Subliminal COVER ART BY : @ROOWAV
Mano Y Mano Winter Playlist Mano Y Mano is a production put together by Mano Mirande very active in booking emerging bands in Riverside and Pomona. Inland Empire, CA
Sartorial Consciousness Yadira Villalobos Greenwich Village, New York City
Trinkets Poetry by house writer Anaya Medina Anaya Medina Fontana, CA
Murales de Paicoma How murals have impacted latino pride. Ines Mendoza-Perez Paicoma, CA
White Paint Poetry by house writer Anaya Medina Anaya Medina Fontana, CA
At Least We’re Here CPTN KIRK Upland, CA
Wolf Kroeger Surreal paintings by French artist Wolf Kroeger Sherman Oaks, CA
Editorial & Layout Design by Marlena Martinez
Create.
Winter Playlist Listen on Spotify:
Inland Empire, California
“ Mano y Mano Playlist THE SUBLIMINAL ”
TDHFAR Xinxin
Walking Through Walls Chola Orange
Photo by @sade.img
Seasons Kiki Diago
Photo by @sade.img
Sights of Blue Daise
Good Fun Dream Lover
Serotonin Daydream Time Machine
Who Knows Film Club
La Cosecha El Santo Golpe
Blood for Water Glifos
Ya Veran Quitapenas
At Least We’re Here CPTN KIRK UPLAND, CALIFORNIA This project was driven by new experiences in life/ sound, and the possibility of what a song and an album could be. I’m proud of my past work and the ideas explored within beatmaking, yet I have other ideas to offer. my past provides the foundation for this, so I hope that’s recognized within parts of the project. formed from vinyl samples, original compositions and other various recordings, it seeks to span sonicallydiverse textures and familiar rhythms. I have a feeling that we’re all going through it - in our own experience. At Least We’re Here amongst all the bullshit, doubt, clout chasers, and challenges.
listen.
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Subliminal Shift in
Sartorial Consciousness YADIRA VILLALOBOS GREENWICH VILLAGE, NEW YORK
All Photos by Yadira Villalobos I wake up every morning, ritualistically reaching into my closet to conjure up something to wear. Nothing out of the ordinary by any means, I’m sure many people do this almost absentmindedly each day. Or if they’re like me, pre-morning coffee, blindly feeling my way through the clothes. I squint trying to think, “Will I have any client meetings today? I should probably pack an after work gym bag... Will I skip my workout to meet up with friends later? I might want to wear something dressier if we’re going out for drinks. Or should I simply wear something comfy?” Being practical in these decisions is most important to me, given that I can’t actually go back to my apartment to change mid-day (thanks, MTA commutes). Still, I enjoy taking my time to dress in something I really like. As a self-declared style aficionada I also believe in the power of clothes as a form of self-expression. I look around during my train commute trying to decipher people’s style… for function, for comfort, for their jobs, or simply fun. And honestly, who doesn’t feel better when they’re wearing an outfit that fits just right and looks great, it can get your confidence flowing all day right? Une réorientation subliminale dans la conscience vestimentaire Je me réveille chaque matin, allant dedans mon placard d’une manière ritualiste, pour évoquer quelque chose à porter. Rien de l’extraordinaire de quelque manière que ce soit, je suis sûre qu’il y a de nombreux des gens le font distraitement chaque jour. Je plisse les yeux, essayant de réfléchir, « Aurai-je une réunion de clients aujourd’hui ? Je devrais probablement faire un sac
(Left to right: Anja McClain, Rosa, Mylean Raeder) Anja Q: What do you do? A:“I am from Seattle, currently working at a vintage clothing store, visiting the city before moving here in October.” Q: How would you define your style? A: “Like a very realistic haunted doll” Rosa Q: What influences your look? A: Music, movies, I like to make unique outfits with things that I thrift. To create a look you can’t just buy pre-made at any store. Mylean Q: Would you ever change your way of dressing to try to fit trends or what people say you should wear? A: No, I like looking different than others. Someone might think I am a certain way before meeting me but that’s just what they might think of me, not who I really am. I like this city because you could look any way you want and no one is really surprised by it.
look.
de sport après-travail … Est-ce que je laisserai tomber ma séance d’entraînement pour aller retrouver mes amis plus tard ? Je puisse vouloir porter quelque chose plus habillé si nous sortons pour boire. Ou devrais-je porter simplement quelque chose de confortable ? » Être pratique est le plus important pour moi, ayantdonné que je ne peux pas rentrer chez moi mi-journée pour changer des vêtements (merci, les trajets de métro). Malgré cela, j’aime prendre le temps à m’habiller avec quelque chose que j’aime bien. Comme une passionnée de la mode autoproclamée, je crois aussi dans le pouvoir de vêtements comme une façon d’expression de soi. Je regarde autour de moi pendant mon trajet, essayant de déchiffrer le style des autres … pour fonction, pour confort, pour leurs boulots, ou simplement pour amusement. Et franchement, qui ne se sent pas mieux quand il porte une tenue qui se va bien et est superbe, elle peut faire votre confiance
bouger toute la journée n’est pas?
Sure, clothes are amazing. Yet, our clothes are not us. Conflicting statements? Let me elaborate... Something I’ve come to realize from scrolling through social media, living in a city where people dress in a myriad of ways, and exploring my millennial woman mindset, is that we should appreciate clothes for what they are. However, they should not be the sole defining factor that makes up an individual. What I mean is that we are more than what we put on our bodies, literally. Bien sûr, les vêtements sont extraordinaires. Or, nos vêtements ne sont pas nous. Des déclarations contradictoires ? Laissez-moi élaborer … quelque chose que
politicians, business executives, activists, celebrities, stylists, royalty, even first ladies. Who can forget the iconic images of women donning eighties’ power suits with strong structured lines, bold colors and shoulder pads? Certainly not former secretary Clinton, queen of the pantsuit. Politicians try to convey competence, seriousness and relatability through the use of strategic colors and styling tricks. Warm tones to symbolize strength, black to convey power, etc. Rolled sleeves is a classic way to show people they’re willing to get to work and don’t mind being on the same level as everyone else. Are they doing these things subconsciously or as a well thought out plan to increase their relatability with constituents?
Kiru Smith Singer/Songwriter Speaking of his mentality, style and daily routine... “I express love in as many ways as possible. From the way I wake up in the morning, check myself in the mirror and get dressed for the day, to the way I connect with family, friends, and colleagues.”
je suis arrivée à reconnaître faisant défiler les réseaux sociaux, habitant dans une ville où les gens s’habillent de plein des façons, et explorant ma mentalité de femme millénaire, c’est que nous devons apprécier les vêtements à sa juste valeur. Cependant, ils ne devront pas être le seul élément principal qui constitue un individu. Ce que je veux dire est que nous sommes plus que nous portons, littéralement. Sartorial self expression comes with subliminal messages sent through our clothes which make a statement whether we’re aware of it or not. Examples of those who are definitely aware of this because of their professions are
L’expression de soi vestimentaire vient avec des messages subliminaux envoyés par nos vêtements qui font une déclaration que nous sachions ou pas. Des exemples de ceux qui le savent vraiment à cause de leurs professions sont les politiciens, les dirigeants d’entreprises, les activistes, les célébrités, les stylistes, les membres de la famille royale, et même les premières dames. Qui peut oublier les images emblématiques de femmes revêtent des tailleurs de style power dressing des années 80 avec les lignes structurées, les couleurs vives et les épaulettes? Certainement pas l’ancien secrétaire Clinton, reine du tailleur-pantalon. Les politiciens essaient d’exprimer la compétence, la sérieuse et fiabilité en utilisant des couleurs stratégiques et des astuces de style. Des tons chauds pour symboliser la force, le noir pour exprimer le pouvoir, etc. Les manches roulées sont un moyen classique de montrer aux gens qu’ils sont prêts à se rendre au travail et qu’ils ne craignent pas d’être au même niveau que les autres. Est-ce qu’ils font ces choses inconsciemment ou comme un plan bien pensé pour améliorer leur relation avec les électeurs? However, even other individuals in the political sphere who are frequently involved in the public eye such as first lady Melania Trump can commit a fashion faux-pas. Despite having a team of stylists to choose her looks for public appearances, the first lady sparked controversy this past June on her way to
visit a children’s immigration detention facility during the still ongoing crisis at our southern border. As she descended her aircraft the message “I really don’t care, do u?” seen on the back of her military style jacket was not subliminal at all. Also probably not the message we needed coming from the wife of the man whose administration caused the situation in the first place. But it definitely shows that context is key when it comes to what we want to convey with the clothes we choose to wear. Cependant, même d’autres personnalités de la sphère politique fréquemment consultées, telles que la première dame Melania Trump, peuvent commettre une maladresse de la mode. Malgré le fait qu’une équipe de stylistes ont choisi son style pour des apparitions publiques, la première dame a suscité la controverse en juin dernier alors qu’elle se rendait dans un centre de détention pour enfants immigrés pendant la crise qui se poursuit à la frontière sud. Au moment où elle descendait de son avion, le message, « Je m’en fiche, et vous ? », vu à l’arrière de sa veste de style militaire, n’était pas subliminal du tout. Aussi probablement pas le message dont nous avons besoin venant de la femme de l’homme dont l’administration a causé la situation en premier lieu. Mais cela montre clairement que le contexte est essentiel pour ce que nous voulons exprimer avec les vêtements que nous choisissons de porter. With that said, when it comes to planning an outfit with many months in advance, designers dressing their clients for a red carpet do it best. Although many of us, myself included, are glued to our screens during awards season hoping to catch a glimpse of our favorite celebs in dreamy ensembles, we should be aware of something important. It’s great to appreciate the fashion during these events, but even greater to appreciate the actual work and talent of the people walking on that carpet. This idea of separating the person from the outfit, at times when the clothes should not be the focal point is the message behind the #AskHerMore movement started by Jennifer Siebel Newsom, filmmaker and CEO. This representation project inspires people to call out sexist reporting and suggest ways to refocus on women’s’ achievements. It is a call to action that aims to change the decades long, red carpet custom of asking women actors and industry professionals only questions based on their
external appearance, such as what designer they’re wearing, as opposed to the more technical questions presented to their male counterparts about their work. As if these actresses are nothing more, or have nothing more compelling to contribute than simply what they’re wearing. To show their support, members of this initiative wore black dresses to the 2018 Academy Awards to send a message of solidarity against industry discrimination, pay inequality, and sexual abuse highlighted by the #MeToo movement. While many participated, others opted out by wearing color and criticising the movement as an unnecessary silent protest. Cela dit, quand il s’agit de planifier une tenue de plusieurs mois en avance, les créatures de mode habillant leurs clients pour un tapis rouge le font le mieux. Alors que beaucoup d’entre nous, y compris moimême, sommes braqués sur l’écran pendant la saison des prix dans l’espoir d’entrevoir nos stars préférées dans des ensembles de rêve, nous devrions être conscients de quelque chose important. C’est formidable d’apprécier la mode lors de ces événements, mais encore plus d’apprécier le travail actuel et le talent des personnes qui marchent sur ce tapis. Cette idée de séparer la personne de la tenue, alors que les vêtements ne doivent pas être le point principal, est le message derrière le mouvement #AskHerMore lancé par Jennifer Siebel Newsom, réalisatrice et PDG. Ce projet de représentation inspire les gens à dénoncer les reportages sexistes et à suggérer des moyens de se reconcentrer sur les réussites des femmes. C’est un appel à l’action qui a pour but de changer la coutume qui dure depuis plusieurs décennies: poser aux actrices et aux professionnels de l’industrie uniquement des questions basées sur leur apparence extérieure, telles que quel couturier ils portent par rapport aux questions plus techniques présentées à leurs homologues masculins concernant le sujet de leur travail. Comme si ces actrices ne sont rien de plus, ou n’ont rien de plus captivant à contribuer que ce qu’elles portent. Pour montrer leur soutien, les membres de cette initiative ont porté des robes noires aux Oscars 2018 afin d’envoyer un message de solidarité contre la discrimination dans l’industrie, les inégalités salariales et les abus sexuels mis en exergue par le mouvement #MeToo. Alors que beaucoup participaient, d’autres ont décidé de ne pas participer, en portant des couleurs et en critiquant le mouvement
comme une protestation silencieuse et inutile. With that being said, I understand these prominent social figues have taken on the challenge of using their influence and public appeal to make a deliberate statement. But everyday mortals like you and I don’t wake up to a team of stylists to curate our daily ensembles or make regular public appearances on national television to speak up against injustices. Yet, that is no reason why everybody can’t be impactful in the way their clothes can speak for them and their beliefs depending on what they choose to wear. Sometimes it is exactly those everyday people that feel empowered by their freedom of expression and dress in the most creative and unusual ways. Naturally, to understand this concept best I decided to ask people in the streets of New York City some questions about their clothes, the messages they’re sending, and their opinion on the matter. Cela dit, je comprends que ces personnalités sociales éminentes ont relevé le défi d’utiliser leur influence et leur appel public pour faire une déclaration délibérée. Mais des mortels ordinaires comme vous et moi, nous ne nous réveillons pas avec une équipe de stylistes pour organiser nos ensembles quotidiens ou faire des apparitions publics régulières à la télévision nationale pour dénoncer les injustices. Néanmoins, ce n’est pas une raison pourquoi tout le monde ne puisse pas avoir un impact de la manière dont ses vêtements peuvent parler pour eux et pour leurs croyances en fonction de ce qu’ils choisissent de porter. Parfois, ce sont précisément ces personnes ordinaires qui se sentent autonomes par leur liberté d’expression et s’habillent d’une manière la plus créative et la plus inhabituelle. Naturellement, pour mieux comprendre ce concept, j’ai décidé de poser aux habitants de New-York des questions sur leurs vêtements, les messages qu’ils envoient et leur avis concernant ce sujet. So with that being said… what are your clothes saying, and most importantly, do you agree? Can we look past initial judgement and into the subliminality of who we are as individuals or will we continue to get lost in appearances and looks? I hope we can come to a point, where clothing is used as a vessel for expressing ourselves without necessarily having our humanity reduced to the clothes themselves.
Cela dit, que disent vos vêtements, et surtout, êtes-vous d’accord ? Pouvons-nous regarder au-delà du jugement initial et dans le subconscient de qui nous sommes en tant qu’individus ou allons-nous continuer à nous perdre dans les apparences et les regards ? J’espère que nous pourrons arriver à un point où les vêtements sont utilisés comme un moyen de nous exprimer sans que notre humanité soit nécessairement réduite aux
Liz-West Village, Design Student Q: Can you tell me a bit about the outfit you’re wearing? Why did you choose it? A: “I wear this when I’m running errands, no need for anything more because I like being comfortable and I like horses on this shirt”
Trinkets ANAYA MEDINA FONTANA, CALIFORNIA
Each one of us holds trinkets, small tokens of ourselves that we collect or choose along our life’s journey. We select them boldly, gingerly, carefully, quietly, proudly, or anywhere inbetween. They are fragmented pieces of our unique entity that help us to identify and to recall ourselves throughout our days. They are illustrations of our deepest aspirations, expressions of sentimental moments of hurt, or of rebirth. Representations to signify what we are or what we want to become all weaved into some sort of symbolic language that helps us to transmute our image in order for our chosen audience to discern. Yet, sometimes, these small pieces of reality are all too simple, intangible even, and your viewer may perceive you differently than how you had expected and desired to be perceived. Now, instead of these knicknacks, novelties, stickers, fabrics, or styles, propelling you or representing you, they turn into many sorts of masks that you may hide behind or that hide in front of you! These masks, quite to your dismay, may actually murk your humanistic, third dimensional pond and others may not see you quite so clearly. Imagine this, you are at the bottom center of this hypothetical pond and all the water that surrounds you are all the things you choose to represent your persona with. Things that you feel make you, you. Over time, these once clear waters become muddied by an attempt to represent. While you, the owner of these symbolic clues is beneath these depths, others along the shore begin to make assumptions regarding your location. You know who you really are, you know where you desire to be categorized, if you desire such things at all, and from behind these many layers of symbolic mud, you try to guide those who do not know you. All the while, some may continue to connect parallel lines, but only you can truly see the light the sun shows, purely white, and crystal clear through the water. So does this mean we should all turn into taupe colored minimalists to avoid misrepresenting ourselves? Maybe, maybe not. It could be that one day we will learn to quit guiding and to simply let our truth crack the masks and break the molds. Maybe you may even choose to embrace the masks that you have created or that have been created for you.
feel.
Murales de Paicoma INES MENDOZA-PEREZ PACOIMA, CALIFORNIA
For years, Pacoima was known as ‘the bad side of town’, and still is; gunshots echoing into the night skies every week, crosses and candles holding vigil at sidewalk corners where blood was spilled, abandoned houses sealed with plywood and plastic and left like silent, crumbling mausoleums honoring lives once lived. Stuccoed shop and restaurant walls line the cracked pavement streets as you pass, solid but never, never blank as spray painted tags mark the walls, simple names and elaborate multi-colored tags layered over and around each other in an endless fight for the final word. Por años, Pacoima a sido conocido como ‘la mal pueblo’, y todavía lo es; balazos suenan en el cielo por la noche cada semana, cruces y velas se ven por las calles donde la sangre fue derramada, casas abandonadas con las puertas y ventanas selladas con madera y plástico, como si fueran mausoleos abandonados y derrumbados que algun dia recordaban a los que vivieron. Mientras pasas las paredes de los restaurantes y tiendas vez que son sólidas pero nunca están en blanco. Esta pintaras y marcadas con nombres, elaborados de múltiples colores y subarriendo en capas como peleando por la última palabra.
This art isn’t the only type you see on the walls, though it (unfairly) has the most damned reputation. Scrawled and blade-etched names are often seen beside elaborate, colorful graffiti titles seen as synonymous with the former, that are in turn displayed alongside boldly colored storefronts, hand-painted signs and menus and figures in traditional clothing representing their businesses. Traditional art like this is everywhere in the San Fernando Valley as a result of the artisan-rich cultures that thrive there, full of people loudly displaying their talents and love for their countries with bright paints and meaningful subjects. Este no es el único tipo de arte que se ve en las paredes, pero injustamente es el que tiene la peor reputación. Nombres garabateados y tallados con cuchillo son vistos a lado de coloridos y elaborados títulos de graffiti aunque vistos parcialmente como los nombres garabateados y tallados. En contrastante son demostrados al lado de las vitrinas en colores fuertes, carteles pintados a mano y menús y figuras con ropa tradicional representando a sus negocios. Arte tradicional como este es visto en todas partes de San Fernando Valley como resultado de la rica cultura llena de gente que quiere demostrar sus talentos y el amor de sus países natales con pinturas y objetos sentimentales.
Look.
Levi Ponce is unapologetically Latino, which tends to earn him a fair amount of respect as a muralist in an area concentrated with other Latinos: most of his works reflect the ethnicities that mingle in the San Fernando Valley, or depict figures that have deep roots in the city’s culture, and he paints them all without abandon on huge, attention-grabbing canvases. Levi Ponce no tiene disculpas por ser Latino, que se gana respeto como muralista en un area concentrada con otra Latinos: Casi todos sus trabajos reflejan las diferentes etnicidades que se mezclan en el Valle de San Fernando, o demostrar figuras que son natales a la cultura de ciudad, y los pinta a todos sin abandono en enormes lienzos que llaman la atención. Art is a reflection of the soul, and is consumed subliminally - unconscious, but still influential - by those who see it. Levi makes works that pay homage to his culture, and the culture of the city he was raised in: those murals are a reflection of their soul, and the streets serve as galleries open for anyone to look up and see themselves honored in such public spaces. El arte es un reflejo del alma, y es consumido subliminalmente, inconsciente, pero todavía influyente, por aquellos que lo ven. Levi hace trabajo que da homenaje a su cultura, y la cultura de la ciudad él donde fue creciό: Esos Murales son un reflejo de sus almas, y las calles sirven como galerías abiertas para que cualquiera pueda mirar y verse honrados en tales espacios públicos. “Pride,” Levi says. “People became a little more proud of their neighborhood, whereas before they might have just encountered blight, dirty walls, alley walls, graffiti, paint over graffiti. When you paint thirty murals over the course of a few years, that’s a lot of artwork in a very concentrated space: all of a sudden there’s a point of pride. People ask, ‘What’s Pacoima known for?’ Gangs, bars… ‘No, Pacoima’s known for art! They have a ton of murals!’ There’s something positive to talk about; there’s a positive element in the neighborhood to make up for all the liquor stores, and all the physical differences of the area.” “Orgullo,” Levi dice. “La gente se sintieron un poco más orgullosos de su vecindario, mientras que antes se podían haber encontrado tizones, paredes sucias, paredes de callejones, graffiti, pintura sobre graffiti. Cuando tus pintura treinta murales en el transcurso de poco año, eso es mucho obra de arte en una lugar concentrado mucho: De repente estas una sienten de orgullo. Preguntas de personas son, ‘Para que se conoce el Paicoma?’ Pandillas, bares… ‘ No, Arte esta conoce el Pacoima! Ellos tiene muchos murales!’ Hay algo bien hablar conocer; Hay uno positivo parte en el barrio para compensar las tiendas licores y todos diferencias físicas del área.”
Levi’s art is a massive celebration of these cultures, and is a reflection of his own experiences growing up in a city that is full of demographics that are rarely positively represented in the media. “Pacoimeras” is a huge mural of a pair of beautiful Latina women on a pedestal, visible for anyone to see and so reflective of the population in the community. Though they’re reclining in a casual, almost sultry way, they’re clearly being depicted as the Virgin Mary is in Catholic churches; they’re illuminated from behind by arched stained glass windows, and flowers surround them as Mary is always honored. El arte de Levi es una celebración de estas culturas, y es un reflexión de sus experiencias vivo en una ciudad lleno de demograficos representar poco en un positivo medios de comunicación. “Pacoimeras” es un mural como dos mujeres latinas y hermosas en el pedestal, visible por todos y reflexivo de la comunidad. Aunque ellas son reclinable en una forma casual casi sensual, ellas estas claramente siendo representado como la Virgin Maria de iglesias Católicas; ellas están detrás de vidrieras arqueado, y flores rodearlos como María es honrado siempre.
“By putting up Latino-centric murals, you tell them that they are worth it, they are capable, the Latino people are here, the Latino people are equal and just as valuable as anyone else. Growing up, it was difficult seeing us represented on ads, billboards, things of that scale, so I would hope that it subliminally, or directly, makes people feel like their race, their people, their culture is not only beautiful, but worthy of being expressed and acknowledged here in the States. I would love it if the kids in the neighborhood saw themselves up on a wall, that they don’t have to have blonde hair and blue eyes to be portrayed.” “Por exhibir murales latino, tú hablas que ellos son importante, ellos son poderoso, los Latinos son aquí, La gente Latinos son igual y valiosa como otra personas. Creciendo, estando difícil ver nosotros represente a anuncios, entonces yo espero que lo subliminal, o directa, habrá gente sienten como sus razas, sus gente, sus cultura es no solo hermosa, pero digno de ser expresado y reconocer aquí en la Estados Unidos. Me encantaría si los niños que ví en la mismos para, que ellos no necesito tienen pelo rubio y ojos azules ser visto.” But even with such positive depictions from local artists such as Levi, the history of racial inequality and tensions in the United States have continued to make more widely seen representations largely negative. Pero como si con positivo descripciones de artist locales como Levi, el historia de raza desigualdad y la tensiones en la Estados Unidos continuar hacer más visto representes negativo.
“We’re being typecasted; basically, if you’re a Latino, you’re gonna play a gangster, you’re gonna play a student, you’re gonna play Impoverished Resident #5. You’re gonna be in the hood, essentially. And that’s not the case at all for Latinos. [By around 2050] the estimate is that we’ll be the majority of this country, and that’s coming quick. That’s a few decades away. And that is not the representation we see in the media at all. The representation that we do see, like you said, is us being typecasted: we’re playing cholos, we’re playing… *laughs* undocumented immigrants, we’re playing everything except what, you know, what the white people are playing.” “Estamos siendo profilado; fundamentalmente, como si le estás un Latino, va a ser un gángster, va a ser una estudiante, va ser residente pobre número cinco. Va a ser en la pueblo mal. Y estas no el realidad para todos Latinos. [Por alrededor 2050] el estimar eso estamos el más poblaciόn de esta país, y lo va pronto. Eso un poco años. Y eso es no el representar vemos en anuncios. El representar vemos, como su hables, es profilado: estamos jugando cholos, jugamos… *risas* inmigrantes con no documento, nosotros jugando todos pero, tu entiendes, que los gringos son jugando.” Critiques against these stereotypes are becoming more widely seen thanks to a growing fight for equality and demand for more diverse representation in the media, but the struggle for change has been present, and street artists are no exception. Críticos contra de esos estereotipos son se están volviendo más veer gracias a un creciente lucha para igualdad y representación más diversa en los medios, pero el esfuerzo para cambio todavía, y artistas del calles son no excepción. Levi makes it clear in his murals that he deeply appreciates the help of his volunteers: he paints everyone’s names in a corner after the work is done, making it known to the world that they participated in creating something so huge and visible.
It’s his way of giving them something to be proud of, a much louder and collaborative ‘I’m here’ statement than a vilified painted tag could be. Levi es claro en su murales están el ayudar de su voluntarios es apreciado profundamente: él pintur los gentes nombres en el esquina después el trabajo es fin, darlo a conocer al mundo que ellos participó en creando algo tan enorme y visible. Es su manera de dar patras ellos algos ser orgullos, un más fuerte y colaborativo ‘Estoy Aqui’ declaración que un nombre pinturando en un luz mal podría ser. But he doesn’t people to help throughout his to the graffiti
take the credit for spreading positivity in his community just for inviting with his own murals. When asked about a single person who was influential years of painting, Levi was quick to discuss K35, a street artist belonging group KRS.
Pero su no tome el crédito para el esparcimiento de positividad en su comunidad solo para incitante el gente a ayudar con su murales. Cuando preguntó sobre un solo persona quien fue influencia en todo su años de pintando, Levi era pronto a hables K35, un artista de calle pertenencia al grupo de graffiti KRS. “He was there at the ‘Pacoimeras’ mural, and he’s been at every mural ever since. He’s participated at every one, and this man is amazing. He has no ego; if I ask him to sweep, if I ask him to paint the wall, if I ask him to just hang out or get lunch, he’ll do it. He is huge. I’ve gotta give him a lot of credit for leading the way for younger graffiti artists: K35 is in his 40’s, and he is a living example of what a graffiti artist should be... His art is all about positivity, all about bringing up the youth and doing graffiti the right way, which is about empowerment, about heavy things except what it’s known for, which is vandalism, negativity, and the destruction of murals. “Él estaba allí al ‘Pacoimeras’ murale, y estaba a siempre murale desde entonces. El ha participado a todos, y este hermano es asombroso. Él tiene no ego ; Como si yo pregunto su para barrer, como si yo pregunto su que pinte la pared, como si pasar un rato y tomar el almuerzo, lo hará. Yo necesito dar mucho crédito a su para liderando artistas joven de graffiti: K35 tiene 40’s, y él está un ejemplo de vida que uno artista graffiti debería
ser… su arte está sobre positividad, todos sobre criar los jóvenes y hace graffiti en un correcto manera. So through him, using him as a vehicle for change, our murals have been mostly untouched, and I can’t take all the credit from that; I have to credit everybody. And up there on the credits list is K35, who contributes to his neighborhood and contributes to the city of Los Angeles instead of taking away from it. His artwork adds to the city and he uses it, again, as a catalyst for change in the mentalities of our youth, not just in defense of making pretty artwork, but in how you make your artwork, where you make your artwork, and why you make your artwork, and using that artwork for a purpose.” Entonces mediante su, utilizando su como un persona para la transformación, nuestro murales estado en general sin tocar, y yo no puedo todos credico de ese; Yo necesito dar crédito a todos. Y allí al credicos lista está K35, quien contribuye a su vecindario y contribuye a la ciudad de Los Ángeles en lugar de quitárselo. Su arte contribuye a la ciudad y lo usa, otra vez, para cambia en los mentalidades de nuestro joven, no solo en defensa de haciendo bonita arte, pero en como tu haces su arte, donde tu haces su arte, y porque tu haces su arte, y uso que arte para un propósito. But even despite the impact these artists have in their community, the single fact that they are only artists, and create works that have had negative connotations associated to them for years, makes them less respected by law-abiding officials and people unfamiliar with their contributions. Pero a pesar del impacto estas artistas tiene en su comunidad, el solo factor que son estas solo artistas, y hace arte que he tenido negativo connotaciones asociadas con ellos desde hace años, hace ellos menos respetado a ley funcionarios y personas desconociendo su trabajo. “It’s not a popular thing [to be]; he’s not a doctor teaching kids to eat well, he’s not a counselor helping people with psychological issues, he’s not a teacher getting kids to go to college. He’s all of those things: he’s out there telling people not to do drugs and focus on their art, he’s out there helping people with their technique so they could be better artists. He’s out there telling them to go to school and take courses and learn about color theory, and learn about what they need to do to advance their careers to become better artists. K35 is an awesome person and I very much appreciate him and his work, along with all the other graffiti artists who do their part as well.” “Estas no popular cosa [ser]; él no está uno doctor enseñado niños a comer bien, él no está un consejero ayudando personas con metal problemas, él no está un maestro conseguir que los niños vayan a la universidad. Él está todos esos cosas: él está hablando personas no tomar drogas y centrarse en su arte, él está ayudando personas con su técnica entonces su podría ser artistas mejor. Él está hablando va al esquela y tomar el classes y enseñando sobre teoría del color, y enseñando sobre que ellos necesito hacer para avanzar en sus carreras a poderia ser artistas mejor. K35 es una persona increíble y yo apreciar su mucho y su trabajo, junto con todos el otra artistas de graffiti quien hace sus parte también.” K35 speaks and fights for a community disenfranchised and ignored for decades: people who were born unprivileged, poor, thrust into a society that didn’t make white-collar, picketfence, nuclear family lives accessible without great luck and hard work. Having positive role models like him who relate to a disgruntled people make it easier for them to find passions and happiness, and connect them to a community that would allow them to grow for the better. But those who tag their frustrations on city and business walls are no less valid than people with a support network. K35 hables y los combate para una comunidad marginado y pasar por alto para décadas: Como gente nativa sin privilegios, pobre, empuje en una sociedad que no hace que las familias de cuello blanco, piquetes, y familias nucleares sean accesibles sin gran suerte ni trabajo duro. Tenido positivo mentores como su quien relacionado a la gente hace la fácil para ellos a encontrar pasión y felicidad, y conectar ellos a una comunidad que les
permite crecer para mejor. Pero ellos quien tag sus frustraciones a paredes de la ciudad y negociar son no menos válido que las personas con una red de apoyo. “Graffiti in itself, the very act of which normally implies vandalism - let’s not use the word ‘vandalism’, that word has negative connotations - let’s say it implies ‘going against the grain’. I painted my murals on Mural Mile, and to this day they’re all technically illegal. I did not go through the avenues provided by the city to put up the artwork. To be fair, at the time there were no avenues to put up big artwork, but even now that there are I still don’t do it. My artwork was rebellion, was going against the common thought; I thought it was bullshit that we couldn’t put artwork up in neighborhoods, and bullshit that we couldn’t put it up when people wanted it and supported it and helped make it. So I said “Fuck you”, and went up and painted those murals including ‘Ramona Lisa’, and I said “This is right, this is what we’re doing, and this is what I fight for”. “Graffiti en sí mismo, el acto mismo de lo que normalmente vandalismo - no usemos la palabra ‘vandalismo’, esa palabra tiene reputado mal - hablamos lo implica ‘ir contra el grano’. Pinté mis murales en mural de miles y hasta el día de hoy siguen siendo técnicamente ilegal. Yo no fue por medio de Los oficiales la ciudad para hace mi arte. Aunque sea justo, no hay manera de hacer arte grande, pero aunque ahora hay manera de hacerlo yo todavía no lo algo. Mis arte como un actué de rebelión, va contraé pensiemente común. Yo creo que era bullshit que no pudimos exhibir arte en el vecindarios, y bullshit que no pudimos exhibir cuando el gente quisieron lo y soportado lo y ayudando a hacerlo. Entonces habló “Fuck You”, y fui y pintudo esos murales incluso ‘Ramona Lisa’, Y dije “Estas correcto, estamos haciendo, y esto es por lo que lucho”.
“That’s not any different from a tagger; when a tagger tags my murals, it’s not a direct attack against Levi Ponce; most of the time they don’t even know who painted it. It’s an attack against the establishment; they’ve left the disenfranchised, unheard, and abandoned to create and express themselves in the middle of the night. These are kids who might’ve been great lawyers, great policemen, they might’ve been great at almost anything by one way or another, through their own means or someone else’s, and life didn’t go the way they expected. They are upset. They are underrepresented. Most graffiti is a big scream, a shout that says “I exist! I am here!” and in parentheses “Fuck you”. “No es diferente a un tagger; cuando un tagger tags mis murales, no es un ataque directo contra Levi Ponce; la mayoría del tiempo ni saben quien lo pinto. Esto es un ataque contra el establecimiento; Dejaron a los desafortunados, inescuchable y abandonados a crear y expresarse en medio de la noche. Estos son jóvenes que serían gran abogados y policías, quienes serian gran a casi a todo, de una manera o otra, tal vez por un . Ellos son enojado. Ellos no tienen representación. Más graffiti es un gritar gran que hablar, “Yo Existo! Estoy aquí!” y en paréntesis, “Fuck You”. Oftentimes the act of creating the artwork itself is “destruction of public property” by artists, because angry, you’re not gonna go paint on a canvas in your again, pardon my French, but you’re gonna go out and
a statement. There will always be it’s part of the artwork. If you’re room, you’re gonna go out and fuck some shit up!
Menudo, el acto de creando es un declaración. Hay siempre “descripicion de la propiedad público” creistes artistas, porque estas un parte del arte. Como si tu eres enojado, no vas pinto que a un lona, pero va y - disculpeme, pero vas y fuck some shit up! I do a lot, and so do a lot of people, and in time I think that most artists will reach a point where they’re willing to listen and willing to try new things, through legal means, and pursue their art in a different way. But for a lot of people coming up, part of that lifelong creative process is rage, and there’s a lot of that in your early teen years and your twenties, when you’re finally getting hit by the realities of life. And people take it to the streets. And that’s always gonna be there; you could have all the educational programs in the world, but it’s still gonna be there. Someone’s gonna be left out.
Haciendo Mucho, y entonces personas mucho, y en tiempo creo mas artistas alcanzará un momento donde tsus eres dispuesto a escuchar y probar cosas nuevas, por medios legales, y perseguir sus arte en un manera diferente. Pero por más personas, enojado esta parte del proceso, y mucho que estas en sus tienen vientes y joven anos, cuando finalmente sensacion los vidas realidades. Y personas llevalo a las calles. Y lo siempre ahí ; tu puede tienes todos programmes de educacional en el mundo, pero estas siempre ahí. Alguien va a ser excluido. In the end, art truly is a reflection of the soul: what we see ourselves as, what we wish we would be seen as, what we believe we could become. Though it might not be a proactive catalyst for change, even having the suggestion, that subliminal presence of pride for Latinos and their culture and envisioning hope for a time when they’re given respect as humans in return, could motivate us to continue to fight for a brighter future. En la fin, arte es verdadero un reflexión del alma: lo que nos vemos como, lo que nos deseamos que nos vean como, lo que creemos podríamos llegar a ser. Aunque estas no ser un catalizador proactivo para el cambio, teniendo la sugerencia , que presencia subliminal de Latino orgullo y sus cultura, y visualizando esperanza para cambio de un tiempo cuando se eres dado respeto como humanos, motivando nosotros a continuar luchando para un futuro con más fortuna.
VISIST MURAL MILE 13520 VAN NUYS BLVD PACOIMA, CA 91331
LIST OF WORKS: Danny Trejo Recuerdos Ramona Lisa Pacoimeras Lady of the Valley
White Paint ANAYA MEDINA FONTANA, CALIFORNIA
After the breath and golden aura of culture has been washed from the mouths of the innocent suckler, what will feed this wide eyed, bewildered child? Who will feed this bright eyed baby, if heavenly heads become commercialized; hung high! Away from their seed and far from the roots of the wisdom tree. Displayed and created in to some sort of fabricated conundrum only the makers can see. Powers-to-be leak lies; toxicity! as they convince the sheep to commit idolatry, blasphemy! and trick them into the mouth of the snake; idiocracy. The follied hearts of the sheep become distracted from their own divinity and the true nature of being. They become drowned in dark light that has been painted white, and all the while, heavenly minds are slowly severed from their bodies. Their messages subdued, or belittled, their talents exposed and used. Their intentions hidden beneath blackened blankets and falsely broadcasted; twisted. the holy messengers bleed the blood Babylon wants them to bleed, until finally their true image has been murdered. As the lies pass from generation to generation the lines between fact and fiction become blurred and the sheep are left alone. God gifted them with faith in their hearts though, to find their way and to learn, if they desire, how to distinguish true light from white paint.
Feel.
Create.
Wolf Kroeger SHERMAN OAKS, CALIFORNIA
Nostalgie Du Temps Qui Passe - Wolf Kroeger (48’’x30’’, Acrylic on canvas)
ARTIST STATEMENT: Along our life’s odyssey we share common emotions which live in the eye of our own turmoils. By removing ourselves from these trials we can recognize the beauty within the human condition, but in the midst of our busy lives it can be difficult to achieve. Paintings have the ability to freeze moments in time and capture these sentiments, letting them linger long enough for us to contemplate. I crudely utilize this ability to dive into some of them.
Le Disparu - Wolf (18’’x15’’, Acrylic on canvas)
Look.
Insomnia Wolf Kroeger 20’’x16’ Acrylic on canvas
Sanctuary Wolf Kroeger 24’’x 18’’ Acrylic on canvas
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