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The Writing's on The Wall — The Sticky Subject of Street Art

jeremy kuhles

Updated: Aug 23, 2023




Few vocations prime you for mastery in games like Scrabble and Trivial Pursuit quite like the realm of freelance writing and translation. The extensive breadth of subjects you plunge into for crafting comprehensive articles, succinct signage, or immersive subtitles is astonishing. I distinctly recall investing a considerable amount of time delving into the intricacies of "spatter ramparts" while formulating English signs for the slopes of Mount Fuji.


While burrowing down research rabbit holes can undoubtedly enhance your prospects of securing a triumphant triple-word score, there are instances when the newfound wisdom gleaned from projects can reshape your perspective on society or, at the very least, provide food for thought.


For me, images of the graffiti "bombing" of New York train carriages suggested a society that had gone out of control rather than "a travelling gallery of art."

I am currently copyediting a series of interviews featuring renowned artists rooted in street art, particularly graffiti. I'm sure I'm not alone when I say I long considered this "art form" meaningless, thoughtless, unpleasant, and an eyesore on the landscape. For me, images of the graffiti "bombing" of New York train carriages suggested a society that had gone out of control rather than "a travelling gallery of art." However, my mindset has shifted as I have learned more about the artists who grew up in the underground street art scene.


The likes of Eric Haze, Shepard Fairey, and INVADER have managed to bridge the gap between the subversive nature of street art and the profound depth of traditional artistic expressions. Through their works, they communicate messages that transcend the spray paint and reach into the fabric of society. Eric Haze, for instance, challenges preconceived notions by fusing street art with graphic design principles. Shepard Fairey, known for the iconic "Andre the Giant Has a Posse" stickers, demonstrates the potential of street art to become a potent form of social commentary. And INVADER's pixelated mosaics offer a unique perspective on art's integration with the urban environment. All these artists invite us to reconsider our surroundings and the potential for beauty in unexpected places.


But it's a tricky and sticky subject. I am entirely against vandalizing private property with stickers and spray paint or graffiti for the sake of graffiti; there are many cases where the work of street artists and graffiti writers can't be condoned or justified. However, I've learned that street art isn't simply a display of rebellion; in some ways, it reflects our society's evolution and can be a canvas for impactful statements.




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