Graffiti Quotes
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I have always been a Peter Blake fan and love street art and graffiti. I really like this street-art collective called Faile. They're from Brooklyn and make these prints of beautiful women.
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Modern art is a disaster area. Never in the field of human history has so much been used by so many to say so little.
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I don't think you should have to pay to look at graffiti. You should only pay if you want to get rid of it.
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Graffiti ultimately wins out over proper art because it becomes part of your city, it' s a tool; "I'll meet you in that pub, you know, the one opposite that wall with a picture of a monkey holding a chainsaw". I mean, how much more useful can a painting be than that?
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Graffiti is a lot easier than the canvas actually, because it's such a large format, so when you're going to such a thin detail, it's not that thin in the realm of things because it's such a big wall. This would take a small paint brush of detail, but on a huge wall, if that's the size of a building, the thinnest detail is still that big, it's a quick spray. Spray paint is easiest for me. I love spray paint.
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I was brought up in south London and I started out in the world of graffiti when I was about 14 because I wanted to be part of that hooded tracksuit gang thing.
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Look at the blogosphere - the biggest lavatory wall in the universe, a palimpsest of graffiti and execration.
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I think graffiti is part of Berlin culture. You think about what the Berlin wall meant and how visible that was in everyone's life. How it was a part of their very identity.
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I have a company that does design and animation, so obviously graffiti is definitely an intricate part of what we admire and respect in the art world.
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When you can't think of anything else, photograph graffiti, nudes, or plants.
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The whole world is covered in graffiti. No one cares. It's just part of urban noise.
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Bursts of gold on lavender melting into saffron. It's the time of day when the sky looks like it has been spray-painted by a graffiti artist.
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On New York subways in the 1980s: Riding on the IRT is usually a matter of serving time in one of the city's most squalid environments-noisy, smelly, crowded and overrun with a ceaseless supply of graffiti.
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My mom is a painter, so I've been doing drawings and paintings as early as I can remember. Then there was this gap where I was doing graffiti in high school and making as much traditional art.
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I had just been doing graffiti around New York and this real estate investor guy had walked through meat packing in New York and saw some of my graffiti. He was impressed and asked if I sold canvases. I really had not made any canvases of my graffiti work yet, but told him I could make one for him. He then commissioned me to make ten paintings and put on my first art show. Between the sold out show and the cops chasing after me it created a lot of media and I've been doing really well since then.
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I remember finding this book, which showed a New York subway train that had been covered in so much graffiti you couldn't recognise it was a train. I thought, ‘I want to do that… how do you do that?'
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Graffiti writers will never stop. They'll just evolve. It's interesting what ideas people come up with and how it all extends forward.
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When I first got into graffiti I thought it was going to change the world. But when, 20-years-later, it still hadn't, I got bored of the self-imposed rules.
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My graffiti really comes more from a May '68, sort of Situationist vibe than the hip-hop world. I think a real graffiti artist would find me a poser.
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When I got into graffiti, it was the most-exciting art form and it changed the course of my life.
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The thing about social media is that it is anonymous, so it can be much more vitriolic and extreme than normal media and yet it is there for everyone to see. It is kind of like electronic graffiti. The political process is accelerated and intense in a way that I don't believe it ever really has been before.
