Vision

When I was starting out in graffiti art I had a lot of inspiration from many of the Kings of that era. I was mentored by SIe and Daone, two old school painters. Sie was the most influential because Daone stopped painting as he got into petty crime. Sie would go through my outlines and critique them. He really pushed me to improve. He also felt I had something going for me. He would sometimes say I was the best painter. Not the best as in style, but the best as in raw piecing that was no-frills. He loved my painting style and was always in my ear on ways to improve. I had low self-esteem so I pushed myself to make him and others happy. I was focused on the crew and I always took requests for different styles for different friends and crew members. That is how I developed an eclectic style. Someone would ask for a bubble letter or a blockbuster-style and I would even help them do the piece. I enjoyed the challenges around style and I was always willing to paint any style for my friends. As I matured I started to find graffiti a bit daunting and sometimes I would burn out. I was doing around five pieces a week for my own development and with friends. I did hundreds of pieces in the late eighties solo and with the crew. It was a huge effort. I never got to a high level though and by the end of the decade, I tried to be more experimental and find a unique style that was just biting off kings of the period. I was always putting my own twist on styles I borrowed from but I didn’t have the finesse of the masters like Unique, Kidm, Rexzy and many others.

I was a raw painter with raw talent. By 1991 I cracked the code of style and found my own voice. I also learnt about different eras like the 70s and late 60s in New York regarding graffiti. This was good and bad because I  was back to experimenting and that isn’t always good. Yet I pushed through and went on tangents with Zap by 1998. It took me twenty years to even get close to Rexzy. The problem was the vision. Rexzy had a vision. I was still stuck in a small getting up mentality away from bigger objectives. It was illegal graffiti that had stopped me from developing but that was what my style was based on. I found legal walls boring and the kings I tried to emulate had legal walls that were incredible. How could I ever compete? My best pieces were all illegal. They weren’t hectic but they were done at night in darkness or the light of a street lamp. I suppose if I had been more mature I could have tried to do legal walls and have a bigger vision for what my art could be. Even now my legal walls are pretty raw. Some people understand and others scratch their heads. If you know the history it makes perfect sense.

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