Evlworld Blog

Estria started his career in spray painting in Hawaii year 1984 and has created numerous amount of murals and became and influential leader of the “Golden Age” of graffiti in San Francisco, mastering characters, techniques and scenes. He is one of the artist that started stencil tip – a modified cap used by different graffiti artists to create thin airbrush-like lines. Estria’s works have been showcased in various countries such as Peru, Italy, Mexico, Japan and many many more.

Estria also co-founded Visual Element, the EastSide Arts Alliance´s free mural workshop that develops youth as a voice of the People. He has served the community through his cultural work for over 25 years.

Today, it’s my pleasure to be interviewed and be blogged by one of the masters in the graffiti business, and here how it goes.

Estria: With increasing penalties and surveillance technologies, do you think graffiti will end up surviving as primarily a legal activity?

Erni: Absolutely, I have friends that have had their lives changed after search warrants and seizures of their artwork that all is never returned, passports flagged which presents problems for traveling. Graffiti, the only element of hip hop that is illegal has always beed the unwanted stepchild of the genre. I always preach to fellow artists, especially the ones who do a lot of illegal activities, not knowing the law is NOT and excuse! Decide for yourself if bombing the neighborhood (which has been done thousands of times before so it’s usually nothing new) is worth the price you will end up paying? If yes, God bless but you need to know. The more artistic set has already migrated to legal-ness, I have to admit that today, the thought of being chased or arrested or bothered by law enforcement is not something I desire in life. There will be few people helping bail me out if I was arrested for illegal painting.

As cities face budget crises nationwide, anti-graffiti departments and arts commissions seek pro-graffiti alternative programs. How do you see this impacting graffiti in the next 5-10 years?

It’s hard for me to say since there are many programs, in many cites and so many artists so it depends on how good the programs are run, how good and professional the talent is applying for these programs and what economic state of the program city is. there are so many variables i cant really say what the impact would be. I can say that I have been lucky enough to recently begin working with Graffiti Arts Programming in Winnipeg, Canada and after experiencing how they operate and meeting the directors and many financial supporters I have come to see this  institution as an outstanding institution.

(www.graffitigallery.ca) Places like this, that helps out people who dont have the outlets someone might have in a bigger city like NYC or LA, on the other hand there are no institutions like G.A.P. in either LA or NYC, its great to see the city help finance a gallery that helps teach and expose artists to more legal and lucrative options.

What is your definition of ’selling out’?

Selling out is the term that people who want to hold your career back use when you are becoming successful. No one who ever accused me of selling out ever, I mean never ever offered me a slice of pizza when I was hungry or offered any assistance when I was in need but soon as I bettered myself I heard lots ridiculous comments. Selling out means I’m doing well for myself and I really enjoy doing well. I enjoy traveling, eating well, being treated well, and I do, should I worry about derogatory terms when I am enjoying my life because of Graffiti? Thats my definition of selling out, derogatory term.

Many of you actively promote your art career online. How do you balance the opposing pressures of writers expecting you to ‘keep it real,’ and keep bombing, and having to be conscious of narcs reading your posts, tweets, facebook pages, etc.?

None of that affects me, I am an artist. I have a foundation based in graffiti and a graffiti style, this allows me to create art and do what I love as a career. I’m very fortunate because of it, I say fortunate because since I am part of the history of graffiti, I painted subways, I bombed NYC streets, that allows me a kind of carte blanche which other artists aren’t afforded, if I was raised in any other city at that time what would I be known for? Sometimes luck, or fate plays a part in shaping a career as much as and sometimes more than actual talent.
I promote myself because if people can’t find me, someone else will get work I can get. The internet allows me so many new opportunities.

To be continued…

Graffiti has been a part of my life for over 30 years, 3 decades of painting, walls, trains, clothing, for a while it seemed that I would paint anything that would stand still long enough. I remember back when I was starting, or should I say, when I was still a beginner, a nice way of saying I stunk. I was determined though and I practiced, a lot. Gone were the comic book drawings I loved to do and I became consumed with graffiti, I identified with this new art and was drawing pieces daily, at least 1 and sometimes up to 3 pieces a day.

One thing that allowed the fire to stay so strong was that there were so many amazing pieces on the subway and in my hood that continually inspired me and my style. Influences that were a constant challenge for me to get better and thankfully, I did. Now I am very lucky to know that I am one of those guys that inspire others, it’s a really cool feeling as an artist to know and hear that your work is admired and is inspiring to other artist, its flattering and humbling too! Continue Reading…

Mercadito Chicago (108 W Kinzie st, Chicago) that opened in September 2009, was an incredible and fun project. It was the first chance working with this new team of owners and design team (http://seeddesignstudio.com) and the final product is now a thriving and successful Chicago Eatery, hosting 500 guests a night and voted best restaurant for business 2010. The only thing that can make that experience better is doing it all again, better, bigger!

Mercadito Miami (3252 NE 1st Ave, Miami) Like Mercadito, Chicago but as I hoped, bigger, better! 8 large scale murals in 8 very different styles all done by yours truly. Inspired by established art from Roenquist to Warhol, pop art to cubism all with my distinct graffiti twist. The owners and designers, happy with the finished Mercadito Chicago loosen the reigns allowing me to be more artistic and daring while still implementing texture, color and multi themes in the works. I was able to be dramatic and humorous, use different techniques and challenge myself which is my favorite thing as an artist to do. Some of the pieces were a struggle, some just flowed right out of my brush. I can always create pretty paintings but a challenge in a commissioned piece (or several) is rare. I gladly accepted that challenge and now Mercadito Miami is born! Continue Reading…

Graffiti, to some people is an art made of spray paints done in the wee hours of the evening on the urban walls. Other artists however, defy the stereotype by creating graffiti openly on the streets and sidewalks using paints and other materials.

One of the best graffiti arts on the street you’ll see, are of course, made out of chalks. In 20 years of being Muralist in Graffiti Arts industry, I have never seen anyone create outstanding works of art done in the street,  bringing not only entertainment and awe to their spectators but some also broke world records.

Edgar Müller’s studio is the street. He paints over large areas of urban public life and gives them a new appearance, thereby challenging the perceptions of passers-by. The observer becomes a part of the new scenery offered. While going about their daily life, people change the painting’s statement just by passing through the scene.

Ice Age. In Dun Laoghaire the “Festival of World Culture” took place from 21. to 24. of August 2008.

Continue Reading…

Here’s a little quickie for a slow sunny Monday morning. This particular outline came very early in my career, before the bubble gum pieces. Even before my style began developing itself. You can see that as i was combining every and any element i can get my hands on, straight and geometrics with curvy and swoopy arrows and stems, you can definitely say I wasn’t afraid to throw down the kitchen sink. That lack of fear of trying anything is an important, maybe the most, element to where my style is today. If there is any lesson I can share with anyone it’s be fearless, try anything and after much practice your own style will begin to set you apart from your peers. This outline isn’t great by any standards but at the time for me was very experimental and I have always been experimental. Pushing the envelope of style is the core of graffiti, if you’re not pushing yours just another of many faces in the crowd.