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Visual Resistance
Positive reinforcement through the
visual underground culture.
by Mitchell Weaver
Murals
Conzo ThrobDaneloDxtr The WeirdHow&NosmLowbrosMonorexNychosRetnaRoaStohead
3-45-67-8
9-1011-1213-1415-1617-1819-2021-22
Contents
¢¢¢
Note: All images and artwork used are subject to copyright and belong
to the artists. Unless stated otherwise.
This creative capability almost defied all consumerist mass culture as it
enabled the normal person build and create a talent with no restrictions
involved. This furthered a refusal to comply, with a rebellious resist-
ance dominating the entire culture creating a problem for mass culture.
They had to even adopt it into the mainstream, or face the uncertain fact
that this was going to be an on-going problematic effect. Unfortunately
for Punk, this was the case as the 70’s proved an entire culture being
taken from the underground and forced into the masses. Political agendas
did formulate the expression of hate, but ultimately this was still being
filtered through a skeletal platform, built by the consumerist organisa-
tions. Hardcore prevailed as a dominant philosophy, undermining the very
foundations of the government’s structure. Taking back what they were
forced to give up of have controlled. Although this only lasted a few years
back in the 80’s it has developed worldwide into an underground culture
once again. The advent of technological advances has proven to be the
most effective method of communication for this.
DIY Hardcore and Punk has undoubtedly became one of the most
important subcultural movements throughout modern day history. The
principles, ethics and moral platforms allowed the normal person to speak
their own voices. Against the odds of consumerism, it has allowed to suc-
cessfully develop due to communication through an encouraged volume of
individuals within the scenes. They stand united.
Conzo Throb
3
http://www.conzo.co.uk/
4
I am a Scottish based Artist / Illustrator who originally chased ice cream vans in a small mining town
with missing green lights outside of Glasgow. Easier to describe me as coming from the (just turned
adult) jackass generation, never raised on the four elements associated with graffiti. Instead Tv, vide-
ogames and a good upbringing accompanied by the daily intake of ‘Ren and Stimpy’ ‘South Park’ and
‘Johnny Knoxville’ were my Alibi.I have been doodling my whole life, but I have been more focussed in
the last seven years now. Dabbling in Graffiti, Illustration and Digital Design, my work and style is
usually character based and influenced by the retro / vintage / fat & ugly. If you have a bit of humour and
Danleo
6
Uncontrollably doodling my way through the schooling system I went on to study Animation
and Graphic design. I now spend my time perusing all things creative regardless of it being
digital, hand painted, 3D or outside for the world to see. I like them all. Most of my work is
centred around an organic, fictitious world where the grotesque sits content along side beauty.
I try to produce pieces that are clean, bold and colourful. The aim is to create works that look as
if they were created using vector software but have been painted by hand. Inspiration can come
from anywhere and anything, however I owe a lot to the cartoons and comic books of the early
nineties as these where the things that led me in this direction.
6
http://danleodesign.com/
7
Based in Dusseldorf, DXTR is a member of the
German-Austrian crew The Weird, a talented in-
ternational street art / graffiti group known for their
warped and imaginative characters. Members of The
Weird don’t seem to distinguish between large walls
and smaller illustrations; their imagination runs
wild in any available space. Global Street Art caught
up with him to talk about his art and the art of not
getting arrested.
Inside Dxtr’s Laboratory
My flat always looked like a laboratory, paint kettles
and cans everywhere. So some friends called it Dex-
ter‘s Laboratory, thats where the name comes from.
I have been drawing since my childhood. In 1999,
at the age of 16 I got into illegal graffiti, introduced
by some friends of mine – classical stuff. I really
liked painting at night, but I also always focused on
sketches and character based things since the begin-
ning. Hanging out at my friends house and sketch-
ing in blackbooks was my daily routine.
http://verynearlyalmost.com/dev/2013/03/dxtr-the-
Dxtr The Weird
8
http://www.flickr.com/photos/dxtrs/
9 http://www.howandnosm.com/
How&Nosm
10
How and Nosm (Raoul and Davide Perre) are identical twin brothers
known for their large scale graffiti based murals that adorn city walls
around the world. The red, black, and white-based imagery is instantly
recognizable and commands attention through the impressive size and
the intricate detail. Initially the color palette was limited for practicality
but instead has become a distinct calling card and formal choice that has
allowed these artists to push spray paint to a new level.
Born in Spain, German in heritage, and currently residing in New
York, their influence appropriately extends internationally. Whether
you visit South America, Europe, Asia, or cities around the U.S. you
will be likely to encounter their work. Commissioned and facilitated,
they have become sought after artists, an ironic progression, where the
outsiders have become insiders and are currently redefining what con-
stitutes graffiti and public art.
The closeness between the brothers is inspiring. They finish one
another’s sentences much like they continue their lines on mural walls
and work in sync without hesitation. One ends and the other begins,
their complicated yet effortless contours twist and turn like a three-di-
mensional maze. There is a flow present that is part of this process that
allows their individuality to merge for a unified statement. Something
that seems essential for artists who work on a large scale.
Lowbros
11
12
The Urban Art team Low Bros consists of two brothers, Qbrk and Nerd, born in Ham-
burg, northern Germany. They currently live and work in Berlin. When they were children
the two brothers loved to draw and invented their own little stories and fantasy worlds while
playing in the backyard or being in the countryside. You’ll still find both influences, the
urban and natural in their work today. Later they started to paint graffiti and where also
co-founders of “The Weird”, which was founded together with Nychos, Cone, Hr. v. Bias,
Dxtr, Rookie, Look and Vidam from Peachbeach and Frau Isa. The brothers have always
painted together, but it took while before they began to create their characters together and
develop their own common, geometric style. Ever since, they have gone by the name Low
Bros.
www.facebook.com/lowbros
13
Monorex
14
Founded in 2004, Monorex is an award winning unique multi-disci-
plinary design boutique. Based in London, England. Monorex HQ is
located in the creative epicenter that is East London and has satellite
offices strategically placed in culturally influential cities from NYC to
Toronto. This allows Monorex to keep its finger firmly on the pulse of
all things artistic and original.
Ethos
Monorex assembles bespoke creative teams for each project commis-
sioned, with operatives being chosen on merit and skill rather than age
or location. Through the day-to-day lifestyles, travels and activities of
its core crew, Monorex is an active participant in its key target mar-
kets – unlike most other trend, strategy and design labels. We rely on
practical first-hand experience rather than theory or guesswork to reach
solutions, engaging audiences with innovative ideas and concepts. Our
consistent interaction with core youth markets has led to greater insight
than can be had from the occasional focus group.
http://monorex.com/
Nychos
15
Rabbit Eye Movement, REM, started as a Streetart concept, based in Vienna,
founded by the urban/graffiti artist and illustrator Nychos in 2005 and still has a
big impact in the Urban Art World.
Nychos: “I always saw the Rabbit Eye Movement as an Homage to all the
“Rabbits” out there being active in the Urban art Movement doesn’t matter what
kind of Mission they are following.”
The Movement grew and REM has now expanded to establish the REM ART-
SPACE. A place that addresses national and international artists from different
genres like graffiti, urban illustration, street art, lowbrow and pop culture imagery
and gives room for individual, but also collective creativity, open minds and pas-
sionate inspiration.
http://www.rabbiteyemovement.at/
16
17
Retna
18
At first glance, the work of the artist Retna looks
like an undiscovered ancient script: a series of hyp-
notic symbols—complex, beautiful and captivating.
But Retna has created an original alphabet, fusing
together influences from ancient Incan and Egyptian
hieroglyphics, Arabic, Hebrew, Asian calligraphy,
and graffiti. Each piece carries meaning, conveying
an event or dialogue that the artist experienced.
As a youth of African-American, El Salvadorian
and Cherokee descent growing up in Los Angeles,
Retna (real name Marquis Lewis) was mesmerized
by the gang graffiti that surrounded him. He began
practicing the art form, and adopted the name Retna
from a Wu-Tang Clan song. In the mid-nineties he
began making murals on walls, trains and freeway
overpasses throughout the city.
http://moreintelligentlife.co.uk/blog/qa-retna
Roa
19
ROA (born c. 1975) is the pseudonym of a graffiti artist from Ghent, Belgium. He has created
works on the streets of cities across Europe and the United States.
ROA generally paints wild animals (such as rats) or birds (such as crows) in black and white.
His work refers to taxonomy and the classification of species, but in a way that is a meditation on
social stratification, urban decay and renewal and the possibility that inner cities are only passing
forms of civilization. The skeletons, deserts, anatomical dissection are topoi and reminders of the
transience of life. In this respect his work connects to artists like Georgia O’Keefe, Cormac Mc-
Carthy and Audubon.
In 2010 ROA came to particular notice in the UK when Hackney council threatened to paint
over one of his paintings, a 3.5m high rabbit. The rabbit had been legally painted on the wall of a
recording studio in Hackney Road, London. A campaign was launched to keep the mural, by the
building’s owners and local residents, forcing the council to change its mind.
In August 2012 ROA took part in the See No Evil street art festival in Bristol, England,
creating a two-storey high fox on the side of a building.
http://en.wikipedia.org/wiki/ROA_(artist)
20http://roaweb.tumblr.com/
21
In the work of Stohead shows very clearly his passion - the font. Scripture is the
carrier of information, writing it allows to capture thoughts and feelings in a form
and preserve writing can be an aesthetic masterpiece, if it is for calligraphy. And here
Stohead linked to what it impressed with what moves him. The code of the streets
Extracted Lyrics, song lyrics and passages from tags of current social issues are
often mathematically broken down and arranged by the artist. This calligraphic ar-
rangements of oversubscribed to abstraction letters escape at first glance readability
and let the untrained eye first with the effect of color and form alone in einhäm-
mernder repeat uncompromising lined up as a pattern or sculptural transferred into a
three-dimensional viewing plane. In the process of spiritual meditative work sheet is
stretched, its stored power is then discharged on the painting surface physically and
fierce determination. The large-format images that give the seemingly disorderly a
structure, this energy transport particularly haunting and transfer them visually to
the viewer whose eyes are entrained in the “Word of storms.”
Stohead
22
http://www.stohead.com/
Forever Selfless
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