes most sticker artists on the street today, has a positive association with the humble sticker. From “smiley” and “gold star” rewards stuck to the top of your grade-school class papers to scratch-n-sniff or puffy stickers to MAD magazine product parodies for Quacker Oats and Minute Lice, a lot of kids grew up with good feelings about slaps.
Over the past two decades a serious community of sticker designers, traders,
artists, exhibitors and collectors has emerged – virtually assuring that public
bathrooms in heavy metal/ punk / hip hop/ alternative music clubs will be covered
top to bottom or ‘smashed’ with stickers. Adhesive equivalents of a business
card or portfolio sample for many artists, musicians, philosophers, anarchists,
and wise guys/gals, stickers are a quick and relatively inexpensive way to get
your message out to the world.
The sticker artist and curator named “I Will Not” has rallied together
thousands, even hundreds of thousands of stickers by artists from all over the
world during the last few years to mount sticker shows inside of the gallery
space – taking the concept of a group show into near infinity. A solo practice
intended for public campaigns, the global interconnectedness of this scene is
irrefutable, enabling entire galleries to showcase a massive amount of work at
once, including these from the DC Street Sticker Expo.
Like most subcultures, this one has a semi-tight set of rules and conventions and customs. For example, it is common to share your stickers in packs with other artists, but you are expected to put theirs up in your city. As in graffiti and Street Art, it is also verboten to obscure another artists sticker with yours on the street and any violation of this rule may result in “beef”, or a street grudge and public rivalry.
A book like “Smashed” can only come about with the complete passion of an author like IWillNot, who shares his infectious enthusiasm for the sticker game in this softcover volume. Here are some images from the book, as well as a link to learn more about it.
A welcome and necessary addition to any graffiti academic’s library comes Urban Styles: Graffiti in New York Hardcore, carefully documented by Freddy Alva. A thorough recounting of the birth and growth of graffiti through the lense of punk and hardcore scenes after 1980, Alva presents a parallel evolution of a scene as it was interpreted by a largely white constituency of rockers, anarchists, and rebels who grew up in and around New York at that time.
Alva is careful to give due to the graffiti scene that is more often identified as the roots of this practice of urban mark making; the hip-hop culture of primarily black and latino youth during the 1960s and 1970s. As the neoliberal corporate capitalists took over Wall Street and the Reagan White House, a different sort of graffiti writer was often showing up on the street – and often on stage as part of a hardcore band.
Mr. Alva says that early hardcore bands like Frontline “became an important foundation to the eventual hardcore and graffiti synthesis that would come to envelop the scene.” It makes sense since the band featured graff writers including HYPER, RACE, ME62, and NOAH.
It’s an infrequently told history related in great detail following a timeline which identifies the “golden age” of this subcultural hybrid as 1985-1995. Packed full of extensive interviews with writers and essays by experts on the scene like Sacha Jenkins, it summons a gravel-voiced city cinema vérité flavor to a rugged unvarnished history and sometimes conflicting perspectives.
The series of interviews profile a wide number of individuals who are looking back on a common graff writing history; sometimes imparting a certain nostalgic haze to their stories. Their common path leads them to espouse philosophies and worldviews that are somehow universally rooted in struggle, but the insights and individual outcomes are anything but homogeneous. But almost all of them dislike or hate Street Art, that’s nearly universal.
You may not have been there, but you may feel like you were; its complete with amateur photography, a good selection of zines, black book works, ephemera, and some serious info-graphics on crews, members, and neighborhoods where they originated from (shoutout to designer Orlando Arce). The thick tome even offers a selection of relevant tattoo photos.
With a newly released second edition after only one year on the bookshelves, this one captures a big name that is as elusive as it is heralded by New York hardcore graffiti fans, REVS. Also a member of a hardcore band named Adam 12, the writer gives a great deal of insight into his path, ethos and career (see the first online publishing of a portion of this interview on BSA).
Tony Rettman, author of NYHC: New York Hardcore 1980-1990 gives praise to Alva for chronicling a scene that not many have paid sufficient due to and which contributed in a large way that clearly illustrates the interstitial relationships of New York’s various graffiti cultures.
“The correlation between graffiti culture and punk rock is something solely concentrated to New York and it’s surrounding boroughs,” Rettman writes. “Freddy Alva was there to absorb it all in real time and now he gives us the clear-cut history of the whole deal it all its grim and gritty glory.”
“I have had the good fortune of maintaining decades-long friendships with some of the people featured in these pages; the writers that played in bands, the writers that represented the scene, the graffiti crews that were composed of hardcore fans, the photographers of classic train pieces, the artists inspired by hardcore iconography, the tattooists that incorporated this imagery in their work… I have always wanted to give these voices an outlet to be heard and to be celebrated,” Alva writes.
With Urban Styles, he has.
*Banner poem excerpt by Chaka Malik, 2017
To purchase this book please click on the link below:
A corollary to 2015’s “Tracing Morocco” by German street artist Hendrik Beirkirch (aka ECB), a new book travels to meet the rugged inhabitants of Siberia’s countryside in the Russian Federation. The results are starkly genuine, impressively authentic.
Again indulging us in the deep crevasses of many a weathered façade, Siberia invites you to meet the people whom he has met in his travel and presumably befriended, given their ease as subjects. A part of the Jardin Rouge stable over the past few years, Beirkirch has followed the lead of founder Jean Louis Haguenauer, the Frenchman who moved to Russia in the early 1980s and found his own odyssey outside the city to be formative to his character, leading him to write the introduction to the handsome tome.
“The work produced is a testimony, a memoir,” says
Haguenauer, “These modern faces that hark back to the past, these women and men
immortalized on canvas, ambassadors of their trades and their regions on walls
around the world, convey another image of the largest region on the planet and
of a sadly little-known country, of which we wish to provide a new vision. It
is the everyday women and men, passionately living their trades, who are the
heroes of this new project.”
Indeed there are few signs of artifice or romanticism in the
sure-footed subjects here, and you are offered a glimpse of their context with
some of these new portraits. Seeing them translated to grand scale as murals
spanning towers is remarkable, and one can only imagine what impact they have
on the people who live in or pass through these neighborhoods. Scattered through a number of cities, there
is a familiar feeling in each of these strangers, perhaps feeling like family
“Untainted by any attempt at idealization, the faces of those portrayed tell the story of real life,”
says Arne Zyprian in an opening essay. “Paradoxically, these anonymous guises
pictured on a vast scale on the sides of buildings offer a break from the
overall anonymity of the cities and give them a face.”
Interspersed with canvasses and murals are observations that attempt to examine why we find the singular visages so compelling. There is a temptation to look at a new people in cultures different from our own as the exotic “other”, to simplify their existence by what we can observe on the outside, or to project our own inner dynamics on to the faces that we see.
One thing is for certain, Beirkirch has found through technique and experience a way for each of these people to become somehow relatable.
“Hendrik pours all of his love for humanity into his
portraits,” says Jean Louis. “There is never any aggression or bitterness in
these people.” Perhaps that is how most of us would like to be seen as well.
Klone is prowling between states, transitory and without volume, beams of light and color washes and flickers of memory, or false memory. The Ukrainian born, Israel bound Street Artist is as good with the unforgiving street as the undefined gallery, muting features from common characters and tracing shadows, summoning foxes, crows, cats as guardians and confidants.
A mark-maker on the streets of Tel-Aviv since the 90s, his practice is by necessity within a hidden realm, and if you stay there long enough, it becomes yours; carefully and boldly speaking, summoning folklore and mythology, mastering the art of masked meaning and inference.
Tagging and graffiti gave way to other urban traditions he has been eager to author, organic in his methods for discovery. His expanding practice of multiple disciplines has led him to the street and into the gallery and back to the street in Europe, the Middle East, the US, back to Kiev. This collection of excursions appears natural, rendered and even intimately warm even when mimicking, forgetful, fragmented.
Even his “Movement” chapter, a section of selected works laid out in stop motion frames, stays safely within an imaginary place, fables of connection, disconnection, alienation. Perhaps most powerful are his ‘digital interventions’ imaginary hybrids of photography, illustration, aspiration. Hulking eyesores of uninspired architecture or remote land masses are embraced, supported, frolicked within, rested upon.