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| About: |
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| Chris associates himself with a group
of artists raised on a motley mix of influences absent of fine art, including
advertisements, graffiti, skateboard culture, tattoo art, street art, hip-hop
culture, comic books, etc. The critics are yet to give this an appropriate name
and it is in this nameless group that his work resides. If some artists could
be considered cultural ambassadors communicating the hardships, lifestyle, and
lessons of a particular people group, he is more of a subcultural ambassador.
He says this hesitantly, however, because he would rather not claim to be a spokesman
for the subculture, simply a translator. Translation, in regards to art, allows
for a wider range of communication. It is translation in art that retains the
ability to connect people of different ages, gender, class, race, and religion.The
existence of a truly universal language is questionable, but the ability of the
artist to translate human experience is undeniable. Using graffiti, undoubtedly
a loaded language, often results in the viewer raising his or her own barriers,
limiting the potential of the piece. After all, language has the power to communicate
and include, as well as control and alienate the audience. Graffiti’s undeniable
presence in his artwork is by no means a stylistic crutch, it is the culture that
raised him. The environment, speech, lifestyle, and beliefs have all been affected
by this practice. Just as graffiti serves as a reminder that the authorities are
not in complete control, Chris would like to serve as a reminder that critics
and fine art superstars do not control art. |
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