5 Questions with Blythe Crowe

It's not often that the 2095 chick's memory fails on pinpointing pivotal moments in her life, moreover when there is a meeting between the artist and photographer.  In fact on many occasion she has been the "phone a friend" on matters of trivia, events (good and bad), and past lives in the industries she once worked.

But as she types the cogs begin to turn...dang there is NO way she can let this piece continue without being precise and exact!  She'd be letting Team 2095 Chick down for heaven's sake and that dear friends is a big fat no no in her books!

AH HA!  How could this chick be so remiss....of course...it could only be....it was as a result of her joining a certain group on a certain social media page focussing on a certain event which threw her head first into a certain world.

Nooooo....not this time.  No way is the 2095'er going to state the obvious.  For if you do not know by now, then you will simply have to read through previous blogs in order to ascertain exactly what it is she refers to!

Now that that is comfortably out of the way.

Whilst not having met in person due to geographic discourse, the 2095'er saw a post on AWOL Stencil's page asking for people to submit photos so as to be part of her project "People/Society" (an amazing range of images which you can check out "here"), photographic hand duly put up, the 2095'er was completely stoked to hers included!

Since that time the 2095 chick has been observing this artist's developing style and maturation and felt that NOW was the time to delve into the world of the artist known as Blythe Crowe.

Young artist up and ready to go.  When did you first realise you wanted to not only become an artist, but extend that definition to include street in your portfolio

I started getting serious about art when I was around 12 years old.  I had a passion for tattoos.  I loved the design, especially tribal art.

I taught myself line art which then led to tribal art.  About a year later I heard about this guy called Banksy.  That's when I fell in love with the idea of stencilling and painting the streets.

Ever since then I strived to make the world a more beautiful place, one brush stroke at a time.

Why stencilling

I was always amazed how something simple could be so beautiful and bold!  I loved how putting a couple of shapes together could speak so loud.

It makes you stop and take a second look.

You have done some incredible projects to date including stencil images of photos of people you have met via the wonders of social media.  What has been for you the most pivotal one that has a permanent place in your heart

The one that will always stick with me is a portrait I did of a baby who was born with a disability.  His mother's words still replay in my mind "this picture was taken two days after my life changed completely.  You see, I had plans to be a professional, to work in a high-rise in Manhattan.  When he was born with a disability my life went from climbing corporate ladders to knocking down barriers.  What is the saying?  'We make plans and the gods laugh'.  This picture reminds me that disabled people are human.  He looks 'normal' doesn't he?  Like the average sleeping baby.  It's why I am who I am today.  It's my blessing".

I have a disabled brother, so this story really hits home.  Her words express that every person, no matter what shape or size are beautiful.

These are the stories that make it all worthwhile.

Where do you see your future as both artist and street artist

I hope to spread my work globally.  I'd love to travel and spread a little inspiration everywhere I go.

My dreams are to pain Basel in Miami (Florida) and have a solo gallery show.

I don't aim to be the next Bansky and don't aim to sell my work for millions.

My goal is to inspire the next guy to follow his dreams.

Edge Gallery Collab Mural 2012

When can we (as in Australia!) expect to see you visit and adorn some walls with your work

Hopefully soon!  I've never travelled but Australia is one of the places I have the most fans (see Blythe's facebook page "here").  So it's definitely on my list of things to do.

**********

And the walls await you!  If you haven't already you MUST check out her website "here" and from there you can keep up to date with all stencil goings on via Facebook, Twitter, Instagram, Tumblr.....thank goodness for the fibreoptic world is all this chick can say.

Where once a Leagues Club Stood

Once upon a time, in a land far far away, there used to be Rugby League teams that were known for their singularity, easily identifiable club colours, name and home ground.

These teams also had incredibly impressive "Clubs" where $5 got you an enormous plate of food, schooners were $2 (hence many a long night spent getting ever so slightly addled has been known to occur once or twice in the 2095'ers life) and the sound of poker machines "added" to the ambiance.

Somewhere along the line things got a little confused.  Money was nowhere to be found, clubs merged and became totally NOT what they used to be about and some their respective Leagues Clubs closed.

But for one it was a drawcard where some serious serious streetart was to be found.

It was a wet Saturday afternoon (seems most of the 2095'ers initial jaunts to new territories are somehow predicated with rain....must do something about that!) after work and the 2095'er thought just for a lark she would venture up towards Rozelle and meander around in the hope of finding something new and exciting.

Almost at the intersection of the busy highway, she turned left.  Something was telling her there was a building that needed investigating but damned if she could work out where it was.  A few more steps down this road she spied it.

A HUGE carpark from the rear, scaffolding everywhere but way up high on the top level she saw some colour.  Even more importantly that smell...that heavenly smell of fresh paint meant that there HAD to be something somewhere.

For once in the 2095'ers life she elected to walk around to the front entrance.  Bold as brass, on one the busiest highways in Sydney, car yards to one side, carpet worlds to the other, she walked in to the "helmets only" area, slid around the opening in the scaffolding and was rewarded with the singularly most spectacular piece that had not been tagged or capped.

A few more tentative steps and a slight turn to the left presented the 2095 with another amazing "partner" to her beloved Slug.

It was pure gold...and it was at that moment the 2095'er realised the camera battery was somewhat depleted so it was with stealth and diligence that she continued on this exploration.

There was something about this raw beauty that struck the 2095 chick who was determined to capture not only it, but its essence with very little editing (ie. cropping only).  

One thing the 2095 chick can state with absolute clarity is that she doesn't use any software to "touch up" or enhance.  Yes there is a time and place for "air brushing" and maybe HDR, but why ruin what already is beautiful with over processing to the point you can barely recognise it?  Also she doesn't know how...

As such here are a few frames of what may or may no longer be, in a place formerly known as the Tiger's Club.

While there are more to be seen, the 2095'er is always mindful of how many words and photos are appropriate per article.  So if you want to see more of this amazing place (keep in mind that it was pre sexy EOS110D days so tolerance and understanding is always wonderfully received) simply click "here".

Hello May Lane

Before starting on this particular article it must be noted that all artworks shown remain the property of the artists and cannot be reproduced without their express permission. The 2095 chick is simply showing her photographs in order to share her experience.

The 2095'ers intro to May Lane was day that rained, where her brolly decided NOT to behave itself and her teeny tiny SX20 was somewhat new. 

Add to mix the 2095'er not being completely comfortable or familiar with the area at this particular moment in time, but any reservations or "fear" were abated  the instant her eyes clapped on the most magnificent wall of colour and detail.

The 2095 chick does not nor ever will enhance or over process images using software  

Trim yes, digitally destroy with over processing no

The 3D effect was mind boggling.  No matter what angle, no matter how far down the lane you went to achieve "the shot", it was pure perfection every frame. 

The 2095'er found the intricate detail so hypnotic she found herself thrust in to the "once I'm behind the lens I am completely in my own world" land.  And what a delightful place it is to be.

In an almost robotic manner, the 2095 continued exploring in wonderment, quickly realising that this is not a place where you "rush" through, for you may just miss something.

this piece remains intact for which the 2095'er & many others are most grateful

As with most "landmark" discoveries there are times when the 2095'er must simply shut up and allow emotions, heart palpitations and "oh my god" moments be shown via multimedia (nb: this clip does not comprise 100% Mays but also includes other firsts on her maiden Inner West voyage: thus becoming the impetus for the street-art revolution/obsession of the 2095'er)

It would also be remiss of the 2095 chick not to include her first introduction to the extraordinary world of Vexta.  The day was dark enough (with gloomy rain clouds) for the 2095'er to see exactly what this piece was in that it was designed to glow at night.

kindly reproduced with permission from Vexta

Like most discoveries or "first heart skipping moments", the need to return became unbearable.  Having to wait for another 12 hours was seemingly intolerable.  But given the location of the 2095'ers dwelling deemed it almost impossible to do otherwise.

But return she did and then some.  The beautiful thing about this particular place is that each week there will literally be something new, or a "work in progress" thus keeping it fresh and exciting. 

Nothing smells more beautiful to a photographer than that distinct aroma of paint. Clear indicator of new new new.

On one particular revisit as the 2095 wound her way on the direct route from St Peter's train station she noticed an artist and from a distance she pulled out this teeny tiny camera and got (well to the 2095'ers mind at least) a pretty good shot.

Confidence for once decided to be on the 2095 chick's side.  Walking up slowly and waiting until said artist was having a bit of a breather (literally), the 2095 struck up a conversation albeit it somewhat hesitantly at the start.

It revolved around folk going up at times, hurling abuse at him "why did you paint over what was there, we HATE it", to which the 2095'er replied "hell if they don't like they don't have to look at it" and from there the conversation flowed.  It wasn't until the end that he looked at me and said "we are actually 'connected' on flickr".

Jaw dropped: see the 2095 might know them by the street names rather than the "real world" names so it is always an incredibly humbling experience (and yes..even now the 2095 is always blown away when an artist walks up and introduces themselves then saying "oh your cap gave you away, everyone knows you wear a black cap") when someone whose work you admire from afar not only takes the time to talk to you but then says they already know you albeit by some form or other of social media!  No words can be found to describe that moment.

The piece below again is not strictly Mays and includes the immediate surrounds but hell, it's the 2095'ers blog....

Recently Mays has become Caroline but in an ever changing world there will always be one constant and for that we as photographers and lovers of art, (streetart, graffiti or whatever you wish to call it) are and will always be forever in your debt

May Lane Flickr Set

Ode to The (now defunct) Glebe Tram Shed

The Glebe Tram Shed or, to use its proper name, The Rozelle Tram Depot: known for being the 2nd largest depot to service the Sydney network from 1918 until its closure in 1958, for being a major place of employment and in the latter part of its life the "mecca" for street artists, photographers, music video editors and more.

The 2095 had known about this location for quite a while and started to see more and more photos taken by lovers of adventure, streetart and the "whatevs".

As with most ventures, the 2095'ers first attempt to scout this Tram Shed was a complete failure.  It was raining, there was a boom gate, a bored looking Security dude and to be honest she just was not in to it.

Fast track 2 weeks.  Bus timetable sorted, a windy mid week day, bus driver kindly obliged in telling the 2095'er where to alight and thus the exploration began.

There it was: that boom gate again. BUT the 2095'er noticed some people using what appeared to be a short cut path. So she manoevered around the dreaded gate, walked down said path tentatively towards the somewhat dilapidated Harold Park hoping that she would not hear a "OY! YOU! What do you think you're doing" from a menacing security officer.

Luck was on the 2095's side.  No one around.  She walked up towards the most ENORMOUS building, heart palpitating, mouth dry and desperately trying to not appear on anyone's radar (though for anyone who has been to this amazing place you are somewhat exposed no matter how hard you try) and squeezed through the half-open gigantic door and was greeted thus:

To say it was a breath taking moment would be an understatement.  To say that it felt like a horror movie where the only sound was the wind through the broken glass ceiling and big rusty door opening and closing would be 100% accurate.  To say the 2095 hit the jackpot....indescribable.

Trying not to make a sound, or freak herself out unnecessarily, the 2095'er walked cautiously down the ramp and fell straight in to the enamoured arms of this place.

Rather than prattle on (and one must excuse the quality of this but it was done prior to the 2095'ers imac!) let the little clip demonstrate the Tram Shed's initial impact.

Floating on cloud 9 and feeling "safe and smug and superior" (apologies to those who are not yet acquainted with one of the 2095's other loves "Rake" from which that mini quote was taken), desperate to get back to the confines of the abode to review and relive the experience, the 2095 chick made plans for an immediate return the following day.

Again in order to avoid the long descriptive adjectives this clip is a reflection both emotionally and photographically of this particular visit.

It was around this time that the 2095'er was becoming somewhat impatient with her camera in that she was not able to extend herself as a photographer.  Thus it was on her 3rd visit with new EOS in hand that she returned excitedly.  

Ultimately it would also be her final visit as literally a week later this amazing location, this incredible building that had SO much potential to be anything it wanted to be, was boarded up with 24 hour security as it had been ear-marked  for some "new residential accommodation development" as apparently Sydney simply doesn't have enough.

So beautiful Tram Shed you are missed by so many people and thank you for being in our lives.

Glebe Tramshed Flickr Set

5 questions with OX

As the 2095 became more confident in her exploration of the Inner West, yet maintaining the "if i can hear a train or a bus I know I'm not too far from safety" thought process as it were, she chose to walk through Camdenville Park to get a shot of a wall on the other side of a train track she had previously seen.

What she spied instead was a funny little pasteup that required IMMEDIATE investigation.  

Still not terribly familiar with the area and having already done the unthinkable (racing across the train track) she felt duty bound to take the long way around in order to get a closer view of the paste up in question.

Fast forward to (yep....here it comes again...) PM3 and  the first incredible image the 2095's eyes clamped on was not just hypnotic but made SUCH an impact, upon return to the confines of her abode, she simply stared at it admiring it in all its intricate political seductiveness for an indeterminate amount of time.

It was also due to this piece, that the impatience to return to said Outpost and discover more by this artist drove all around the 2095 up their own walls which in itself is an enormous achievement even by her standards!!

What was your initial entree to street art and can you give a rationale in regards to your tag name

I guess I started a few years ago when I was doing a bunch of live art shows around Sydney for free drinks. I enjoyed the speed of it all and wanted to start playing around with spray paint so I could start using more colour at speed.

I met Bafcat and Resan (a couple of painters) earlier that year and ended up going to some abandoned factories to hang out and have a paint.  I really enjoyed using cans, learnt a bunch of little tricks pretty and have been hooked on painting since then.

OX comes from the fact that I always had a hard time telling people my last name.  Not that's it particularly long or weird or anything; just having a semi-English/Australian accent people seemed to get it wrong in a variety of bizarre ways.

i wanted to go by something incredibly simple and something that was symbolic above just letters.  I like how both the symbols O and X are used in so many different contexts other the letter format.

I have always preferred images over the written word, so I think OX represents my work well.  There are a bunch of other reasons but I won't go in to them as they probably equally as boring.

What drives your creativity

Not sure really.  It's just something I do, something I enjoy working hard at and exploring new ways to create.

Art in whatever medium has always been attractive to me.  There are no rules, no wrong answers and on one who can stop you from doing it.  It can be incredibly difficult and especially financially unrewarding at the best of times, but no matter what I do, there is always an element that is predominantly positive.

It's important to me that I'm never going to be able to master what I do, I'm never going to reach 'that point' where I'm finished.  I'm always learning and there will always be something that I'm just going to suck at.

I think that probably what drives me most: just trying to do work that's better than my last piece.  I want to be a grizzled old man one day who still worries over his filthy painting.

Some of your work is incredibly complex with specific reference to the first shot I took at PM3 (as seen above).  

Is there a specific "story" for each creation, or is it almost a continual work in progress to the point that while you may personally never be 100% satisfied with the finished product ("it needs a tweek here"), others perceive it as a perfection 

Improving my techniques is definitely what drives my work, but in each piece I try to tell an ambiguous story I guess.

Most of my work is character based and I have a background in animation which is where the story-telling element of my work comes from.

I like to give people a character that they can imagine a story for: in that way the viewer has a role in the creation of the work as well.

Do you prefer the freedom of wall or the restrictions of design

I like elements of both.  I enjoy being able to take as long as I want in the studio trying to perfect whatever I am working on at the the time getting lost in illustration really chills me out, but after a few days I start to get some serious cabin fever.

So that's when I really like getting outside and painting with some mates for fun; it's really the only environment I can make art and be social at the same time.

It's fast and takes me to new places that can only be compliment endless hours in the studio.

In a perfect world where do you see yourself as the artist being within (say) the next 5 years

I would like to be illustrating and painting full time.  Having enough clients that I can life purely off selling my own art and doing illustration work that I really enjoy.

The freedom of that kind of work would allow me to travel around and do more mural work than I am capable of doing at the moment.  AND the opportunity to exhibit my work overseas more often

**********

My eternal thanks to OX for sharing a bit of his life with the 2095 and allowing reproductions of his work for this blog.  

Love the work, and hope to see it hit the international heights it deserves my friend!

5 Questions with SWERFK

Where does the 2095 start....does she dare mention the PM3 or do we simply use that as the "given".  For the sake of this particular piece, let's use the "given" as there will be a full blog dedicated entirely to PM3 and it's impact upon the 2095's life later down the track.

What was confounding to the 2095 was "how the hell do I pronounce this".  Having no other point of reference other than the obvious, Swerfk it was, remained and thank god was correct!

It was during the 2095's trip to our nation's capital where after all but giving up hope, she spied that SWERFK moniker and just KNEW where there is one there will be more.

Granted, it took a teeny bit amount of time to find more given that it's not the 2095'ers "hood" and after a hell of a lot of patience and frustration she was richly rewarded (as an aside: had the 2095'er elected to simply turn her head right the self-imposed angst could have very well been avoided, but she didn't and it didn't...what do ya do)

Here are my 5 questions with SWERFK

SWERFK: only cause I can, what does SWERFK stand for (or would you have to kill me before answering)

Swerfk means "sweet with things" in lazy talk.  It kind of developed as a little saying between some friends, then one night the opportunity was there...the marker was in hand....and so it began

Can you give a bit of background as to the development of your style.  What is it about "positions, shapes, shades things and adjusts lines regularly...." that keeps you doing what you do

Every artist makes compositional choices "position shapes" and likes to add colour or tone "shade things" and we all know about adjusting lines...

It's hard to say why it is that I keep doing what I do and have always had and probably will.  I think it's for the same reason I am a cartoon addict: because it amuses me and sustains my brain.

I look at a lot of art all the time from fine art to Ren & Stimpy imagery and I suppose it subconsciously melts in to my thought process.  I take what I like and what I can picture in that moment and let it spontaneously flow onto paper, a wall etc

Do you prefer the freedom of street or are there times where working within boundaries/constraints (eg: commission works) that can be somewhat of a relief

I always prefer working on the street in my own style pretty much for myself.  Doing it for yourself and not taking in any advice or input is best.  

I absolutely HATE it when people ask you to do a commission cause they say they like your work and then ask you to paint a 7 foot single colour yellow tree inside their new building...WTF

The only reason I do commissions most of the time is I need to get paid and then pay to get stuff somehow!

How do you perceive yourself both as an artist and an individual, or are the two simply entwined and unable to be separated

I don't really give it too much thought really to be honest...but I am pretty much a slave to the paint.

While street-art is a "movement" of sorts, where do you see it heading and will there ever be an end point

I think 'street-art' is a stupid name really...characters were running on trains as far back as when graffiti started to gain momentum in the late 70's.  Street art is just a development of graffiti and I see it all just as a type of art marking.

I agree street-art almost seems like a popular fad the moment, but time will show who keeps it alive

**********

And with that my thanks to Swerfk for sharing time with the 2095'er and allowing images to be reproduced in this blog.  

Seems this chick needs to get herself back down nation's capital way sooner rather and capture the "live", although living vicariously through the artist's photos do have a sense of personal satisfaction if nothing else than to say "yep, been there, know that place!"

5 Questions with RJ

I first literally stumbled upon a piece of RJ and The Massive at The Outpost in 2011. When I say literally, I mean literally.  At first I thought someone had left a bike there, had been terribly creative putting a big blue M on it and put it down to "oh well, horses for courses" and left it at that.

However that was Day 1 (the 2095 chick can quite proudly state she returned over a dozen times! addicted? of that there is no doubt). I found myself enjoying the solitude of life behind the lens whilst being conscious that I was in fact amidst a throng of thousands.

I wanted to try and capture every aspect of this incredible location from architecture through to installations. From the nay-sayer's to the artists themselves. As a photographer it was personal a nirvana.  Through this experience, knowledge was gained in an almost osmotic nature. Thus I gained knowledge about the world of RJ and The Massive.

Here are my 5 questions with the said RJ

RJ & The Massive: How did this marriage begin?

Wow.  It goes back further than I can remember.  The Massive started as The Thredbo Massive: it was and still is my on my snowboard crew.

I grew up in the mountains snowboarding.  Over the years our crew had different names like :FSU, TBC, eventually morphing in to the The Thredbo Massive.  

That was our home resort and we were (and still are) the dominant crew at that time.

We all got together in Wanaka NZ and the title of President and the duty of creating a symbol to represent us was placed upon our shoulders...I created a symbol that day, and the following day we made several thousand die-cut stickers.

I guess sticker bombing let to just straight bombing.  The crew grew and got a bunch of press calling us a "gang".  I think that was about 12 years ago now, maybe more....

As my snowboarding career came to its inevitable end, more and more of my energy went into creative pursuits, along with Nathan Ho and John Saulo, we started the "Sidewayz" series of art shows and then we built Westsyde.  

All of this pulled me further in to the street-art/graffiti world.  Eventually I decided I needed a moniker of my own: the only logical choice was the symbol we had already been bombing all over the world.  I guess it just fitted into what I wanted to do.  It's different, it breaks the mould of contemporary graffiti, it stands out and most importantly, it tells the story of who I am and where I came from.

It was only in recent times that I was lucky enough to paint with Kerupt only to find that TM was also a legendary graff crew "Tragic Magic". 

Behind this "tough guy" exterior there is a pretty gentle type of person who adores his family.  Do they play a pivotal role in your creative side or do the two worlds simply remain separate

My family is definitely an inspiration.  Some positive, some negative.  I think I enjoy being the "bad apple".

My sister got married last year, so I drove down the night before (the bridal party) and bombed every single rest-stop and high profile lit up spot on the highway.  I took great pleasure the next morning getting MMS after MMS full of pics of my handy-work from the groomsmen and bridesmaids.

(a road stop somewhere on a highway to an unnamed destination)

Maybe it's an ego thing, but yeah, reactions from my family probably mean a lot more to me than that of any "audience" that may or may not exist.

My family have also been the subject of my art.  My grandmother was a famous model in the 50's.  She was shot by Helmut Newton and I still have the photos he took and signed himself.  To date they remain some of the very few pictures he took that do not appear in any publication...I use these images of my work: the woman you have seen holding the piece of paper in front of her chest with the symbol on it.  That's her, my grandmother: my hero, my biggest supporter.

Paint or Paste?

Everything.  Plaster moulds of the symbol, welded steel symbols, symbols welded inside bikes, silver & gold jewellery with the symbol in it.  Textiles, stickers, posters.  I've even trimmed it into hedges.

Nothing is off limits: to be honest my absolute favourite is wet concrete.

In the world of creative genius, your stance has always been fairly high (well to this 2095 chick at the very least), but a "massive" injection came by way of a now infamous artiste (whose black & white "coffee book table" book of reached it's own level of "massive" back in the day).  Has this new found iconic status enhanced or impeded you both as an individual an as an artist?

Ha ha ha!  Riidiculous!  The exposure was second to none.  Rolling Stone, Huffington Post, Perez Hilton, TMZ: you name it.

It was a HUGE press stunt and we pulled it off.  I immediately had the realisation that I had to capitalise on the exposure immediately before the shine wore off (you're not for long in the moderns press).

The story broke on the Monday and I touched down in LA on the Friday of that same week.

I booked a spot at a youth hostel on the corner of Hollywood & Highland, which I knew had access through the women's toilets to one of the most high-profile spots in all of America.  Within hours of landing in the USA I had a giant dripping black roller symbol right symbol directly opposite 2 iconic locales.  Within 24 hours LA's graff community knew I was in town.

It was a whirlwind.  I met Birdman, Pyro, Serf, Pike & Saber all within my first week. Daniel Lahoda from LA LA Arts got me a legal wall on the side of the LAPD building and Serf got me on "The Price is Right" with Drew Carey!

Their fans are twisted!  The way they screamed when Drew introduced me to the audience is honestly the most scared I have been my entire life.

I was only home a few weeks when Pike called me up to tell me I would be battling OG Abel, live on tv for Monster Energy's "The Chosen One".  It was during the filming of that show I got to meet and spend time with SEEN and RISK (who invited me to his studio, one of the most amazing places I have ever seen anywhere in my life).

So yeah, it inspired me as an artist, it helped make dreams come true as an artist, it definitely pushed me further than I have ever been pushed: that said, it does put pressure on me, but also my own expectations/demands to constantly go bigger and better.

What 5 words would you use to differentiate between street-art and mindless capping, so as to educate those who feel it absolutely necessary to use the blanket term "graffiti" and its apparent atrocities so as to appease the people

THE
ROGUE
ELEMENT
EXISTS
EVERYWHERE

In everything there is a rogue element. Just because one person crashes their car which may kill another, does not mean we ban cars.

How many people die from lung cancer?  We don't ban cigarettes.

How many drunken fools hurt people?  We don't ban alcohol.

So there is a rogue element in everything from cops, politicians, the church: that' doesn't make them "all" bad, and anyone who says otherwise is lethargic and self absorbed.

"Vandalism" can be fun.  Eg: If Newtown wasn't tagged to the hilt, do you really think people would be spending thousands on legal commissions?  I think not!

Street-art? Crap term, don't like it.  It's all graffiti. It pre-dates streets and is arguably the oldest form of art work in existence.

Street-art is a soft term designed to separate it from the mindless fantastically enjoyable wonderful vanadalism.  Shut the hell up is all I can say.

Shout to: Pork, Riz, Days, One Roter & Ben Frost.  They've all helped me along the way! LEGENDS

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There is only one way to end this interview with RJ

with thank to RJ for not only sharing some of his time with the 2095 chick but allowing photos to be reproduced for this article