In Amsterdam, As the city takes its last few winks of rest, the early dawn hours find some muralists gathering their things together in hopes to find themselves an ‘office space’ to display their craft to the community around them. With pails of paint tied around each handlebar, and a roller tall enough to paint some of the suburban houses top to bottom, artists board the free ferry to begin the search of a ‘canvas.’
Prior to being one of the largest unrestricted epicenters for street artists, the NDSM (Nederlandsche Dok en Scheepsbouw Maatschappij or Dutch Dock and Shipbuilding Company) was a wharf where large shipments of essential goods would be received. LK Sleat, a practicing artist, street artist, painter and art educator experienced the environment firsthand.
“It’s a place of education,” she said. “Aspiring and professional artists alike visit this spot all the time to display and create new ideas all without fear of being charged for putting up illegal pieces of artwork. ‘Lots of the work in and around the walls were vibrant and colorful to represent the communities light-hearted sense of unity.”
After being discontinued in 1999, the NDSM began its urban regeneration process in the early 2010’s. This renewal process would consist of: refining and replacing dislodged bricks, emptying out its interior, and simply making it the easiest atmosphere for creators to gather and display their work to the public.
In Amsterdam, gentrification is rarely ever used as a tool for local advertisement. “You can often spot a few tags here and there; however, the majority of the work in this space is filled with bright colors that is a focal point to the viewer’s eye and promotes warmth and happiness.”
Gentrification is a term whose definition is often thrown back and forth. Some see it as a movement of refineries, while others see it as an obstruction of a cities’ or neighborhoods’ originality or trademark features. Mike.ion, a graffiti enthusiast and documentarian shared his perspective on the matter.
“It’s an intruder rather than something that is meant to have meaning,” he said without hesitation. “This idea of gentrification especially in and around New York City is something that is meant to be more of a tool in advertisement rather than visual aesthetic.”
Mike, who has been documenting graffiti and other un-commissioned art since 2006 expressed how necessary the art has been in the city as it is a key tool to stylistically portray different cultures, express frustrations or support in the current political climate and simply give more life to a city. What so many artists are drawn to in this art form is the sense of anonymity and community. RAE-BK, an enthusiastic Brooklyn based creator, sculptor, videographer and amateur accordionist fervidly elaborated on his pieces, intentions and values for the art form amid this mass racial revolution and pandemic.
“Times like these are ideal for un-commissioned street artists like myself,” he said. “There are so many other things authorities need to worry about this day and age that graffiti is the least of their concern.”
According to RAE-BK, “The art we see representing the black community today is a minority revolution overtaking a white man’s game. For the first time, minority artists can portray their opinions through full pieces, or simple tags on store walls.”
Seeing the amount of murals, pieces, tags all being put on display today shows just how potent this facile form of design, advocacy and cultural representation really is.
“You always gotta have fun in what you’re doing. Seriousness in this field is only necessary if it’s the intent of the message you are trying to convey in your piece,” said RAE. “My work is raw, bold and wacky. Someone else’s work might be big, bold and serious. That’s the beauty of street art. All of what I create is me having fun. I’m a pretty fun guy, right?” he said as he pulled out his blue and white kiddie accordion and played a few scratchy cords for his audience before taking a proud bow and accepting a round of applause.
