Talking with Peeta
We finally come up with a new interview, this time Peeta (EAD – FX – robots will kill), an Italian writer and artist. We go against the trend and against the title of this website (fatBombers) interviewing a three-dee styler. We do this for a reason. We appreciate Peeta’s style since a long time, and we think that photorealistic pieces are an hard terrain, on which it is really difficult to innovate. Peeta does it: he rocks. So, he deserved some attention.
Never heard of him?
check peeta’s fotolog, peeta’s website, an interview in italian (with flicks), his page on Artcrimes.
Te la vuoi leggere in itagliano? vai in fondo a questa paggina.
You are in the FX crew since 5 years. How do you live the contact with the NY experience, what influences did you receive and what are the differences between the US and the Italian scene?
From the day I’m part of that crew very few things changed in my vision of things, but nonetheless I can say that it is a big stimulus to me. I’ve been a few times in New York, even recently, and I painted mainly with Per, Yes 2, Eaz, Pose2 and Cope 2.
Since the last time I’m part of another crew, born in New York, the RWK (Robots Will Kill). To keep a relationship with a so disseminated and far crew is not easy, and often the friendships become weak.
The reality of that city – from the writer’s point of view – is strictly linked to traditions, the style of the pieces and of the hall of fame is alwayss a little bit static. And things are changing, now In Ney York there’s this new “quality of life” law that makes things harder: now, to paint an hall of fame, you need a permission from the owner of the wall and from the city of NY. You have to bring a sketch and then they give you permission for a well-defined day. That means that if after a week you want to paint over your piece you have to ask permission again, or you risk being arrested. Many historical hall of fames became illegal, and now every writer has to uncover his full name in order to paint with ease. But than bombing is still bombing, even if it get buffed in a flash really often.
Other places like Chicago, San Francisco or LA have other issues, problems and different ghettos from New York. Writing has another history and writers are often gangsters, mainly in California.
In Europe and in Italy things work in a different way, I think that people is more open-minded, often some cities give big spaces to paint, some writers and crews push everything to another level, over the _classicity_ of the new york style, even if I must say that in our country there are some contradictions in this field.
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