Longtime readers will know that I am a big fan of Very Nearly Almost, a British art magazine for street art, graffiti, illustration and the like. Their latest issue has been a very welcome reprieve for me as I’ve turned to it in between writing essays upon essays for my final exams. Issue 22 features interviews with Vhils, Vexta, Cranio, Moneyless, Husk Mit Navn and more.
The Vhils and Husk Mit Navn interviews in particular make this issue worth seeking out. Vhils talks about his early career as a graffiti writer and suggests that he’s still active today, although the work isn’t traceable back to his career as a fine artist or muralist. This certainly isn’t unheard of for street artists who have “gone legit,” but it’s still a bit surprising to hear him talk about it, and about how graffiti still informs his work today. And Husk Mit Navn is an absolutely fantastic and underrated artist (check out some of his work here) who also has a lot to say about how his work is perceived in galleries, on the street, and online. Good stuff.
Although he is interviewed, the one thing this issue doesn’t answer for me is what people see in Cranio’s work. Seems to me like Nunca + Os Gêmeos – awesomeness/originality = Cranio, but people seem to go nuts over it. Is he a really nice guy? Is it just that people are so in love with what Os Gêmeos and Nunca are doing that they’ll accept a substitute when the masters aren’t available? This isn’t one of those times where I’m gonna say a grey wall would be better than Cranio’s work. There’s plenty of street art in the world that’s better than a grey wall but still doesn’t need to be celebrated like it’s the next big thing, and Cranio seems to me to fall into that category. If you have an answer or an opinion, I’d love to read it in the comments. Anyway…
Photo courtesy of Very Nearly Almost