Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora. Jessica Nydia Pabón-Colón. 2018
“Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora” by Jessica Nydia Pabón-Colón provides an insightful look into the world of women graffiti artists, challenging the perception that graffiti is a male-dominated subculture. This book highlights the contributions of over 100 women graffiti artists from 23 countries, showcasing how they navigate, challenge, and redefine the graffiti landscape.
From the streets of New York to the alleys of São Paulo, Pabón-Colón explores the lives and works of these women, presenting graffiti as a space for the performance of feminism. The book examines how these artists build communities, reshape the traditionally masculine spaces of hip hop, and create networks that lead to the formation of all-girl graffiti crews and painting sessions. This aspect is particularly useful in understanding how digital platforms have broadened the reach and impact of women graffiti artists, facilitating connections and collaborations worldwide.
MARTHA COOPER LIBRARY: BOOK RECOMMENDATION
📖 | Title: Graffitti Grrlz: Performing Feminism in the Hip Hop Diaspora 📚 | NYU Press; 1st edition (June 22, 2018) 🖋 | Authors: Jessica Nydia Pabón-Colón 💬 | Language: English
Elisa Capdevila has turned the walls of Barcelona’s Paral·lel into a living history lesson with her latest mural, a tribute to the former Teatro Talia. Once a cornerstone of the Sant Antoni neighborhood’s cultural identity, the Talia has long since been erased from the cityscape, but its memory is revived through this large-scale artwork. Situated near the theater’s original location, the mural was curated and produced by Street Art Barcelona as part of the ongoing ‘Sant Antoni Recuperem el Talia’ initiative. According to the organizers, the project became a testament to collective memory and community-driven art after weather-related delays.
The mural portrays a backstage moment at the close of a performance, an actress wiping away makeup as the curtain falls. Capdevila, a Barcelona native, draws a poignant connection between the end of a show and the theater’s closure. Collaboratively designed with local groups, the mural amplifies feminist themes, celebrating the overlooked contributions of women in both the performing arts and grassroots activism. The imagery speaks directly to the community’s fight to preserve the cultural relevance of the Talia while advocating for affordable housing and public spaces on its historic grounds.
Beyond the mural’s visual impact, the temporary cultural space it overlooks serves as a gathering point for play and small events—a reminder of the Paral·lel’s former vibrancy, now surrounded by the shifting tides of gentrification. Capdevila’s new work serves as an homage to the past and perhaps a rallying cry for the future.
The collaborating community organizations include:
– Plataforma Sant Antoni recuperem el Talia – Associació Pro Teatre Talia Olympia – Teatre Arnau Itinerant – Federació d’entitats de Calàbria 66
– Centre Cívic Cotxeres Borrell – Vocalía de feminisme barri de Sant Antoni – Fem Sant Antoni – Taula Comunitaria Sant Antoni – AVV Barri de Sant Antoni – De Veí a Veí – Escola Aldana – Comunitat de veïns de los dos edificios (Avenida Paral·lel y C/Comte Borrell)
December has arrived, and with it, a fresh blanket of snow setting the holiday scene up north—perfect for some, but for us, it’s a sign to head south. Art Basel Miami Beach is calling, and the Wynwood District is already buzzing with street artists and weird, wired, and abundant creative energy. It’s shaping up to be another epic graffiti/street art family reunion.
If you’re in Miami, come say hi! We’ll be at the Museum of Graffiti on Tuesday for the launch of the new STRAAT Museum catalog straight out of Amsterdam. Joining us are the directors of both museums and artists from the STRAAT collection—including one repping Miami. It’s a rare honor to be among the creators, archivists, and storytellers who are not just making art but protecting its legacy.
As we introduce these two vibrant young museums to one another, we can’t help but feel excited about the collaborations and connections that might emerge. See you there!
Here’s our weekly conversation with the street, this week in New York and Berlin, featuring: Miki Mu, CMYK Dots, Fruity, AERA, CAZL, How to Kill a Graffiti, EIG!, Quo Vadis Art, BEAT, AMIR, Matthias Gephart, Mr. Ent, Andres Reventolv, Lucille, and Ordinario.
Book Review by Steven P. Harrington & Jaime Rojo / Brooklyn Street Art for the Martha Cooper Library at Urban Nation Museum, Berlin, Germany.
“NeSpoon,” a monograph on the work of the Polish artist, provides a comprehensive examination of her unique integration of lace patterns into urban and natural landscapes. The book, limited to 111 copies, each spanning over 420 pages, showcases the artist’s extensive portfolio and delves into the anthropology, cultural, and historical significance underlying her chosen medium.
“Why lace? It just came to me. Lace chose me, not the other way around. I’ve never liked lace. Before I started working with it, I thought lace was something old-fashioned, from a grandmother’s dusty apartment. Today it seems to me that each lace harbors harmony, balance and a sense of natural order. Isn’t that just what we are all searching for instinctively?”
~ NeSpoon
NeSpoon revitalizes the traditional craft of lace-making, tracing its roots back to the mid-sixteenth century in Venice and Flanders. This blend of past and present is a recurring theme in her art, as she applies centuries-old designs to contemporary settings. Beyond aesthetic enhancement, her projects aim to instill harmony and natural order—qualities she believes are inherent in lace patterns. CLICK URBAN NATION BERLIN TO CONTINUE READING.
Text: Steven P. Harrington and Jaime Rojo, Photos: Sebastian Kläbsch
Aunt Marge is on the phone to see if your mom can locate the recipe for the cranberry relish dish that she made last year – the one with the grapefruit and fresh ginger. While you’re talking to her she reports that your quirky cousin Kinnisha has just announced that she is a vegan so she won’t be eating any animal products at Thanksgiving this Thursday. Not a big surprise.
We’re making sweet potatoes with marshmallows melted on top; what are you bringing? Don’t forget that dinner is at 12 noon this year because Juan and Erica and their new baby have to go to his parents for a second Thanksgiving dinner at 4 pm – and that’s all the way in Jersey.
Speaking of food, the jokes write themselves sometimes in the headlines this week – Just as the President-Elect says that he’ll announce a state of emergency to boot out illegal immigrants, bottom-line-conscious Americans who are already stretched too thin financially are learning how this action may impact prices at the store and across the economy.
Some folks are concerned that raising tariffs will cause companies to cancel Christmas bonuses because they need to buy up supplies before tariffs hit – which doesn’t sound very Christmassy. Nor does Walmart’s announcement this week that they may need to raise prices if those tariffs happen in the new year.
Aren’t you supposed to wait until your candidate has been sworn into office before having buyer’s remorse?
Also, according to conversations on Twitter this week, many folks didn’t realize that the evil Obamacare is the same thing as their prized ACA health insurance. Huh. Who knew?
Meanwhile in New York we are excitedly looking for newly financed housing thanks to the Mayor, and the NYC Documentary Festival had great screenings this week: One that examines our city’s 1970s chaotic bankruptcy and corruption called Drop Dead City(spoiler; the city had no accounting books), and one called Slumlord Millionaire. New York is always a love/hate romance, no?
Meanwhile, the current president is giving ‘permission’ to Ukraine to use long-range weapons deep into Russian territory. Great way to kick off a legacy before you leave office! What could go wrong?
This week, we’ll ignore all that when we line the streets for the Annual Thanksgiving Day Parade through Manhattan. Hope its not too windy for those massive balloons and that Santa shows up at the end of the show! Also, keep your eyes open for hot, blushing babes in ribbed turtlenecks and Santa hats on streets, subways, Knicks games at the Garden, on the skating rinks in Central Park, Bryant Park, and Rockefeller Center. Something about the holidays melts hearts, even though it’s freezing outside. Wishing you all the best – stay safe and warm, say hi to Aunt Marge for us, and keep your eyes open for stupendous street art and graffiti.
Here’s our weekly conversation with the street, this week featuring: John Ahearn, Atomik, Cody James, Great Boxers, Carnivorous Flora, Alex Face, Felipe Umbral, LeCrue Eyebrows, Zimer NYC, Julia Cocuzza, JKE, Fern El Pepe, and Katya Gotseva.
Museum of the City of New York Presents Above Ground:Art from the Martin Wong Graffiti Collection
In the heart of the Museum of the City of New York, Above Ground: Art from the Martin Wong Graffiti Collection unveils a vivid and largely underexplored chapter of the city’s cultural history. This exhibition pays tribute to Martin Wong—an artist, visionary collector, and tireless advocate for graffiti art and artists—whose life and work embody a deep commitment to the creativity and resilience of urban communities. Featuring previously unseen pieces donated to the museum 30 years ago, Wong’s collection captures the explosive energy of the graffiti movement, charting its transformation from wild and gritty expressions on subway cars to celebrated works in museum galleries.
Born in Portland, Oregon, and raised in San Francisco’s Chinatown, Wong moved to New York City in 1978 and immersed himself in the electric art scene of the Lower East Side. Known for his richly detailed paintings and layered storytelling chronicling urban metaphors, brick walls, and themes of longing, Wong infused his work with themes of decay, identity, and queerness. His art also mirrored his fascination with the overlooked and undervalued, fueling his passion for graffiti as a powerful cultural movement and moment.
Arriving in New York at a pivotal moment for graffiti, Wong formed close relationships with trailblazing artists like Rammellzee, Lee Quiñones, Lady Pink, and Fab 5 Freddy. For Wong, graffiti wasn’t just an art form—it was a cultural force capable of redefining how we view public space and artistic expression. While mainstream critics at the time dismissed graffiti as no more than vandalism, Wong saw its significance and heard its voice, steadily collecting sketches, canvases, and photographs to preserve the movement’s energy and innovative inclinations. His welcoming approach provided a bridge for graffiti artists transitioning from the streets to galleries and created a time capsule of a fleeting yet transformative period in New York City’s cultural history.
Above Ground offers visitors a chance to experience Wong’s vision firsthand, featuring iconic works by artists like Keith Haring, Futura 2000, and Tracy 168, alongside rare photographs by Martha Cooper and Henry Chalfant. The exhibition traces graffiti’s journey, from earliest subway tags to the East Village’s groundbreaking galleries, such as Fun Gallery and Fashion Moda, which first showcased, danced with, legitimized graffiti within a portion of the art world. It also explores how Wong’s foresight in preserving these works cemented graffiti’s role as a vital cultural and artistic movement.
“Above Ground celebrates the 30th anniversary of Martin Wong’s donation to the museum and the 10th anniversary of MCNY’s initial City as Canvas exhibition,” says Sean Corcoran, Senior Curator of Prints and Photographs at the Museum of the City of New York. “This show offers a renewed and expanded look at graffiti’s journey from NYC streets to the most prestigious galleries around the world.”
The exhibition’s relevance extends beyond nostalgia. At a time when art on the street is increasingly commercialized and public spaces are sanitized, Above Ground underscores the cultural importance of preserving graffiti’s original raw, unfiltered approach. The show invites a broader conversation about the movement of street art into institutional spaces—and questions if these transitions honor the art’s rebellious spirit while making it accessible to new audiences. Wong’s eye for collecting ensures these early talents remain vivid and vital, ready to inspire a new generation of creators navigating the evolving relationship between public art, the negotiation of public space, and the transition to gallery and museum walls.
By celebrating Martin Wong’s legacy and his eye, Above Ground preserves a crucial part of New York’s history, and thanks to the museum, it is open to viewers through Summer 2025.
Elfo is a graffiti writer and social commentator whose work intentionally sidesteps traditional notions of style or technical lettering. This is not about handstyle, friend. Instead, it provokes thoughts about public space, urban neglect, and societal norms around what we value and choose to see. His art invites us to reconsider our perceptions of the built environment, blending irreverence with biting irony.
For example, while critics may label graffiti as vandalism or an eyesore, Elfo often paints on crumbling buildings—structures ignored for years, despite sometimes serving as a shelter for the unhoused. This juxtaposition raises essential questions about societal priorities: Why is graffiti condemned on walls that were otherwise unnoticed? How many people now pay attention to these spaces because of Elfo’s work? In this way, his art transcends aesthetics, serving as a sharp commentary on neglect, visibility, and the role of street art in reframing our urban landscape.
“You say that this rule is to be respected – but without place and function, it is absurd,” Elfo tells us.
Right out of the gate, Pres-elect Trump is telling us that one must destroy the government to save it, just like the towns in Vietnam in the 70s. His candidate for a brand new Department of Government Ethics, Elon Musk, says they have a ‘Mandate to Delete” cumbersome rules and regulations. Trump’s selections to head various arms of government this week also include RFK Jr. and Matt Gaetz . Next week, rumors are that Ex-Subway Sandwich Spokesman Jared Fogle will be nominated to Childcare Secretary, and the Hamburgler will be nominated to head the Commerce Department. Meanwhile VP Harris could be polishing up her resume to get some speaking gigs at Cantor Fitzgerald and the Carlyle Group once she leaves office. Oops, sorry, that was Obama’s reported move in 2017 when he left the White House.
In New York, the weather has been so dry that we have been warned about more fires like the one in Prospect Park recently. Up along the Hudson River, the fall foliage is still putting on a show, though many leaves have turned brown due to the lack of rain. Meanwhile, if you venture north for a weekend escape, don’t miss the career retrospective of Brooklyn artist Deborah Masters at the farm she shares with her husband, Geoff. The exhibit has been a popular destination this autumn, drawing hundreds of visitors on weekends who are eager to see her impressive outdoor works and many smaller sketches, drawing, and painting spanning 50 years. Masters’ large-scale figurative sculptures grace numerous parks and private collections. Still, she is perhaps best known for “Walking New York,” a monumental 350-foot-long relief in JFK Airport’s Terminal 4, which won the Municipal Arts Society Award for Best Public Art. The show, Deborah Masters: A Life in Art, is still on view, making it the perfect excuse for a scenic country drive.
The city feels like it is resting now between holidays, a rare 10 days or so when we are not absolutely overtaken by tourists clamoring for tickets to Broadway and entry into sexy burlesque entertainment clubs like The Slipper Room, Duane Park, and House of Yes. Sure, the ice skating in Bryant Park has begun and we know Thanksgiving is around the corner, but we just passed Veterans Day, Election Day, the World Series, Halloween, and the New York Marathon – and we’re all taking one big breath before the holiday vortex begins.
Naturally, Street Artists and graffiti writers are here to accompany us on the way, surprises in tow.
Here’s our weekly conversation with the street, this week featuring; Jason Naylor, Jappy Agoncillo, IMK, Deborah Masters, Dais, ScoJo, HOP Krew, Kenji Chai, Szel, The Girl with the Brushes, Skwerm, and Loose Tea.
SpY, a prominent public artist hailing from Madrid, has unveiled his latest sculptural work titled “ORB” in Montreal’s renowned Place des Arts. SpY’s evolution from his roots in the graffiti scene in the 1980s to a creator of large-scale public installations reflects the broader trajectory of street art, moving from the fringe to institutional and city-backed commissions. Known for his futuristic, cryptic, playful and thought-provoking interventions, SpY’s work often recontextualizes familiar urban elements, encouraging viewers to engage with their environment in new ways.
Initially conceived for the dramatic setting in front of the pyramids of Giza, “ORB” was intended to create a striking contrast between ancient history and contemporary art. The sculpture, composed of convex traffic mirrors arranged in a spherical pattern, was showcased in that iconic location before making its way to Montreal. Its reflective surface captures the surroundings and the observers, making the viewer an active participant in the artwork.
Including “ORB” in Montreal’s MURAL Festival highlights the merging of street art with more formal public art practices and commissioned contemporary works. While MURAL Festival often portrays itself as a celebration of street art with grassroots origins, it functions more as a strategic initiative to promote Montreal as a dynamic cultural hub. The festival aims to enhance the city’s image, attract tourism, and support the local economy by showcasing curated installations in prominent public spaces.
Located in Place des Arts, Montreal’s largest cultural complex, “ORB” finds a fitting home – possibly for five years or so. This venue is at the heart of the Quartier des Spectacles, a district buzzing with artistic activity and known for hosting major events like the Montreal International Jazz Festival. A much-loved series of performance halls, Place des Arts is a dynamic cultural hub that has shaped the city’s artistic identity since its opening in 1963. The new SpY piece embodies the intersection of art, performance, and urban life, continuing SpY’s tradition of transforming the ordinary into the extraordinary.
In many ways, this is one more step toward the broader acceptance and institutionalization of street artists as they continue to evolve their work in the public sphere. Artists like SpY, who once may have operated outside the law with illicit graffiti, are now celebrated in the mainstream, creating works that are both accessible and intellectually stimulating. You may say that “ORB” stands as a testament to this evolution, bridging a gap between street art’s raw, unsanctioned beginnings and its place within the carefully curated world of public art.
In her latest mural, Faring Purth delivers a powerful reflection on connection, continuity, and the complexity of evolving relationships—a true “Family Affair.” Created in her new home of Berkeley, California, this latest work is a pearl in her artistic journey, reflecting the changing dynamics of her life, which now includes two young children. More than just another mural, it is a living canvas where her personal experiences and creative practice intersect.
The idea of a “Family Affair” goes beyond the imagery to capture the very essence of Purth’s current process. The presence of her children has transformed her approach to painting, shifting from the solitary, all-night sessions of her earlier career to a more fluid, adaptive rhythm. Their involvement, whether by simply being there or adding their own playful touches, informs the work in surprising ways, adding layers of spontaneity and discovery.
With themes of protection, generational trauma, and natural elements like birch bark and rosehips, the mural becomes a metaphor for the unseen bonds of family. In this exchange, Faring Purth discusses her creative process, the influence of motherhood, and the ways in which her children contribute to her evolving artistic expression.
BSA: In the past, when sending dispatches from towns near and afar you’ve brought up your mother in passing, a sweet reference, something sweet and brief. This time you are a mother, and your kids are in situ while you paint, and they also paint. How does it feel to have them with you while doing your craft?
Faring Purth: Well, I’ll be honest and say the formal, strenuous, and hyper-focused work is nearly never accomplished with my son and daughter present. The role of Mothering tiny ones is an all-consuming task, as is painting large-scale murals. Neither want you to divert your gaze. But I’ll also say, that becoming a mother has facilitated a level of adaptation and fluidity I never dreamt possible. It really is like getting your Doctorate degree in organized chaos.
The pressure, for me, lead to surrender and invaluable growth… being able to do all I can when I can, allowing my hours of work to adjust to a thousand variables, including sleepless nights, tiny sniffling noses, and the simple act of being barefooted in the grass with them. All of these countless adjustments impact the work enormously. I miss my all-nighters in the studio but they’ll be back, I’m sure. For now, I love the spontaneous bursts of progress I make with the kids, the “beginner’s mind” they undoubtedly inspire, the many ways of involving them, and the support that allows me the ability to still be alone and painting when I need to be.
BSA: “Birch Bark and Rosehips”: What comes to mind?
Faring Purth: While creating the piece, many experiences unfolded in my own life concerning things like facing generational traumas, coming to terms with past abuse, and protecting myself and the kids in some very literal and some abstract ways.
BSA:This mural seems to be a family portrait. A young mother and her children?
Faring Purth: The reflections are almost never literal. Although I am often surprised at how unintentionally reflective they are. I’d like to believe many artists share that playful relationship with the work.
BSA:Children are often a constant presence in your work. Why?
Faring Purth: Another very honest statement is the work is often a surprise, even to me. I won’t deny that I am inspired by many things but much of it remains like kneading through a mystery, over and over. I will say the oddity and poetry of my own life began early on. I remember the depths of my perceptions at a young age and witness it now in my children. It has my attention often… and reverence.
Well, the world ended this week—again. Yet here we are, still standing, and so are you. It turns out Donald Trump has successfully rallied the resentment of those feeling abandoned by the system, and they now firmly believe he’s their champion. Meanwhile, disbelieving technocrats and exasperated suburbanites are left shaking their heads at the audacity of those who elected this populist strongman. Twice. With another election loss under their belts, will anyone soften their stance enough to find common ground? Probably not. In fact, if everything goes according to plan, they won’t. For some, the longer we keep fighting one another, the better.
Look, the pigeons in New York do not care about all of that noise. As long as those pizza crusts keep coming, bro.
Here’s our weekly conversation with the street, this week featuring: Nick Walker, City Kitty, IMK, JEMZ, STOMP, Yevgeniya Shevchuk, Mendoza, PAR, SNIPE, DZEL, OPTIMO NYC, Lorenzo Masnah, ZOOT, and Iván Argote.
A place you may not have heard of, Réunion Island has quickly become a remarkable hotspot for urban art, largely due to the Réunion Graffiti Festival. This annual gathering showcases a rich range of talent from graffiti and street art communities worldwide, offering something refreshingly unique for this type of festival.
Eko, the festival’s founder, extends an open invitation: “Come to Réunion, see the artists, see the walls, and the beautiful city.”
Born in 1976 on Réunion Island, Eko began his graffiti journey in 1989, inspired by hip-hop culture and gaining recognition under the tag “Saphir.” As one of the pioneers of graffiti on the island, he collaborated with local crews like SRD (Syndicat du Rap Dionysien) and later joined LSA (Le Syndicat des Artistes). Eko’s creative reach extends beyond graffiti to music and performance, and his time in mainland France deepened his appreciation for Réunion’s vibrant culture, which he was eager to elevate upon his return.
With respect for his homeland and a vision of global recognition, Eko founded the Réunion Graffiti Festival in 2019. Each year, the festival expands, now including an impressive lineup of international and local artists, community-focused programs, and interactive events for diverse audiences.
A French overseas department in the Indian Ocean, Réunion is located approximately 679 km east of Madagascar and 175 km southwest of Mauritius. Known for its stunning volcanic landscapes, including the active Piton de la Fournaise, Réunion is home to about 885,700 residents. The island’s unique blend of French, African, and Indian influences is evident in its culture, cuisine, and language, with Réunion Creole widely spoken alongside French. Since 1946, it has been governed as a French region, making it one of the European Union’s outermost regions and a part of the eurozone. This blend of European governance and Creole heritage gives Réunion its distinct identity, celebrated through its music, arts, and now, street art.
Since its inception, the festival has showcased global talent across graffiti and street art practices, hosting more than 100 artists, including renowned figures from countries such as Germany, Argentina, Spain, the U.S., India, Italy, Japan, Senegal, Switzerland, and Togo. This mix brings a dynamic blend of styles, reinforcing the island’s position as a hub for global urban art.
A key feature is Graff Park in Saint-Denis, a dedicated space for free expression where artists—from beginners to veterans—can experiment and showcase their work. Supported by both public and private funds, the festival emphasizes inclusivity, offering community workshops, recreational activities, and sessions that help budding artists learn techniques and connect with mentors.
Beyond murals, the festival highlights Réunion’s cultural vibrancy with exhibitions, live music, and dance battles. These programs blend local talent with international flair, complemented by Acts, an outreach initiative that provides regular updates and information on Réunion’s street art scene. This effort helps keep art enthusiasts connected to the evolving urban landscape on the island.
This year, renowned photographers Martha Cooper and Nika Kramer were honored guests, hosting a symposium to discuss their work documenting the hip-hop scene over many decades. New images of Réunion’s street art were captured, and Ms. Kramer conducted interviews with participants, further enriching the festival’s archive and legacy.
From conversation with Nika Kramer, we learn that a young enthusiastic fan of the work of photographer Martha Cooper was not only attending, but participating in the painting of walls this year at the festival. One of the youngest graffiti writers interviewed for BSA, Patcha Pax shares personally his experience here for BSA readers. Afterward is a full interview with the writer by Nika Kramer.
“I knew Martha Cooper before I met her. I had seen a report about her and the 1UP on YouTube, and my mom gave me Subway Art for Christmas 2022. So when I saw that Martha Cooper was coming to the Graffiti Reunion this year, I jumped for joy! My mom signed us up for the conference right away.
I know what Martha Cooper has done so well that during the conference, I answered the questions that Olivier Cachin asked before she did.
I also was very familiar with the 1UP video that was shown.
Meeting her was incredible because I felt as if I was living through her moments with the vandal graffiti artists, especially the 1UP crew. In my mind, I was running with her and them to secretly paint on the subways. It was like touching the real world of graffiti with my fingertips.
I saw that there was still room on the wall.
I saw MC taking a picture of Miaou, so I decided to take a photo of her and reproduce the drawing on the wall. A photograph captures a moment for a lifetime… it was my way of capturing this moment forever. It is painted forever on the wall. And so every time I see this graffiti, I will think back to that moment when MC was there, that she was taking pictures of all of us. And also of the moment when Sally and you were taking a picture of her in front of my Graffiti of her. It brings back a lot of good memories forever.
For MC’s drawing, I think I wanted to please her by drawing her. It was a gift so that she would be happy” ~ PP
NK: When did you see graffiti for the first time? PP: I first saw graffiti when I was 7 years old. I loved it straight away. I had to give a presentation in class and I chose the theme of Graffiti. So I asked Eko LSA by message on Instagram if he would be willing to come during my presentation. He accepted. It was the first time I met him.
NK: How did you get into graffiti PP: I really got into graffiti when I went to see a graffiti festival for the first time, Le Réunion Graffiti in 2021. I saw all these artists painting on huge walls. I asked Eko if I could have one. He replied “train a lot and one day I promise you that you will have your wall”. The next day, I asked my mom to sign me up for drawing classes. Then I practiced whenever I could on paper and my garden wall.
NK: Why did you start writing PAKS? PP: For my tag, I wanted a name that meant something positive. I searched for the word “Peace” in all languages. I found “Patcha” in Romani (India I think), “Pax” in Latin, and “PAKS” in Polish. So my name is Patcha Pax but I write it PAKS most often.
NK: What do you love about the graffiti scene in Réunion? PP: In Réunion, I like the fact that there are many different styles of graffiti. I mainly like the lettering, like that of Arêm and Lego. But I also like certain drawings like those of Macak, Bayko, and Ador.
My mother immediately accepted my passion for graffiti because she always says that she prefers to see me express myself on walls outside rather than sitting for hours in front of a television screen. So she left me a huge wall in the garden to paint whatever I wanted.
My grandparents were not interested in graffiti at all, but now, when they travel, they look for graffiti walls in cities and send me photos. On Sundays, instead of watching television shows about cars, my grandpa watches videos about graffiti with me.
PP: So ! I think I answered all your questions. My vacation is almost over. I go back to school on Monday.
I was very sad at the end of the Réunion Graffiti Festival because it was an incredible week. In 2 weeks I will be at the Run Colorz festival in St Louis so it will be awesome! I will send you photos if you want. I hope your vacation ended well in Réunion and you liked our island.
NK: When did you see graffiti for the first time? M: I discovered graffiti when I was in primary school, a little before the 2000s.The teacher gave us a lesson on prevention against damage, particularly graffiti. It had the opposite effect on me (ha, ha), On my way to school from home I started to spot all the graffiti, (a lot of “kope” tags at the time). But at that time, in Réunion, it was still mysterious. I didn’t understand much about it.
NK:How did YOU get into graffiti? M: In 2005, a friend tagged it in my school notebook. I was impressed by his hand style, which was brutal, precise, and aesthetic. I immediately felt in love with this universe: since that day, graffiti has taken an important place in my life. I quickly started drawing, meeting people on the scene, testing the equipment, finding spots, and understanding the history behind this movement.
It was a brilliant passion for the teenager that I was: diving into a mysterious universe, where you had to make yourself known while remaining anonymous, where you had to come close to the forbidden just for the sake of painting,… Something to break the monotony of my days!
NK:Why did you start writing Miaou? M: Miaou was my nickname as a child, so it was quite natural that I decided to use it on the wall. In the end, it’s cool because it’s also a fun and memorable name, which allowed me to stand out to people who aren’t necessarily from the graffiti scene.
NK: What do you love about the graffiti scene in Réunion? M: The graffiti scene in Réunion is cool because you can paint in flip flops (ha ha)… More seriously, the scene is constantly active and has nothing to envy from other countries. I find that there is a very good level on the island, regardless if you are getting up illegally or legally, in graffiti or street art. The fact that there are many players around challenges us to improve and to stay in the game. But this competition is healthy, we all know each other.
From an interview with Nika Kramer, Ceet talks about his life in China and how his chicken character developed.
“So the first time I saw graffiti was in about 1983-84. I began painting in 1988, but my participation with the culture before that was break dancing.” Nika Kramer:How did you get into the chickens?
CEET: My chicken story started 22 years ago in China. I was in Shenzhen. I couldn’t speak Mandarin, and the Chinese couldn’t speak English, so we had a big problem communicating. So I started to draw everything: what I was doing, everything I wanted to eat, everything I wanted to do. I started to draw everywhere. And I communicated like this for the first time.
And then, step by step, I learned Mandarin. And I live in Hong Kong. Why? Because a company brought me to China to do graffiti work. I came one time, two times, three times, and I stayed longer each time. One day I got the apartment and I stayed there and I lived there. It’s very simple. I like to live there because it is amazing. Many people respect me. I learned a lot about how to paint graffiti using brushes, oil, and sculptures, and I started to have very nice connections with the many people there. This is how I matured my art practice and now and I put my chickens everywhere.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
