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.

August 2006-Auckland and Wellington

Due to the chaotic nature of my work week, I'm keeping today's post short. Who knew that working two jobs, trying to move, and running a blog could be so time-consuming? Anyway, tomorrow's post will be much meatier (or starchier, for all you veggies). Today's post takes us to to cities in one of my favorite countries: New Zealand. 

Until this fall, I hadn't lived in the same place for more than 6 months since 2002. College and work took me across the globe and to a variety of locations. New Zealand made a big impression on me. First off, the country's landscape is absolutely breathtaking. Mountains, plains, glaciers, and beaches are all packed into this tiny country. I got to hike, run, dive, swim, and row my way around and captured a million breathtaking views. Secondly, Kiwi culture takes good times to another level. Between the rugby matches, hangis (Maori barbeques), and general New Zealand hospitality, I was never at a loss for fun or friends. Finally, New Zealand was the first place where I started to really document street art during my travels. My trips to Auckland and Wellington sparked the impetus that led to my photo collection and, ultimately, to this blog.

The first photo was taken behind a contemporary art museum in Auckland. I found it unusual because while the artist used tiles, the image screamed street art. The old school graffiti style coupled with the rigid structure of the tiles created an interesting look. 

The second photo was taken in an alley in Wellington. Normally, I don't gravitate towards tags. The combination of the tree, the bright wall, and the tags created an interested contrast that appealed to me at the time. I'd love to go back to New Zealand and properly explore for more street art. With its growing hip hop scene, there is a large traditional graffiti scene. I'd like to see if other street artists can infiltrate that scene and put up work of their own. Now all I need is time off and some funds. Anybody want to cut me a check? Leave your name and e-mail in the comments if you'd like to be my patron. Cheers.

April 2007-Dublin

It's easy to reduce a country and its culture to popular stereotypes. Ireland too often gets typecast as the potato-eating Guiness-swilling island in the North Atlantic. Ask people how they picture Ireland and they'll probably offer images of men in tweed scally caps nursing whiskey at the pub, playing the penny whistle, or tending their sheep. These generalizations may have been the norm in 1916, but today Ireland is much more than gingers and step dancing. I'm sure there are a few shilelagh-toting farmers with a penchant for pints living in quaint thatched roof cottages. But with the dawn of the Celtic Tiger, Ireland rapidly transformed from an impoverished agrarian state to a European economic phenomenon. International corporations and immigrants took notice, resulting in a rapid influx of capital and people. For the first time in years, Ireland was the place to live, not leave. Today, you can find Japanese sushi, Indian curry, and Polish pierogi restaurants in Dublin's city center. In 2007, the Co. Laois town of Portlaoise elected Rotimi Adebari, an asylum-seeking Nigerian, as mayor. The influx of immigrants has transformed the country. Ireland is experiencing the growing pains and culture clashes associated with increasing immigrant populations. The question is: how will Ireland expand its definition of "Irish" to include new faces while maintaining its own traditions?

I can't pretend I have an answer to that question. While I have Irish roots, I was definitely born on the west side of the pond. Two years ago, I spent four months in Dublin. During this time, I explored the genealogical library, immersed myself in the country's music scene, and scoured the city for street art.

While Dublin was cleaner than other European cities, I did manage a couple of brilliant finds. Down on Dorset Street, I found the first photo sprayed on stuccoed buildings. the artist, DBC, has since covered the city in pieces.

The second photo was taken near the Hugh Lane. I enjoyed this cheeky assertion tagged just a few blocks away from a fine art gallery.

 

 

My third shot comes from Ballymun (see December 11,2008 post). Inside the condemned tenament, I found this little boy on a boarded-up window. I still can't figure out the meaning behind it. Is the boy already dead? Is he a symbol of holiness? What's going on?

Finally, the last stencil has little to do with street art. I found this stenciled invitation on a stone bench near Connelly Station. Although I left the country before the event took place, I can't help but wonder how awesome a party in the GPO would be.

Note: Sorry about the formatting issues riddling this post. This is what happens when you have 15 minutes to post before work in the morning. I'll try to address these later.

December 2008-Montréal

How Canadians can go outside now is absolutely beyond me. When Canadians from the west go to Montréal to get warm, you know it's a cold winter. Clearly, I'm not as tough as my burly brothers and sisters to the north. I drive to work wearing a powder blue snowsuit from the 1970s. Running to the mailbox counts as an outdoor adventure nowadays and requires the use of a ski mask and boots. As I doze off to sleep under five downy blankets, I count the days 'til spring instead of sheep. So Yasmine, I salute you for venturing outside long enough to snap some photos. Today's ice-encrusted post comes to us from Montréal.

"I'm trying to think up eloquent things to write about these pieces, but really I just went camera-phone crazy. And I love art?"

"The owl on top of the elephant is pretty bomb. They're just peering out over hipster central (Plateau/Mile-End) on a main street, and in front of some hair salon (risquée!). There is a huge chance they put the ElephantOwl there themselves.  I know for a fact that most of the people who live in that area go to art school, and are always looking for ways to bank some cred. True story! So those guys (ElephantOwl) are what I call 'a commercial product of some art school genius'. I'm surprised Montréal's art is coming back around from the standard art we used to find on the streets. Things have gotten so mundane here lately."

"The next one I found in an alley-way, Montréal's secret city inside the city. I quite enjoy the random and unexpected. I found this bebe not two days after the ElephantOwl. Surprising! The reason I really like this one though is because I'm taking a German class. To be honest, once I learned 'schwarz' means black, I saw the black muscle baby and instantly thought... 'Schwarzwnegger'...'Arnold'... 'Ha-ha-ha, really guys, I'm not racist.' Yes. Easily amused."

Perhaps someone should make the Governator aware of how his awkward Austrian surname appears to translate? That's going to be an uncomfortable conversation. Thanks, Yas!

In the Headlines

This weekend, I had the pleasure of spending my Saturday night in a crowded gallery filled with good food, great people, and beautiful art. If you're in the Hartford area, be sure to stop by [un+art], an open exhibition of paintings, photos, sculptures, and mixed media productions. The show runs until January 24. I'm showing three photos, including one of a stencil by Turkish artist Aseizze. Brilliant! And now, this week's headlines.

In a rather dull analysis, the Chicago Tribune dissects Shepard Fairey's campaign posters and why they were effective in Obama's campaign.

The LA Times reviews walking tours of Melbourne's street art scene.

French artists JR plasters buildings with giant faces of homeless folks. Now you can't just walk by without looking.

British artist Howard McAlpine uses cars as context to create cheeky murals on nearby walls. (But what's with Evel Knievel trying to jump a bike rack?)

Friday ProFiles: Chris Stain

I am so pleased this worked out. Hopefully, Friday's column will become a more regular occurrence. Today, I am proud to present the first Friday ProFile interview.

Chris Stain’s work doesn’t just catch your eye; it returns your stare. On the side of a building, a homeless man shuffles along in baggy pants and a tired overcoat. A troop of disheveled firemen carry a wilted old man from an undisclosed scene. With his shabby clothes and distended belly, a little boy peers at passersby with a frown and a furrowed brow. A vagrant Santa stares bleakly from a brick wall. Stain’s stencils force pedestrians to look at people they’d otherwise ignore.

Growing up in the Highlandtown neighborhood of Baltimore , Stain’s first creative endeavors were inspired less by the streets than by KISS. He recalls, “My mother kept these drawings that I did of Gene Simmons…I think was five at the time.” Exposure to films like Beat Street and Style Wars and snagging a copy of Subway Art piqued his interest in the growing graffiti scene. “Tags and pieces started poppin’ up in my neighborhood in Baltimore ,” he remembers. “We were just tryin’ to emulate NYC.”

Dodging law enforcement and the occasional “local vigilante asshole,” Stain has been writing since 1984. In need of a name, Stain turned to hip hop for inspiration. He explains, “A New York City graffiti and rap artist named Ramellzee wrote a song called ‘Beat Bop.’ There’s a line in the song that talks about ‘stain on the train.’ None of the cats that I knew in Baltimore were writing STAIN, so I took it for my own.” Some of Stain’s friends have faced arrest and assault as a result of their writing. “Cops beat the shit out of a friend of mine,” he says. “Nearly broke his arms, ribs, and busted his head. We were just kids then.” Yet threats of jail time and violence did little to deter Stain’s zeal. Walls, freights, bridges, and buses proudly displayed his pieces.

Over time, Stain’s style has evolved to incorporate other mediums. He explains, “I got into stenciling because I wanted to do more with the human figure. I wanted to tell my story in that way. In more recent work, I try to combine words and images together.” Through his work, Stain ultimately hopes to expose his audience to the struggle of those less fortunate.

When asked about the future of his work, Stain declares, “I plan to keep telling the story of common people and expressing their struggles to inspire some compassion in folks. It would be great to make a living off of my art, but that’s not always the case. I’m working on tightening up the work and adding more of the psychological events that take place in life. I have a show in LA in February and I’m trying to get this kitchen renovated so my kids don’t have to eat cereal with sheetrock dust in it.”

Today, Stain continues to draw inspiration from the events and people around him. In addition to close friends like Billy Mode, Josh Macphee, and Swoon, he also cites visual artists like Jose Parla, Ed Templeton, and hip hop artist Mos Def as influences. Defining street art as “self expression placed on the streets,” Stain believes that the future of the genre depends on who’s painting. “It could be more of a mixture of all the mediums and styles that you see now,” he replies. “It could also get back to basics; a can of paint and somethin’ to say.” Regardless of where street art goes, the best part of writing for Stain has been the ride. The greatest adventure, he says, is “just meeting some of the most sincere people in different parts of the world who are dedicated to the craft and are trying to make their voices heard. It’s made life interesting.”

Stain's solo exhibit, Up On The Roof, opens on February 6 at the Carmichael Gallery of Contemporary Art (1257 N. La Brea Lane, West Hollywood, CA). Call 323.969.0600 for more information.

All photos courtesy of www.chrisstain.com. Thank you!

January 2007-New York City

As kids grow up, they discover that beloved childhood stories are not actually true. Santa? The Tooth Fairy? Unicorns? All confined to the realm of Imaginationland. (Thanks, Matt and Trey). Yet once in a while, legends turn out to be true. Back in January 2007, I made a pilgrimage down to the home of break-dance, graffiti, and hip-hop: New York, the city that makes my heart beat. My mission was to see the long-lost “Wild Style Exhibit” with my own eyes. Standing on the second floor of 151 Wooster Street, I could hardly believe it myself.

The exhibit in question was a large tagged up wall extracted from a Soho loft. Belonging to art critic Edit deAk, the loft was a meeting place for graffiti artists in the 1980s. Over the years, the space changed hands but rumors of hidden art followed it everywhere. In 2004, developers Michael and Izak Namer were shocked when a casual exploration of kitchen cabinets yielded unexpected results. Behind the structure lay a full wall of graffiti by the likes of Fab Five Freddy and Futura 2000. Construction halted immediately as experts from the Guggenheim and Sotheby’s assessed the piece. The wall was removed and placed on display at Gallery 151 in Soho with Keith Haring, Basquiat, Kenny Scharf, Ero and Fab 5. Ultimately, the owners hope to donate the piece to a major gallery.  

The wall itself is not stunning by any means. There is no flamboyant style or unusual lettering. Pieces are missing and the sheetrock sags in places. What makes the wall special is the historical context. Fab Five Freddy and Futura 2000 tagged the walls with silver, gold, pink, and red spray paint without knowing that they were pioneers of hip hop culture. “Dead or Alive” is believed to be in Jean-Michel Basquiat’s trademark scrawl. Looking at the wall was like catching a glimpse of their sketchbooks as fledgling artists. The wall serves as a benchmark and shows how far street art has come since its early days.  

The final images capped off my trip. Emerging from the gallery into the Soho streets, I was pleased to find these guys out and about. Manhattan has cleaned up so much over the years that there isn’t nearly as much street art as there used to be. Once a piece goes up, I pounce and catch it quickly before it disappears. Fortunately, I captured these two before they got the scrub.