by Matthew J

Who is KIF? Where are you from?

I´m a female graffiti writer and I have 26 years old (about to turn 27) that always struggle to achieve its objectives. My name is Karina Alejandra Soto Hernandez, I´m a proudly student of the University of Guanajuato (the highest seat of learning in my state). I was born in the city of León, that place that fills me with satisfaction and joy, like my Mexican nationality.

This year I discovered that I´m a feminist (haha). In Mexico, that concept has been distorted by singers (such as “Paquita la del Barrio”, “Jenny Rivera”, etc.) who only assault the male figure and they do nothing to improve relationships between men and women in society. Personally, I didn´t like the label [feminism], until I met, my now close friend and collaborator of ideas, “Luisa Herse”.

I´m also someone who tries to find proper balance between life and spirituality. Apprehend humility, which quoted Socrates, “The pride divides men, the humility joins.”

¿Quién es KIF? ¿De dónde eres?

Soy una mujer graffitera de 26 años (próxima a cumplir 27) que lucha por siempre lograr sus objetivos. Me llamo Karina Alejandra Soto Hernández, soy orgullosamente una estudiante de la Universidad de Guanajuato (la máxima casa de estudios en mi Estado). Nací en la ciudad de León, una ciudad que me llena de satisfacción y alegría, al igual que mi nacionalidad mexicana.

Este año descubrí que soy feminista jaja; en México ese concepto está distorsionado, gracias a cantantes de música popular (como “Paquita la del Barrio”, “Jenny Rivera”, etc.) que sólo agreden a la figura masculina y que no hacen más por mejorar la relación mujer – hombre – mujer en la sociedad. Por eso no me gustaba ponerme dicha etiqueta, hasta que conocí (a mi ahora entrañable amiga y colaboradora de ideas) “Luisa Herse”.
También soy la persona que trata de tener una vida y espiritualidad equilibrada. De aprehender a la humildad, que citando al buen Sócrates –El orgullo divide a los hombres, la humildad los une-

What’s happening with Lady’s Graff, at the moment? What are you working on now?

Lady’s Graff is in a period of inactivity. I haven’t had the time I would want to work fully on the project. I definitely want to continue it and see it prevail. Recently, I was together with Luisa and Pris (Female graffiti artist from “Chulas Klan” crew and my friend too) at a conference in Mexico City (Aesthetic of the Street) where the three were speakers. They both want to collaborate with Lady’s Graff, and help ensure that all the work doesn´t fall only on me. Unfortunately we couldn´t synchronize our schedules to start working (of course the distance doesn´t help a lot, because we are established in Mexico City, Chiapas and Guanajuato). Still I am optimistic; we will make it work.

¿Qué pasa con Lady´s Graff?

Lady´s Graff está en un período de inactividad, no he tenido el tiempo que quisiera para poder trabajar de lleno en el proyecto. Sin duda quiero que siga prevaleciendo, justo hace poco me reuní con Luisa y Pris (Graffitera del crew “Chulas Klan” y amiga mía) en un congreso en la Ciudad de México (Estéticas de la Calle) en donde las tres estuvimos de ponentes. Ellas dos quieren colaborar con Lady´s Graff para que el trabajo no recaiga solamente en mí, lamentablemente no hemos podido sincronizar nuestros horarios para empezar a trabajar (por supuesto, la distancia no ayuda mucho ya que estamos establecidas en México D.F., Chiapas y Guanajuato).

Now that you’ve been studying more traditional and technical forms of art, how do you now view graffiti? Is your approach to graffiti different? If so, how have you been able to adapt your new knowledge to your graffiti work?

Of course not, my approach to graffiti is still the same, I love to see the “dirt” that graffiti is going to leaving on the streets; in the public space. The academic background allows me to work more on my graffiti composition. i.e.: I try to experiment more with color, shapes (directionality and movement), proportion and the technical itself.

I´m also desirous of have more knowledge about the “mapping” and other artistic variants of digital media to experiment together with graffiti, or if it´s not with graffiti, public space intervention.

Ahora que has estado estudiando formas y técnicas más tradicionales de arte, ¿Cómo ves ahora el graffiti? ¿Tu enfoque al graffiti es diferente? Si es así, ¿Cómo has sido capaz de adaptar tus nuevos conocimientos a tu trabajo de graffiti?

Por supuesto que no, mi enfoque al graffiti sigue siendo el mismo, me encanta ver la “suciedad” que deja el graffiti en las calles, en el espacio público. La formación académica me permite trabajar más en la composición de mi graffiti, es decir, trato de experimentar más con el color, las formas (direccionalidad y movimiento), la proporción y la técnica en sí misma.

También estoy deseosa de ya tener mayor conocimiento sobre el “mapping” y otras variantes artísticas de soportes digitales para experimentar conjuntamente con el graffiti, o bien si no es con el graffiti, intervenir el espacio público.

Continuing off the last question, has your concept of graffiti shifted since studying at Art College? I ask because many people who start out as graffiti writers have switched up their perception of graffiti and after going to school have distanced themselves from their “graffiti roots”. (Do you still feel it’s an important form of expression or should more importance be placed on traditional art?)

The concept of graffiti that I have (since I started) is that it should remain as part of the illegality, of struggle and resistance. Ourselves put it inside the law, and consequently, moves into a comfort zone… I think It obeys, to circumstances of life itself, that is, the fear of being caught by the police and causes mortification to our families; that it´s risky to our health, to seek recognition (either fame, money, etc.) and to place it in galleries, and even a search of plastic experimentation selves.

I´ve distanced of my roots, not by choice, but because now I want to stay focused on my studies and they´re highly absorbent. But when I have spare time I try to paint, including in schoolwork each that I can add a touch of graffiti on them, I think is now that I cling to not let go of what I’ve been for the last 13 years of my life.

I was chatting with my professor of aesthetic about if graffiti could be to able consider like an art and He told me that yes, but the problem is that same graffiti writers don´t want to do it! And I think it the reality.

Graffiti is a expression form by itself, no need to enter into the categories of traditional art. Well I would say that semiotically and aesthetically, the creative process of the author and the perceptive process of the viewer, is the same in all types of art.

Continuando la última pregunta, ¿Tu concepto del graffiti ha cambiado desde que estudias en la escuela de arte? Lo pregunto porque muchas personas que empiezan como escritores de graffiti han cambiado hasta su percepción de graffiti y después de ir a la escuela se han distanciado a sí mismos de sus raíces graffiti (¿Todavía sientes que es una importante forma de expresión o debería ser de mayor importancia colocarlo en el arte tradicional?)

El concepto que tengo del graffiti (desde que comencé) es que debe de permanecer en el marco de la ilegalidad, de la lucha y la resistencia. Que nosotros mismos lo metemos al margen de la legalidad y, por consecuente, lo adentramos en una zona de confort… Obedece, creo yo, a circunstancias de la vida misma, es decir, el temor de ser capturados por la policía y causar mortificación a nuestros familiares; que sea riesgoso para nuestra salud, que busquemos el reconocimiento (ya sea fama, dinero, etc.) y lo coloquemos en galerías, e incluso, por una búsqueda en la experimentación de la plástica misma.

Yo me he distanciado de mis raíces, no por elección, sino porque ahora quiero permanecer enfocada a mis estudios universitarios y son muy absorbentes. Pero cuando tengo tiempo libre trato de pintar, inclusive en los trabajos escolares cada que puedo agrego un toque de graffiti en ellos, creo que es ahora cuando más me aferro a no desprenderme de lo que he sido durante los últimos 13 años de mi vida.

Estaba platicando con mi profesor de estética sobre si el graffiti podría ser considerado con un arte y él me dijo que sí, pero el problema es que los mismos escritores de graffiti no quieren hacerlo. Y creo que es la realidad.
El graffiti es una forma de expresión por sí misma, no necesita entrar en las categorías del arte tradicional. Pues me atrevería a decir que semióticamente y estéticamente, el proceso creativo del autor y el perceptivo del espectador, es el mismo en todos los tipos de arte.

For those who don’t know, what is Lady’s Graff and specific role has it played in terms of helping female graffiti writers, both in Mexico and abroad?

Lady’s Graff began as a website of dissemination in 2002 (the truth is that I can´t remember well the timing of events), gradually got to know the site and got to a point where I had to include international graffiti artists. Then it was mutating to blog and coming soon… ummmm, better I don´t advance what we have in mind until it´s more seriously and real. Well, Lady’s Graff is a space to spread and support graffiti done by women, not as a matter of segregation, but being a minority (in number of elements, compared to boys) is a communication network contact us all and share what we do and what we think.

Although I’m not updating the blog constantly, I try to participate in different groups created on Facebook (by colleagues who have the same intent), I share there news and interesting things that have to do with other women, not just my work.
Because of my work like a webmaster in Lady´s Graff, I´ve had the opportunity to collaborate in magazines, websites, books and graffiti events dedicated to the female gender.

Para aquellos quienes no saben, ¿Qué es Lady´s Graff y el rol especifico que ha desempeñado en términos de ayudar a las escritoras de graffiti, tanto en México como en el extranjero?

Lady’s Graff comenzó como un sitio web de difusión en el año 2002 (la verdad es que ya ni recuerdo bien la temporalidad de los sucesos), poco a poco se fue conociendo el sitio y llegué a un punto en el que tenía que incluir a graffiteras internacionales. Después fue mutando a blog y próximamente… ummmm, mejor no adelanto lo que tenemos en mente hasta que ya esté más palpable y concretado. Bueno, Lady´s graff es un espacio de difusión y apoyo al graffiti hecho por mujeres, no por una cuestión de segregación, sino que al ser minoría (en número de elementos, a comparación de los chicos) es una red de comunicación para contactarnos todas y compartir lo que hacemos y lo que pensamos.

A pesar de que no estoy actualizando el blog constantemente, trato de participar en distintos grupos creados en Facebook (por colegas que tienen la misma intencionalidad), ahí comparto noticias y cosas de interés que tengan que ver con otras mujeres, no solamente mi trabajo.

Debido a mi labor con Lady´s Graff, he tenido la oportunidad de colaborar en revistas, sitios web, libros y eventos de graffiti dedicados al género femenino.

What can you tell us about heading back-to-school? What are you studying, at the moment, and how has that affected your way of thinking and perceiving art — all art, not just graffiti:

I’m studying a bachelor’s degree in Digital Arts, I honestly didn’t have much notion about art in general. What more I known it was about the forefront artistics and some things Greco-Roman.

My introduction to graffiti was the total influence of the street; by my brother´s friends who spent their nights walking the neighborhoods of the city to paint over trends of territorial graffiti, cholos and gangs … So I always minimized the academic art, because it´s pretty appearance, what it liked to society.

My courses about art history were taught by a very passionate Architect in the subject (Armando Perez), whose classes showed me the great architectures in human history, from prehistoric era – Wonderful techniques in different periods for painting; order and proportion, even deconstructing of all them. Studying some of the amazingly detailed sculptures of different eras, I fell in love with Mexican art; with everything from prehispanic symbolism to expressionism of the great Mexican authors, specifically what David Alfaro Siqueiros, who created for all political activity, the mindset of struggle and resistance he had.

Now I think that all the important artists of the history of art and their various techniques, deserves great respect and admiration, even Marcel Duchamp with his horrible urinal (for me it had had more credit if he had defecated doing a protest performance against critics and “experts” in academic art).

¿Qué nos puedes contar sobre tu actual movimiento de “regreso a la escuela”? ¿Qué estás estudiando por el momento? y ¿Cómo ha afectado eso a tu manera de pensar y percibir el arte, todo el arte, no sólo graffiti?

Estoy estudiando la Licenciatura en Artes Digitales, honestamente yo no tenía tanta noción sobre el arte en general. Lo que más conocía era sobre las vanguardias artísticas y un poco de los greco-romanos.
Mi introducción al graffiti fue por la influencia total de la calle; por los amigos de mi hermano que pasaban sus noches caminando los barrios de la ciudad para pintar, graffiti con tendencias más territoriales, de cholos y pandillas… Por eso siempre minimizaba el arte académico, pues era el aspecto bonito, lo que le gustaba a la sociedad.

Mis cursos sobre historia del Arte fueron impartidos por un Arquitecto muy apasionado en el tema (José Pérez), sus clases fueron las que me mostraron las grandes arquitecturas en la historia del hombre, desde la prehistoria… Sus técnicas maravillosas en distintos periodos para la pintura; el orden y la proporción, incluso la deconstrucción de éstas. La escultura tan detallada de las diferentes épocas. Me enamoré del arte mexicano; desde la simbología prehispánica, hasta el expresionismo de los grandes autores Mexicanos, específicamente lo creado por David Alfaro Siqueiros con toda su actividad política, la mentalidad de lucha y resistencia que él tenía.

Ahora creo que todos los artistas importantes de la historia del arte universal y sus distintas técnicas, merecen un gran respeto y admiración, incluso Marcel Duchamp con su horrible mingitorio (para mí hubiese tenido mayor crédito si él hubiera defecado haciendo un performance de protesta frente a los críticos y “expertos” en la academia).

In your opinion, what can you tell us about the current position of female graffiti writers; not only internationally, but in your Province of Leon Mexico, as well? Are female writers getting representation?

In this moment I´m somewhat disconnected about the international scene. I think we should put more work on our warmth human and our quality graffiti.

Sometimes, it´s very sad and stressful for me to see that several people and I have been making a projects basis, efforts and ideas that are of no use. The girls in my country and my town are still having super high ego, even not for the quality of their work or their actions, but because they keep playing the role of “pretty girls”. A stupid competition has achieved social pressure, interested to be prettier than the other, be able to take the boyfriend to the other girl, and endless betrayals between us.

Leaving of centralized on the important things and focus to attack each other, but yes, seek recognition, attention and representation by the mere fact of being women and playing with the feelings of men.

There are all kinds of people and minds in the graffiti world, I reason to further develop ideas and joint projects with women who have left all that shit back, I´ve come to establish good friendships with girls who are in the same synchrony that me. I admire and respect their work, to their person because they have quality and warmth, because they´re women who are interested in taking seriously what they do and what they are passionate about. By the way hello to all, especially girls as Shady, Rank, Dita, Chulas Klan, Nuz, Peste, Traumas, Nala, Tysa and many others that deserve my utmost respect, not only in Mexico but throughout the world.

En tu opinión, ¿Qué nos puedes decir acerca de la posición actual de las escritoras de graffiti, no sólo a nivel internacional, pero también en tu provincia de León México? ¿Son escritoras consiguiendo representación?

En este momento me encuentro un tanto desconectada de la escena internacional. Opino que deberíamos ponernos más a trabajar en nuestra calidez humana y en nuestra calidad graffiti.

A veces es muy triste y agotador para mí ver que todo lo que varias personas y yo hemos ido logrando a base de proyectos, esfuerzos e ideas no sirve de nada. Las chicas en mi país y en mi ciudad siguen teniendo el ego súper elevado, ni siquiera por la calidad de su trabajo o por sus acciones, sino porque siguen jugando a ser “las niñas bonitas”. Una estúpida competencia que ha logrado la presión social, el interesarse por ser más bonita que la otra, ser capaz de quitarle el novio a la otra y un sinfín de deslealtades entre nosotras.

Dejan de centralizarse en las cosas importantes y se enfocan a atacarse unas con otras, pero eso sí, buscan el reconocimiento, la atención y la representación por el sólo hecho de ser mujeres y de jugar con los sentimientos de los hombres.

Hay todo tipo de personas y mentalidades en el mundo del graffiti, yo me motivo a seguir desarrollando ideas y proyectos colectivos con mujeres que ya han dejado toda esa mierda atrás, he llegado a entablar buenas amistades con chicas quienes se encuentran en la misma sincronía que yo. Admiro y respeto su trabajo, a su persona porque tienen calidad y calidez, porque son mujeres a las que les interesa tomar en serio lo que hacen y lo que les apasiona. Por cierto un saludo a todas ellas, especialmente a chavas como Shady, Rank, Dita, Chulas Klan, Nuz, Peste, Traumas, Nala, Tysa y muchas otras más que merecen mi máximo respeto, no sólo de México sino del mundo entero.

Family is important, whether they are biological or the ones we choose – friends turned family through bond. I want to know, in your mind, what does family mean to you and how are you able to keep a balance of work, art, family, and personal goals? How do you keep things level? How does your family help center-you within your day to day
life?

Family for me is my daily engine, my strength, my pride, my admiration and what I’m structured. I think that balance is something that I´ve not yet succeeded, I´m no longer with my family (I speak of biological and friends) to address school issues. Living in a different city, it´s very difficult to have the time to be with everyone and also focus to college; further away from home I’ve managed to have other links with people that I cherish most, people that I met in college and I want to preserve in my life (Brenda, my boys from “Coliseo”, classmates of generation, etc.).

There are weekends where I go back to Leon and I spend time partying with members of my crews (IKS, CK and Female Soul); and others in which the gang will not notice that I´ll be in town and I´m only with my mother, my brothers and my dog. There are days in which I prefer to disconnect from all of them and I´m going to paint, others in which I stay in Salamanca locked for hours in my apartment studying for exams and / or preparing a project or task.

I always do what I crave, when I think I should give time to my people, I let go a bit of work to be with them. My family (you see that I have the joy of having a large family) they understand that the priority for me right now is to finish my degree, they know that I´m pleased learning and for this reason they try to tolerate that I no longer spend as much time with them.

La familia es importante, ya sean biológicos o los que se eligen (Amigos que se volvieron familia a través de vínculos). Quiero saber; en tu mente, ¿Qué significa la familia para ti y cómo eres capaz de mantener un equilibrio entre el trabajo, el arte, la familia y las metas personales? ¿Cómo mantener el nivel de las cosas? ¿Cómo funciona tu centro de ayuda familiar dentro de tu día a día?

La familia para mí es mi motor diario, mi fuerza, mi orgullo, mi admiración y lo que me estructura. Creo que el equilibrio es algo que no he logrado aún, he dejado de estar con mi familia (hablo de la biológica y los amigos) por atender asuntos escolares. Viviendo en una ciudad diferente, es muy difícil tener el tiempo para estar con todos y además enfocarme a la universidad; además lejos de casa he logrado tener otros vínculos con personas a las que aprecio mucho, gente que conocí en la universidad y que deseo conservar toda la vida (Brenda, mis chicos del “Coliseo”, los compañeros de generación, etc.).

Hay fines de semana en los que vuelvo a León y me la paso en la fiesta con los integrantes de mis crews (IKS, CK y Alma Femenina); otros en los que ni le aviso a la pandilla que estaré en la ciudad y sólo estoy para mi madre, mis hermanos y mi perro. Días en los que prefiero desconectarme de todos ellos y salir a pintar, otros en los que me quedo en Salamanca encerrada por horas en mi departamento estudiando para algún examen y/o preparando algún proyecto o tarea.
Siempre hago lo que se me antoja, cuando yo considero que debo darle tiempo a mi gente, me desprendo un poco del trabajo para estar con ellos. Mi familia (mira que tengo la dicha de tener una familia grande) entiende que para mí ahorita la prioridad es terminar mi licenciatura, saben que me satisface el aprendizaje y por eso tratan de tolerar el que yo ya no pase tanto tiempo con ellos.

Since learning more about art and expanding your skill set, how would you describe your evolving style, as an artist? How have you changed? In what aspects have you grown? Where do feel further growth is needed?

KIF: I’ve noticed that my graffiti style is very marked in what I do custom for college classes. I love my philosophical readings relating to art, classes like aesthetics and semiotics I´ve fascinated me a lot, even though it costs a bit of work to have the habit of reading, because I come from a culture where since childhood has not been inculcated reading. I need more growth in the drawing, because I still do hard time human figures and faces, spray I´ve not tried, only with the software.

Desde aprender más sobre el arte y la expansión de tu conjunto de habilidades, ¿Cómo describirías tu evolución de estilo, como un artista? ¿Cómo ha cambiado? ¿En qué aspectos has crecido? ¿En dónde sientes que necesitas un mayor crecimiento?

KIF: Me he dado cuenta que mi estilo en el graffiti se ve muy marcado en lo que hago por encargo para las materias de la universidad. Amo mis lecturas filosóficas referentes al arte, materias como estética y semiótica me han apasionado mucho, aunque me cuesta un poco de trabajo tener el hábito de leer, pues vengo de una cultura en la que desde pequeños no se nos ha inculcado la lectura. Necesito mayor crecimiento en el dibujo, porque aún me cuesta mucho trabajo hacer figuras humanas y rostros, con aerosol no lo he intentado, sólo con el software.

Shout-outs?

Again, thanks Matthew for following up on my work within graffiti and personal situations, as does a good friend.
Thank you very much to all the people who support me, appreciate me, respect me and have left positive knowledge and ideas in my mind.

Special greetings to the members of my crews: IKS, CK and Female Soul; My family of Mexico (and those who are warriors around the world, dealing with racist and absurd situations), the man who has captivated me for the past 4 years (NAGM); To my friends I know in “real life” -lol- and stay with me forever (poxo, Ivette, Vicky, Bei) … Of course my colleagues graffiti writers, MCs, DJs and Researchers, people that I met through the “graffiti life”: Dita, Anahí, Rank, Saha, Shady, Kirs, Daniela, Luisa Herse, Peste, PSF (Germany), Sax (Spain); Caitlin Bruce, ARE2, Jessica Pabon and Tiffany Evans (USA) … CAB (LA), DJ Raven, Oex, Deker, Spok, Warner, Husmer, Pes, Sketch, Sk@pe, Weva, Wes, Reak, Beis, Ruben Jasso, Pedro Rangel and crews like KW7, Chulas Klan, UK, FEGS, BR, EIN, TFK, GSK, HEM, ODK (Netherlands) …

People from ENAH who invited me this year in their annual event “Aesthetic of the Street “.

More than greetings, I thanks to important people in my academic life: My teachers who always fill me with knowledge; My guys from the Colosseum (Yure, Tavo, Luis, Marcelo and Luis Mi); To my co-generation (Jhony, Martha, Sus, Lexy, Estefy, Nalle, Angy, Fran, Jess) and also absent but still communicated with me Craes and Bruno… To my roommates Brenda and Pau.

THANKS TO EACH OF YOU.

Saludos?
Una vez más, gracias Matthew por darle seguimiento a mi labor dentro del graffiti y en situaciones personales, como lo hace un buen amigo.

Muchas gracias a todas las personas que me apoyan, me aprecian, me respetan y que han dejado conocimientos e ideas positivas en mi mente.

Saludos especiales a los miembros de mis crews: IKS, CK y Female Soul; A mi familia de México (Y a quienes están de guerreros por el mundo, lidiando con situaciones racistas y absurdas), al hombre que me ha cautivado durante los últimos 4 años (NAGM); A mis amigos que conozco de “la vida real” –lol- y permanecen a mi lado siempre (Poxo, Ivette, Vicky, Bei)… Por supuesto a mis colegas graffiteros, MCs, DJs e Investigadores, personas que conocí a través de la “vida graffiti”: Dita, Anahí, Rank, Saha, Shady, Kirs, Daniela, Luisa Herse, Peste, PSF (Alemania), Sax (España); Caitlin Bruce, Are2, Jessica Pabón y Tiffany Evans (Estados Unidos)… CAB (LA), DJ Raven, Oex, Gerry Corzo (de “Ganja”, reggae mexicano), Deker, Spok, Warner, Husmer, Pes, Sketch, Sk@pe, Weva, Wes, Reak, Beis, Rubén Jasso, Pedro Rangel y a los crews KW7, Chulas Klan, UK, FEGS, BR, EIN, TFK, GSK, HEM, ODK (Holanda)… A la gente de la ENAH que me invitó de ponente este año en su evento anual “Estéticas de la Calle”

Más que saludos, agradezco a personajes importantes en mi vida académica: A los docentes que siempre me llenan de conocimientos; A mis niños del Coliseo (Yure, Tavo, Luis, Marcelo, Luis Mi); Para mis compañeros de generación (Jhony, Martha, Sus, Lexy, Estefy, Nalle, Angy, Fran, Jess) y también a los ausentes pero que siguen comunicados conmigo Craes y Bruno… A mis roommates Brenda y Pau.

Who is Opia?

Opia is my art-alias, nickname, moniker, the name I “write” in graffiti terms. I received this name about 15 years ago. I was a teenager then and had befriended lots of people with whom I had many things in common, graffiti art being one of them. I recall chatting with someone about my initiative to start writing, but I didn’t have a name to go by. After trading ideas on names, I finally settled on “Opia,” which was the preferred (shortened) version of the full word: utopia. I preferred this because it was a four letter word, therefore, quick and easy to paint. Beside all this, I did take a liking to its meaning, the ethereal quality of the word brought out a longing for the real thing in me.

This was a time in my life in which I had entered into a stream of intrigue over graffiti. It captured my eyes and by being inclined to art, it challenged my competency to do it. Everywhere I’d look, there it would be; and because my friends then were interested or into it themselves, I had a creative environment to practice my ability.

Fifteen years later, I still represent this name. I’ve entertained thoughts of changing what I write for quite some time, because the truth of it all is, it isn’t all that pretty! I dealt with deep-seated guilt and searing shame. I wanted to escape the reputation that I had caused to fall upon myself. This name became a banner of identity and the life I’ve lived, all negative. Nevertheless, it is a part of my timeline and genuine history. Old things have passed away, and all things have become new, I am a new creation in Christ (ref: 2 Cor. 5:17). It is a part of my testimony.

Little did I realize as a youth that this abbreviated alias, Opia, became an ideal place I longed for; a little bit of Heaven, a place of peace, sanctuary, rest — Eden, itself. Not until I opened my heart to Jesus, did I find the strength to finally stop running away from myself and face the truth.

How did you first get involved with graffiti? What drew you to this particular medium rather than say “classical sketching” or gallery style painting?

I had the real-deal in front of me. Exposure to art and graffiti was the norm when growing up in the South Bay Area of Los Angeles. I admired the talent, techniques, and skills of the few murals within the community and I can think back to being about five years old telling myself, “I want to paint something like that!” I’d stand outside of the storefront murals and would twist my neck all the way around to take in the image. The sheer size of the space compared to my little frame was impressive.

It then progressed to rubbernecking as I rode in cars, to glimpse the latest burner, throw-ups, or tags. I’d also look for landmarks, long-time running spots and markings. By doing this, I learned which areas were doused in graff. There were the hot spots which stood temporarily, but received one of two reactions: a round of applause or a fist in the air. There was also the older stuff, especially around the tracks, that I quickly learned to treat as an ancient hieroglyph. Along with what I picked up by observation, I started sketching what I thought was “like” the graffiti I saw. I’d hang out with friends at school, after school, and on the weekends where there was lots of skating, looking at graff mags, drawing in sketchbooks, listening to music, talking about what we liked and such. I was surrounded by many gifted artists and their inspiration rubbed off on me. Their creativity further propelled me into my artistic ventures.

I admire many other forms of mediums and expertise. I actually dabble in a few, but I’m no expert. I believe what drew me to this particular medium was my circumstances (location, personal influences, and sub-cultures) along with my interest for the unusual form of art captivated me. I was an at-risk youth and was balancing on the scales of life. I eventually became heavy on the side of taking risks as a way of seeking attention at whatever cost. My graffiti became about recognition, the more I was “up,” the more I became validated by others. The more vandalism I caused, the more my suppressed anger was released. The more improved in style, technique and skill I became, the more pride ate away at my humility. I had no balance and the choices I was making at that time (drinking, drugs, etc.), wasn’t directing me to use that talent in productive ways. I was on self-destruct mode, spiraling down, full speed ahead and taking down my creativity with it.

Does your faith ever cause problems with your choice in artistic expression; meaning does the fact that graffiti is seen as a crime does that conflict with your beliefs?

People have different perceptions about graffiti as an art form. I paint graffiti-style murals with owner consent, all legal. I’ve received criticism from some because there is a stigma to graffiti, and I can see where they come from. I respect that. However, my intention is not to paint for self and what I write, but for something fruitful. I realize that I have a certain ability to get a message across, and as a Christian, I have to use my talents wisely. As long as I can stay true to that, my conscience is clear.

I find it encouraging when the positive reactions far outweigh the negative critiques. I believe the content of the work speaks life to people and it sparks hope. Some may receive it openly, and some will reject it totally – both the mural and/or the Message.

It’s important to stay ambitious and keep oneself focused. I would like to know what keeps you focused on improvement. Motivational speaker Eric Thomas talks about the importance of having a why (as in a reason why people stay committed to a particular task). What is your why, and how do you keep yourself focused on self-improvement?

I focus on Jesus. It may sound cliché to some, but unashamedly, this is my faith and my faith is in Him. As the blind man once said, “I was blind but now I see!” My aim is not on self-improvement, but rather on becoming more like Him; a transformation. It’s like metamorphosis, like how a caterpillar becomes a butterfly. It’s a beautiful thing.

California has a layered graffiti community. How do you see the culture in California? What do you like best about the scene?

I see graffiti in California as multi-faceted because of the artist’s preferences. You have preferences in locations, numerous combinations of “ups” (tags, throwies, and/or pieces, etc.), colors (monotone or wild), type of surfaces, and the list goes on. I’ve seen interest in it come and go, and come again. Through the decades I’ve lived so far, I see it as an appetite that cannot be satiated.

What I like best is creative process, from start to finish. It reminds me much of my life, how I’m a work in progress. I also like ingenuity, some can think up really amazing stuff, like structure and flow, color combos, techniques, and others.

You’re associated with two crews- I.S.I. Collective and GG Crew. I want to take time to look at both crews, so first we’ll start with I.S.I: What does I.S.I. represent? What is its history? What is your mission statement?

I.S.I. Collective started in 2008; it stands for “Iron Sharpens Iron” which is derived from Proverbs 27:17, “As iron sharpens iron, so a friend sharpens a friend.” It is a fellowship of accountable and creative souls who use the arts to share the Good News of Jesus Christ. It was started in Northern California by “Fasm” to hold Christians that spray painted (which consisted a majority of Gospel Graffiti crew members worldwide) accountable to Biblical standards and encouraged those involved to seek and give wise counsel, which in the long-run, is a blessing. In 2010-2011, the crew leadership was passed on to Wes77 and its main root is in Los Angeles. There are 7 members and all have unique talents to contribute to the mission: Cawst, Fre(e) of Sin, Joey Digitals, Skrybe52, Vox, Wes77, and myself.

Now, let’s talk about the other crew you’re associated with, the GG Crew. When was it established? What is its mission? Where’s it based?

GG Crew (Gospel and Graffiti) began as a crew in 1996 by Sno & Fasm. It is a group of worldwide members that share the call and desire to use legal graffiti art as a tool to seek and share the message of salvation. We live to yield our lives to the Lordship of Jesus Christ, to reflect Him, and to share His love with the world; on and off a wall.

We have members in the United States, Canada, Europe, and South Africa. It’s a culturally diverse group with God and graffiti in common, it’s a beautiful thing! The crew has undergone changes throughout the years and just recently, the crew leadership role has been passed on to Camer1. There’s some activity in the works for our crew to step into another level; ideas are popping up, members are engaged in conversation, and there’s a sense of organic development going on. We’re just going with the God flow.

Just as your crew grows and develops, I imagine the individuals do, as well. Who would you say has had the biggest/most positive impact on your life? And what does that person’s mentorship mean to you?

From a personal and an artistic standpoint, two people have had the biggest and most positive impact in my life; surprisingly, both have entered my life not too long ago. That being said, both are dearly cherished and I’m grateful for their life, in mine.

A personal mentor of mine is an older woman that I met in church when I moved to a smaller mountain community about a year and a half ago. Her name is Helen and she is very kind and a sincere person. She has become a “Titus 2” woman in my life, in which she models her faith in action, extends wise counsel, encourages, and builds me up. She embraces me for who I am and appreciates my many traits. Like many, I had a rocky childhood; and due to mental illness, I grew up with a present, yet, “absent” mother. My mother was responsive, able to care for herself, my family, and I; she taught us what is moral (don’t lie, don’t curse, cover yourself up), and the basic life-skills (how to cook, clean, read, etc.), but nevertheless, was detached emotionally and didn’t engage in relationship building. Growing up, my older sister, my aunties, neighbor women, and my friend’s mothers would become “mother-types,” and I’d look up to them for teaching, guidance, and direction. I was very observant and copied many behaviors. When Helen took me under her wings, I learned so much within that short period of time than I EVER had in my entire life! She’s taught me about womanhood, the privilege of training up a heritage, and much more. I’ve experienced a major development in my late 20’s, but hey, better late than never right? It’s only that much sweeter.

Artistically, I consider my husband Wes as a mentor. He selflessly pours into me and provides me with encouragement, support, and inspiration. Our conversations about art projects and such are very interesting because he introduces me to new ideas, works of art, and literally draws water from my well. He’s a visionary type and perceives many things from a different perspective as I, so he’s helped me to think outside-the-box. I see how much he’s grown also, he’s balanced out his desire to paint with more of an art appreciation outlook; now, there’s moderation. I welcome his constructive examination of my work because I admire his palate, and he’s graceful about it as well. The both of us come from an illegal graffiti background, so he totally gets where I come from and how that specific painting skill exists long after I’ve stopped committing vandalism. To me, my husband and artistic mentor is an ally in my becoming fruitful.

Now I would like to give you the opportunity act as a mentor to some writer who may be reading this article. What advice, if any, would you give to an aspiring writer who is struggling to catch their rhythm, artistically?

Check the intentionality. If one struggles in catching their rhythm by trying to please others, that one will struggle indefinitely. Now, if one struggles simply because, I wouldn’t call it a struggle, but rather a stepping stone. It’s part of the program. Artistic struggle is a growing pain; it can be a lesson learned, wisdom and understanding gained, and fewer mistakes to be made.

Oftentimes, an aspiring artist gets caught up in fears; such as, fears of being inferior in comparison to others, or, of discouragement (among others). This can be a torment, hindering a productive and creative flow. I myself can feel trepidation, so I find comfort in 2 Timothy 1:7 from the Scriptures. I am reminded of having a sound mind, and that an ounce of truth ousts the negativity and dispels the doubts.

Who are some of the writers, in your area, whom you feel people should be checking out? Who do you think is producing some serious artwork?

To be honest, I don’t stay up to date with writers and their work much anymore. I was at one point in my life; I’d drive around and take pictures and would know who “got up” on such spot and when, and this and that got buffed, and this person is on beast-mode and that crew is getting capped everywhere, etc. You can tell a lot of what’s going on by what you see. The interest in staying up to date phased out of my life as I started my venture back in recommitment to my faith and beliefs. I grew weary of focusing my attention on that, it profited me nothing.

To be able to give you an honest opinion, I’d have to dedicate some time to research and visit a few showings and galleries to consider someone to be producing some serious artwork. When I do have the time to spare, I’ll catch an occasional posted article or Twitter link on current art events and its’ producers; however, the articles I’ve read lately have not been artists from the Southern California area. I’m sure that there is, but at this very moment in time, I am just not aware of it.

Earlier we talked about the reason why you write; now I want to know how you are able to maintain your motivation as a writer? How do you stay motivated creatively?

Externally, I am surrounded by people who themselves motivate me by their encouragement and/or feedback of appreciation; my husband, my family, my church, my crews, my friends, passing by onlookers at wall productions or events, or notice via social networks. I make do with the skills that I have, and hopeful of increasing my current expertise to a higher level.

Internally, I do what I do as a gesture of gratefulness for this beautiful privilege of producing art; I am a creative soul, created by the Creator of all. I find that by acknowledging whatever creativity I have, I realized the weight of it; then suddenly, it’s not just a mere few talents, but many more! Taking inventory helps keep interest and action aflame. The longer my list, the more spurred I become to “do something” with it.

What would you say has been your biggest accomplishment to date – graff related?

Thus far, it has been traveling and painting. Never in my wildest dreams did I fathom that the very thing that has caused me much strife (graffiti vandalism), would be redeemed, and be a catalyst for journeying, especially to distant places. Just last year, my first time (ever) in an airplane was to Holland, and it was about a 13-hour flight, following with visits to Belgium, England, and Hawaii.

For those that are interested in learning more about you, as well as your work, where can they find you online?

I’m a part of 2 crews (I.S.I Collective & GG Crew) and you can find some of my work on their websites: www.isicollective.com and www.ggcrew.org. I have a personal blog at www.opiaone.wordpress.com and you can follow me on Twitter:@OpiaOne

I want to discuss legacy, because I feel it’s important that we all leave an impression – making the world a better place. When all’s said and done, and you’re no longer writing, what legacy do you hope to have left behind? How would you like “Opia” to be remembered?

That’s a good question! I would like to have “Opia” remembered as having more than just one positive impact, but to sum it all up; it would have to be as an overcomer. One would have to question, “An overcomer of what?” Well, to glory in the latter would have required trekking a humbling road.

By the skin of my teeth, I have escaped many wrecking situations in my past. To name a few, I’ve been in some serious life-or-death situations where I could have died of swallowing pills at 14, been left paralyzed or dead from evading gun shots, or of have been involved in horrible car wrecks while DUI. The Lord had mercy on me! I came to my senses and turned away from a path of destruction to a way of life.

I want to plant seeds that will keep the perpetuation of faith, hope, and love alive, long after I am gone from this place. I hope that many can learn from my life, as I learned from Jesus. Matthew 11:29 comes to mind and better explains it this way, “Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls.”

Before we wrap up, I just want to thank you for taking time out of your day to share your story with us. I appreciate your honesty and your sincerity, and I am sure the readers do, as well. *salute*. Here we go, final question: Is there anybody out there that you would like to shout-out or acknowledge?

I’d like to start off by thanking God for His saving grace and this opportunity to share a bit of my story, and to you Matthew J., for being open to it. I’d like to acknowledge my amazing and beloved husband, my loving family, and sweet friends; from my past, present, and of the future. I would not be where I am now, if it were not for those in my past who helped shape and mold me (both good & bad). For those that share life with me in the present: let’s find the joy in life and take it day-by-day! For those that await to enter my life in the near future: I hope to become a blessing. To my fellow creative souls in I.S.I. Collective, GG Crew, and other crews: Matthew 6:33. Hello to the Body of Christ worldwide and to my local body- remain strong in the LORD and in the power of His Might. My sincere apologies to those that I’ve brought hurt; I pray that you can find it in your hearts to someday forgive me. To all, God bless you!

Photo by Wesley Waughan

The saying goes that “beauty is in the eye of the beholder”, but despite, this people continually search for the secret to attraction. Many believe that there are definitive ways to make someone more attractive; blonde hair, breast enlargement, make-up, body language, and money are just some of the examples we could give. Inevitably, this search for the secret to attraction has begun to look at the world of tattooing. The scientists, the psychologists and the biologists are now asking “are people with tattoos more attractive than people without tattoos”? In their quest for a formula of beauty, we take a look at just a few of the conclusions they have arrived at.

The Harris Poll, which was conducted in January 2012, found that 30% of people with tattoos said that the ink made them “feel more sexy”, and 21% said that it makes them feel “attractive or strong”. This belief though, does not appear to be reflected by the thoughts of those without tattoos. 45% of those who have not been inked see tattoos as a turn-off rather than a turn-on. These figures are unsurprising, and rather than attraction, they seem to tell us more about the mindset of the people interviewed. The poll merely represents the different personal tastes of each individual. As expected those that like tattoos seem to find them attractive, and those that don’t like them see them more as a turn-off.

There are some that believe that tattoos carry with them a deep-routed appeal and attraction. The decision to get a tattoo, and be attracted to those with tattoos, is a built-in biological, or even an evolutionary, reason. Mindclockwork.com, a website focussing on psychological studies, believes that part of the reason women decorate their bodies is because of biological urges to attract males. The theory is that women, rather than men, are more likely to get pierced and tattooed, as these decorations increase their chances of receiving male attention. The belief is that other aspects of female culture also reflect this need to decorate; hair styling, make up, cosmetic surgery and even large shoe collections. Although there is an undoubted feel-good factor about looking good, and there are numerous reasons as to why a woman may buy a pair of shoes, or wear a certain dress, the fact that almost throughout human history society has been unfairly male dominated, means that women have had to pander to the needs of the men. The burden of impressing the opposite sex has been on females as the males hold the power to choose a mate. Wedding proposals are a prime example of this. Here it is the man picking his partner, and not the other way round.

If this theory were to be correct, it would mean that people could be more attracted to tattoos without even knowing it. And that people may be getting tattoos because of subconscious desires to attract a mate. Charles Darwin in fact looked at the concept of sexual selection inside his theory of natural selection. Natural selection was a struggle for existence, who would survive and who would die, but sexual selection was a struggle for reproduction, who would mate and have the most offspring, thus passing on their genes. Quite unlike with humans, in the animal world the burden to attract is on the males, the females hold the power of decision. This is why you see manes on lions, extravagant feathers on peacocks and antlers on stags.

Continuing along the scientific theme, Scientific American ran an article in May-June 2012 entitled “Survival of the Tattooed and Pierced?” In that article it focused on researchers at the University of Wroclaw in Poland who looked to study the body symmetry of a number of people. Body symmetry – how alike your left and right side are – indicates genetic health and is associated with sexual attractiveness. Half of the men and women measured had ink and/or piercings, and the other half did not. The findings of the research showed that “men with bodily decorations exhibited greater symmetry than those without”. The conclusion they drew from this is that getting inked is a risk-taking behaviour that we have inherited from our ancestors. They were the people “who were strong enough to endure injuries and survive”. It is strange that they arrived at such a conclusion as there was no difference in the findings when looking at the women in the study. Effectively meaning that there was no difference between those who were inked and/or pierced, and those who were not. The study chose to disregard this finding somewhat and instead focused on the men in the research, perhaps unwisely concluding that “at least in men, body art could serve as an “honest” signal of fitness in the Darwinian sense”.

So thus far the quest into the attraction of ink has seen science, psychology and biology promote tattoos in females as decoration to attract a male, and tattoos in males as a signal that they are fit and strong, essentially proving to the females that they are capable of fathering a child. In contrast to the theories of these scientific studies there are still a huge number of people that find tattoos unattractive. This fact surely showing that there is no formula for attraction, and that it simply comes down to personal preference.

Caroline Kent wrote for The Telegraph in October 2013 and explained why she found tattoos “a huge turn-off”. Though Kent admires those that get tattoos and she sees the appeal of them, she believes that “there’s nothing attractive about tattoos”. She is “sceptical” about tattooed guys but she admits that this is because she does not find tattoos in general “visually appealing”, simply saying “they are not for me”. Her article reflects a feeling that I think many would agree with. Unless you are a tattoo enthusiast yourself it is unlikely that you will put much significance on whether a member of the opposite sex has ink or not. Even those people who are tattoo enthusiasts have their own tastes about what is attractive and what is not. One friend with whom I spoke believes that she does find people with tattoos more attractive, but that the attraction depends on the “artwork itself”, for her “tribal tattoos aren’t attractive”. I would have to agree with her, I do find that people with ink appeal to me more but even I would find an entire sleeve of Miley Cyrus pretty off-putting.

So if, as expected, the attraction to people with tattoos is subjective and down to each individual person, does a tattoo have any impact at all? Does science concede defeat and admit that there is no formula for beauty, or does it continue to press the case that tattoos have a definitive relationship with attraction? Unsurprisingly, science pushes on.

Psychology Today highlights the work of French psychologist Nicolas Guéguen. He found that men viewed women with tattoos as more approachable as well as believing that these women were also more promiscuous. Guéguen conducted his studies on the beaches of Brittany, France, with women lying on a beach in a red “two-piece swimsuit” reading a book or magazine. Half the time the women “wore a temporary tattoo of a butterfly on their lower back” and half the time they did not. These women were observed to see how many times they were approached by men on the beach. The study found that women without the tattoo were approached 10% of the time, whereas women with the tattoo were approached almost 24% of the time. As well as being approached more often, they were also approached in a much shorter time. On average those with the tattoo were approached at around 24 minutes, but those without the tattoo were approached at around 35 minutes.

Guéguen furthered this study by interviewing men who were located close to these women wearing the red swimsuit. After asking them to look at the women for a short period Guéguen asked the men what they thought the probability of getting a date with that woman was, and “if the opportunity presented itself, the probability of having sex with her on the first date”. Guéguen found that the “male beachgoers thought their chances of having a date or having sex with the female confederates were significantly greater when they were displaying a tattoo than when they were not displaying a tattoo”. Therefore Guéguen concluded that tattooed women are seen as more promiscuous than non-tattooed women. This conclusion however, tells us more about the men interviewed than it does about the women with the tattoos. The women were not seen as more attractive, but more approachable, and having a tattoo did not mean that a woman was more promiscuous, it meant that men believed that to be the case. A misguided judgement held by the men that associates tattoos with higher sexual desire.

Writing for Psychology Today, Vinita Mehta, a clinical psychologist and journalist, states that the “findings add to multiple lines of evidence” that show men see attraction in women in any number of ways. Mehta states that “bodily attributes are not the only criteria that are relied upon” and that “clothing appearance or color, cosmetics, and hair”, as well as tattoos, have all been linked to “men’s approach and evaluation of women”. Gueguen interprets his results from an evolutionary standpoint believing that “like cosmetics or clothing, women may adorn tattoos as a way to enhance their appeal to men”. But he is quick to point out that the study has its limitations and he recommends “that future research should focus on whether the association between tattoos and promiscuity is based on men’s stereotypes”.

As the large majority of the people I have asked stated, tattoos impact little on how attractive they think a person is. Features, personality and even dress sense were given more priority. Despite scientific and psychological studies into the attraction of ink, it seems that personal taste and individual preference are still the main drives when finding a partner. Though the studies produce some thought provoking statistics and analysis, all too often the conclusions are sweeping generalisations and provide a deterministic view of what causes humans to be attracted to one another. A beautiful person will be a beautiful person whether they have ink or not. For perhaps the first time ever I find myself agreeing with, and echoing, words printed in The Telegraph. To quote Caroline Kent once more, true beauty “is never simply skin deep”.

This article can be found in Skin Deep Magazine issue number 237

Watch as the graffiti artist Risk paints a large mural for Miller beer company.

Professional skateboard artists team up with top contemporary visual artists for “A Bomb in a Bowl”. The show features art of bombed miniature concrete skate bowls?. A Bomb in a Bowl will contain submissions from the artists Tony Alva, Christian Hosoi, Steve Caballero, Jake Brown, Mimi Knoop, Risk, Nathan Ota, Esao Andrews, Joshua Petker, Nomad, Richard Villa Iii and more.

A Bomb in a Bowl will open on Saturday, November 30th, 2013 at Exhibit A Gallery in Los Angeles, CA.

The Winnipeg Graffiti Gallery will be hosting the art show “Keep on Keepin’ On” which will feature art by Risk MSK. The art show opens on Thursday, August 15, 2013 from 7pm to 11pm.

On Saturday, August 17, 2013 the Graffiti Gallery will also be hosting a Graffiti Battle that will be judged by the graffiti artists Risk MSK and Chino BYI. Prizes will be awarded to the top three artists. There’s limited spots available, so it’s first come, first serve.

For more information check out the Graffiti Gallery.

The graffiti artist HelloMelo has an upcoming art show opening in San Francisco titled “Sleepless Nights”. The show opens on Saturday, August 17th 7–10pm at Campfire Gallery. Along with the opening of the show, there will also be a live painting session on the Saturday starting at 12pm before the show.

Defining myself as an artist and what I create is connected to the “rogue” and “risky” behaviors I feel destined to be a part of. As a child, I was captivated by the colorful graffiti and allure of the unknown. I desired to claim Detroit with skill and precision, changing styles, materials, and always pushing my art to the next level. I enjoy portraying characters with a deep sense of reality, conflicted with a free flowing, heavily contrasted, intense, and colorful vibe that every person can connect to. Many people talk about life and struggles that happen in the ordinary every day goings on. I try to emulate my feelings concerning society and norms, my world, the connections we have with our man-made world versus the natural world and how we imprint ourselves in it. “You make your own mark on society; let it be your best.”

HelloMelo

Campfire Gallery
Craig Zaretsky and Rachel Ybarra, Partners & Curators
3344 24th Street
San Francisco, CA 94110
415-800-7319
info@campfiregallery.com

The graffiti artist Risk teamed up with Shepard Fairey to paint a large rooftop in Miami.

Source: Risk

Known Gallery in Los Angeles is hosting a group show titled “MAD SOCIETY” the opens on December 9, 2012. The show will feature new works from the artists: REVOK, RETNA, POSE, RIME, RISK, REYES, PUSH, ASKEW, ROID and ZES. Pieces include foraged geometric collages, pop color creations, politically-charged critiques, vivid abstractions and much more – with each blending traits and techniques learned years prior with acquired knowledge and masterful style procured from decades-long collaborations with one another.

Take a deeper look into some of the biggest names in the graffiti world. Crack & Shine Season Two follows artists across the globe and exposes their motivation for risking life and liberty to express their creativity in some of the most compelling urban environments.