fatbombers

— Fatbombers.com

“This reiteration comes from tagging”. Basik talks about carachters, graffiti and working with art

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Basik is painting in Italy since the early Nineties, somebody may recall him with the name of Lego. When I saw its artwork in the recent “Street art, sweet art” show in Milano I was sincerely surprised, as it’s style changed massively. Anyway, its stuff is interesting and fresh, so I tried to contact him and the result is the interview you can read here. (thank you basik!)

Since I’m sure he will raise your interest, you can read more about this artist with a street attitude and see more of his works on his website, flickr, fotolog or even myspace.
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After a serious writer career in a time, the early Nineties, when everything was different, you switched to the canvas. You told me that “the environments cast a different light on the things one does”. How is it?

The studio ambience makes you feel in a different way the things you already had in your mind, or at least for me it’s like that. Everything comes from having a more intimate ambience, a surface that’s not concrete or metal, mostly the possibility to use the most disparate matters and objects for my ideas. I think that the most interesting part of painting artworks that will end in the inside, for one that’s coming from the street, is the possibility to widen one’s vision and better, if you look at the good side, gives you a way to read what you did in the past in a way that you didn’t imagine.

I love painting on a wall, as I love painting canvases, woods and the rest, I don’t avoid a priori the new stuff as I think that somehow I can get something interesting from it, that will mutually enrich what is produced outside in the same way it betters what is done in the studio. In my opinion,none of the aspects is more important of the other.

Moreover I think that bringing in the gallery or on canvas what you did on the streets would be too easy and would make the final result unfit.
The PAC show, for instance, gave me the possibility to try on canvas the fusion between cement and oil colors. Maybe this hybrid is a choice I won’t repeat, what matters is that the places and the events give you a chance to try, experiment and evolve in force of your acquired experience.

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1. dopo una seria carriera da writer, in anni (i primi Novanta) in cui era tutto diverso, sei passato a dipingere su tela. tu dici che “gli ambienti danno risalto in modo differente alle cose che uno fa”. in che modo?

Penso che la dimensione da studio ti porti a percepire le cose che hai avuto finora nella testa in maniera differente, o almeno così lo è per me. Il tutto nasce dall’avere ora a disposizione un ambiente per certi versi più intimo, un supporto che non sia cemento o metallo, soprattutto il poter utilizzare per le proprie idee i più disparati materiali ed oggetti. Credo che la cosa interessante del dipingere opere che finiranno in ambienti interni per uno che viene dalla strada sia la possibilità di ampliare la propria visione delle cose; soprattutto, se uno ne coglie il lato positivo, dà modo di concepire ciò che uno ha fatto fino ad ora in variabili che magari prima non aveva valutato.

Io amo dipingere su parete, così come amo dipingere tele, legno o quant’altro, non mi precludo a priori le novità perché penso che in qualche modo ne possa trarre spunti interessanti che arricchiscono a vicenda ciò che è prodotto all’esterno così come ciò che è fatto in studio. Per quello che mi riguarda nessuno dei due aspetti si sovrasta poi in importanza.

Penso anche che il portare semplicemente quello che fino ad ora si è fatto in strada dentro una galleria o semplicemente su tela è assai facile che faccia stridere il risultato finale. La mostra al PAC ad esempio mi ha dato la possibilità di sperimentare su tela l’unione tra il cemento ed i colori ad olio. Può darsi che questo ibrido sia una scelta che non ripeterò più, quello che importa è che i luoghi o gli eventi diano modo di provare, sperimentare ed evolversi grazie all’esperienza acquisita.

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Your style had a radical change. What inspirates you now?

Let’s say I tried to evolve in a pictorial way some parts of the figurative work that who knew me as a writer probably saw. I tried to leave what could be a comic\illustrative attitude and from there I started a personal research, a journey that brought me where I am now… that it’s a simple stage of everything that will pass thorough my head in my whole life. Regarding the latter inspirations, I’ll say the Phil Frost works, Egon Schiele and all the religious art of the Middle Age.
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read more about basik…

2. il tuo stile è cambiato radicalmente. quali sono le tue fonti di ispirazione, ora?

Diciamo che ho cercato di evolvere in maniera pittorica alcuni lati del figurativo che chi mi conosceva come writer ha avuto modo di vedere. Ho cercato di staccarmi da quella che poteva essere un’attitudine fumettistica/illustrativa e da lì ho iniziato una ricerca, un percorso che mi ha portato fino a dove sono ora… Che poi è una semplice tappa di tutto quello che mi passerà per la testa in vita. Per quello che riguarda le ispirazioni di questi ultimi tempi direi le cose di Phil Frost, Egon Schiele e tutta l’arte religiosa del medioevo.

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Do the letters still catch your attention? Are you up to date with the current graffiti writing (or street art) scene today, is there something you like?

Every once in a while I take the spraycans and I come back painting whit a friend or two. I lost the interest or passion that I once as a kid had for graffiti writing but now I appreciate all the funny and social side.
We draw two letters, we drink a pair of beers and we say four bullshit together!
The part that I still love and develop (as I can) is tagging. I still really love calligraphy, maybe because it’s the more fresh and immediate part of graffiti.

About street art, theres some good ideas around, though in embryonic stage, what I found interesting is that these ideas don’t come from the “famous” names in the scene. About graffiti writing, I’m not very up to date, even because it’s not my priority sincerely… but for what I can see it seems to me there’s some standardization. Maybe someone around the corner will make me change my mind tomorrow.

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3. le lettere ti attirano ancora? sei aggiornato sulla scena del writing [o della street art] italiano oggi, e c’è qualcosa che ti piace?

Ogni tanto riprendo gli spray in mano e torno a dipingere insieme a qualche amico. Non ho l’interesse o la passione per il writing che avevo da ragazzino ma ne apprezzo tuttora il lato ludico e sociale.
In pratica: tiriamo su due lettere, beviamo un paio di birre e diciamo quattro cazzate insieme!
La componente che ancora adoro e porto avanti (per quanto possibile) è il tagging. La calligrafia mi piace ancora un sacco, sarà perché è la parte più immediata e fresca dei graffiti…

Riguardo la street art penso che ci siano delle belle idee in giro, anche in stato embrionale; ciò che trovo interessante è che esse non provengono dai nomi più blasonati della scena. Riguardo al writing non sono molto aggiornato, anche perché non è la mia priorità sinceramente… per quello però che posso vedere mi sembra che ci sia un po’ di omologazione. Magari c’è qualcuno dietro l’angolo che mi farà cambiare idea domani.

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You recently showed your works in a big show called “street art, sweet art”. Do you think your works have something in common with street art or graffiti?

No I never said I did street art, I’m simply interest in bringing on a pictorial path in the street, the environment I know best. What I have in common with street art, at a first sight, is the reiteration that you could see in some of my shapes or subjects, I think that there is a particular way to read one’s artwork, that is common to who painted in the street.
In the end, this reiteration, evident or not in streetart, comes from tagging. Letters simply have been substituted with a personal icon.

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4. hai esposto di recente in una grande mostra intitolata “street art, sweet art”. cosa hanno a che fare le tue opere attuali con la street art, o coi graffiti?

Non ho mai preteso di fare street art, più semplicemente mi interessa portare un discorso pittorico sulla strada, ambiente che conosco meglio. Il punto che forse accomuna ciò che faccio con la street art è ad un primo impatto la ripetitività che pare esserci in certe mie forme o soggetti; credo anche che ci sia un particolare modo di lettura della propria opera, comune a chi fa o ha fatto le proprie cose in strada.
Comunque gira e rigira questa serialità più o meno evidente della street art trae ispirazione dal tagging. Le lettere sono state semplicemente sostituite con una propria icona.

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Painting to sell, many do that these days. The presence of a client who pays for it changing your artworks?

It always depends from which relationship you have with your client. If you are still free to bring on what you doing and plus you are paid, why not!? You come to an age when you don’t have daddy and mum giving you cash, covering you with the blanket and buying you a PS3, so it’s clear that if you have a minimum of artistic mentality and you have to choose to do a manual work 8-hours-long or painting you don’t’ think about it twice, and choose the latter. Everybody would do it, even the one who say that who is in a gallery, one way or another, is a sellout. It’s only about maturity and reasoning about things. Again, you have to value what is the work and the expressive mean of a person, and which compromises he have to bear, in case of agreements or collaboration with the art market workers.
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5. dipingere per vendere, molti lo fanno oggi. la presenza di un committente cambia la tua arte?

Trovo che dipenda sempre da quali rapporti hai con il committente. Se comunque sei libero di portare avanti quello che fai e vieni pure pagato perché no!? Alla fine ad una certa età non ci sono più il babbo e la mamma che ti danno la paghetta, ti rimboccano le coperte e ti comprano la PS3, quindi è chiaro che se uno ha un minimo guizzo artistico e deve scegliere tra il fare l’operaio 8 ore al giorno e dipingere non ci pensa due volte a votare per la seconda scelta. Lo farebbero tutti, anche quelli che danno dei venduti a chi è finito per un motivo o per un altro in galleria. È solo una questione di maturità e di ragionamento sulle cose. Ripeto, va sempre valutato in finale quello che è l’operato ed il fine espressivo di una persona e quali eventuali compromessi questa deve accettare nel caso di contratti o collaborazioni con chi di lavoro vende arte.
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Totem #10 (il Re) – Rimini 2007? — foto di Marco Montanari

Bonus: check the Re-edit event organized by Basik & co.

140 comments
  1. Airone says: 24/9/20079:40 am

    In assoluto, uno tra i migliori artisti italiani di oggi.

  2. ZECRA says: 24/9/200712:15 pm

    APPROFITTO PER CITARE L’INTRODUZIONE DELLE FOTO DELL'”EVENTO”…

    Re-Edit.
    Come ri-nascere, ri-sorgere; come seconda, più intelligente occasione di utilizzo e per un diverso valore nel contesto urbano.
    Come un nuovo vestito di sartoria o un esclusivo paio di sneakers limited edition.

    L’uomo trasforma l’ambiente che lo circonda, crea strutture, le utilizza e poi abbandona. È il passo successivo, non calcolato prima, che a noi interessa: l’estetica inconscia della struttura stessa e del paesaggio da essa modificato, il più delle volte violentato, diventa la base per la ri-edizione del luogo stesso.
    Ciò che è abbandonato ed imbruttito dal consumismo industriale trova una seconda chance nell’essere un supporto di grande forza.

    Il cimitero dell’operato umano diventa museo di arte pubblica, libera a chiunque voglia fruirne, capitatoci davanti per puro caso, per curiosità o per passione.
    Sono forme, linee e colori che uniti al contesto generano sentimenti, sensazioni, opinioni dirette nello spettarore, senza mediazioni di contesti upperclass, senza ufficialismi, formalità o filtro alcuno.

    The Re-Edit team 2007

    … E CHIEDO QUALE SARÁ, PER VOI, IL PROSSIMO PASSO DEL “SISTEMA”?

    É PLAUSIBILE -VISTO L’INCOSCIENTE FIDEISMO CHE SI NOTA NELL’ ACCETTAZIONE DEL “PERMESSO DI RIBELLIONE CONTROLLATA” CONCESSA A TUTTI GLI INDIVIDUI NELLA SOCIETÁ IN CUI VIVIAMO- PENSARE A UN RI-CICLAGGIO CONSENZIENTE DELLE MENTI, O DELLE IDEE? TIPO QUELLO CHE SUCCEDE DA TEMPO NEL MONDO DELLA MODA E DEL DESIGN.

    PENSATE SIA IL FUTURO INQUIETANTE CHE CI ASPETTA, LO ESCLUDETE, O CI SIAMO GIÁ IN MEZZO?

    SAREBBE INTERESSANTE APRIRE UN PICCOLO DIBATTITO IN E OUTDOOR.

    UN SALUTO, ZECRA

  3. ZECRA says: 24/9/200712:33 pm

    Ah, approfitto per mandare un abbraccio a Neho, unica persona che conosco tra quelle fotografate.
    Non so se fa parte del “team”, pero´ un pó mi conosce e riconoscerá lo spirito del commento scritto sopra.

    ZECRA

  4. DEAZ 2B says: 25/9/20071:57 am

    I puppet migliori…al pari di Toast…SOLO LORO!!!

  5. TomoZ says: 26/9/20072:46 pm

    Bella Lego!
    sempre belle cose…

  6. ZECRON' says: 2/10/20072:38 pm

    Stimolanti gli interventi!

  7. ZECRUNO says: 2/10/20072:59 pm

    Cicci, ci svegliamo una minima dall’anestesia o no?

  8. PESARO says: 3/10/200712:27 pm

    svegliarsi?!

    leggere quell introduzione è come farsi una pera di anestesia.

    …esclusivo paio di sneakers limited edition?!

  9. ZIRKONE says: 3/10/200712:47 pm

    Ho sempre avuto un debole per Pesaro! Evviva gli FDS! Un forte abbraccio agli altri due del quadrumvirato -Noem e Lupen-.

  10. PESARO says: 3/10/20076:02 pm

    E pesaro ha sempre avuto un debole per chi le tags le faceva per davvero.

  11. ZEBRA says: 4/10/20074:38 pm

    Il 21 Dicembre rientro… se Pesaro si trovasse dalle mie parti si potrebbe fare un cenacolo culturale a base di Weiss allo skunky! Sto per caso parlando con lo “slavo”? Fatemelo sapere. Abrazos

  12. Basik says: 4/10/200711:42 pm

    A Zecra:

    ti premetto che non sono sicurissimo di aver capito bene il senso di quello che chiedi (magari con le tue risposte successive alle mie parole mi farò chiarezza).
    Pensi che possa accadere che writing e/o street art possano essere digerite dalla società e dal “sistema”, come han già fatto in parte i mondi della moda e del design (immagino che il riferimento sia alle influenze sul design in generale che l’arte di strada ha portato, con in più tutto il mondo delle collaborazioni tra gli artisti e i brand più o meno fashion…), per cui ci si ritrova poi nella situazione di “ribellione controllata”.

    Credo che il finire per lasciarsi assorbire o meno dal sistema di cui parli stia ai singoli prima ancora che al movimento al quale si vuole o si finisce per appartenere o, ancora, per colpa del sistema stesso. Quello che posso apprezzare dell’ufficializzare un tipo di espressione nata illegale è il poter raggruppare ora un numero maggiore di persone che possano riconoscervi una valenza, magari per pura passione e non per fini utilitari, nell’operato di chi ha portato avanti le proprie cose da anni nel più totale anonimato fino a poco fa; sta poi a chi è stato reso di dominio pubblico (se così si può dire) capire ciò che vuole continuare a fare e come continuare a farlo.
    Io non vedo troppo contrasto se un artista, un writer o un qualsiasi personaggio venuto dalla strada riesce da un lato a lavorare alla luce del sole pur portando avanti le proprie cose senza che nessuno gliele paghi o gli dica dove deve concepirle.
    È chiaro che un’opera realizzata su commissione per una casa d’abbigliamento o posta in una galleria ha un valore diverso rispetto ad un lavoro fatto in totale libertà senza chiedere permesso alcuno. Penso che il porre questo come base per le diverse direzioni che la propria produzione può prendere sia assolutamente importante. Ecco perché trovo che il diversificare o adattare ciò che si dipinge a seconda delle situazioni possa essere una buona soluzione, che permetta sia di istituzionalizzare ciò che si fa, sia di portare avanti la componente che molti ritengono più vera di questo movimento.

    Un discorso a parte penso che vada fatto per situazioni nelle quali il sistema assorbe le idee originali senza poi dare il giusto merito a chi queste (idee) le ha portate alla luce. L’esempio più eclatante che mi viene in mente ora come ora è la serie di spot della tv per ragazzi chiamata Boing, correggetemi se sbaglio, ma mi pare un chiaro plagio ai lavori di TV Boy.

    Non vedo un futuro inquietante davanti se le persone continuano a tenere le redini della propria dote.
    Vedo solo un ciclo: finita la bolla della street art si cercheranno di assimilare altri movimenti, altre tendenze. È stato così già per il writing e per la cultura hip-hop agli inizi degli anni 80 quando esplosero, e come si può vedere sono tutt’altro che morti o compromessi.

    My two cents.

  13. mitik says: 5/10/20073:57 pm

    bravo Basik
    complimenti per la mentalità
    e per il lavoro!

  14. ZECRA says: 7/10/20078:04 pm

    Basik ti chiedo in anticipo scusa perchè potrò fare chiarezza sui temi che ho introdotto, cercando di utilizzare come punto di partenza il tuo intervento, solo in un paio di settimane.
    Confido nella tua attenzione futura.

    Un saluto, ZECRA

    P.s.: A questo punto credo che “Pesaro” non faccia parte delle mie conoscenze.
    Ho creduto di intravedere un piccolo bagaglio di informazioni su chi scrive quando parlava di chi “le tag le faceva per davvero”…

  15. 253 says: 9/10/200712:17 pm

    Penso sia sostanziale non appropriarsi di una cultura altrui, di uno storico letto solo su alleanza latina o tribe: in altre parole serve onesta’ intellettuale.
    Per il resto ben vengano talento e persone in gamba con buone idee, ma sia chiaro che il marchio di “origine controllata” e’ roba seria.

    keep it real,
    253

  16. Filippo says: 10/10/20076:02 pm

    è la solita storia…
    come chi dal rap passa alle canzonette italiane in versione northern soul…
    ci vuole rispetto per le persone e per le idee; soprattutto quando queste sono buone!
    ora, tralasciando la visibilità dell’artista (a differenza di chi le cose le fa e le fa senza mettervi la faccia…è un punto di vista), tralasciando tante cose che non sto ad elencare, nel progetto in questione, quello che ha fatto parlare così tanto, non vedo niente di così complicato se non una rivisitazione colorata di un posto obsoleto e cadente.
    Credo si sia andato un po’ troppo a monte in alcuni interventi e un po’ troppo fuori in altri.
    e credo non si sia pensato alla società, alla moda(anche se si menzionano scarpe), alle tendenze, alle ribellioni controllate o al fideismo (grazie wikipedia!) o altro…
    parlo perchè al progetto ho partecipato anch,io. anzi, ho scoperto il posto. ci andavo in bici fin da piccolo!

    parere mio. poi…

    pace
    F

  17. Chris says: 27/10/20078:36 pm

    Cheers, I love your style and way of looking at street art. Thank you.
    chris
    USA.

  18. Alchemy says: 9/11/20072:59 am

    ragazzi svegliatevi… ancora a parlare di “arte”…?
    il writing non è nient’altro che calligrafia, virtuosismo, tecnica, è come andare in skate. E non tiratemi fuori lo stile, per favore: lo stile è solo una conseguenza, non è stato certo inventato dai writers. Il writing inteso come arte è morto 20 anni fa, quando cominciò ad uscire dalla subway di NewYork. Non è sufficiente a mio avviso nè la ri-nascita nè tantomeno la ri-edizione del contesto urbano: il solo supporto non giustifica l’appellativo di arte, semmai di illustrazione. Ripetizione come specchio del moderno? già fatto da Warhol. Che cosa vi resta? trascendere il mezzo, come prova a fare Bolognesi. Tocca che vi svegliate incominciate a far funzionare i cervellini se volete creare qualcosa che possa essere definito arte. Non per niente Duchamp era capitano della nazionale francese di scacchi. Buono studio. Io ho già cominciato, ma se vi pesa troppo potete limitarvi a fare frecce e stelle con la scusa del “gusto classico NewYorkStyle”, ma non credo che il mondo vi ringrazierà per aver inventato la freccia in giù anzichè in su.

  19. Basik says: 14/11/20071:22 pm

    Non s’è mai pensato, durante il concepimento di Re-Edit (visto che lo citi), che il solo supporto potesse donare al writing l’appellativo di arte, nè in franchezza è stato uno dei motivi per cui abbiamo deciso di pensare all’evento. Il tutto è nato dal voler fare un’edizione n. 0 mettendo insieme una serie di persone, per lo più amici o conoscenti, con le quali confrontarsi a livello di idee ma soprattutto dal lato umano. Un prototipo quindi. Non è un caso che non ci si sia limitati a chiamare writers. Non mi pongo barriere date dal mezzo, soprattutto nel caso di future edizioni; ciò che mi interessa fare in quel genere di luoghi l’ho già scritto ed è il punto di partenza da sviluppare. Oggi potrei condividere esperienze con writers, domani pure con architetti, domani ancora con chissà chi altro…

    La serialità di Warhol è frutto di un ragionamento sul consumismo. Quella della strada deriva dalla territorialità prima e dall’autoreferenzialità poi. Sono due idee assai differenti che arrivano ad un processo superfifialmente identico.
    La serialità presente spesso in ciò che faccio, più che un elemento nuovo da sviluppare, è data dall’influenza degli anni dedicati al writing. È effetto e non causa.

    Chissà se Duchamp ha pensato di disegnare i baffi alla Gioconda dopo l’incazzatura per aver perso una partita a scacchi… :)

  20. juan pablo says: 2/4/20088:18 pm

    estan perros los mmuñecos q pegas

  21. julie says: 13/5/20081:52 pm

    The bold white solid figures are simplistic. But in their simplicity there is a strong emotion. That is the brilliance!
    Thank you for sharing this work.
    Julie from miami, fl.

  22. Bean One says: 20/9/20089:30 am

    Grande Lucio!

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