KR.ONE: “Bringer of the Kolor Storm”
In this interview KR.ONE, an original “writer” from the ‘80s, discusses the origins of street art and the impact it had and continues to make on society.
In the ‘70s and early ‘80s, New York City trains and tunnels were public canvases for urban youth (and all interested parties) to express themselves in a world that otherwise ignored them. While we refer to these artists as graffitists, it is not a term they generally use themselves. Most prefer to be called “writers.” During our interview, Louie “KR.ONE” Gasparro, a well-known writer who still “scratches,” explained that graffiti is an Italian word that means to scratch a surface. The media mainly used the term graffiti because of the correlation to vandalism. Even though the term has since been widely used without necessarily being connected to vandalism, “street art” will be its replacement for the sake of this article.
In The Mole People, an account of homeless people’s lives in New York City train tunnels, Jennifer Toth explained that street art was created by youth who felt “the need to be remembered; the need to define themselves differently than society has; and the need to feel in control, in some small way, of surroundings they deeply fear.“ KR.ONE has the same understanding and like many other youth growing up during the peak of street art, considered “bombing” trains a way “to be somebody in a land of nobodies.” It was a necessity; throughout inner city neighborhoods—in his case Astoria, Queens—there were not many outlets for youth to express themselves so this led them to think outside the box. This willingness to break the mold eventually left a lasting impact on society.
According to KR.ONE, street art originated in Philadelphia with a writer who went by the tag name Cornbread. Although his designs were simple, they served as a catalyst to the more complicated writings that are remembered from the ‘70s and‘80s. KR.ONE describes this writing as “a highly stylized derivative of the alphabetical system, the enigmatic bending of what were once known as your ABC’s.”
After street art emerged, hip hop and break dancing (purists prefer the term “breaking”) began establishing themselves and they all became tied together. KR.ONE rationalized this saying that some writers became DJs and rappers so it was obvious for them to use street art for album covers or to advertise upcoming “jams”; breakers, who danced to a variety of music genres, were most known for dancing to hip hop. Street art, hip hop and breaking were all innovative styles in their respective genres and they complemented each other. Even though these three styles were popular (positively and negatively), only street art became synonymous with vandalism.
Whether it was illegal or not, one only needed to look past the criminal aspect to see that it was truly art. Even though the New York City transit system went on the offensive by giving trains acid baths—ultimately ending the movement—many writers believed street art should continue to only be done illegally. KR.ONE, however, is not one of those writers and, after bombing his last train in 1983, began using canvases and found objects to produce his masterpieces.
People familiar with Disney World’s 1986 King Kong attraction may have noticed the replica of a New York City train station engulfed in street art. This art form became an iconic representation of New York City and is arguably one of the last true American art forms of the twentieth century. Despite being looked at as criminal, street art transcended race, color, religion and class. Spray paint cans, stylized pens and markers became the common denominators among people of all walks of life and is now created and displayed in galleries in many parts of the world.
inCOLOR: How long did it take for you to develop your own personal style?
It has basically taken all of my life to develop my style … years of just drawing and painting for hours on end.
inCOLOR: The NYC government and transit system took graffiti writing on trains and other public property very serious. Did you ever feel guilty or did you have another take on it?
I’ve never felt guilty about any artwork I was creating, be it on subways and/or anything else. My take is that it was self-expression through what the media dubbed as graffiti.
inCOLOR: You no longer do your work on trains, what do you use to display your work? What made you make the transition from public property?
In early 1983, I painted my last subway train. Since then and before I was always doing illustrative work and paintings on canvas and found objects. So, there really wasn’t a transition, I just retired from subway writing.
I’m currently displaying my work through various websites and by doing solo and joint gallery shows.
inCOLOR: Was your work “discovered,” or did you get well-known a different way?
I just try and network my abilities as much as I can, so I would say much of it is word-of-mouth and by people seeing my work at shows and online.
inCOLOR: Do you consider yourself a purist? Why?
When it comes to graffiti, I guess you could say I’m still really into the letter form; the shaping and bending of our alphabet. To me, it was always about the name and the letters. Everything else was to feature or bring out the name and letters … so in that sense, yes.
inCOLOR: Does graffiti have the same essence when it’s not done on public property?
The term graffiti was not one made up by the artists themselves. It is an Italian word that means “to scratch a surface.“ We have always considered and called ourselves “writers.“
Not literary writers but, writers of this new version of what we were turning the alphabet into.
inCOLOR: Do newer graffiti artists who did not get to “bomb” trains or other public property have the same passion as someone like you who grew with the movement? Does that put them at a disadvantage? Does it matter?
I don’t think it really matters at all. To create any art there must be a passion and a want, especially considering the size and scope of these modern productions. There is an extreme amount of love and pride going into it.
inCOLOR: Because of your amazing talent you are able to sell your artwork, are there artists that believe graffiti shouldn’t be profited on? What’s your take on it?
I’m sure that there are. I think what I’m doing on canvasses and paper may be considered graffiti style art and not actually graffiti, since it is being done legally. I paint because I love to. If someone else loves what I paint and would like to purchase it, I have no problem with selling my work at all.
inCOLOR: Where has your artwork been displayed? Where would you like it to be seen?
My work has been in group and solo gallery shows along with many publications and even on television. I would like to someday have my pieces in a museum. It would be great if a graffiti art museum were to be created. I can see that happening in Europe. The Europeans took to NYC graffiti art way quicker in considering it a true art form. I think most Americans do not. I might be wrong about that but, looking into Europe’s vast history of art within its culture it’s easy to see how they would like it so much. America is still a very young country and slightly closed-minded when it comes to art and music.
inCOLOR: What kind of impact did graffiti have on society?
It had a huge impact on the graphic arts industry and obviously music through Hip Hop. It eventually became popular in many parts of the world, including Africa, Asia and Europe.
inCOLOR: Things from the past have always had a tendency to reinvent themselves; do you think graffiti writing will become popular among the masses again?
Graffiti, right now is at an all-time high in terms of popularity. It is being done all over the world. And I don’t just mean the vandalism aspect; I also mean art wise.
inCOLOR: Do you prefer it to be a sort of underground art? Does that make it more special since it is less commercialized?
Anything that represents youth, energy and excitement will get exploited. I don’t think it takes away from how special it is. What people consider modern day graffiti is still a very young art form, maybe 40 years old or so. It is still underground in essence, yet through corporate usage to gain street credibility it has also become kind of mainstream.
inCOLOR: Graffiti is a big part of your life, do you have any side passions?
Music is a huge part of my life. I’ve been playing drums and guitars since 1982. I’ve been fortunate enough to see many places in the world and play with some very talented individuals along the way. My current band is called The Resurrection Sorrow. We just released our first album entitled “Hour of the Wolf.“ Art, music and my family are my passions. I thank God for them all.
Be sure to view his personal webpage.
If you would like to see KR.ONE’s recent work, check out “DOUBLE VISION,” an exhibition consisting of his art along with that of Chip “WHISPER” Wolfson’s. It is being presented by The Queens Courier in the Courier-Mittman Gallery, located at 38-15 Bell Boulevard in Bayside. The opening reception will be held on Thursday, Dec. 3 from 7:00-10:00PM and the exhibit will remain open until February 3. Enjoy!
All Images Copyright © 2009 Louie “KR.ONE” Gasparro
