FFWD REW

Urban storytellers

Artists fuse graffiti and symbolism in Brooklyn Mythology

You know graffiti is being taken seriously as a legitimate and mainstream art form when it starts gracing the hallowed halls of contemporary art galleries. Once restricted only to outdoor settings and even then under duress graffiti is now respected for not only its relevance and ubiquity in the modern urban landscape but also in its role of serving as appropriate social commentary and as a mirror for urban social events.

In keeping with this tradition is the graffiti-inspired Brooklyn Mythology: The First Nations Cycle a collaborative show by Brooklyn-based Alberta College of Art and Design (ACAD) graduate Tim Okamura and Calgary-based graffiti artist The Kidbelo (David Brunning) that features Native-inspired symbolism and mythology fused with urban storytelling. The show features two very distinct artists with explicit styles: Okamura with portraiture and The Kidbelo with tag-style graffiti.

Both Okamura and The Kidbelo use forms that fuse effectively in pieces like The Wait/The Gift (Kanenhagenat) and Mikapi (Fights Alone Bravely) . Also prominent in the show is the vivid symbolism borrowed from First Nations traditions as displayed in pieces like The Wait/The Gift a painting illustrating the story of a girl waiting for her true love amidst growing corn plants (a symbol of fertility) a fox (representing subtlety and hidden hopes) and a buffalo skull (a reminder of mystical rebirth). Kanenhagenat is represented by a young African-American woman. An old story has been transformed in this modern urban interpretation. Similarly Mikapi pictures a graffiti artist expressing his craft in urban “battle” regalia (complete with mask and spray paint can) while brandishing what could be seen as a traditional weapon or spear. Out of his new work emerges the head of a bear roaring at the viewer in a challenging manner and a dormouse crawls (as if by magic) upon one of the tagger’s newly finished letters.

Throughout the exhibit the artists employ various Native symbols: totems such as salmon deer owls magpies ravens and badgers figure conspicuously as does a “tag” of a tipi-shaped image masks from various Native cultures feathers and petroglyphs. Okamura in particular has a penchant for complementing urban themes with famous First Nations myths while The Kidbelo displays pieces that cross cultural boundaries altogether and tend to be more abstract. Freedom Soldier is a good illustration of the latter a tribute to Bob Marley adorned with abstract designs combining elements of pop art with graffiti lettering.

Ictinike and Rabbit’s Revenge is a compelling work by Okamura set amidst the backdrop of a basketball court. Ictnike is the Plains trickster god in the form of a spider who is always battling it out with the Algonquin trickster Manabhozo or the “great hare.” Ictnike tricks the rabbit out of its skin and the rabbit then offers the spider the hide of a cow. What the rabbit doesn’t tell Ictnike is that the cowhide is still attached to a war drum that when played causes the possessor to jump high and uncontrollably. There is an epic and gothic feel to this work while Ictinike jumps high to the tune of a djembe player.

Brooklyn Mythology is a stunning example of graffiti coming of age in its development as a visual medium.

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