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Guest KING OF HELL

leatherface.

 

these were from an opening of mine. its by no means my ony form of artwork. just fun to do with that subject matter.

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Originally posted by Joker

 

16v... I think we've had this conversation once before, and I lost, but are you saying that it's impossible to make art out of graffiti? No matter what tools you use? Would the acceptance of Twist and Espo into the 'art world' defy that theory? I'm not starting an arguement I'm just curious about what you're saying.

 

joker,

 

i think it is very very likely that graffiti can lead to fine art. most of the good writer/fine artists embrace the attitude of graff and apply it to non-graff. they distill graffiti and get the interesting, often unnoticed parts of graff and use that to make good work that stands up in a critical and conceptual viewing. the graffiti guys that i dont like typically get those premade canvases and some paint markers from a craft store and they do some graffiti looking stuff on it, with no substance or thought into thier materials or the context the work will be viewed in, and it holds virtually NO critical substance. this starts to get into that whole HIGH vs. LOW art which will end up a thesis if we start debating on it. anyone notice that CHRIS BURDEN is in "the faith of graffiti", i think normal mailer compares chris burdens work to graffiti and the ambition to commit vandalism as art. (specifically the performance where chris burden had a sniper shoot him)

 

i like: damien hurst, jenny holtzer, babara kruger, jamie reid.

 

reas, twist, phil frost, and alot of espo for the post-graff art.

 

joker, i like your graff and drawings as well. i would like to see you pushing materials to see what kind of tangible objects you could make since your stuff lends itself to industrial design.

 

16v.

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goddam king of hell! those pieces are sick.

16v, you getting a masters in art or what? If somebody wants to take their graffiti and use paint pens and duplicate it on canvas then let them go at it. Everyone's gotta start somewhere and I commend them for testing out a new medium. Hopefully, they'll try more mediums and different ideas and keep pushing the boundaries. Obviously it doesnt hold the same power and strength that it does on the streets and they'll realize that the graffiti subject matter doesnt translate well to the new enviornment. I recently switched from strictly walls to trying different forms of expression and everyday I'm learning something new. Its a whole new game where I need to relearn and change my perspective. This is even more about myself and fame has no part in it. Just keep on working and if you truly love the process of making then only good things will come from it.

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Guest KING OF HELL
Originally posted by swiss cheese

goddam king of hell! those pieces are sick.

16v, you getting a masters in art or what? If somebody wants to take their graffiti and use paint pens and duplicate it on canvas then let them go at it.

 

* I dont believe he said they can't go do it. maybe he's trying to hint that people should push themselves past the predictable..or just think about it more. whatever."

 

thank you for the kind words, just working out different media.

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Graffiti and fine art have always had a wierd relationship. I see graff as some wierd, mutty bastard child of art...but whatever. It seems these days as if fine art or "doing canvasses" is jsut another element of graffiti, not that much unlike painting a freight, doing highways or what have you. Fine art has been contextualized within graffiti. the spray paint and paint pen canvasses, the wheat pasting and all... It just seems to me that in most writers art work, there is the acceptance of tagsand of drips, of characters floating among these elements ala twist and thats the art writers do, nuff said. This is not a criticism of any of the work shown in this thread specifically, simply an observation i've made after seeing a lot of writers art work. i think graffiti is valuable as well as retarding as far as fine art goes. we approach and understand art in a completely different context. I think writers should inform their artwork with what they ahve learned from graff, but make an effort to go outside of graffiti alone. or not, your art is whatever you want it to be, so fuggit, but yeah, fine art is more and more becoming another element to being a graffiti writer. there are kings of galleries and then there are the toys...

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Originally posted by Joker

Honestly, I see where you're coming from. But work like what you're reffering to leads to inspiration for those who view it. In a way it could be seen as what could be. You know what I mean? I don't know exactly how to explain where I'm coming from. A while back, when I actually use to bomb regularly, I would just hit up anywhere I could. Any empty space available. It wasn't until I saw how Grey and Geso were bombing that I even realised aesthetics played a huge role in the viewers eye. I don't think seeing throw-ups on canvas is a let down unless that's all it is. Even then, it's the 'product' you're buying into. Take Banksy for example. He sells white canvases with just a black stenciled image on it. And people eat it up. It's no different than say KR doing a blockbuster KR on a canvas. Or Felon doing a hollow on a canvas. Am I making sense or am I all over the place?

 

I think you're touching on a point I see a lot of people almost get to but never really bring up front.. and that is this whole capitalistic aspect of each and every person's graffiti, and, to clarify, most specifically those who would consider themselves "writers". I think of us all as individual businesses working under the banner of free trade and free space and the right to combat blankness, but we definitely buy into the competitive nature of graffiti. we want to be talked about, so we have to create something easily accessible to the public, specifically a logo or an icon. people will buy any mass-produced slop with that shepard fairey crap on it because of the association the icon has with rebellion, sub-culture or with the time they saw a photo of him wheatpasting in hong kong that "moved them". same goes for kaws merchandise and the examples you mentioned above. I think to a lesser-extent you can find this competitive iconography in the bombing culture as well.. serf has gone great lengths to get his simple, easily recognizable throwy burned in our corneas, as has rate with his rat, or jaber with his creepy caricature, twist with his screws, katsu with his skulls.. it's almost mandatory these days to have some cutesy-ass animal or portrait you can throw up in 1-2 minutes.. people aren't drawn to the artistic merit of these logos they're drawn to the dour simplicity of it all.. the fact they can be on the cutting-edge of some fucking thing without necessarily pissing anyone off.

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To Mr Chupacabra- You can always email me if you are interested in art work..that particular image is going to the King of Hell..but there are others..I sell more then I trade also to answer your question..

 

Joker- Thanks..Actually Im working on a line similiar to the canvas you wanted for this up coming show..maybe we can finally get our trade on..Ive really expanded style wise especially with the move..

 

Now back to Full Metal Jacket..and whats so wrong with rabbits?

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Guest batsnake

and texas chainsaw is lovely, esp. the part when the chick falls into the room with the chicken and theres that skeleton couch some one should do a rendition of that maybe i will

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