Attaboy x High-Fructose
Holy flying vampire monkeys! Attaboy is selling off his evil minions at $300 a pop, at the SDCC. I’m sure these beauties are well worth the cost. Hand made arts being a hot commodity these days. I hate having the same Ikea bullshit that everyone else has, anyways. Figures include a handmade box, specially designed display stand, hand painted lid and a stacking base.

Info.Image: Vinyl Pulse

Rust Pirate by Pushead
Pushead is Brian Schroeder, an artist, writer and punk label owner, known for his album covers with Metallica and the Misfits. Now that the dark days of head banging glory are fading he’s turning more to the underground toy scene designing figures with Super7 and KAWS. This year at the SDCC, he introduces the Rust Pirate, a drooling, oozing, fetid piece of monstrosity.

Info.Image: Vinyl Pulse

Nathan Jurivicious Kaiju
After the release of Scary Girl, Australian born, Toronto resident, Nathan Jurivicious is releasing a series of Kaiju figures. Readers of this column will know that Kaiju are the little monsters so well known in Japanese TV and mythology. Our world would be such a boring place if it wasn’t for their intergalactic invasions. Kaiju, we salute you!

Image: Vinyl Abuse

Gwin Army: Series 3
You may be down with the Dunny, but do you get the Gwin? The Gwin is a model base released by October Toys, that is famous for inviting artists to make their own abstract renditions. Gwin is short for penguin, but many of their designs end up looking nothing like the actual birds, which is why I think they are pretty cool. This new series launching at the SDCC features work by Squidboy, Lou Pimentel, HideousBoi, Jim Koch and Bill Riley.

Info.Image: Octobertoys

Feel Good Project 3, August 11, 2007: TAIPEI
The Feel Good Project is a non-profit charity event that is already in its third year of activation. This year’s event will feature stunning graphic art and animation from world class artists such as Wrongwroks, Nanospore, John Burgerman, Monsters Monsters and many more! The event will take place at the SPOT theatre in downtown Taipei, a host to many international film festivals. All proceeds go to the Orbis charity, which helps to lessen unnecessary blindness in the world.

Info.image: Feelgoodproject

Format Mag presents Predators of the Sprawl, Issue Three. Illustrated by Germ from The Nursery. Download the .pdf here.

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“Good art is all in the eye of the beholder,” tells REKA ONE, a graffiti artist based in Australia. “You can however, definitely tell the difference between mediocre art and good art. Whether it’s not executed correctly or lacking style or direction, it usually stands out.”

At the age of 24, REKA ONE is one of Melbourne’s most infamous graffiti writers and is making big impressions around the world with his Japanese anime-inspired pieces. With a foundation in throw-ups and tagging, REKA ONE, now, shows in galleries and is a part of an artist collective Ever Fresh Crew, a group of eight artists from Australia.

“Graffiti as a sub-culture is a mixed bag. Not everyone does it to progress in style but to create awareness of who you are and as a competition,” says REKA ONE, adding “it’s healthy to have all kinds in this scene. It keeps things interesting.” Through Ever Fresh, REKA recently released the Blackbook, a behind the scenes look of a working street art studio, “We’re offering an insight into the lifestyle and progression of our work.”

“I think the Pixar style graphics will date very fast and people will get over it. I’m over it already!”

Format: You started getting up over five years ago, and since your style has changed from tagging and throw-ups to full murals and gallery work. If you could describe your evolution as an artist in one word what would it be and why? REKA: A Journey. I can tell you I had no aspirations of being an artist and having solo exhibitions five years ago. Things change. Old doors close as new doors and opportunities open up. Involving myself in Melbourne’s healthy graf and street art scene helped a lot.

Format: You’ve described anime as one of your strongest inspirations. With these constantly changing trends, where do you see the future of anime going? REKA: I think a lot of people think the next stage is this whole 3D computer generated animation crap. I think the Pixar style graphics will date very fast and people will get over it. I’m over it already! I think the next stage will be revisiting hand drawn animation but with more originality and at a different angle. Hayo Miyazaki, of Studio Ghibli, is the king. He knows how to keep it real.

Format: How many trains do you think you’ve bombed? When you bomb what are your techniques of out-running the cops? REKA: My artwork and my illegal work are very different these days. They are under two different names, too. I don’t really want to go into too much detail about trains, but running from the cops is an experience. Personally, if the shit hits the fan, breaking up from the rest of the pack is the way to go. Cops can get you a lot easier if you’re all in one big group. Preparation and communication is important. Prior to going on a mission make a time and venue to meet at, if things go pear shaped. Doing trains is a whole different ball game to painting a wall. In the end, I’ve never been that into it, to be honest.

Format: As an artist that uses today’s technological tools like Adobe Photoshop and Illustrator, how do you feel that technology has enhanced the world of art or even diminished some qualities?
Reka: Computers are great finishing tools, however, I think art needs to be hand done. I use computers a lot, as I’m also a graphic designer, but I still know the importance of the initial stages of sketching. A lot of people, these days, are forgetting the art and craft of drawing. Drawing, for me, is the most important stage of any finished piece. You evolve a lot faster and get way more concepts and ideas.

Format: Stencils are becoming common. How do you feel about graffiti writers that use them for larger murals?
REKA: Stencils are very effective and, once cut, very quick to use. Graff writers take pride in the fact that all their work is hand done with no extra tools, such as stencils. They think it’s a cheating way to get the final product. A lot of my friends use stencils, but it’s not really my cup of tea. I like to keep my art created entirely with my bare hands.

Format: Melbourne art has come into its own. How has Melbourne influenced your style over the years? How do you feel that you have influenced Melbourne’s street art?
REKA: Melbourne street art is up there with some of the best scenes in the world. Stencils are still quite popular, but, these days, the focus has slightly moved across to characters and the like. Through involving myself in the scene right from the beginning, it has helped me evolve and change my style over the years. Like graf, street-art is competitive and I benefited from this fact through pushing myself to come up with different ideas and trying to outdo myself with every new piece I did. I feel I have influenced other street artists to create their own characters and open their eyes to different methods and mediums of getting up. I’m sure someone else could answer this better than me though!

Format: This might be a bit of a challenging question, but I would totally appreciate your efforts. Could you please try and describe for our readers the process that your mind undergoes through the creation of a piece?
REKA: Every piece of art, whether it’s a canvas or a wall, I try and think up a concept involving one of my characters and a theme that goes with it. Often, I have sketches of characters that fit the concept, but, often, I let the piece speak to me and freestyle it. The size and shape of the piece always helps with this. From this point, I roughly sketch it up and then stand back and pick out the faults and changes that need to be done. As the piece progresses, the theme and concept changes as new ideas pop up. Sometimes my initial sketch turns out a lot different in the finished product. From this stage I apply color and fill that usually has been worked out by the concept and theme. Outlining the piece is my favorite part as you slowly see it all coming together. After the character and other bits have been done, I apply a background and touch up little bits until I’m happy. I often have to pull away from the piece so I don’t overkill it with too much detail. There’s a fine line between a piece being too simple and too detailed. A frequent problem with my work!

Format: Currently, you are working on using random objects as canvases. What is your favorite found object that you’ve painted on this far? REKA: I really like painting on old framed paintings and prints I find in hard rubbish. I like manipulating the piece using the background and applying my characters to it. It’s really fun and very effective. I think found objects are a great way to apply your art to. From a buyer’s point of view, I can see why a plain canvas is a lot more appealing, though.

Format: You are with Ever Fresh Crew consisting of seven other graffiti artists PHIBS, SYNC, PRIZM, RONE, MEEK, PLUSH and MEGGS. What is the common thread that links you all, other than being a member of the Ever Fresh crew, itself?
REKA: We all seem to connect really well and most of us have the same direction and thoughts, plus we often collaborate and help motive each other. In the end, we all got together because of a common thread: doing characters and street art.

Format: Does glue sniffing really get you mad pussy?
REKA: Only if you want it to! Huffing paint is also very attractive.

Format: What kinds of fresh gear and clothing are you feeling lately? Are there any hot new lines coming out of Oz? Will you ever approach the fashion industry with your work?
REKA: I have already done many t-shirt designs for a few different labels. It’s not where my passion lies but it’s funny to see people wearing your shit. I’m not really feeling much at the moment from Oz. It’s sad, but most of my favorite labels come from the States. Local brands Burn Crew and the late Shadow labels are going places.

Format: Recently, you released The Blackbook with Ever Fresh, it was pre-released for the Backwoods Show in April 2007 with all copies selling on the opening night. When will it be published and distributed internationally? What can people expect to see in it? REKA: At this stage, we’re looking into getting it published. The book still needs more work and tidying up, though. I’d say in the next six months we’ll get our shit together and get it done. The theme behind The Blackbook is to show the behind the scenes view of a working street art studio. We’re offering an insight into the lifestyle and progression of our work. A lot of the photos are of progression shots of walls and artwork. Most books that have been done in the past have been from an outside point of view and don’t contain these concepts and ideas that are in our book.

Format: Previously, you’ve spoken about the issue of corporations and advertisements taking photos of illegal graffiti and then placing it in their ads. How would you suggest alleviating this problem? REKA: There is no solution. I think we all need to know our rights with copywriting our work. If a piece is illegal and not meant to be there then, unfortunately, there is nothing we can do about it. Check out www.youthoughtwewouldntnotice.com. A site set up for artists to upload photos of companies using their work without consent. It’s an eye opener.

Format: You’ve spoken of mediocre artwork and how it’s becoming rampant in the graffiti community. What defines mediocre to you? What is good art?
REKA: Good art is all in the eye of the beholder. You can, however, definitely tell the difference between mediocre art and good art. Whether it’s not executed correctly or lacking style or direction, it usually stands out. Graffiti, as a sub-culture, is a mixed bag. Not everyone does it to progress in style but to create awareness of who you are and as a competition. It’s healthy to have all kinds in this scene. It keeps things interesting.

More Info: http://www.rekaone.com

His passport stamped with travel destinations including Israel, London, San Francisco and Tulsa, Donald Ross – also known as SCRIBE – has transformed himself from inexperienced Boston street-tagger to Mid-West wall-guru and family man. Incorporating a variety of reoccurring characters and objects including rhinos, bees and toilet plungers, even, SCRIBE gives his humorous murals and characters depth through interpretation. “The rhino has always been a self-portrait. Rhinos are solitary animals and many of their characteristics I identify with.” He relates the struggle of his aggressive and bug-eyed bees with the struggle many face with religion. “I grew up in a Christian home with parents who pastor a church around Boston. The bees are an illustration of peer pressure, a part of a mindless hive mentality [to do what you’re] assigned to do until you die – in the world and in church.” Plungers, on the other hand, simply appeal to the childish side of SCRIBE’s sense of humor. “The plungers are a weapon for the rhino. I grew up on Tom and Jerry frying pan humor. It seemed only fitting.”

SCRIBE’s work has changed with each city he has painted. “Boston is where I got my intro to graffiti. I was drawing what I saw around me – straight forward city styles. Now, I live in Kansas City and my work has changed. Graffiti has spread through out the world, anyone can see that, but I don’t think it is right for people from more remote areas to try to be coastal and copy what they see. Their style and subject should reflect where they are.” With 15 years of wall-work under his belt, SCRIBE reminisces on his first piece in Boston, a simple character he called Bubble Boy, which his mentor EAST had him paint in high contrast colors to help him see definition in the dark. “That was 15 years ago and it changed my life. Graffiti will always be the biggest part of what makes my style what it is today.”

Without a college degree, SCRIBE works hard to turn his passion into a paycheck. “Without formal school it was a very long journey. I worked in sign shops, digital printing and even a candle factory,” says SCRIBE, adding, “I worked my way into learning computers while spending my breaks painting and drawing. Remaining a servant where I could be used changed my job description into doing artwork all the time.” Today, SCRIBE walks the line between urban artist and professional parent of two. He holds down a day job with a local hospital, creating murals to promote wellness amongst the facilities’ patients and juggles a variety of gallery shows. “I enjoy my work at Children’s Mercy Hospital on so many different levels.”

Also the illustrator and co-author of the children’s book, There’s an Octopus Under my Bed, SCRIBE’s recent work could be considered a step away from his urban roots. Still, many find his pieces to hold a deeper meaning aimed at adults. Religious and political undertones are present in his work, although SCRIBE is careful not to push his views on young audiences. “If a kid comes to my show and asks me, then that is cool. In my book and at work, I don’t do it. I’m not here to push my views on them in [an artistic] setting.”

SCRIBE is quick to list his mentors in the graffiti world. EMIT, EAST, SUB, DALEK and RAPES each had a great influence on SCRIBE‘s technique. Still, SCRIBE reps the Mid-West, identifying his experiences in Middle America as “the most tangible effect on my work,” and names Mid-Western artists such as Thomas Hart Benton, Frederic Remington and Walt Disney, even, as further inspiration. No wonder SCRIBE’s diverse body of work takes on a cartoonish vibe, directing itself – intentionally or not – at a market of both children and adults.

More Info: http://www.scribeswalk.com/

Street Shots by Photo by TONE. Vagina Is For Lovers, NYC. July 13, 2007.
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Within the street culture community SLICK is a modern day renaissance man. Renowned not only for his graffiti prowess, SLICK has been an OG in the streetwear game having a founding role in Fuct, Sholin Worldwide, and Third Rail Clothing. “Before streetwear was even called streetwear” SLICK has been down.

Born in Hawaii but later moving to Los Angeles at the age of 18, SLICK was surrounded by the burgeoning L.A. graffiti culture. He soon became immortalized in the scene associating with the renowned K.II.S (Kill to Succeed) crew. It wasn’t long until SLICK had come up and made a name for him in the west coast streets. He has since expanded his repertoire to cover music videos, art installations, and even movies.

The name Dissizit means this is it and was adapted by Slick from the film Style Wars. Dissizit stays true to SLICK’s graffiti roots by using his traditional hand-styles and large striking graphics throughout the line. Designs like the Vive Le tee are sure to get looks, featuring sprawled graffiti over a barbed wire background. SLICK has his sights set high on taking over the game, in his words, “We are already doing it now. We just want to do it on a larger scale.”

“The parallel I see with streetwear and graf is the element of getting up. Like our predecessors got up on trains, we get up on clothing.”

Format: Hi SLICK, Please introduce Dissizit and yourself.
SLICK: Hey what up! It’s the OG SLICK in the motherfucking house! As far as my credentials, I’ve been in the streetwear game even before it was called streetwear and doing graf even before that. For more info on me, go to my site www.dissizslix.com and click on about SLICK. Sorry, I’ve been too busy to update it this past two years but it’s pretty on point for anything 2005 and before.

Format: How do you think your background in graffiti has impacted the development of the brand thus far? Are there any parallels between the graffiti world and the streetwear world?
SLICK: It started out strictly for the graf heads, because I am so into the art. But as we grew, we chose to highlight other facets of our culture, never forgetting where we came from. The parallel I see with streetwear and graf is the element of getting up. Like our predecessors got up on trains, we get up on clothing. You can go mainstream and sellout for cheap, and get up on a gang of shit at a lower price point or keep your shit so limited and overpriced that only a handful of people can appreciate it. I don’t think you have to necessarily put straight graf on shirts to be street – it’s an attitude.

What the fuck is graf anyway? It’s grown so much from just scrawled tags. It’s now letters, characters, murals, stickers, wheat pasting, Xeroxing, roller paint, laser projections, animation, little light, stencils and, yes, even the lost art of aerosol can control is graffiti nowadays – anything goes.

Format: In your mind, is there a specific consumer that you are trying to reach?
SLICK: The brand is for anybody who appreciates our culture, the lifestyle, the music, the humor, and most definitely, the art.

Format: What are some goals, in regards to Dissizit that you have not yet achieved?
SLICK: We are currently working on establishing ourselves as a full range, multimedia design studio where the clothing is just a division. We are already doing it now. We just want to do it on a larger scale.

Format: Artists including KAWS and FUTURA have had great success transitioning into the apparel business. Did you learn anything from their experiences?
SLICK: As happy as I am with their success, I’m really too busy myself with my own day to day bullshit to keep up with what my contemporaries are doing. I do know they aligned themselves with some of the bigger players in the game in the `90s in Japan, which was key to their success now. Unlike myself, who hid away during much of the `90s behind drugs and was trying to do everything myself. I do know FUTURA was a big influence in my early graf years. If you see some of my early pieces, you could see the heavy FUTURA influence. I’m hoping we can all collaborate on a project together, SLICK, KAWS, and FUTURA. Dang, that would be the shit!

Format: When you’re designing clothes do you try to predict what will be popular, or do you just focus on your personal preferences.
SLICK: I used to design only shit I liked, then I realized everyone isn’t me. It kept us real limited. Now, I try and have a more open mind to what our peoples will like, not just me.

Format: Is it important to create hand drawn graphics at a time where so much apparel design is done on computers?
SLICK: Drawing and computer graphics are all just tools. I don’t think it matters if it’s hand drawn or computer generated; it’s all about the concept. If it’s a weak concept, it’s a weak concept. If it’s a strong concept, then you can draw it with your left foot and it should still rock! Lately, I’ve been using my own hand-styles incorporated in some of our graphics to soften the coldness of some of our graphics and bring some realness and the human element back into the line.

Format: Do you hope that fans of Dissizit will want to learn more about the history of graffiti?
SLICK: I think many of the fans already know. I don’t think it’s our job to educate them –like the late Biggie says, ‘Now if you don’t know, now you know nigga!”

Format: How did your relationship with La Coka Nostra come about?
SLICK: LCN is the brainchild of my boy Danny Boy O’Connor of House of Pain fame. I’ve known Danny for years, frequenting the same watering holes. It hasn’t been till more recently that we actually put our heads together and came up with the hot shit for Dissizit and his group LCN. I think another reason things have been really clicking for us is the fact that we are both sober but far from clean. We still both dirty as fuck, just without the drugs and alcohol. I also think we both done this and done that and both made a lot of loot and fucked off a lot of shit during our short careers so that everything we do now is not by luck.

Format: Describe the experience of working with Disney and participating in the BLOC28 art exhibition.
SLICK: Having so much childhood memories with Disney, it was an honor to be a part of new Disney history. What we do now will influence the next generation of young people who are touched by Disney. The release party was exceptionally fun because they had me go into the space three days prior to the exhibit and cut me loose. They even built an actual bus stop for the event that we crushed the hell out of. The fact that Disney is even open to such an exhibit shows how far graf has come full circle into mainstream. There are some who are anti-graf hitting the mainstream but it is as American as apple pie.

Format: What is on the horizon for Dissizit, any surprises or collaborations in the near future?
SLICK: Eventually, I’d like to have an entire design house and design team designing everything from tees to outer wear, from fixed gear bikes to cars, from toys to 30-foot sculptures, from store displays to entire living environments, from short films to full-length animated features. It’s limitless.

More Info: http://www.dissizit.com

Street Shots by Take More Photos, Zach Slootsky and Kavin Kavin. Spin Gallery, Toronto. July 12, 2007.
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Taye Diggs rendered the “simplicity provides a fine line between eloquence and plainness,” while band member Brandon Boyd of Incubus encouraged his listeners to derive their own interpretation from the band’s lyrics.  Well Frankie & Donny, the co-founders of Relax Clothing, seek to impart the same quality of understanding through their manufacturing of such iconic chastities.  Self-interpretation promotes individuality, so if you’re in & around Manhattan, find time to relate with the pink couch, or connect with the duo online.  You decide.    

Info.Image: SlamXHype