Rent Control (2017) film

(2017) video, with New Mystics collective

 

Collaboration between Wizdumb (beats/rhymes), DK Pan (video/editing), No Touching Ground (helping hands) and myself. The location and color choice of this poster aimed to confuse viewers into thinking this was an officially sanctioned message provided by 7/11 management.

 

Photo DK Pan

WE ARE (2017)

(2017) poster collaboration

 

Collaboration between myself and No Touching Ground. This poster reads WE ARE ONLY AS HEALTHY AS THE MOST VULNERABLE AMONG US. With this imagery we are saying, we as a society must recognise the form that addiction takes around us, we can not dismiss the epidemic of over prescribed opioids in America. At the same time, we must lift up those most vulnerable, support these humans, give them the dignity of not only a safe place to come to terms with this addiction, but the resources and support to find a new path. Safe Injection sites are the first step towards a better path.

Owl House (2017

(2017) poster collaboration

 

Three-way collaboration between Baso, No Touching Ground and myself. Placed in the doorway of The Northwest Film Forum, right above a regular sleeping location for people experiencing homelessness. We as a society have the means to provide a roof over the head of each and every human in the US, the only thing that stops us from achieving this most basic of human needs is, the rot and greed of capitalism.

 

Free Rent (2017)

(2017) poster collaboration

 

Collaboration between myself and No Touching Ground. Seattle has an ongoing affordable rent crisis. New development continues to displace the most vulnerable among us. Without being too politically pointed, we felt this image of a birdhouse with the words FREE RENT painted on the side, communicated that humans, being truly nothing more than animals, deserve shelter.

 

Nikitta poster (2017)

(2017) designed and hand painted poster

 

No Touching Ground and I teamed up to create this large poster for Seattle mayoral candidate Nikitta Oliver. We worked together to create the overall design, chose the intended location, and hand painted both the portrait and font. Zorn B Taylor generously allowed the use of his photograph as reference for the portrait. It felt really good to look back at my path as a street/graffiti artist and see all the steps that lead to creating a work like this. In a lot of ways this is what I would love to do more of in the future. I feel graffiti artists have a unique perspective when it comes to, among other things, location and placement, very relevant attributes when dealing with messages that need a high level of visibility. I’m proud to support progressive candidates for office locally and nationally.

 

Caldera poster (2015)

(2015) painted poster

 

While in a choreographic residence with Tahni Holt at Caldera in the south eastern mountains of Oregon for a month, I decided that the stunning landscape I had found myself in, compelled me to paint in my down time and I created this fifteen by seven foot painted poster. The text that fills this work is taken from a nineteenth century elementary school primer that I found in the library at Caldera. I was struck by the writing in this primer as it was confronting the child who has grown up in the city and assumed that this child would have virtually no understanding of nature or farm creatures and a more rural life experience. Taking inspiration from a poster I created while in Lisbon Portugal which also used text to create the entire design. This work is yet to find a permanent home to this day. When the right location shows itself, I will add this work to the world.

 

Mid paste (2015)

(2015) Visual art poster Lisbon.

 

Pondering the actions of humans, while wandering the streets of a country that has in the not so distant past, used the activism of public art as a means to support and spark revolution. Poster reads “Man’s Inhumanity to Man”.

 

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Photo NTG

Forgotten Arch (2015)

(2015) Visual art poster. Lisbon.

 

Always looking to blend or camouflage work into its surroundings. This approach might buy the work a little more time on the street, or it may not. The reality of not only street art being ephemeral but everything slowly crumbling before our eyes is a beautiful thing to observe.

 

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