Not sure how to start this but here it goes…
My sister was my second mom when my real momma was busy working 7 days a week making money to support her 3 kids with child support from my loving father. But this story is not about them. It’s about my sister Alisa… She would take my brother and I to school, and make sure we were where we were supposed to be. She was tough. Because of our 10 year age difference I never really knew her until I became an adult. I came to learn that she banged with the Seattle bloods… Which explains why she had a .22 under the seat of her car that I noticed when I would be driven to school. And why our house got shoot at in the middle of the night. Everybody has a past… Good and bad, wrong and right. It is what we do with our experiences that makes us who we are today. Despite her past she was a strong and caring woman. She eventually went on to become a social worker and merged with the Boys & Girls Club of America to open several satellite clubs at multiple housing projects in king county Seattle/Bellevue. She wrote grants and received money to help kids with working families and/or troubled homes. I grew up in the Boys & Girls club and wouldn’t be who I am without it. I am grateful to have such an inspiring sister I can look up to… Sadly my sister fell ill about 10 years ago. She was misdiagnosed for years with a slew of possible disorders. Finally the truth behind her crippling condition was recently discovered… She suffers from a rare syndrome known as Ehlers-Danlos. In short it is a genetic disease that attacks the collagen and connective tissue. For more info google: Ehlers Danlos national foundation…
All of my family has pitched in to help her by any means possible. Finally I have a chance to contribute financially… With your help. We CYRCLE., are showcasing our latest body of work OVERTHRONE! POORING REIGN! at Stolen Space Gallery, London. The show opens March 6th and we will be releasing a limited edition print of 100 titled “turn that crown upside down”. All proceeds from the sale of the prints will go directly to my sister to help pay for doctors and specialist visits. Thank you for taking the time to read this and thank you for supporting this cause.
TRY… FAIL … TRYUMPH!
FAITH! COURAGE! POWER! GROWTH!
Sincerely and with love,
Davey and the DOUGS
To purchase the print please contact Stolen Space Gallery @ http://www.stolenspace.com/
-it’s a love thing
Today we conclude our ‘In Conversation’ series with artist C215, currently exhibiting at StolenSpace with his ‘Back to Black’ solo show.
C215: Pignon-Ernest is really a big master. He’s amazing. We met a few times and we share a lot of things, ideology, philosophy, aesthetics and we are really close even politically speaking. We both worked on Caravaggio a lot, because we like chiaroscuro and we have the same relationship to context and history. He’s a friend. He has invented a totally new art system. I like him.
SS: Your images are always very poetic and intense and this depends both on the subjects and your technique. Can you tell me more about both? How do you choose your subjects? You use the stencil but the difference is made by the way you use them, creating many layers that give the idea of brush strokes.
C215: I don’t choose my subjects. Things are coming one after another. It is like a diary of feelings and people I meet. I follow inspiration, which is something very spontaneous. In few years I think I have explored a lot of different subjects. In the end I hope I’m a good stencil artist and I like to think I can use this identity as a tool to explore what I can in my own style. Shepard Fairey said that my way of using stencils is impressionistic with movement but I don’t know how can I explain it. The only thing I know is that I don’t apply stencils but I paint with them.
SS: Your stencils are reminiscent of brush strokes.
C215: Before, I was using stencils to paint very quickly in the street without authorisation. For sure the style I was looking for was a mix of oil, acrylic…something old but also very modern. I try to be in-between classic and modern, and that’s maybe also the link with Pignon. We like to build bridges between modernity and history.
SS: In your artwork you extensively use reclaimed objects, which is interesting both as an ethical/ecological value and for the peculiarity that it gives to your work. Can you tell us more about it?
C215: Yes. Recycled objects have a meaning for our time and I’m recycling by myself a lot of things. But primarily it’s not a political statement, it’s just an observation. I use spraypaint and it is very modern and polluting and I paint on recycled objects. But it’s more an interpretation of the time and something I have to say. I’m the kid of my period.
SS: Can you tell me more about your inspiration for your show ‘Back to Black’ at StolenSpace?
C215: For ‘Back to Black’ there are a few classics and new things as well. I wanted to do something very dark and inspirational… That was my inspiration from Brick Lane, which is dark. Everything I exhibit here is interacting with my knowledge, my experience, my feelings about Brick Lane as a street and it also expresses my relationship with English history and my perception of UK. I’ve been in UK so many times in my life. For me London is a gothic city. Romanticism in Europe came from UK. These are the things what I wanted to show.
‘Back to Black’ is open until 2nd March at StolenSpace Gallery.
Today, StolenSpace is proud to present the ‘Vitry Ville Street Art’ book launch and signing.
The book launch coincides with C215’s ‘Back to Black’ solo exhibition. When in London for his inaugural show at StolenSpace, we wanted to know a little more about C215 aka Christian Guemy and his work and to get a deeper insight in his opinions concerning some relevant street art-related issues.
We interviewed this amazingly skilled artist, who in view of his cold and numerical cyborg moniker is an emotive and cultured man, and who has great respect of the historic and cultural heritage of art on the streets. Revealing something of the inspiration and process behind the creation of his poetic and intense images.
StolenSpace: What is the difference between an artistic intervention in the street and an artwork exhibited in an art gallery? Do you have a different feeling about them?
C215: In the first place, the difference between art in the street and in galleries depends on the artist. Sometimes the artists act in the street as they act in a gallery. Sometimes they’re just advertising and showing anything anywhere.
SS: So you believe that in the streets other artists are advertising?
C215: They can, when they go in the streets and leave their artwork random, without any context. Sometimes art is advertising because there is no connection with the landscape, with the streetscape. So I believe that street art has to be contextualized. It can be transformed by the city, by people passing by and by other artists. When you get a piece by Swoon, after two years full of tags, that is not advertising for Swoon, it is pure street art. It is something else that has been transformed by the city.
SS: Can we say that you bring the outside inside?
C215: No, I don’t bring the outside inside. Outside is outside, because it is ever changing, while inside whatever I do it is fixed forever and nobody is interacting with my works. That’s why street art is contextual but also collective, so someone will come and put a moustache on your portrait or paint on the eyes or even destroy a work. They think they destroyed it but they have only transformed it. They have also created some street art. People get the feeling of something that is completely collective, anarchist, chaotic and really interesting. What I like when I paint in the streets is that it’s something I’m not controlling completely, while inside it is something I control. There is a big difference.
SS: Can painting illegally be more powerful than painting legally?
C215: I can’t say one is better than the other one. Painting illegally in the street adds to it because it makes it free and new, while to get a commission to paint a wall somewhere in the street or a building is nothing new. It is interesting, it’s funny, it’s advertising, it’s entertaining for me and for people. But poetry is not there. I do it, I do drafts, I paint and then get the money. It’s not a strong story. It is interesting when someone takes a little risk to paint something there one day and this artwork will not maybe be there the day after and that’s street art…it’s ephemeral, interactive. When you get just a legal commission for painting a wall, poetry it is not the same.
SS: Concerning public space, what do you think about the tricky separation between public space and private property, which can be easily blurred according to convenience?
C215: Public space does not exist at all any more in Western cities. Everything is mostly private because whatever you paint on belongs to someone, it could be a community, the council, anything. That’s why when street art is uncomissioned and you paint without an authorization the question is, are you vandalizing or not? I always select spots to enhance when I paint. So I’m not a vandal because I add value.
SS: Don’t you think that painting on a wall add value in any case?
C215: No. It depends both on the wall and on the painting. You can’t paint on antique walls. Or if you paint on marble walls, you’re a vandal because they are beautiful and if you paint on them, your work is less interesting than the marble itself. So when you find an old wooden door and you paint on it you can think you’re adding value. Usually it is a relationship in-between value and quality. The value of the artist and the value of the piece painted.
‘Back to Black’ is open until 2nd March at StolenSpace Gallery.
Incredible artist duo Kai & Sunny were recently interview by designboom.
Allison Hueman who was in our recent December Group Show, has just completed a mural in Downtown San Francisco.
Her biggest to date, it measures a massive 90 feet wide!
Check out the incredible time-laspe video of this talented artist in action above.
She has been recently featured in Complex, check out the article here.
Location: Brooklyn, NY
“This year has been a groundbreaking one for Maya Hayuk, as she mounted not only her first solo museum exhibition in the U.S., which was hosted by the renowned Hammer Museum. The artist created impressive murals for Deitch’s “Women on the Walls” in Wynwood, the Museum of Contemporary Canadian Art in Toronto, and the “Headscapes” exhibition in New York, which was widely noted as one of the best curiatorial efforts in the city this year. Each project Hayuk has chosen to participate in this year has been of an ever-increasing magnitude. We can’t wait to see what heights the artist will soar to in 2014.”
Mysterious Al’s first Australian solo exhibition is the product of a six-month period of living and working with a secret ancient tribe in Melbourne.
This nameless, faceless group has co-existed alongside the city’s residents for centuries. Their ancient rituals and practices untouched since their beginning. Drawing influence from the Tribe’s traditional practices as well as the city’s sway of Graffiti, advertising and urban culture, Boom-ka, Boomka derives from the subconscious, hypnotic rhythm of Drum & Bass music, ancient traditional art, consumer culture, found objects and Witch-Doctor ceremonies.
Jan 17-26, 248 Glenferrie Road, Malvern VIC 3144
Opening night Jan 17th 6-9pm
instagram / twitter @mysteriousal