Recently I’ve been spending a bit of time looking at freight graffiti. I’m no expert in graffiti, but Baer‘s work immediately stood out. His style is beyond “graffiti beyond letters,” and is more like something ripped from a pages of a graphic novel. But that doesn’t mean he has thrown letters away, just that they are sometimes a bit more hidden. Wild style that changes letters into other graphics rather than abstraction. Sort of like Horfe or Lush. Clearly, Baer isn’t the only guy to paint this way, but damn is he good. The folks at Juxtapoz are fans too.
Ron English (and part of a TrustoCorp on the far right)
Letters From America opened last night at Black Rat Projects in London. The show, organized by Corey Helford Gallery, includes work by Ron English, TrustoCorp, Risk and Saber. I wasn’t sure how work from all of these artists would look when put together in one room, but it looks good. As usual, it looks like Ron and TrustoCorp brought some solid work, but the real treat is that the show is a rare opportunity for Londoners to see pieces by LA’s Risk and Saber. Risk and Saber’s work can certainly be a bit over the top, but so is graffiti. In particular, I am really enjoying Saber’s tribute to the UK’s National Health Service.
Can2, Akut, Case, Tasso and Atom. Photo by Startape Photographe.
Out-America the neighbors.
Stinkfish, Zas, Saks and Yurika. Photo by MDC Grupograffiti.Hare in Brazil. Photo by Ed_Mun.Swampy and Swornes in East Bay. Photo by FunkandJazz.Outline for a piece by Bio. Photo by Tatscruinc.“Blast” by Zeh Palito in ZambiaDesr in San Francisco. Photo by FunkandJazz.Soker and Mr. Jago in Bristol. Photo by Sok’em One.Preys in Montreal.Nuse in England. Photo by HowAboutNo!
Showing once again how he is one of the most visually arresting muralists around, Dal recently painted this mural of a whale in Melun, France. It is called C. And yes, I’m aware that I posted this tweet last night. Dal’s mural is big, but that’s not what makes it good.
Ron English is a father, a husband, a full time artist, a part time vandal and 24/7 American. When he says that he’s been busy in London, he means it. In addition to his work at the London Pleasure Gardens, Ron is in town for a show. Letters From America opens in London today, July 4th (America’s Independence Day), at Corey Helford Gallery in conjunction with Black Rat Projects, and features Ron’s work with the work of other American artists: TrustoCorp, Risk and Saber. With a numerous ongoing projects in London, a family to take care of, and a street reputation to maintain, Ron has no time to waste and of course, neither do you. So here is Ron getting straight to the point of questions that I thought about for a long time.
Caroline: Letters From America includes four talented American artists, two with backgrounds in street art and two with backgrounds in graffiti. Do you feel that the distinction between street art and graffiti is an important one once the art is put in a gallery setting?
Ron: Once it’s in the gallery it is no longer street art or graffiti, it’s just plain old art.
Caroline: You seem to have made an effort to include your children in numerous aspects of your art career; from being the subjects of some of your paintings, to being given stickers to put up around Detroit, to your son Mars having a painting included in the South Park-themed art show you curated. How do you believe they feel about your work and growing up in the fine art/street art world?
Ron: They are mostly bored by it and a little puzzled by people who have tattoos of them on their bodies.
Caroline: Besides the fact of the London Pleasure Gardens being just a short distance from the 2012 Olympic events, do you have any plans for more work relating to the Olympics this year?
Ron: No.
Caroline: When you were a kid, did you find Frosty Flakes and McDonald’s delicious?
Ron: Yes, I also like the toys.
Caroline: Did you enjoy Disney cartoons?
Ron: Still do.
Caroline: To what extent were the subjects you use in your art now apart of your childhood and when did you become aware of those icons on a critical level?
Ron: When I was six I made a painting of Charlie Brown and another kid said I was in big trouble for stealing a copyrighted character.
Ron’s piece for London Pleasure Gardens. Photo by S. Butterfly.
Caroline: What was it like painting the nose cone of a jumbo jet for the London Pleasure Gardens? Did that present any challenges?
Ron: It was pretty easy. The only challenge was the alleged Bansky on the other side, I was asked to paint it over but I was uncomfortable doing that. The problem was solved by some midnight whitewasher.
Caroline: Why continue to illegally put up work and risk arrest when you don’t need to, from a career standpoint and particularly since you have a family?
Ron: Getting permission is such a hassle.
Caroline: Do you find a difference in how your work is received in England compared with the U.S.?
Ron: They actually have street art tours here.
Caroline: Have you run into any legal issues with copyright infringement?
Ron: No, my work is parody, not infringement.
Wall in Queens, NY. Courtesy of Ron English.
Caroline: Have you ever been on the other end of an infringement situation, where people were stealing or appropriating your work?
Ron: Probably.
Caroline: Living in Beacon, New York seems an unexpected choice for a street artist. Why do you choose to live there rather than a city?
Ron: My kids like it there, plus fewer billboards means less temptation.
Caroline: Any plans in the works for future projects that you can talk about?
Ron: I just released a new record with The Electric Illuminati called Songs in English. It’s on iTunes.
Last week, this video was posted of our friend Ever‘s recent trip to Mexico. Ever is one of the best young muralists in South America right now and this video provides some rare insight into his work, so it’s well worth watching.
Remi/Rough‘s only UK solo show of the year has recently opened at Unit44 in Newcastle. How To Use Colour And Manipulate People has some very new and different work from Remi/Rough, with the most interesting and unexpected piece probably being the above painted animal skull. Here are a few of the other pieces:
Visually and conceptually engaging, Moody’s current exhibit at Pandemic Gallery is a trip into an alternative universe reflecting Moody’s dual graffiti and street art sensibilities. His witty and exquisitely executed “street art” pieces seem to mock not only the corporate world, but the sanitization of graffiti as it evolves into “street art.” Here are some images from the exhibit that continues through July 15th at Pandemic:
