蒙大拿-罐你的背景是最全面的涂鸦艺术家或优秀的艺术家可以要求。你对涂鸦的参与已经让你勾起了作家想要勾起的每一个框框。但你们如何看待自己?有没有一些描述性的词汇或者偏好用来向那些不知情的人描述自己?HOWNOSM(笑),我不知道,我们不认为自己比其他涂鸦艺术家和艺术家,我们只是做了也许比别人多一点,现在我们几乎已经画了三十年,这本身就说明了这一点,我们有大量的工作,但我的意思是,这就是我们所做的,这是我们是谁的一部分,它不会让我们只是作家你知道,我不知道……我知道你在说些什么,在我们上火车,然后开始做墙壁和法律墙和大制作,然后我们开始做我们的艺术和我们所做的过渡从街道到画布…但我们不是唯一的,有很多人这样做,我不知道。也许我们脱颖而出是因为我们的风格非常原创和独特,你知道,我们是双胞胎。但我不知道我该如何描述自己(笑)在那种情况下,我从来没有想过,你知道我的意思吗?我喜欢我所做的,我很高兴我能以我所做的和我所爱的为生,我从不认为这是理所当然的。 we don’t see ourselves better than other graffiti artists or artists, we just have done maybe a little bit more than others MC We as keen observers have followed the development of your work for many years. Your achievements aboveground and underground have been prolific and inspiring. Do you still get to dabble in all disciplines of your graffiti heritage? Or has your international exposure meant your anonymity has become difficult? Do you even still have the itch to do something under the radar or is it »been there done that« for you? HN No, not really, I mean we’ve done our first year of illegal graffiti all over the world and we’ve been in many places like maybe like seventy countries, before many other people we were doing graffiti there, before there was Montana spray cans there so we got our itch out of the system really. I mean yeah, it’s always nice when we came over here, we were riding in the subway and we see graffiti on the Paris subway, of course, we love that and we look at it, we take some pictures of it but we almost forty four years old now and have kids and we’re focusing on our work. ↑ There is no scale too big or small. It‘s all just another day out of the office for HOW and NOSM. MC We understand the move to use only Black, White and Red (and tones thereof), was born out of necessity while travelling through South American countries. But what was the catalyst to stay within this color spectrum and was it a conscious decision? For example, was there a day when you said »OK, let’s now only use these three colors and any we create from mixing them«? Or was it a gradual process? HN I guess we were doing it for so long in south America and specially these three that at some point people recognized so fast our style and the kind of palette that we decided to stick with it so people can still keep recognizing the work we paint, and after a while we just added like different shades of paint and greys to it and now a little bit more like purple ich into it. It’s still 36 Interview HowNOSM IN PARIS
同样的颜色,虽然发展缓慢但还是一样的。MC对于任何仔细观察的人来说,在你的作品中有很多独立的符号、图标和重复出现的图像。这些是设计决策,还是在每幅画中都有对话,或者作品作为一个系列?你不需要每天花四五个小时画画,因为那样会花很长时间,然后你会越来越厌倦。所以,我们通常一天工作10个小时。+你看也看天气条件你也知道,如果它是刮风还是会下雨很多,你不能太危险,太滑,所以这个特殊的墙上我们看到周三开始下雨了,所以我们试图完成,周二(笑)。HN我的意思是我们的工作总是作为特定的信息,我们使用不同的图像把他们的信息带给公众。很明显,有些图像只是为了装饰的目的。我的意思是,我们使用瓶子例如,你知道,作为一个参考消息瓶子里这是一个风景,比方说像一对互相争论,我们可以把它作为消息瓶子里,瓶子里和心脏或例如再次箭头,和钥匙,各种不同的图像不一定都有特定的目的。 MC Do you prefer to create one-off work like walls, canvases that can be reproduced like prints, or digitally created works? HN Most of the work we do is drawn out on paper first so the fine art line work is sketch on paper and usually transferred onto the canvas or a template for working on a building for example, so we know how to size the mural. But usually everything is handmade you know, some computer work when it comes to laying out big buildings so we know where the colors go and where looking for to save time. Yeah the most of it is free hand and we take a picture of it and layered out of photoshop if we wanna use a certain canvas or sketch on a mural, it’s mainly how we do stuff, by drawing it by hand (laugh). because then it takes forever and then, you get more tired of it. So, we usually knock of ten hours a day, you know MC Your ability to move from large to small and all scales in between is astonishing. While standing here looking at this massive project in Paris, did you get nervous or was it just another day in the office for you both? HN It’s just another day out of the office! Yeah, we don’t get nervous, we just make sure that we are well rested the days before, because it’s very physical you know, it’s not like it’s a small wall, you have to crank it out, ↑ Red, black and white. Re-occurring in every possible tone and shape. ↓ Well defined shapes are outlined in black as soft and hard work hand in hand. Interview HowNOSM IN PARIS 37
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