Obey (Shepard Fairey)
Carlo McCormick
(Senior Editor of Paper Magazine and frequent
Contributor to Art Forum and Juxtapoz)As an aesthetic consideration of the form and content of art itself, the case of Shepard Fairey presents a modest, almost trivial joke that has totally run amok, and as it gets ever grander in scope, it just will not play itself out. Rather, Shepard Fairey's flippant prank continues to accrue greater intensity, complexity, ambition and sophistication. His ongoing "Giant" project has reached 14 years of unrelenting manic and remains as much of an utter provocation as ever, but by now the joke is dead serious and right on in it's deconstruction of society and it's signs, and by some totally perverse twist of fate, it has come to represent a validated consensus of truth. It's still nonsense, yet real nonetheless.
Obey Giant is an enigma that demands explanation. It is primarily street art, and as such it is more than revenant to consider the context of the graffiti movement that stands before it. That is, every time an Obey Giant sticker is put up anywhere it is an act of vandalism. An ad that sells nothing and is not paid for is not just a crime against property and place; it is a dangerous and detrimental subversion of our most revered, prolific and universal language: the semiotics of commerce.
Fairey contends, "The knee-jerk reactions to 'stop racism' or 'question authority' effect a predetermined response." By instead issuing a far more ambiguous statement, Fairey makes us actually question what lies behind it rather than simply write the whole sentiment off as another once intriguing but now overused concept to which we are desensitized.
The central campaign of Shepard Fairey's work (he also is known and works under the name of Obey) originated in the streets of 1989. It was during a friends demonstration that he became inspired by a bad quality image of a the French wrestler Andre Rouyssinof, who was also nicknamed 'Andre the Giant'. By derision, he attributed to this particular person a 'posse' (for example like a skater group), entitling the set of stencils 'Andre has a posse.'
From this pleasantry a true phenomenon was born. Today Shepard Fairey continues his work in the streets and exhibits throughout the world at the same time his works on the street (which are often posters that could be described as basic) and unique works which allow him to express himself to a greater extent. His work today forms part of the collections of the New Museum of Design, New York, the San Diego Museum of Contemporary Art, the Museum of Modern Art, San Diego, the Victoria & Albert Museum, London, and as well, the Los Angeles County Museum of Art.
The works chosen for exhibition by Shepard Fairey mark an important turning point for him. Whereas he had us accumstomed to posters stuck everywhere, all around the cities, the work he produces today is mostly large, one off pieces. With a patient work of collecting images he prepares a base of elaborated collage which is already full of direction and meaning. Thereafter the artist uses the techniques that he experimented with in the streets, using stensils and paints, to create these huge collages. He combines an extreme finesse, full of details of known icons, Shepard Fairey gives us these works which are equally rich in term of impact and meaning.
MANIFESTO by the artist
The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as "the process of letting things manifest themselves." Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one's environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer's perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.
Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker's persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.
Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation.
Shepard Fairey, 1990
Interview
Nobody remembers André Roussimoff, but this mighty force had nevertheless led a brilliant career as a professional wrestler in the United States, under the name of André the Giant. Seven feet four inches tall and five hundred and twenty pounds ! If he comes back nowadays, it is not for any hypothetical fights, but in a curious campaign of propaganda signed by Shepard Fairey, an artist from San Diego. André doesn't fight anymore, he died in 1993, but he has a posse. Art of the propaganda or propaganda for the art; Shepard Fairey contemplates the question.
Question : How did you begin to post portraits of André the Giant's in the street? Are you a fan of wrestling?
No, I've never been interested in wrestling! Everything comes from a joke. In 1989, when I was still living in Providence on Rhode Island, and to pay for my courses at the school of art I was working in a skate shop. I was making T-shirts of rock bands, photocopied stickers; I was hacking into all that I could. A sort of young group was hanging around there next to the drinks machine, called Team Shed. They had become the skate worlds most fashionable people, everybody who was skate boarding in Providence wanted to belong to the group which doid little but show off ! As I was running the shop the others kind of considered me as the team leader with Eric Pupeki, who later became the first pride of local skate boarding. One evening, Eric came to give me a hand to make a series of T-shirts, with The Clash or something like that. Eric wanted to learn how to cut a stencil, so I was looking in a magazine for some document to show him how to do it... That is when I came across an advert for wrestling with André the Giant's portrait. " Here is what you should take! He is so ugly, it is brilliant! " I decided to move this horrible face from the un-cool category to the cool category, a little to make fun of the other skateboarders. Eric didn't really see what we could do with it, then I said to him : "There is no more Team Shed, man, now it is Andre's Posse!". Eric has never finished his stencil, but I had just found my way ! I immediately created a sticker "André has a posse"... Soon there were loads in the skate parks, on the road signs, then everywhere in the city. They were immediately noticed. Reactions were coming from everyone, not only skaters but also musicians, students and even "regular" people, who I heard talking about it in the grocer's. They were photocopied stickers and a little bit shitty, but even so people took the effort to un-stick them and and take them home or re-stick them on the bumpers of their car!
When did you start to print posters ?
At the beginning, I didn't think it was worth printing posters representing a wrestler's head: who would have been interested on that? For the street, I was content with spray-painting it with stencils... I had learnt the silk-screen printing at the art school in Providence, but I was using it only for designs of T-shirts. I've only been using it for André's propaganda since 1993. It quickly became an obsession, I was creating more and more posters. Since 1996 I didn't make more than that : to print series of posters to paper walls.
Are you working alone?
I've always realized the designs myself. In Providence, some friends were helping me for the silk-screen printing. I paid them in posters. When I arrived in San Diego I worked in a printing house where, after closing time, I was allowed to make my posters. Today I have one guy working for me but I always do the last layers of colour myself, the most important layers to ensure they are falutless.
What about the stickers?
Stickers circulated quickly in the skateboarding circle. I was always riding and doing a lot of contests which allowed me to place my stickers everywhere on the East Coast, from Boston to Florida. I gave some to my friends so that they could be spread them around in the largest number of places. A lot of people stick stickers for me but I stick most of the posters myself. If you go to New York, San Francisco, Los Angeles or San Diego, I have stuck up personnaly about 98 % of the posters you will see. People like to stick stickers for me, but not really posters because there is a much higher risk of being arrested.
Have you ever been arrested for your stickers ?
Oh yes! The cops already caught me five times for both posters and stencils. I have had to pay fines and spend a few days in jail. In Rhode Island I was once arrested for a single sticker! But it is probably because they knew who I was and all the other stuff I was doing. The slightest excuse was good enough to arrest me. I have always defended myself by claiming that I was only a fan and not the man behind all this. Of course, they have never believed me! If I am caught, the usual defence consists in claiming that André the Giant is a rock band, some friends I am doing advertisement for. You should never say that it is an artistic project, otherwise you are merged with graffiti and then, the fines are harsh because the authorities always think that graffiti artists are linked with gangs.
Have you ever stuck posters onto trains ?
I have never done it by myself, but some people I had offered stencils to have sent me photos of trains on which they had spray-painted it. I have found a way to make stencils with a machine, I got a lot of them made very cheaply. I give them to anyone who asks me for one. The nicest thing is to then send me photos of what was done with them.
How do people receive your work?
I have heard a lot of different interpretations for my images. What I find funny is to see how every comment can reflect a personality. For skateboarders, Andre stands probably for a brand of boards or clothes. For the punks, Andre suggests certainly a band... Un-doubtably because the way I have spread these images in the street looks like the promotion of a new band or a new brand ! Some more conservative people imagine that it is about a cult, others think its about a gang. Its useless saying that these people do not appreciate my job! I believe that the more my stickers disturb the conservatives, the more people of rebeleous tendencies appreciate them and help me to spread them around.
Did you want to keep your identity secret ?
I had valued my anonymity a lot! It is the mysterious aspect of my work that leads people to chat a lot about it. Many have hated me because they do not understand the purpose of all this and because they feel overtaken. It was not the fact of somebody who tries to become famous or to sell something. Indeed, everyone understands the purpose of every advertisement, when you see a poster for Black Flag, you know that they are going to play in your town soon. As far as André is concerned, there is nothing to understand, it is necessary to make an effort with imagination. I must have annoyed more than one person with this ! At the same time people write to me because they have read articles in the newspapers and suggest sticking posters for me. You have got to find the balance between the mystery and the possibilities of spreading as much as possible. In 1990, I had hijacked a bulletin board in Rhode Island by covering the face of the character by a huge André head. His hands were oustide the board, and I had installed a banner "Join the Posse !" The radio spoke about it and some articles were published in the newspapers. The image began to be recognized, but nobody knew who I was, so... To touch the media, it is, from time to time, necessary to embark on larger projects than a sticker campaign !
You associate André's portrait to the word "OBEY". Where does this slogan come from?
Have you seen "They live", a John Carpenter movie ? In the story, the characters come up against hidden messages: "consume; sleep; watch TV..." For the Obey series I was inspired by this movie, which I saw in 1995. I very much like the idea that you have got to make an effort to understand the messages. The moment when the initiates decode on a bank note "This is your god" is my favourite one !
Why this order?I write OBEY to confront people to themselves. I have the impression that many do not realize that they act like disciplined and obedient people. Maybe my posters can bring them to think about their condition. Many people may not stand that ! [Laughter] OBEY's impact also comes from the treatment in black and red on white paper. I think it is the best in term of visual efficiency.
It makes you think of Marlboro in a way, doesn't it ?
These colours are very appreciated in propaganda ! [Laughter] But I have been more influenced by the Russian posters than Marlboro. I believe that because I use the red colour a lot, people associate my posters with communism. I am not interested on ideologies themselves, I work more on their symbolism... When I mix the image of a wrestler that has dead for years, with communist symbols, the result can only be absurd. There is no real threat! I have even been suspected of plotting against capitalism!
If you're using propaganda images, why do you use only images from the communists, unlike Frank Kozik who doesn't hesitate to hijack fascist images?
I am not interested in communist propaganda only, I have also been inspired by images of the Black Panther Party, for example. Kozik hijacks portraits of Adolf Hitler or Charles Manson just to provoke people. In an American culture, which reacts negatively to these images, Kozik makes me think of a "pop culture joke". He likes to shock people. I would not say that I am more serious than him but I bank less on the provocation. I am more interested in the way the masses absorb the images... Most of the symbols that I use, whether they result from the Russian propaganda, Chinese, Spanish or Cuban, convey feelings.
Isn't this emotion reduced to nothingness, when you mix these images with André's head?
Yes, probably... But I cannot prolong the emotion of these images, having never seen the fights myself, the oppression or the misery of the countries where they come from. I try to hijack works rather than protect their authenticity. We think we can perceive the original emotion, the one wanted by the person who had drawn these posters, then Andre the Giant appears and the poster becomes stupid??
You have used a lot of historical portraits, like Lenin or Che Guevara. When you made the poster with Saddam Hussein, was it a stand on the current events ?
On this poster, you can see a group of armed people carrying Saddam Hussein's portraits, on which he seems very happy and rather nice. I like the ironic juxtaposition of this image: these people brandishing the portrait of a smiling manin a hostile way . I do not claim in my work that Saddam Hussein is a respectable person. My subject is the difference of presentation. America could only see Saddam Hussein as a bastard, as Iraq had certainly diabolised Georges Bush. I have proposed a different point of view.
These portraits linked with the current events evoke necessarily the Pop Art, do you accept this classification?
Yes, I think that my work corresponds to the Pop Art [artistic movement centred on the popular images. Cf Andy Warhol]. It is obvious when I use images like Gene Simmons' [the singer of Kiss] make-up. The propaganda symbols which I use evoke politics, nevertheless I am only doing a comment on the popular culture.??
Are the posters of gallery the same that in the street?
Unlike those that I stick in the street I sign posters intended for galleries because people prefer to buy work that is signed. The printing of posters is expensive and so to earn money, I am obliged to pay attention to the demand of the public. I also paint on canvases, to show my images in bigger sizes.
When showed in a gallery, does'nt your work lose its irony?
If I were very rich I would not exhibit in galleries so to protect all the mystery ! But it is necessary to find the money to print the posters which I stick in streets. I believe people understand that my work takes its value in its context, and that's on the walls of the city.
(Philosophy in a nutshell) The driving philosophy behind Obey Giant is “Question Everything” but keep a sense of humor while doing it.
written by Shepard Fairey1. (Evolution of the icon face)
The Obey icon face evolved at the end of 1995 out of the desire to move further away from the association with Andre the Giant and toward a more universal “Big Brother”(as in George Orwell’s, 1984) image. I had become fascinated by the power of the streamlined graphic approach of the Russian Constructivist poster and wanted an icon that would integrate into work of this style. Where before I had been generating propaganda using pop culture associations, I now became more interested in commenting on propaganda with work having a direct stylistic parallel. The Obey star was created during this period, as well as the “Obey” red box logo. The concept behind “Obey” is to provoke people who typically complain about life’s circumstances but follow the path of least resistance, to have to confront their own obedience. “Obey” is very sarcastic, a form of reverse psychology.2. (Freedom Fighters Vs. Dictators/Freedom Fighters becoming dictators)
Powerful leaders throughout the ages have been both revered and feared, often depending on whose propaganda system they have been filtered through. I have several reasons for presenting these figures. People often become symbols that don’t represent their real ideas or behavior. Advertising functions in a similar fashion by representing a romantic ideal that the use of a product will almost never yield. By juxtaposing the absurd Obey Giant imagery with the leaders, I’m hoping to show that symbols are often appropriated to champion or sell things or ideas they originally had no relation to. With a lot of the dictators, I’m saying, “beware” or “obey with caution”. The dictator’s history speaks for itself. I’m also making a joke about the paranoia many people have about Obey Giant. The Obey Giant association with feared dictator is absurd but pushes the buttons of reactionary people who don’t scratch beneath the surface before making a judgment. Maybe once they learn about Obey Giant, they will take a closer look at things the next time. The Brown power series represents freedom fighters I support including Angela Davis and Jesse Jackson. I have however, slipped a few unknown imposters into the series that people assume are famous ethnic leaders. Merely through presentation that mimics a style, people assume something is what it is not. This shows how ingrained the tendency to interpret something based on symbolism and not actual content is. Lastly, there are leaders who started as idealists and became corrupted by power along the way. Che and especially Castro are excellent examples of this. They fought for what they thought would be a better system for the Cuban people, but had to tyrannically crush any opposition to enforce their new system.
Lenin and to a lesser extent Stalin, used unjust methods to force people to conform to their system which they felt would better the nation. The results with these leaders were obviously mixed and many people regretted giving them absolute power. This happens to a lesser, but still dangerous degree, in the U.S.3. (Paranoia)
I’m not much of a conspiracy theorist, but I do think movies like “Enemy of the State” are not that far off the mark. My paranoia themes have a duality, first, I’m making fun of people who are paranoid of Obey Giant just because it is presented in a subversive fashion…It’s harmless! Second, I am trying to alert people to the fact that “Big Brother is watching you”. The Government and the cities may represent all the surveillance as a means of protecting us, but who protects us from them? What “The Powers That Be” consider subversive activities may have nothing to do with laws that are selectively enforced anyway. The government functions as a self-serving entity and uses dogma and rhetoric to scare people into giving up freedoms. Technically, as taxpayers and voters, we are the bosses. The government works for us. Don’t give up your right to privacy and freedom of speech.4. (Production)
Production is the root of success of almost any movement or business entity. Without the ability to disseminate information or products, an organization or business is rendered powerless. Fortunately, access to mass production, if nothing more than a photocopier, is almost universal these days. Self-censorship is prevalent in the media because mainstream media is comprised of for-profit businesses. They don’t want to piss off the people that they make their money from. One way to guarantee freedom of the press s to own one (a press). The impact I have made with little money and using Xerox, silkscreen, and offset printing should be encouraging to anyone who feels they can’t make an impact in the face of the mainstream media and their powerful corporate sponsors. I have no problem with capitalism, only with greed determining what information we have access to, and what rights we have. Ingenuity can overcome a lack of cash. I have made 2.5 million stickers, 45,000 posters, and thousands of spray paint stencils, by producing the stuff myself, bartering, or reinvesting money from posters sold. I know I have gotten more mileage from my money than any corporation.5. (Urban Renewal)
The term “Urban Renewal” is typically used to suggest that part of a city that has been in decline is being restored. Sanctioned public art is sometimes part of this process. How ironic that street art is often considered a symptom of a neighborhood in decline. As taxpayers, we all own the public space, but the government and advertisers frequently control it. I prefer to see the public space used as a forum for expression. This, of course, has to be done in a logical and respectful way. Good Street art, properly integrated, only enhances a city with visual stimulation and a flow of ideas. Advertisers, however, don’t want any competition. Don’t let the advertisers agendas dictate how your streets are used.6. (The Medium Is the Message)
This series is similar to the “Urban Renewal” series in that it is also about the reclamation of public space by the people. The “Medium is the Message” simply means that because street art is illegal, there is a political statement imbedded in its process, even if there is not a literal political message in the subject matter of the art. Street art is not only an act of expression, but also of defiance. With all the forces attempting to tell us what to do, even in the theoretically “free” U.S., it is very liberating and exhilarating to place art on the street, which does not have to go through no committee for approval. Street art is a stellar example of actual free speech. Free speech, just like democracy in a two party system is more of an idea than a reality. I’ve been arrested eight times for my street art and fined or threatened by multiple cities, but the freedom is well worth the sacrifice. If the presence of street art can inspire people to express themselves and/or to question things, then arrests are not in vain. Power to the People.
On the Obama campaignWhen he announced his presidential candidacy I thought it would be great to make an image in support of Obama. However, with my rap sheet and my body of work critical of U.S. policy, I was worried my endorsement of Obama might be an unwelcome affiliation. I wanted to help, not be a liability, so instead of my usual "act now, apologize later", I asked through some friends if I could get the OK from the Obama campaign.
When and why did you start thinking of supporting Obama and what were the strategies you followed at the very beginning?
I've been paying attention to politics since the mid-90s. I think I took the Clinton years for granted and these last 10 years of Bush have been really rough and that's given me more motivation to be involved. I've got a daughter and am about to have another and I'm worried about the future of this country and I'm worried about the wrong people being in charge and what kind of a life that's going to create for people.
I first became interested in him in 2004, after his speech at the Democratic convention and have been impressed with him ever since. I think I'm a pretty good judge of character and my feeling about Barack is he stuck his neck out by being against the war, he always seems to speak his mind whether it's the popular position or not and he just seems like he follows what he believes in, which impresses me. So I decided I'd support him and put up my own money to do so. Some people asked me why I didn't wait until he'd got the Democratic nomination, but if you want a candidate to win, why not try your best to ensure he actually gets the nomination?
I put the word out to a few Obama supporters who had some inroads to his campaign that I'd like to get involved but I didn't want to do something and then have them say an illegal street poster campaign is bad, "we don't want that association." But finally I heard back from some people and I did the illustration, posted it online the next day and the posters come in shortly after. I worked quickly to get it done.
What about Obama’s reaction, how long does it take to capture the President’s attention?
I was finally told by Yosi Sergant in mid January, after asking at the end of Oct. 2007, that it was cool for me to make a poster on my own. I figured I should act quickly because the often-decisive Super Tuesday was Feb.5. I illustrated my Obama image the day I got the go ahead, and had the poster in production the following day.
How many times did you meet him? Did he ask you for any advice about the campaign?
Well, there was such a strong response to the image that his campaign was getting feedback. So they let me do that image under the radar, not associated with them but they then wanted another image for a poster they wanted to sell, to email blast out and use for more sanctioned purposes. So I did that. I felt really strongly about this and I actually wish his campaign would've reached out to me sooner. I was chomping at the bit to do something but I didn't want to do anything that they might think would be wrong for their strategy. But a lot of people had picked up on it online, which was exciting, but I didn’t do it to get cool magazines and websites to say it's cool.
Did you notice that President Obama has some interest in contemporary art or perhaps in the street art scene?
Obama stopped in the middle of a Super Tuesday speech at the Avalon in LA to point out my poster and say “I love that graphic, and speaking of hope…” Of course I was happy about that. My friend, and former Harvard classmate of Barack’s, Hill Harper took my book and a Hope poster to Barack, so yes, he does know I’m a street artist. He also sent me a thank you letter in which he says that “whether seen in an art gallery or on a stop sign, your art has the ability to encourage Americans to think they can change the status-quo”. I think he understands what I do. I just don’t think Obama is as narrow minded as your usual politician. Obama’s campaign has responded to a NY Post suggestion that they “hired graffiti artists” by saying that they support grass roots art, but only within the parameters of the law.
How many Obama posters did you create and how many did you release?
I screen-printed 350 posters to sell, 350 for the street and then did an off-set print run of 3000 more posters for the street that say "Hope" instead of "Progress" because that's what his campaign wants to push. I actually like "Progress" because it's more about the action, it's a verb, the realization of that hope. The original screen print has my little Obey logo on his button but the one for the street is not Obey branded.
What about Obama posters collectionism? Is it true that there is a hunting to find out Obama posters?
The response has been insane! The prints sold out in about 15 minutes. That's just the print to raise revenue for the broader campaign.
You have a strong influence torwards young generations, what would you want to communicate with Obama posters and who were the people you were talking to?
I just thought now was the time for me to stick my neck out and root for someone who I think has the potential to be awesome. Hopefully he won't disappoint me, but when I look at the rest of the field, in my eyes he stands way above any one else. That said, while I'd like people to get behind Barack, I also made a poster in the same color scheme that just says "Vote!" Even the way I worded the announcement on my site, I just pointed out why I support him and then encouraged people to check him out for themselves. I don't want to tell people to vote for Barack because I say so. Even if you like my art and think it's a cool poster, don't vote for Barack unless you think he's the right guy.
Do you think that your viral work has contributed to create an Obama-phenomenon? Did you ever think you might damage his image with your illegal support?
You usually take propaganda style of the first part of the 19th century as your reference, but the Obama poster is slightly different. What about the style you adopted?
I wanted to get the posters out in my usual ways and I was not thinking the image would be much different from any of my posters except that I did intentionally make the image more reverent and patriotic with the hope that it could transcend my counter culture niche because Obama was guaranteed to have the support of the counter culture anyway. My hope was that the image would be able to pique the interest of moderates.
After this success, do you have any political programs for your next future?
I don't think the artist has a job to comment on politics but my favorite art has something provocative about it and communication that has a point of view. I think it's important for art to have a point of view. Every artist has a different agenda. For me, I like to make things that look nice but I also like to get across my point of view on other topics. All I'm achieving with my art is the satisfaction of various aspects of my personality that need to be satisfied for me to be happy. With street art, there is this "medium is the message" principal, that it's an act of defiance and rebellious in nature and that politicizes it. But that doesn't mean a street artist should just assume that whatever they're doing is groundbreaking and political because it's on the street. I think there's a lot of people doing street art that is pretty meaningless and just about fame. And I've been accused of that, "Oh he's just a good self-promoter" and that's always an aspect of street art. My favorite artist is Banksy, and you can see a similarity in our approaches. I like work that looks nice but has a point of view and a sense of humor.