All posts tagged: Tate Modern

Sixe Paredes ‘Futurismo Ancestral’ Opens at Somerset House in London

Sixe Paredes ‘Futurismo Ancestral’ Opens at Somerset House in London

Starting today, for one week only, the Andes will be inside the Somerset House.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

London’s spectacular neo-classical home of arts and culture along the River Thames will play host to an all-encompassing exhibition experience mounted by the Barcelona-born graffiti artist Six Paredes in his tribute to Peruvian and Andean culture. Futurismo Ancestral: An Offering to Peru by Sixe Paredes has been inspired by the traditional and the modern, and aims to meld the two together surreally, and really.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

For weeks we have been seeing the progress of a loosely banded consortium of brother street artists laying plans and constructing exhibition elements beneath the fountained public courtyard. Today the public can experience a series of walkways leading to large-scale and smaller works evoking the rich color and symbols of the region; tapestries, totem sculptures, ceramics and quipus (a system of knotted cords known as ‘talking knots’), masks and fluorescent chichas (posters).

“We are taking over three spaces at Somerset House, essentially the whole of the lower floor of the building,” explains Rafael Schacter of A(by)P, an organization that enables artists to produce events and exhibit work and who organized the installation with his partners and the Somerset House. Built and installed by a “dream team” of urban and street artists and students from University College London, where Schacter teaches, the exhibition is complemented with daily interactive events including Peruvian and Andean food, music, film, and performance.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Futurismo Ancestral is born from the travels of Sixe Paredes to Peru beginning in 2009 and his adoration of the richness he experienced in the culture compelled him to bring it back to share. One of the six street artists featured on the river façade of the Tate Modern six years ago along with Faile, JR, Blu, Os Gemeos, and Nunca for it’s pivotal street art exhibition, Six Paredes completed his most recent large scale wall just last month at the Biennale D’Art Urbain in Charleroi, Belgium.  Schacter, who co-curated the Street Art expo at that Tate show and who authored The World Atlas of Street Art & Graffiti with Yale in 2013, says that this return is Paredes first major solo show in the UK .

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

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Sixe Paredes spotting the future on the horizon. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

During the preparation for this much anticipated and lively show, BSA had the opportunity to speak with both Six Paredes and Rafael Schacter about the origins, inspirations, and preparations for Futurismo Ancestral.

Brooklyn Street Art: After touring Peru and being exposed to such eye-popping color, isn’t it surprising to be in such a grey northern city like London?
Sixe Paredes: It was not surprising for me to come here and find myself in a grey city because this color predominates in so many cities in Europe and so many European cities prohibit murals and even have specialized brigades set up to clean and remove color. Throughout my journey in different regions of Peru I’ve seen a lot of color but color can be found in all the different cultures of the world, when they maintain their primordial essence.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

Brooklyn Street Art: Rafael, can you tell us about Futurismo Ancestral and how it came about?
Rafael Schacter: Futurismo Ancestral is all about the connection between the traditional and the contemporary, the fusion of the Peruvian visual culture and craft tradition with the visual palette so unique to Sixe Paredes himself. Since I last worked with Sixe in the UK, he has been living in between Peru and his hometown of Barcelona, he has become obsessed with the visual culture of the region and has learned the techniques of ceramic and textile production with famous artisans and artists throughout the region. This exhibition is about bringing together the deep history and heritage of Peruvian visual culture, and his love for this tradition with his unique, colorful, distinct style in an all embracing, multifaceted manner.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Brooklyn Street Art: Sixe Paredes, you have already been incorporating a certain minimalism into your aesthetics over the past ten years. Is it difficult to merge that understated quality with the vibrant enthusiasm of Peruvian and Andean folk?
Sixe Paredes: My art has always been characterized by the agglomeration of shapes and colors. Throughout different periods I started introducing more elements, such as the circuits, which led my paintings towards another dimension – this dimension enhanced my painting, allowing for other interpretations of my work. In recent years I have been synthesizing some of my series. I like to play with this idea because it leaves more room for reflection and I don’t need as many elements to express myself. Some of these elements are iconic to my work, such as crests or beaks which have always been in my compositions and can be found there today.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Brooklyn Street Art: The work here is simultaneously modern and folk – with the bold colors and raw patterning and symbols combined with a certain minimalism. Rafael, can you walk us through the spaces in a way that helps translate this convivial duality in an exhibition space.
Rafael Schacter: Somerset House is really an amazing location for us to be working in, we are both proud and excited to be working here! After you have exited our introductory area, our visitors will go outside into the Lighwells, an amazing outside space which has been used for films such as Sherlock Holmes among others; within this arched space, we have built a series of 3 meter high trapezoidal arches – shapes which are highly significant in Inca culture. Acting as a rite of passage, as a journey from one sacred space to another, visitors well make their way into what is called the Deadhouse, an underground catacomb which exists directly below the famous Somerset House courtyard. This space, aptly, will function as a sacred temple space, within which Sixe’s ceramics, quipus and tapestries will be housed.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Rafa Suñen)

Brooklyn Street Art: Not only are the color palettes from the traditional Peruvian culture warm, so too are the materials. Can you talk about the warmer, more earthen properties of wood, of yarn, and hand made masks – and how they affect your work?
Sixe Paredes: Peru has had a considerable influence on my painting palette, bringing more color to it and motivating me to use new mediums, materials and techniques, some of which have endured since ancient times. I always wanted to move towards a new path, a more ancestral path, revalidating primal techniques through a contemporary perspective.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Brooklyn Street Art: You have a stellar group supporting this one week event – some of these folks have had big shows of their own so it’s good to see them supporting another artist.
Rafael Schacter: One of the key things about A(by)P is that we want to be for artists by artists. We don’t want to simply get in a bunch of contractors to assist in bringing the project to life but want rather to recreate the group dynamic and energy that is so crucial to these artists’ worlds. As such, for every project, we want to bring the artist’s family together to help bring it to life; in that way, the creative juices and creative possibilities can flow in a much more organic manner. And not only that, but all these artists on the team are people who we will  continue to work with in the future on solo shows of their own.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

For Sixe’s show for example, we really have got a dream team working together, a group who like you say are all artists of massive acclaim themselves. Both Eltono and Nano4814 are two of my favourite artists in the world; Eltono has just had a superb solo homecoming show in Madrid at Slowtrack and Nano4814 and insane solo show at the Delimbo Gallery in Sevilla. Pablo Limon, our exhibition designer is one of the most amazing makers I have ever come across, a creative genius. And Lucas Cantu, who is working on our graphics, branding and exhibition production, is the director of the Savvy Studios as well as the founder of the Nrmal Festival in Mexico.  As I said, the dream team! And then alongside this we have had amazing support from the students of University College London, who have all been absolutely incredible.

 

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

Brooklyn Street Art: Many Street Artists are bringing the animal world into their work today and sometimes artists will say they are giving the animals a voice to speak to us. How have animals been important in your compositions?
Six Paredes: In my case, the animal theme has been present in my work for many years, and this partly because of the admiration I feel for them. For me, among the most fascinating creatures of the animal kingdom are birds, mainly because of the wide variety of species, thousands of colours and silhouettes – and their relationship to the celestial and to flight. In terms of my compositions, this theme is important to me because it reminds us that we are also animals within the same world.

Brooklyn Street Art: In what way do you think of your work as something that evokes the future?
Six Paredes: I think my work evokes the future because it merges two different visions, the ancient and the contemporary and the bond between them which leads us to reflect about many of the things that humans have left on their way and some of them I think would be important to remember.

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © A(by)P)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

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Sixe Paredes. “Futurismo Ancestral” Somerset House. April 2014. London, UK (photo © Sandra Butterfly)

Sixe Paredes Futurismo Ancestral: An Offering To Peru at Somerset House in London, UK.  Click HERE for more information on this exhibition.

 

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Images of the Week 05.06.12


Our weekly interview with the street, this week featuring AIPOTV, Dain, Jaye Moon, JR, Miyok, Rae, Sanpaku, Tate & Modern, Tazz, Tripel, Willow and Wing.

Jaye Moon (photo © Jaime Rojo)

Jaye Moon (photo © Jaime Rojo)

Wing (photo © Jaime Rojo)

Wing (photo © Jaime Rojo)

Looks like RAE has been hanging out in Chinatown lately (photo © Jaime Rojo)

Willow experiments with ceramic tiles. (photo © Jaime Rojo)

Tripel (photo © Jaime Rojo)

Sanpaku. Look it up! Eye dare you. (photo © Jaime Rojo)

Dain (photo © Jaime Rojo)

Dain (photo © Jaime Rojo)

Tazz takes a crafty turn (photo © Jaime Rojo)

Tate & Modern in Manhattan. “Pardon us for noting, but the last vaguely interesting viral wheatpaste idea occurred in 2002”  (photo © Jaime Rojo)

Help us understand Gilbert and George! Tate & Modern (photo © Jaime Rojo)

AIPOTV (photo © Jaime Rojo)

Miyok (photo © Jaime Rojo)

JR (photo © Jaime Rojo)

Untitled (photo © Jaime Rojo)

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

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Fun Friday 01.07.11

Fun-Friday

Tonight in Brooklyn: “Wholetrain” Screening at Closing Party for H. Veng Smith

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Tonight at Pandemic they’ll be screening the film “Wholetrain” to close the “Identifiable Reality” show by H. Veng Smith.

“Florian Gaag manages to recount a tale colored by tension and aggression. The result is a many-sided portrait of characters whose world has never been documented in this way before. Their subculture remains authentic and realistic. Edgy editing and grandiloquent camerawork, a pulsating soundtrack and an excellent ensemble of actors, make WHOLETRAIN a film experience not to be missed.” – Wholetrain Website

SCREENING BEGINS AT 8:00 PM.
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PANDEMIC gallery
37 Broadway btwn Kent and Wythe
Brooklyn, NY 11211
www.pandemicgallery.com

Walk All Over Shepard Fairey If You Like

On the streets of Milan, Italy five artists (Shepard Fairey, Invader, The London Police, Flying Fortress and Rendo) has been invited to create about 20 manhole covers.

more at The Street Art Blog

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West Coast Holla! – Here’s Three;

Carmichael Gallery “After the Rain”

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Carmichael’s first show of the year “After the Rain” featuring new work by Boogie, Guy Denning, Aakash Nihalani, and Pascual Sisto.

5795 Washington Blvd Culver City, CA 90232
January 8 – February 5, 2011

Opening Reception: Saturday, January 8, 2011, 6-8pm

Whoops, “There It Is” at ThinkSpace

“There it Is” at ThinkSpace

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‘There It Is’
Featuring new works from three Oakland CA artists:
Brett Amory / Adam Caldwell / Seth Armstrong
(Main Gallery)
Paul Barnes
‘Happy Valley’
(Project Room)
Both exhibits on view: January 8th – January 29th
Opening Reception: Sat, January 8th 7-10PM

Thinkspace Art Gallery
6009 Washington Blvd.
Culver City, CA 90232
(310) 558-3375 | Open Wed. – Sat.
1pm-6pm
or by appointment
contact@thinkspacegallery.com

“Street Degrees of Street” – Abztract Collective

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Abztract Collective and Crewest Gallery group show “Street Degrees of Separation”

Opening Reception Jan 2008

CREWEST GALLERY

110 Winston Street

Los Angeles, CA

213 627 8272

BOXI and BANKSY TAKE No. 1 Spots

Here are the Final Results of the Year End 2010 BSA Polls

It was a blast to watch the images jumping positions like a horse race for the last weeks of the year as two BSA Polls were up on the Huffington Post.  Thousands of people participated in the voting and we got lots of funny emails, and some varying opinions – and here are the results;

As voted by readers on Huffing Post Arts page , here are the top 10 Brooklyn Street Art images from 2010.

1. Boxi

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2. ROA, “Ibis”

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3. ROA, “Squirrel”

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4. Retna & El Mac

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6. Os Gemeos and Futura

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7. Jef Soto

Brooklyn-Street-Art-copyright-Jaime-Rojo-7-jef-soto

8. El Mac

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9. Gaia

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10. Gaia

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********************

And in our highly subjective and fun compilation of 10 Best Street Art Moments of the Decade, here are the results of the votes – The Top Five

1.     “Exit Through the Gift Shop”, Banksy

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Image promotional still from movie.

2.     Tate Modern hosts “Street Art”

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© Tate Photography

3.     Nuart Festival Established by Martyn Reed

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© CF Salicath

4.     Shepard Fairey’s Obama Posters

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© Jaime Rojo

5.     Swoon’s Swimming City Arrives at Venice Biennale

Brooklyn-Street-Art-copyright-Tod-Seelie-DECADE 5 Swoon

© Tod Seelie

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Faile Studio Visit: Readying for Rubenstein

Faile Studio Visit: Readying for Rubenstein

A visit with Street Art collective Faile in their Brooklyn studio finds the industrious duo at the center of a small cluster of assistants working on many projects simultaneously.

Faile Studio. Print Shop. (Photo © Jaime Rojo)

The print shop at the Faile studio. (Photo © Jaime Rojo)

The air of collaboration is evident in this maze of activity – as well as an appreciation for process.  The multi-level ex-industrial building has been reconfigured internally over the last decade to contain and accommodate the adventurous appetites of the childhood buddies who took their Street Art from Brooklyn to the Tate, with many stops along the way.

This doesn’t happen for everybody, so in this first visit of two before their upcoming debut solo show at Perry Rubenstein Gallery on November 4, we looked for clues about the creative and working DNA of Faile. In the ten quick long rotten beautiful years of this century they’ve plowed through many experiments methodically from simple one color small stencils on light posts to now museum quality raft-sized wooden block collages that take months to screenprint, saw, sand, and assemble.

Faile First Street Work 1999 (Photo © Jaime Rojo)

One of Faile’s first street pieces from the late 90’s in Williamsburg, Brooklyn. (Photo © Jaime Rojo)

In a pretty remarkable run through the neighborhood and the globe the two Patricks have used aerosoled stencils, screen prints, wheat pastes, roller tags, animated video games, carved wood, vinyl sculptures, spinning prayer poles, even alabaster and tile reliefs in their ever growing collection of work. Cumulatively, the forays have given depth and resilience to their nearly iconic pop imagery.

Details of Multiple Art In Progress At The Studio (Photo © Jaime Rojo)

Details of multiple pieces in progress at the studio (Photo © Jaime Rojo)

Since returning from their Lisbon temple installation mid summer, where their piece (two years in the making) became a focal point for that city’s first biennial, the Faile dudes are now making a multitude of these “wood paintings” here in their Brooklyn studio.  Among the many silkscreens stacked against walls, rolled canvasses in tubes, and pieces by Banksy and Shepard Fairey adorning the walls, there are open wooden boxes, maybe 20 or 30, full of small wooden printed blocks laying open on tables and shelves.

Brooklyn Street Art: When the blocks get that small they are almost just a texture.
Patrick McNeil:
Exactly, or just color palette.  It’s so modular you don’t get stuck with anything, you get to explore a lot and if it doesn’t work you just put it back the way that it was or pull it apart.

Brooklyn Street Art: That’s right, you can reverse yourself pretty easily

Patrick McNeil: Yeah you just kind of build a piece and then realize it works better in something bigger – so they are very loose in a sense. It seems very precision-y and thought out but it’s much more looser than it looks.

Jesus Faile Projected on the Manhattan Bridge for DUMBO Arts Fest 2008 (Photo © Jaime Rojo)

Faile’s Jesus appears on the side of the Manhattan Bridge during Brooklyn Street Art’s “Projekt Projektor” show in Brooklyn during the DUMBO Arts Festival  in 2008 (Photo © Jaime Rojo)

The selective sampling of images that create the Lingua Faile has steadily grown into a library of totems, symbols, pulp art snippets, typefaces and signifiers set free from their context and recombined with a lucid dexterity, a splash of irony, and an inner voice that says, ‘go for it’.  It’s an old-skool visual sampling that doesn’t need autotune for anything, just a hyped sense for combining clips and dropping it on the beat. Talking to them, one sees that it’s a loose intuitive sense that is guiding the process.

Patrick McNeil: And I like what is happening in this one, it’s still coming along. That one, the bottom needs to be worked out. It’s really top heavy. And we’ll kind of pull some colors down. That one is just kind of getting started. This one’s kind of in the middle right now; Just slowly working on blacks and switching things up.

Brooklyn Street Art: So you’ve used a lot of powdered pastels…

Patrick McNeil: Yeah…

Brooklyn Street Art: let’s see, blasting fluorescents…

Patrick McNeil: Well a little bit, yeah. There are not too many fluorescents, well, that pink is probably the only fluorescent.  Well, there’s yellow on that one. But none of these have any fluorescent.

Brooklyn Street Art: I’m thinking of the DeLuxx Flux thing you did with Bast.

Patrick McNeil: Yeah Perry made the rule, “no fluorescents”.

Brooklyn Street Art: Oh okay. Well it’s good to have that guidance.

Patrick McNeil: Yeah, we might sneak one in there.

Patrick McNeil: Then we were looking more at abstractions, breaking color groups up, pushing it really far.

Brooklyn Street Art: Yes that’s an unusual combination of the violet and the grey. It looks fresh.

Patrick McNeil: Yeah, it’s kinda switchin’ it up.  We kind of like tweak things and leave them up for a while and then switch it out. It’s kind of interesting.

Wood Blocks At The Studio (Photo © Jaime Rojo)

Wood blocks at the studio (Photo © Jaime Rojo)

Even though the new book, their first, is coming out to mark the first 10 years that took them from Brooklyn streets to group shows, street art exhibitions, galleries, and museums around the globe, the creative partners are focusing right now on the work at hand.  A decade of work, play, and planning together has created a shorthand of cues and patterns and symbols that makes their work move quickly without much strife or discussion. In the studio it’s equal parts industry and creativity – where real world dedication to process and structure adds a loose tension to the spirit of play.

Brooklyn Street Art: Are you both the leader? Or do you take turns being the leader? Is there one who just says “THIS is where we have to go!”

Patrick McNeil: It goes back and forth really.

Patrick Miller: It’s pretty rare when it is “This is the way it has to be and there is no room for discussion”

Brooklyn Street Art: So you don’t come to loggerheads?

Patrick McNeil: No, we’ve known each other since we were 14 so we’ve got a pretty good friendship.

Faile Book Cover: "Faile Prints And Originals 1999-2009" (Photo © Jaime Rojo)

Faile Book Cover: “Faile Prints And Originals 1999-2009” (Photo © Jaime Rojo)

The new block collages, or “wood paintings” started about a year ago and the artists introduced them at Cour Carrée du Louvre for the FIAC in Paris. With a loyal fanbase that hangs on their every print release and microsite revelation, the new pieces were an instant hit and complete success. The scale of pieces at that time seemed manageable and something you might carry as part of your luggage; however some of these new wood paintings for the Rubenstein show might well be snagged by Swoon for walls in one of her Konbit shelters.

Brooklyn Street Art: How do you achieve a sense of balance? You have the professional, personal,… family is growing.. How do you guys achieve a sense of balance regularly?

Patrick Miller: For one, we treat this like a pretty regular thing in the sense of working Monday through Friday, pretty much 9:30 to 6:00.

Brooklyn Street Art: So you have a schedule and a structure.

Patrick Miller: Yeah, so we have structure in that sense.  It’s a business after all on some level, and it has to be thought of in that way too.  I mean it’s tough some times when we have big shows going on and we’re traveling and trying to not be away from the kids for too long.  But you know, I guess I never stopped to think about it. It was nice last year because Patrick and his wife had their second child and we had our first within a few weeks of each other, and so that worked out really well, in the sense of timing-wise. We were able to slow down a bit.

Brooklyn Street Art: You know I was just thinking about the blocks and interactivity. I wonder if you could make a piece where some of the blocks were free and the person who buys it could play with the blocks.

Patrick Miller: Hey, you’re really onto something!

Patrick McNeil: Let’s go upstairs.

Brooklyn Street Art: You’ve already thought of this!

Faile Early Work On The Street. Williamsburg, Brooklyn (Photo © Jaime Rojo)

Early work on the street. Williamsburg, Brooklyn (Photo © Jaime Rojo)

We shuffle eagerly behind our hosts like hypnotized penguins out to the darkened hallway and up some stairs to a high security print room that is pristine and plum full of stuff that might make you cry – things they’ve collected, been gifted, or just like to entertain visitors with. They could drop names but the brothers Faile are more interested to show one of their newest inventions, a wooden tray of blocks that form a puzzle – well, six actually. The lo-tech games perfectly marry our current digital longing for interactivity and the latent one to become a Luddite.

Patrick Miller: (The puzzle boxes) kind of came up in Paris, so we just developed these pieces on the side totally on their own. Then we started thinking there are some situations and combinations that we really liked. Each one is printed on all six sides and you can manipulate it and play with it.

Brooklyn Street Art: Hours of endless pleasure! How do you prevent them from getting damaged?

Patrick McNeil: That’s just part of it.

Patrick Miller: I don’t think they’re going to get too damaged. They are already sanded and their meant to be touched. We’re actually making a site, because it’s really hard to show them.

Brooklyn Street Art: Have you thought of customization on the site so people can select options and order it?

Patrick: Yes we’ve thought of that but effectively you’d have tons of combinations.

Faile Wood Blocks At The Studio (Photo <a href=

@ Jaime Rojo)” width=”740″ height=”416″ /> Faile wood blocks at the studio (Photo @ Jaime Rojo)

Brooklyn Street Art: Have you thought of doing an app for these so people can play with them?

Patrick: Yeah and that is something that may come out of it. The people that we work with… That would be a fun thing, as a little game. And it’s actually pretty simple because the navigation is just like ‘click’ and it turns it. It should be a fun little site. It’s been fun to do these little micro sites.

Brooklyn Street Art: Right, with a phone’s motion sensor you could roll the blocks around. Wow, you guys are on top of it.

Faile Prints And Originals 1999-2009. A Peak Inside The Book (Photo © Jaime Rojo)

Faile Prints And Originals 1999-2009. A peak inside the book (Photo © Jaime Rojo)

This visit draws to an end with a promise to rejoin shortly before the show to see the progression. But before we go, the new book is placed with slight aplomb on the counter. The one and only copy they’ve received from the printer, we stare at it like cats at an aquarium.  The splashy pink raging dog cover says the thing about Faile you might not notice on a casual tour; these guys are ferocious in their desire to succeed and have built a body of work to prove it.

Tentatively peeling back the pages of the book, we see that the first image is the simple stencil of a figure carrying a canvas with his back to you and the words “A Life”, their first name, across the top. Anyone stumbling home drunk through industrial Williamsburg in the late 90’s would remember what curiosity was sparked with this humblest of images scattered everywhere.  Later they anagrammed it to form their current name.

Brooklyn Street Art: So “A Life” got converted to Faile, which is just the opposite of what you’ve done!

Patrick Miller: Yeah it was always kind of about growing from it and making the most of all your failures.

Brooklyn Street Art: Did you both design the book?

Patrick Miller: We worked on it with a friend of ours.  It was such an undertaking.  But it’s good. It’s definitely a pretty personal book in the way that it’s written, very friendly, an enjoyable read.  It’s nice just to have the works on print.

Patrick McNeil: It’s nice to see the earlier work, and it’s nice to see how the process goes because it’s chronological as well.

Brooklyn Street Art: Who is going to have seen all of this stuff besides you two? Nobody.

Patrick Miller: It’s a nice way to put it together for yourself too, after 10 years of working on Faile it’s nice to have this.

Faile. Enter To The Gift Shop. (Photo © Jaime Rojo)

Faile studio. (Photo © Jaime Rojo)


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