Graffiti has long been demonized by politicians and law enforcement as scars on the visage of our cities, as fodder for gang and turf warfare, and as a basic disrespect of authority. It certainly can be any of these, but it is also a way for artists and inhabitants to affect their environments in a real and tangible way, injecting color and novelty into the sterile, static canvas of urban decay.
It certainly can be any of these, but it is also a way for artists and inhabitants to affect their environments in a real and tangible way, injecting color and novelty into the sterile, static canvas of urban decay.
The term "graffiti" is now more often paired with the word "art" as it becomes respected and legitimate celebration of so-called "outsider art."
Our artist Paul, also known as Krush, works in the L.A. area as a graphic artist, graffiti artist and remixer. Most of Paul's graffiti is composed of characters fashioned into a tapestry of abstract forms, that while truly impressive to look at, is largely unintelligible to the untrained (or unhip) eye.
Laying down "Drift Dreams" was child's play for Paul, and process humbling for us to watch. It took Paul just a couple of hours to lay down the image, and that's with us bugging him frequently.
"Drift Dreams" was complete just minutes before the sun got to setting, giving photographer Les Bidrawn the golden light he needed to make both the A'PEXi RX-7 and Paul's work glow.
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CEC wheels was kind of enough to lend us their black photo wall for Paul to spray. In a tr
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Having worked out a palette, Paul procured spray paint made in Europe and marketed to graf
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Once the A'PEXi drift RX-7 was backed into position, Paul sketched border lines so the ima
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Although Paul laid down a basic framework, the script was largely freeform.