Prefab77 used to be a collective working out of Newcastle, and now one artist, Peter Manning represents the title. Number 77 in Prefab77 refers to the year of 1977, which was a very successful year for British celebrities in the arts field. They made a great impact on the British street art scene. Their work included giant paste ups that are almost as big as a three-storey building. Their works are an interesting blend of rock, punk with an ethnic African headgear, and other imagery with women in the center. Manning creates artwork that often has political and sometimes anti-establishment tone, but these images are beautiful and reveal a lot from the modern culture. His work is a dark world of money, fashion, music, and politics woven into a luxurious mixture of acrylic, spray paint, wheat paste, and varnish.
Manning started his career as a printmaker and designer for the Queen in the British Army. He worked as a designer for well-known fashion brands. His work was commissioned by brands like Converse, Gap, Hurley, NIKE, Keds, and Ride Snowboards. In 2011, he created the cover art for Dancing Backward in High Heels, which was the fifth and final studio album by American rock band New York Dolls from the 1970s.
Kurar, tombe dans le graffiti dès la fin des années 90. Pendant 10 ans il va peindre, travaillant sur la 3D, le volume, et la couleur.. Au fil du temps et des expériences il va diversifier ses techniques, Graff, Vandale, Pochoir, Collage, pour ce concentrer sur le travail des pochoirs.
Au travers du pochoir et de son travail sur toiles, ce street artist traite des sujets actuels et nous pousse à prendre du recul sur notre vision de la société. Mélangeant univers ancien, et détails contemporain dans ces œuvres Kurar traite avec poésie, humour et provocation, des sujets sensibles comme la guerre, la religion, et la société de consommation.
L’utilisation et la représentation de l’enfance, est un des points récurent et une certaine « marque de fabrique » de Kurar. Il utilise brillamment ce symbole de l’innocence pour contraster avec l’aspect satirique et provocatrice de ces représentations.
Depuis une ascension en 2013, marqué par une exposition personnelle à la galerie Parisienne Onega, le street artist enchaine les expositions personnel et expose dans les galeries du monde entier, New york, Los Angeles, Genève, Dusseldorf, La Reunion, Bruxelles, Berlin, etc..
Entre cynisme et péosie, nostalgie et humour noir, il touche le public par la profondeur et la pertinence de ses messages.
SNIK INTERVIEW BY STREET ART UNITED STATES
by Sami Wakim
Initially inspired by the Graffiti scene, Snik has been working with stencil and spray can for 10 years now. Constantly pushing the boundaries, this artist duo has developed a unique style which is equally captivating on walls as it in on canvas. Staying true to their form, Snik hand cuts up to nine layers at a time, working with different mediums, techniques, paints and varnishes. Regardless of size, the level of detail is insane, and use of colours and forms, inspirational. Showing in Galleries, shows and forums across the globe, they had their inaugural solo show in 2011, and now has a serious following of admirers and collectors worldwide.
Let me first say that I am fascinated about the way you create your art. Although, I don’t really know anything about you, could you explain who you are, where you´re from and how did you get started in the street art scene?
Snik was originally started by myself (nik), back in 2005. I had always been a keen artist, but never really viewed it as something that could get me from place to place doing what I loved. Over the years people have shown an interest, and invited me to places all over the world to paint, which has been incredible. As the years have gone on, I have always tried to go bigger and better with each piece, I feel, constant progression and improvement are the things that help to keep me on my toes. About 4 years ago I met my other half, and we began to paint bigger walls together. Having 2 people on board meant we can cut bigger stencils quicker, and paint larger walls that one person with a stencil couldn’t, so it’s been a huge help to become a duo. Some people don’t know that, we have never really pushed, as I don’t think it matters so much. When you view art you never question how many people, just the nature of it and how it makes you feel.
Do you have a formal education?
We have both been to college, but neither studied Art. It was never helpful for either of us in the direction we were heading.
Your art is multilayered and complex. Could you describe the development process of your artwork?
I think stencil work is a form of OCD. To sit for hours on end, cutting small pieces of card from bigger pieces of card, it’s not a standard method of art, but a more precise and exact craft. The way we try to balance this, is by painting very quickly, and very rough and ready. Every canvas we paint is painted the same way it would be done on the street, drips, smudges, mess and mistakes are all a part of it. The tightness of the stencil is only a balance to the freedom of the painting.
How much does your art affect or influence your everyday life and are there any role models or artists who inspired you?
Everything we do is art related. There isn’t a day that goes by that you don’t read up on a recent paint event, or check out a recent gallery show. That being said, we are very separate in the fact that we live in the countryside, and not a city. We don’t get caught up in a scene as such, but obviously are inspired by just how much incredible art is being produced all around the world right now.
How do you go about creating your street art? How do you choose a street/environment?
Normally we will cut the stencil, then source a spot. It can be a quick thing, or can take a while. Stencils can be restricting in your size and surface you have to work with, but this can also be the challenge to it. Spray paint works on anything, so it’s all down to how you use a stencil, and how you approach the aesthetic of the area.
Has your style developed throughout the years?
I would say so yes. The stencil cutting is a lot more free, and as each new piece is produced, there are new lessons learnt. The use of lighting has always been a big influence in the work, shadows especially effect the final outcome. As mentioned before, the use of the stencil can be restricting, so it’s important for us to work around this, and make the final piece more relaxed and natural, as stencils can sometimes be very stiff and harsh in final appearance.
How do you feel about the role of the Internet and social media in making your work more accessible to the public?
The internet has revolutionized the way people view artwork now, in every sense. Some street pieces only last a day, but once it’s online, it is pretty much there forever. The same goes for any little post we may put about a new stencil, or a test spray. For those who don’t have gallery connections, or good hook ups for walls, it’s a great way to get yourself out there and get noticed. We always enjoy painting street as much as possible, but it’s just not always possible for us to get every single new piece onto a wall straight away, so we get into the studio and produce a work to showcase the new cuts this way instead. But in the back of our minds we always want every piece to eventually make it to a wall.
Which countries have you visited to paint so far and where did you like it best?
We have visited France, Holland, Switzerland, Germany, and Spain. Each one is incredible in its on way, it would be impossible to select a favourite, as every paint trip has so many great memories. The meeting of new people is definitely one of the best points about what we do, and it’s what we enjoy the most.
Is there a message in your art?
maybe there is, maybe there isn’t.
Street art is still considered vandalism, how is it for you to go out and paint in the street? Did you ever have any problems with the law?
When I started in 2005, I used to enjoy going out and doing paste ups, little 1 or 2 layer stencils. It was a fun rush, but of course it created friction with authority, and was never going to end well. As we grew older and developed, the illegal thing lost an interest, mainly because our stencils evolved into such technical works that to rush them in 30 minutes would be a really poor looking final piece, and not the sort of thing we want to produce. It’s really rare that we do a full illegal piece, and even if we do we don’t advertise it, for obvious reasons.
What have been your most challenging and rewarding piece of work thus far?
The most challenging piece was the Winged-Fire (pictured above) piece we painted in our home town last year. It was only an 8 layer stencil at around 7 foot tall, but each layer was 5 different colours. So to get the cuts natural, and the blends working took a very long time, and a lot of stress. It helped to push us a lot to progress in the direction we have, so It is definitely one that sticks in our mind.
What do you do when you are not creating art? What are your hobbies?
Dog walking. Wine drinking.
What’s next for you? What shows or projects do you have planned?
We have a big year planned, but you’ll have to keep an eye on our social media for info.
Any words of advice for aspiring new artists?
Don’t stop. Always wear a spray mask.
CRAIG ALAN'S FAMOUS FACES IN A CROWD OR HOW INTRICATE ARTWORKS SEE BIG SCREEN STARS RECREATED IN PAINTINGS OF DOZENS OF TINY FIGURES
Craig Alan / De Medicis Gallery
Combining technical skill, creativity and wit, Craig portrays iconic faces, buildings and abstracts through dozens, sometimes hundreds of intricately painted, exquisite figures. Each distinctive piece is created in black and white with a touch of red on some of the more glamorous faces. In their own way, they reflect Craig’s highly recognisable take on life, where it is the small details that work together to create the big picture.
Craig carefully plans and creates each tiny figure, all which have their own identity and personality which he has thought through to the finest details. In some of his extremely rare originals, he even goes as far as detailing each item of clothing on the individuals. His cast of characters include family members, friends and models, giving his work a uniquely personal touch. Each piece contains a range of 400 to 1,800 people in it depending on the type of work it is, and he spends anywhere from 50 to 150 working hours on one painting.
Now based in Atlanta, Craig was born in California, but his artistic talent began to emerge when his family moved south. His earliest experimentation took the form of street portraiture, an endeavour that helped him perfect his flair for replicating the human figure. He has exhibited his work across the United States and Europe at De Medicis Gallery Paris to great acclaim and is now making a significant impact on the UK market. He has a work of art hanging in the White House in Senator Reed’s office and his art was shown in Scope Miami 2014 “We are all part of something greater than ourselves, and if we work together we could achieve greater balance . . . not in a religious sense but rather a universal sense.”
The full article can be found on the The Daily Mail website here