INhonolulu Magazine Issue #14 - February 2014 | Page 8

From page 7
create largely figurative narratives—
from realistic portraiture to cartoonish characters—that aim to address the
general public. What they create, where
they do it, who they do it for, why they
do it, and what materials, techniques
and styles are used all differ from what
writers do.
WC: How did you find yourself becoming involved or interested in street art?
AW: While studying Art History and
Sociology, I was taking a socio class
called “Deviance” at the same as an
art history seminar on “Public Art.”
That year I attended the 2nd annual
Under Pressure festival (Graff festival
in Montreal). While watching graffiti
writers paint all day, I reflected on all
of the theory I was studying in terms of
public space and deviant behavior and
how it was coming into practice before
my eyes. From that moment I became
hooked on the culture of writing and
how it functions in the urban sphere.
My attraction to street art practices developed from my interest in sanctioned
public art projects and how the work of
guerilla urban painters falls somewhere
in-between graff and official public art
and is therefore able to do something
pretty special.
WC: How did you get involved with
POW! WOW?
AW: I met Jasper Wong while he was
in Montreal painting a mural for YUL,
and told him I’d be happy to speak at
POW! WOW! 2014.
WC: Describe the relationship that
street art has with its own environment;
the urban landscape. How is that relationship special or unique among art
forms? Is it intrinsic to ѡ