When working on graffiti, I try to manifest handwriting at the very first. It is important to capture glamorous graffiti, but it is regarded to be the most fabulous to give the names of writers. Since confined places are not compatible with the nature of graffiti, it is attempted to select a variety of locations for suitable graffiti. It is to draw people’s attention why graffiti writers hide their names to many random people, climb up the place it is difficult to get around, or do graffiti on the crowded street on the contrary. I am working on, leaving a large number of traces with simple stickers, freestyle and throw up.
When writers (they call themselves writers since graffiti originated from leaving their names) are asked why they do the graffiti, an undertone of ‘fun’ lies behind. As a matter of fact, kitsch about pop (not pop art but the entire public media) is permeated in graffiti art over all. The unbearable lightness of scribbles begun with mischief is the kitsch motive, and the fact that they understand doodling to be illegal but legitimize the action is the same as the attitude exhibited by kitsch.
In the end, graffiti is not a simple image style but the attitude and value. At this point, it is too serious to be regarded as fun. It is light not because it is kitschy, but because the graffiti writer’s attitude of dealing with the world is graffiti itself. That is right. This graffiti you are looking at is our ‘serious fun.’
I do not remember exactly which year my graffiti started. I had known it since long before even though I could recall the period to begin it in the right way as 2006.
Like anyone who launched graffiti in Korea, I encountered graffiti through the media at first. Films like Wild Style (1983) or Style Wars (1980), the media (the Internet played a huge role), or graffiti occasionally seen in Korea aroused my curiosity, calling me into this world.
Most of my graffiti is performed on the street. There, I keep on doing graffiti and now in progress, taking risks of something unlawful alongside several dangers.
A tag name of ‘SPIV’ is the combination of a four-letter style and characters.
Stemming from the title of ‘GET ANGRY’ used from the early stage, the character is mainly one of them demonstrated with ‘horns’ in any type of character.
Along with meanings of ‘get mad’ and ‘lose one’s temper’, it is interpreted as ‘horns appear’.
It is my symbolic character from a very subjective angle.
Graffiti has infinite possibilities. In particular, it is a great charm to convey my own voice to the public. Although some people misunderstand it as messy doodling, it is paid attention to the splendor of graffiti and interesting to build a consensus to the message within it. Graffiti can be drawn in any space such as buildings and walls on the street, bridge pillars and etc. It is because the entire city where people live is not just endless drawing paper but also canvas.
Graffiti cannot be owned by a specific person. But contemporary people want to possess its splendor, and consequently have got splendor different from others in fashion and industrial products. I am a courier as well as maker of the splendor.
Curator in Charge — Choi Kiyoung
Exhibition in Charge — Park Uchan(Chief Curator)
Designer — Jang Hyojin
Educator — Cho Hyejung, Son Hyejoo
Curatorial Supports — Kim Jihee, Jeon Jiyoung, Hwang Rockjoo, Lee Jinsil
Education Instructor — An Yoonhee, Lee Younji, Jang Jeeyoung, Jung Jihye
Administrative Supports — Park Jonggang(Senior Manager, Business Planning Team),Han Changgyu, Chae Jungmin, Jung Seunghee, Lee Laesu
Technicians — Sin Unsu(Head of Maintenance Team), Joo Namkyu, Cho Manhung, Kim Kyungwook, Kim Jungyun, Im Ungsun, Han Jongkook
Intern — Han Chungwon
Docent — Kim Yesol, Park Jeonghee, Pyeon Areum
Volunteer — Yoon Miyoug, Yoon Jungshin, Han Sangeun
Photograph — Park Junsik
Image Production — Ahn Daegeun (Cartel Creative Inc.)
Translation — Rosa Park
Exhibition Space Construction — Hana Total Interior
Shipping and Installation — Artplus
P.R. Signs — Rover
Video Equipment — Park Keun Soo
Exhibition Organized by — Gyeonggi-do, Gyeonggi Cultural Foundation
Exhibition Principal Boiler by — Gyeonggi Museum of Modern Art
Supported by — Korea Mecenat Association, Arts Council Korea, New Era Cap-Korea
Sponsored by — Cartel Creative Inc., STIGMA, IMMUNIZE
Editor — Hyo-Joon Choi, Director of Gyeonggi Museum of Modern Art
Publisher — Gyeonggi Cultural Foundation