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Who is Typoe?

TYPOE is a name that was given to me from a friend when I was about 15. It has pretty much stuck with me ever since and has been like my first name. Most people don’t even know my real name. It’s kind of funny.

You mix street art and fine art influences to create your pieces. What aspects do you incorporate and what specifically do you appreciate in street art and gallery art?

I look at the gallery as a classroom. A way where I can teach people about myself. Most of my work is about my journey through life and all the things I have been through: Money, sex, drugs, violence, fucking shit up, love, loss… All the good stuff. As far as graffiti goes, I look at it more like something fun I like to do. To me, graffiti belongs outside and it is about fucking shit up, plain and simple. I don’t believe that graffiti is meant to be inside. It is a full contact sport that is handled in the streets and should stay there.

Where do you draw your inspirations from?

I’m like a sponge. Some of my work is inspired by friends who have passed away, other work is inspired by things I see on a daily basis like fashion, partying, shiny things. Some of my favorite artists are: Andy Goldsworthy, Alexander McQueen, Robert Rauschenberg, Michelangelo.

You are an artist as well as a gallery owner. How do you manage to juggle both and be successful in both arenas?

I have to work very hard at managing my time well. Because of doing both of these activities I don’t have time for anything else really, which is fine. I love what I do and it makes me so happy to just do what I love.

You’re participating in various upcoming international art fairs. How relevant are art fairs to an artist’s career?

They’re effective because it is a really great way to get a lot of views in a short amount of time. Also, it’s great to meet people from other places who have seen and/or bought my work and I would have never known. I think it is a needed step to be involved in the fair circuits just to be relevant. If I’m not working and putting my work into the world then what am I doing?

Which direction do you see your art taking?

Every year my art grows exponentially, as do I. We mature together at a nice rate.

Do you have any other news you would like to share?

I am doing my first collaboration with a brand this year and it is something that normally I wouldn’t jump into because it usually doesn’t make sense. I try to keep my work very limited and I want to share it with people who truly appreciate and love it, so be on the look out for an interesting and exciting collaboration between myself and Deltoro shoes.

spinelloprojects.com/artist/typoe/

Words: Heike Dempster

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Where are you based?

I was born in Miami in 1976 and have always lived in Miami.

When did you decide to become an artist?

Art has always been a part of my life, since I was a young child I was always drawing something, when I was 11 years old is when I started sketching pieces of graffiti. But it wasn’t until 2008 that I finally transitioned into the fine art world.

What attracted you to graffiti?

Mostly my surroundings, seeing other writers work in the streets of Westchester and Hialeah and wanting to evolve and see my own work in the streets of Miami.

I was really introduced to the removal in 1994 when the Summit Of The Americas was held in Miami, Florida. The streets of Miami were completely cleaned up and the buff [the mark left behind when graffiti is scraped and ‘buffed’ off walls] was everywhere. That was a drastic moment for me! I then continued to piece and continued to get buffed until 1998. The buff has always been a part of my world but in 2008 I decided to recreate a part of history, a part of my life, which is recreating the removals that surround us and go unnoticed.

Could you tell us more?

My work first starts from documenting the removals through photographs I capture in the streets. I then become 3 different characters, the construction worker who creates the wall, the vandal who defaces the property and the city employee who removes the graffiti. My work consists of multiple layers which are a reenactment of what is happening in our surroundings and all have a story and memory behind it. I try to give the viewer the opportunity to visualize and understand a movement that previously went untold and unnoticed by the general public.

What is the graffiti scene like in Miami?

The graffiti scene has changed in many ways, from the style to the rules of the game. It has changed in ways that are also for the better such as graffiti writers not respecting the rules of graffiti but conflicts between crews don’t seem as common – or it may also just seem that way to me since I’m from another generation.

Within the last 4 years I have focused on the gallery public but I also have done street art within those years with several artists such as NUNCA, OsGemeos, Finok, Joe Grillo, Shie Moreno and Chris Mendoza.

There is an increase in street art presence in the fine arts and more shows about graffiti and urban art. What has changed?

I feel that the whole graffiti world has changed. It was an underground movement then but now it is accepted not only in galleries but also in the streets. It was very different in the 80s and 90s.

What do you have planned for 2013?

My plans for 2013 are to work hard, have my work noticed and understood by those who don’t understand the history of the removal.

jelmartinez.com

Words: Heike Dempster

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First up, please tell us about yourself and your career to date.

My name is Ruben Ubiera, I’m a South Florida urban artist, and I love to analyze and interact with my surroundings through art. As far as my career (if you can call it that, it’s more of a calling than a career), like everything in life, it’s had its ups and downs. Lately it’s been in the up and up so I can’t complain. I have been trying to get my art in the right venues, on the right walls, the right places. I’ve been with the Michael Margulies Artist Agency, which has opened great doors and showed me “the light at the end of the tunnel”.

You’re from the Dominican Republic. Does that heritage inform your art?

In sooooooo many ways. I pull ideas from my culture to define my visual language almost daily. There where subjects and Dominican folk ideas that I used to find foolish which now are a cornerstone of my art. My characters, my diaspora… I’m very proud of it. Example: The “Diablo Cojuelos” (“The Lame Devil” or “The Crippled Devil” – elaborate costumes used on the carnival parades in which men and women dress up as satires of the Devil). The Dominican Republic created the persona I am, the way I look at the world. Being that it is a small island in the Caribbean, the contrast is constant, the poor and the rich, the blacks, whites, mulatos, all in one place. The happy disposition of the country – specially in moments of adversity – are a true inspiration to me.

Your style of art is called Post-Grafism. Can you elaborate and describe the essence of your work?

Post-Grafism is new to me – but it’s a movement I definitely believe in. It’s the natural evolution of urban art. Born out of graffiti, teen angst and comic books, but elevated. And by elevated, I don’t mean better, but just more conceptual. I believe the second you take graffiti out of the streets and it’s not illegal, it stops being graffiti. That is actually what I love about it! I’m constantly driven by what I see on the streets; it’s a hidden language and society that not too many understand… Or care to. But Post-Grafism can bridge this gap.

One of your most recognizable recurring objects is the gorilla. What’s its significance?

A lot of people seem to believe that the gorilla represents me. And in many ways it does, after all, I am painting it. But it’s more than that: I conceptually developed it as “the big gorilla in the room”. The art that everyone is seeing on the streets, but no-one wants to talk about or let it in, even though we know it’s there. It’s huge, strong, smart, witty… Serious and funny at the same time.

Wood, found objects and old skateboards are often part of your work. Why do you use these items and do their previous stories alter the art?

I only paint with found objects. I believe they have a story within them. Plus it brings home the message of recycling. If you build something in today’s world, anything, and you’re not planning on the future, our future, the Earth’s future, then you are just adding more trash on this planet.

You create gallery work but you retain recognition as a street artist. How do you balance that?

Not easy! Working hard. Jumping at the right opportunities, but most importantly: I try to work for my peers. Not the galleries, not the collectors. I try to stay close to future generations. I listen. I see. I question. I observe.

You’re showing work at Art Basel later this year. How important are fairs such as Art Basel to an artist?

In my humble opinion, these fairs are key. Art Basel allows you to have contact with the world of art in ways that were unprecedented. Galleries that you may not be able to contact all over the world are suddenly here. Funny, while people have fun, it’s when I work the hardest.

Do you have any other news or stories you would like to share?

There’s a lot happening now. Too much to even be able to focus on one subject to share. Plus, these upcoming projects are in development and not set in stone. All I can say is: Stay tuned and support your local art scene. See you at the show!

www.facebook.com/rubenubiera

Words: Heike Dempster

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So what is your show Sweet Revenge about? Who are you getting revenge on?

Sweet Revenge is a selection of paintings, prints and sculptures made over the past four years. The revenge is on the recent Olympic buff.

You’ve been a graffiti artist since 1986 – what compelled you to pick up a spraycan?

Ramo from the film Beat Street made me do it.

How’s the scene changed since then?

When I started the paint was like water. Now the quality of paint has changed. Before it was all about catching tags and pieces, today anything goes.

How did you come up with the teeth/mouth signature? What’s the idea behind it?

I wanted to paint something quick with a limited pallet. I started incorporating teeth into my letter forms in the mid 90s, and they also they popped up in my studio practice. Every day we see teeth.

Has London as a city influenced your work at all?

London is magnetic. The East End has had an effect on me and my work. I have always responded to my surroundings.

Did you ever have any hairy escapes with law enforcement or angry shopowners when you were doing work on the streets?

All I can say is the word “chopper squad”. No comment.

It seems you’re very much based in East London – how do you feel about the area now the Olympics are here?

It’s a clean slate. Mmm, I’m lovin’ it.

Death plays a pretty big role in your work, but in a really joyful, macabre way. Why’s death such a big thing for you?

I lost a lot of friends when I was young, it’s my way of dealing with it.

How much consideration goes into how your street work relates to its surrounding environment?

It’s always good to consider the shape of the surface and its relationship to the surroundings.

What’s the difference between painting indoors and outdoors? Does one offer something the other doesn’t?

Indoor painting is a way to develop my visual ideas. Outdoors keeps me young at heart.

Do you still go out tagging late at night? Do you see yourself doing that for the rest of your life?

I don’t tag anymore. I would like to work for London Underground…

Sweet Revenge is on from 11 August to 19 August at The Colour Works, 117 Wallis Road, E9 5LN. www.sweettoof.com

Words: Zing Tsjeng

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Who is Brandon Opalka?

I go by many names! I’m survivor of a dysfunctional single mother and a crazy-ass bloodline. Basically, I’m a redneck with a city boy spirit, clever enough to convince my family it was worth it.

What do you do on a typical day?

Feed my creative spirit with life’s fascinating challenges as I walk with my thoughts playing constantly on repeat saying “get it, put it”.

What are some highlights of your career to date?

Working with Tony Goldman and Wynwood Walls was so amazing. I had just become a father and took on a full time gig at MOCA as Exhibition Coordinator. During the day I ran the crew at MOCA installing Mark Handforth’s show, and after I put Wyatt to sleep at night, go paint. That happened for over a month and somehow I found the energy to keep going. That was the most incredible and memorable feeling.

What defines the art of Brandon Opalka?

Setting goals, but always allowing myself the freedom to surprise. Kind of like some ambition with a shot of madness.

Is it important to you to continue to do both street art and gallery work?

I don’t really like the term street art. It isn’t really what I’m doing. Without the graffiti, my gallery work would have no presence. I started with graffiti, my friends are vandals and they’ve become my family over the years.

You often incorporate animals into your work. Is there a specific meaning to each animal?

My work is full of symbolism that has been created naturally through years of dreaming, when objects make it onto the canvas or walls they have already passed through a trip through my mind’s eye, picking up with them various personal memories. So I‘ve come to terms that the viewer will have there own trip to deal with, but while experiencing my work they are free from explanation. That leaves me feeling more fulfilled with the work, by not expecting a specific reaction from the masses. I almost have to disconnect from the work before I show it so my feeling can stay true to my spirit.

Do you personally collect art?

I’ve been trading and buying art ever since I made my first sale in 1997 in Miami Beach. Some of my earliest paintings are from Christian Curiel and Jason Ferguson. My favorite work is a painting by Robert Thiele. The painting hangs next to my TV— which sounds underrated. His work is so mysterious and that is hard to pull off. I find him to be a modern master. Thanks, Bob.

Do you have any upcoming exhibitions?

I will be creating an installation called “Janigans” at the Art and cultural center of Hollywood in March 2013, named after my mother. The installation is a bar filled with TV’s, trophies, and fictional sports memorabilia.

What's next?

Traveling and painting murals. Living this next chapter with a tad more wisdom.

If you had to paint a mural with the title “Wonderland,” what would it look like?

Animals, lots of animals. A mystic place with no sense of pain or sorrow. A happy place with lush vegetation, mostly of the rainforest variety. Very colorful, as if it had a sound track. Music is playing, something like David Bowie and the animals are taking a nap now. Goodnight, little furry friends. It’s all good!

Words: Heike Dempster

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BFC Crazy Eye Hotel from Ge.Stijl on Vimeo.

First off, how did you guys get started?

Unga: Back in 2001 – we started when we were in high school. Before then, there wasn’t much graffiti in Israel.

Tant: Everything in Israel happens ten years later.

So what’s the scene like now?

U: It’s all happened in the last two, three years – it’s getting bigger. If you go to Tel Aviv, it’s all over the place. The entire city has tags, throw-ups and street art.

T: But where we stay in Haifa there’s nothing there, really. Old people live there. There’s nothing outside so you have nothing to do. So we just spend all our time in the studio.

Have Israelis become a bit more welcoming to street art since you started out?

U: It depends. We used to live in a poor neighbourhood and people appreciated it. When we painted outside, people would walk by and be positive about it because these areas are so neglected. But if you go to the wealthier neighbourhoods, people don’t like it so much. Angry neighbours try to chase you. Once someone threw a bucket of paint on me.

It sounds like Haifa still isn’t that up to speed on graffiti, then…

U: There’s no scene or industry in Haifa. If you want to see international artists or musicians you have to go to Tel Aviv. But we can’t stay there for more than three days, we’d want to go back to Haifa. We want Haifa people.

T: Tel Aviv makes you angry – like all the time!

U: It’s hot, people are stressed, cars honk at you – Haifa’s much more chilled. Everything’s slower. If Israel’s stuck ten years ago, Haifa’s in the eighties.

What kind of inspirations do you have?

T: American comics from the 80s, anything from Marvel or DC.

U: Robert Crumb, love him. A lot of our stuff is based on rock posters or psychedelia – anything that’s colourful or poppy.

You’re regularly called Israel’s first graffiti crew – do you feel like you’re representing your homeland?

U: We never think of Israel as our audience. We don’t label ourselves, not even as street artists or as Israelis. It’s people outside who try to label you. We just do our stuff.

Even though this is your first European show, you’ve travelled a lot for your shows. Do you have any crazy stories?

T: We did some projects in Beijing and then we went travelling in the villages – we said we were going to the top of the mountains. We walked eight hours, straight up. Then we arrived and saw a crazy, big black cloud.

U: It started storming so all four of us got inside our two-man tent and didn’t leave until the next night. In the morning, we woke up and realised we didn’t have any food or water. We thought we were stuck.

T: So we just started walking, sliding down the side of the mountain while it was still raining.

U: For a moment we thought someone would have to rescue us and it would be one of those stories about stupid travellers, but it turned out okay.

Crazy Eye Hotel, an exhibition by Broken Fingaz Crew and sponsored by BI-ARTS Grant and Cass Art, is open to the public from 6.30pm tomorrow at Shop 13, Old Truman Brewery, London E1 6QR. It runs until 29th April.

Words: Zing Tsjeng

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“Walk” opens tomorrow and to the public from 10am on Friday at Imitate Modern 27a Devonshire Street, London W1G 6PN
Video by: Makda Iyasu
Interview: Jack Mills
Stik

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