Friday ProFile: BR1

Traveling around can break up a slump, but sometimes the best place to work is right under your nose. BR1 (BRuno) roams around, but he admits, "I love the Italian lifestyle and food too much to go live in a foreign city. I love Rome, full of history and monuments, but it's also where you can see the stereotype of Italian people. Turin gives me what I'm looking for from a big city: art and cultural ferments but also underground culture." When he's not studying law, he decorates the city known for FIAT and Nutella.

At first, BR1 began messing around with spray cans, but the medium proved to be too expensive. Since he loved drawing human figures, he gravitated towards stickers and posters. Over time, He developed his trademark Muslim women. He recalls, "First I made printed posters in black and white, then hand-colored posters. At first my pieces were small, but now they get bigger and bigger."
Whether they're shooting photos, talking on a cell phone, or carrying children, these Muslim ladies command respect. "Without women, there isn't life!" BR1 insists. "People start to look at me as a feminist that makes people aware of the Muslim woman's condition, but it's way too misleading. Muslim women are people just as others, with a culture and customs that are often the same, if you account for globalization. I don't want to debate religion and politics through my art; I focus on the woman, the person. I'm an impressionist painter that makes a portrait of a woman with an interesting story."
Police don't always take kindly to the ladies. When the cops show up, he unsticks his posters to avoid conflict. Fortunately, the city of Turin appreciates and respects BR1's work. He remembers, "Some months ago, someone drew on the woman in my poster. Two months later, I saw that someone came and fixed the poster with acrylic paint. They restored my work! This is my ultimate goal."
Rolling out solo makes the creative process easier, but BR1 is all about teamwork, too. "When I have time, I love organizing street art events," he says. "I organized the Turin Poster Festival with more than 100 posters from all over the world. I also put together Vinilificiocreativo with my friend Omino71 from Rome. This show contained vinyl painted by urban artists. The second stage of the show in Rome became the biggest and most popular vinyl show in Italy."
In the future, BR1 hopes to work more color into his pieces. His free magazine on street art is coming along and he hopes to set up a big street art festival in Turin by April 2010. For BR1, it's all about pushing boundaries. "We have the power to change the meaning of public space," he says. "With street art, a wall can become a frame."

Grazi, BR1! For more fabulous photos, visit his Flickr. For folks in the CT area this weekend, stop by ArtSpace in New Haven for the Elm City Pop Fest. (Thanks to the awesome guys over at CT Indie for putting this event together!) Have a great weekend and I'll see you guys on Monday.

Friday ProFiles: Siloette

Siloette’s pieces may be riddled with female faces, but these ladies are anything but prissy. One fierce female keeps watch over her neighborhood in the Bronx. On a building in Minneapolis, Minn., a daydreamer gazes into the distance. The elfin gypsy in Phoenix, Ariz., surveys the scene before taking flight. In Melbourne, Australia, this tough cookie doesn’t mince words; her eyes ask, “What are you looking at?” Strong and beautiful, Siloette’s women are as rugged as her concrete canvases.

But don’t pigeonhole her as a token representative; she abhors the idea of representing all women through her work. “Each person is different and each artist should think as an individual. I’m not interested in being typecast as a mascot for an entire body of work, let alone being branded by my gender, race, or style. I want to paint well. I hope to grow as much as possible as a person and as an artist. I hope I never have to ‘promote’ anything.” In 1996, Siloette passed by a storefront with 'silhouette' scrawled in decorative writing. “I loved the idea behind the meaning and the fact that it could be shortened so easily,” she recalls. “I decided to stick with it.” With a name and a can of spray paint, Siloette fearlessly took to the streets. “There were a lot of risky moves and crazy adventures that I jumped into early on. I think the fears came about later as I grew up and became aware of my own mortality.” Inspired by Art Nouveau and Art Deco, her bold use of color mixed with soft lines and intricate patterns created an unmistakable style. While she doesn’t define herself by her gender, she does admit that it comes into play on the streets. “There have been moments where my gender was a serious advantage,” she explains. “At other times, it hindered my ability to get up or handle a sticky situation. It’s not smart to go out on your own when you’re a female, especially when you’re in an unfamiliar city. That’s why it’s so important to communicate amongst your friends and crew. Create those lifelines and learn as you go.” Today, Siloette’s building her portfolio indoors. Taking a break from walls and traveling, she’s choosing to focus on fine art. Currently, she works as a freelance graphic designer and fine artist in San Francisco. By collaborating with Adidas, Converse, and custom snowboard companies, Siloette hopes to take her work off the wall through a variety of outlets. “I wrapped myself so tight in being on the move that I would like to sharpen a few things at this point in my life,” she adds. “I’d like to do way more sketching and work on improving my subject matter. I want to broaden my horizons for sure.”

All images are property of Siloette. To see more, take a peek at www.siloette.com.

That’s all for now! I’m going to spend my weekend translating a post from Jura Maurader in Kiev. Time to flex those Google Translating skills! Thanks to everyone who’s contributed this week; it’s people like you who keep this blog going! Have a great weekend and check in on Monday for the news.  

October 2008: Boston

Normally, I rep New York like it's my job; my heart beats for The Big Apple. But this week, I feel like Boston deserves its due. Therefore, we're doing back to back Boston posts. It's like "Buy One, Get One Free" half-gallons of ice cream. Or finding a forgotten 20 in a coat pocket. Or the lineup for Coachella this year. (Okay, THAT was an exaggeration). Here are some leftovers from my hunt last fall.

This first shot just makes me laugh. I'd love to find the artist and shake his or her hand because that's fine use of a Sharpie.

The people on this poster are a riot. I've never seen someone cradle a bomb with such tenderness before. Ah, the Bush Administration: thanks for all the great material. I was surprised by the amount of wheatpaste in Cambridge. While there were some stencils and stickers, pasted pictures dominated the landscape. Any reason why?

What am a looking at? A soup can/paint container/twist-off water bottle combo? Why the bird? This is one moment when I wish street art came with small plaques like museums.

Um, I think the message here is pretty clear. If a large Death-like figure with a skeletal face told me to do something, I'd probably listen. 'nough said.

I think I like these pictures so much not because they're revolutionary but because I remember them in the context of a really good weekend. I found them when I went up for Halloween, so the weather was cool but comfortable. We spent the weekend dressed up as cartoon characters and Jane Fonda impersonators, ate at a delicious Lebanese restaurant, and walked until I couldn't feel my legs. It seems like a quiet weekend but it was just what I needed at the time. Now that I'm buried under feet of snow, I remember those days fondly and look forward to a time when I'll be able to hunt for street art without a ski suit. Tomorrow, we're going someplace warmer in our first Asian post ever!

P.S. Congrats to my friend Will who just got a job in New York!

October 2008: Boston

Quick update. A while back, I wrote about an ever-changing brick wall in Cambridge, MA. Countless artists flock to this wall to paste, post, paint, and stick their work, resulting in a cycle of styles. I returned to Cambridge in the fall of 2008 for some serious searching.

What surprised me was the increase in the neighborhood's street art since my last visit. Boston strikes me as a more conservative city compared to New York or LA, so this level of unconventional art was a pleasant find. Artists displayed their work not just on this wall but around Central Square, making for an interesting hunt.

I like this version of the wall even better than the last one. The giant 'Beware' Frankenstein looms over a Gothic Noir tag. Nineta's nymphs are everywhere and the pensive octopus head adds a bizarre twist to the whole composition. Plus, the characters speak to you with lines like "Join the cult...Drink the Kool-Aid" and "The end is clear." 

At some point, I'll post more photos from around the neighborhood. While I'd once had my doubts, I now believe that (at least in Central Square), Cambridge has something going on.

February 2007: Paris

Paris holds a special place in the hearts and minds of creators everywhere. Museums like the Louvre, le Centre Pompidou, and le Museé d’Orsay teem with masterpieces by Gaugin, Monet, and Degas. Writers gather in cafés in le Quartier Latin just like the Sartres, Prousts, and Zolas of days gone by. Considered one of the major cultural capitals of the world, Paris and its avant-garde scene is the quintessence of cool.

 

I paid a visit to the City of Light in 2007. During my trip, I explored the city’s prolific museums, lunched in its spacious parks, and wandered its vibrant neighborhoods. Combining mosques with churches and baguettes with baba ganoush, the city contained more Middle Eastern influence than I expected. In galleries or on the streets, I was inspired by the location, the creativity, and the people (Contrary to popular American opinion, I have yet to meet an unfriendly Parisian). I felt at ease and excited simultaneously; the city felt sleepy and electric at the same time.

 

Today, it appears that a new genre of art is exploding in this remarkable city. I noticed a colorful collection of street art decorating the historic landscape. From gothic architecture to modern post-war buildings, street artists displayed their creations on every available surface. Before, the French art scene was confined to gallery walls. Today, artists like Blek le Rat and Miss Van share their work on the street and garner attention at home and abroad. With countless new members emerging, the French scene continues to grow and expand stylistically.

In my first photo, Miss Tic's fierce female stared back at me from an apartment building. Roughly translated, the text says, "It's life; it will pass." After wandering for hours trying to find the Pompidou Center, I appreciated her message. Who knew that Paris had so many undocumented side streets? Clearly, not me or my tiny map. While I was tired and hungry, this saucy mama put things in perspective.

Next, I stumbled upon a little boy, a red umbrella, and a monkey. This graphic combined such unusual subjects that I was left with a lot of questions. Why is this boy hugging his knees? Is he trying to stay dry? Is he hurt or scared? And what is the monkey doing? Wacky.

My third photo was found in a small neighborhood as I searched for a place to eat. This sea foam green stencil of Ingrid Betancourt, a Colombian-French political activist held hostage by FARC for six years, carries even more significance since her 2008 release. 

On rue Descartes, I looked up to find this large mural and poem. Painted by Pierre Alechinsky, the mural illustrates "Feuilles d'automnes," a poem by Yves Bonnefoy. I certainly appreciate the trees of the city, but I also felt this poem captured how I feel about street art. I felt lucky to find these pieces and they opened my eyes to another side of Paris. Someday, I'd love to return and continue my search.

Friday ProFiles: EGR

In spite of braving subzero temperatures and working with truculent teens, I'm determined to have a good birthday today. While people will probably still confuse me for a student even though I'm 23, I take comfort in knowing that I've got a couple more great interviews sitting on my desktop. Today's ProFile features Canadian artists EGR.

Most people recall preschool days filled with fingerpaint and macaroni necklaces as their first exposure to art. Toronto artist EGR's first creative memories are a mixture of casts and Crayolas. A hip surgery in early childhood left her with a long recovery and lots of spare time. Her resourceful mother bought her a comfortable chair and a box of crayons, so EGR spent her days drawing and watching Sesame Street. Fortunately, her kiddie psyche didn't form any negative associations between art and leg pain. The joy she experienced with that first box of crayons later led her to an illustration course at Sheridan College. 

As she studied, EGR noticed the artistic activity out in the streets. Graffiti artists impressed her with the accessibility of their work. She explains, "At the time, I was so engrossed in trying new mediums and experimenting with new techniques. I was breaking down boundaries in my advertising class with the use of graffiti in my projects." Finding inspiration in her formal training and the streets, her influenced ranged from Van Gogh and Klimt to Fafi and Gary Basemen. While many crews asked her to join them, she chose to fly solo. Her acro-name (pronounced "eager") is a play on her initials; friends and neighbors know her as Erica Gosich Rose. The name also stands for her unwavering enthusiasm for art. The suburbs around Burlington, Ontario, all bear her mark.

Getting up wasn't always easy for EGR. In the beginning, she admits, "It was definitely nerve-wracking at first to step up to the wall. To this day, I still get jitters or butterflies." Climbing unstable recycling bins or shaky scaffolding added to the danger of getting caught. Also, elbowing her way into the male-dominated arena wasn't easy. "As a woman," she says, "I found it difficult to be taken seriously from the start. To be confident and try to paint a wall is pretty tricky, especially in the midst of the boys' club scene." As she grew up, she harnessed that swagger and asserted her place on the scene. Fortunately, EGR has painted with trustworthy people and has yet to have an encounter with the law, a feat she attributes to being a "pretty fast runner." In times of trouble, she draws on strength rooted in a childhood tragedy. "My youngest sister passed away from SIDS," she recalls, "and in learning to cope, I embraced prayer. Conscious peaceful prayer is power and I remember that when I paint."

All of EGR's ladies are both strong and beautiful. Three sisters surface from a murky river only to be greeted by factory exhaust and a lonely tree. Radio Raheem's female counterpart pumps out the jams from her boom box as her braids flap in the breeze.  The Queen of Spades brandishes her piece as she glares into the distance. Filled with skateboarders, rollerskating honeys, and old men out for a stroll, her "Summertime in the City" mural warms up even the coldest winter day. Equal parts sexy and bold, these female figures command a strong presence on the streets.

EGR feels personally responsible for the messages in her work. Although her characters are often female, her pieces convey much more than "girl power". She hopes her pieces don't get oversimplified. "I have had fears about putting my work out there," she explains. "Some of the more submissive female characters are either nude or vulnerable in appearance. These characters reflect the vulnerability that I feel or possess at times and can be mistaken for other things. There is a fine line in this power struggle." EGR addresses defying gender roles and the deteriorating natural landscape but wants to leave viewers with a feeling of hope. Ultimately, she hopes the accessibility of the streets will enable people to see her work and react.

In addition to her art school education, the streets have imparted some valuable life lessons on EGR. Instead of agonizing over a piece, street art taught her to let it go and to remain content with the final product. She continues, "I've learned to paint quick and abandon my work, which I have applied to the fast pace of illustration but is much unlike the speed of most fine art." Getting up allowed her to travel across North America and to collaborate with other artists. Out of all the places she's been, she asserts, "Toronto is definitely my favourite city because of all things, it's home."

Today, EGR lives and works in Toronto as her own representative and agent. When she's not piecing, she dabbles in music, writing, and fashion. Her latest project? Getting married. She declares, "I'm enjoying being engaged to an awesome fella who supports my goals and dreams; he is my backbone. We have several installation projects that we are planning together." While EGR's commitment to her work is constant, won't the name change conflict with her initial-based moniker? She replies, "I predict I might have another name change. Like my art, my name is ever-evolving."

Catch EGR's work on display in Housepaint: Phase 2-Shelter at the Royal Ontario Museum (100 Queens Park, Toronto). For more info, see www.housepaint.ca.

All photos courtesy of EGR at http://www.egrart.com/artshop/news.php.