Over the weekend the young kids at our wall put us on to the Harlem Shake. Having never heard of the trend or heard song that gets used, we went in anyway.
For the first wall clip we were listening to The Who’s “I Can See For Miles” playing from a car stereo
Big dude in black was not in on it, just wanted a shake.
See more at Writers Bench TV
A video documenting a recent wall I did for Converse in the Williamsburg section of Brooklyn.
Currently on view at Klughaus Gallery. Part of the “Snap Back, Dangerous Drawings About New York” show.
Heading to NYC after Miami to present some thug quality art work with Toper…
Find out more at Klughaus Gallery
THIS SATURDAY AT KNOWN GALLERY
DAZE – The Grey Scale
The Grey Scale Paintings
Walking along what seemed like an endless series of tracks my senses became accustomed to the dark labrythiniun tunnels that lay below. My eyes adjusted to the darkness and my ears acclimated to the endless series of subtle noises. Dripping water, the squeal of rats chasing each other, the release of train compressors, the clicking of the tracks as a train approached the next station, then, all at once, the roar of a passing train echoing through the tunnel, and then, silence.
This new series of works entitled “The Grey Scale” is an exploration into the context in which many of my subway works were created. Walls layered with years of tags and signatures, gravel floors covered in dust and debris, flickering lights, and the gleam of sharp steel tracks piercing the darkness are all portrayed in the context of subterranean tunnels that lead to nowhere. This is a world in which we are encouraged to stay away from the light at the end of the tunnel. These new works call to mind some of the layered complexity of Rauschenberg’s early black paintings or perhaps the subtlety of Cy Twombly’s blackboard paintings. Others yet clearly show references to the gritty urban landscapes of the New York ash can school: John Sloan, William Glackens, Robert Henri, and later most of all, Reginald Marsh. These artists chose, as I do, the streets as their primary source of inspiration. The paintings are a kind of hybrid that draws from the vocabulary of both the graffiti world and urban realism.
Opens: October 15, 2011 | 8-11pm
441 North Fairfax Avenue
Los Angeles, CA 90036
Among the thousands of people who make up the graffiti community around the world, there are few names that carry the same legendary quality as SABER. Born in the Los Angeles suburb of Glendale, SABER was raised by creative parents and discovered his passion for art at an early age. At 13, his cousins introduced him to graffiti when they took him to see the spray paint-covered Belmont Tunnel. From that moment on, he was hooked. After honing his skills on local walls, SABER joined MSK, and was later inducted into legendary piecing crew AWR.
SABER was already a fixture in the Los Angeles graffiti scene by 1997 when he completed the largest graffiti piece ever created. His piece on the sloping cement bank of the Los Angeles River was nearly the size of a professional football field, and took 97 gallons of paint and 35 nights to complete. In a famous photograph—taken by his father just after it was finished—SABER stands on the piece and appears as a tiny speck amid a giant blaze of color. It catapulted SABER to legend status in the graffiti world.
SABER began exhibiting in his fine art in 2002. While known for his elegant and aggressive abstract letterforms, SABER’s artistic output has also included drippy, surreal cityscapes and his painstakingly rendered “new reality” canvases. SABER has also worked corporate projects with Hyundai, Scion, Boost Mobile, Roland Sands Design, Montana Paint Company, and Karmaloop. His monograph, SABER: MAD SOCIETY, complete with stories of his graffiti misadventures, was released by Gingko Press in 2007 and is now in its second printing.
In October 2010, SABER released a video in which the year’s heated debate about healthcare was spray painted over the American flag. While some saw it as desecration, SABER advocated for healthcare reform in the video, revealing that he had epilepsy and was un-insurable. This work led SABER to create a large group of American flag paintings called the Tarnished series.
In 2011 SABER’s artwork is featured in two museum exhibitions, “Street Cred” at the Pasadena Museum of California Art and “Art in the Streets” at MoCA Los Angeles.
On a develishly hot and muggy summer day in the Bronx How, Daze, Bio, Nosm & myself struggled to make good graffiti. We had the misfortune of painting a wall that had no shade for an entire 96º day. Daze put us all to shame by painting with a respirator on and doing the least amount of complaining. Hats off to that dude!
I had no idea of what I was going to paint. I started off by throwing up some abstract fades and such then marked out some simplified base letters. Nothing I painted this day was done with ease. Somehow we pulled it together at the end…
The other day I decided to paint a piece for Semz. It’s quite a reminiscing feeling when painting a piece for a friend who has passed away. While painting, I end up thinking of odd experiences or trips taken with the person. I think a lot about the past and how I ended up where I’m at today. It’s a real sad feeling knowing that the past is done and cannot be returned to. When i go back east it doesn’t feel like home anymore. What i knew has since been knocked down, regulated, or swallowed up.
As Joe became less interested in graffiti, he worked more on his music. The energy and honesty in his music clearly comes across in an inspiring way…
Rest In Peace