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Ink’d Up : It wasn’t all tattooed roses for female artist Bruja Del Bloque

Becoming a tattoo artist is hard for most. Plus, finding an apprenticeship, honing your craft, chasing a bag, and growing your network takes tremendous effort.

Genesis AKA Bruja Del Bloque has been through it and going strong but a lot of people have tried to knock her down along the way.

I recently had a chance to meet with BDB at Nice Tattoo Parlor in Brooklyn. She was tattooing an outline of a photograph of a client and his mother.

I learned a lot from the woman and artist who in essence just wants to be the best she can be every day.

 

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Gratitude is the best attitude. 🍊✨

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Genesis started her journey like most tattoo artists, she was a creative person who liked to draw. She went to the High School of Art and Design.

Even though tattooing was on her mind, like most young adults, her parents implored her to get a college degree. So, she pursued a degree in graphic design. But life has a funny way of forging new paths through adversity.


The Beginning of the Beginning

In her junior year of college, her financial aid ran out.

“I thought well I can’t work a regular job because I get government assistance and I’m living in Section 8 apartment housing. If I work a regular job, my rent goes up, my mom’s killing me.”

Without a job, she couldn’t pay to finish school but with a job, she would put her family’s living situation at risk.

“So I’m odds out, but what’s the only thing I do know how to do? Draw. But I need money now.” As her last paid semester was coming to an end, she found an out.

“I saw this kid sitting next to me. He was covered in tattoos, and then that’s when the idea went ‘boom.’ I was like, I can do tattoos.”

That kid complimented her design skills and shared that he was a tattoo artist. She asked her classmate if he taught others to tattoo and he offered to teach her.

Photo Cred: Chorouk Akik

Apprenticeships from hell

“I was like, ‘okay if you teach me it’s going to be strictly business. Because I don’t want you to get the wrong idea, I have a whole boyfriend. You know what I mean?’ and he was like, ‘Yeah, sure.’”

But that wouldn’t be the case. Her new mentor did not honor their initial agreement.

“He would literally dehumanize me, if I didn’t talk to him a certain way, if I didn’t hug him, if I didn’t greet him a certain kind of way.”

After trying to stick it through the abuse, Genesis decided it wasn’t worth it.

She found another tattoo shop to apprentice at. Having dropped out of school she was not going to let someone make things harder for her. But the hardships to get into the industry were not over for her.


 It’s not all tattooed roses

“Everyone who starts out in the tattoo industry has a completely different unique experience. But I’ve actually had three apprenticeships. So the first one that happened, the second one? A similar thing just with a different person, and then the third one I got lucky because the owner of the shop was a woman so I didn’t have to worry about that.”

Apprenticing under a female tattoo artist was loads better than her previous experiences with men abusing their power. Still, Genesis was not done learning how to navigate the industry. There’s more to learn besides procedures and techniques when it comes to being a tattoo artist.

“It’s a business where it’s not like a regular job where someone tells you ‘fuck off’ and you can go to HR, it’s a street shop. if they tell you to fuck off, you fuck off and you gotta find another job.”


I asked Bruja Del Bloque how an artist completes an apprenticeship and within the same theme of the uniqueness of the profession, the answer wasn’t so clear.

“It’s different according to the level of balance in the relationship you develop with the person that’s teaching you…”

Genesis continued,

It ends based off of how much you learn and discipline yourself in conversation while satisfying the person’s ego. A lot of what you learn in tattooing doesn’t even have to do with tattooing. It’s how you talk to people and treat people. It’s a form of developing interpersonal communication. ”


Inking skin

Tattooing is not all cool art and skill, it’s so much more.

But even when you’re learning, your skill needs to come from somewhere, and if you’re just focusing on keeping everyone happy you won’t learn the actual procedures that will make you a good artist in the long run.

So how did Genesis’ first tattooing experience go?

“At the first shop I was at, I was scared to tattoo people.”

So Genesis had a proposal for her mentor. She proposed she find people with tattoos that needed to be fixed and work on them for free. A girl with a faded distorted microphone tattoo agreed to Genesis’ offer.

“I thought you can’t go from bad to worse. Wrong. I still fucked it up.”

Genesis explained that assuming you can tattoo if you can draw is one of the biggest misconceptions people have about the art. Paper and skin are decidedly not the same.

“You could draw a line on paper and it stays the same, if you hold a tattoo machine at an angle on the skin you could bleed out the ink, you could spread it. If you go too deep you can scar them. There are so many different variables that paper does not have.”

Knowing and learning this first hand, Bruja Del Bloque became better at her job. She shared that making mistakes just once makes you not want to ever make the same ones again.

“It forces you to be that much more professional, that much more artistic, that much more patient and that much more understanding. You know that your work is going to be on somebody and that somebody is going to see that and either say ‘that’s beautiful! Who did it?’  or be like ‘ew, who did that?’”

Photo cred: Chorouk Akik

Broadening Horizons

Her apprenticeship with her last mentor also afforded her a lot of freedom. She was able to go to conventions, do guest spots, and travel with her husband who is also a tattoo artist.

She even managed to do some charity events where she tattooed for feminine hygiene products. Wherein after she would pull up on shelters in Cali and donate them to women in need.

“It was just me, tattooing not only to just broaden my horizons but also bring about a different spectrum of reality for myself.”

Genesis continued,

“I didn’t want to be closed into this idea that my only career choice would be like working at a street shop, which for most people would be like an office job.”

 

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I choose to live within the vibration of love. 💒✨ #gratitude #spiritualevolution #love #higherconciousness

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Broadening her horizons allowed her to fulfill her dream career. Tattooing with the ability to travel and forever expand her outlook on life.

As an artist, Bruja Del Bloque could simply save some money, pick up her tattoo equipment, find a shop somewhere and ask to work for a couple of weeks. The freedom to do so allowed her to embrace her fullest and highest self.


The Spirituality of Tattoos

Besides the amazing reality of being able to travel and work and create art, Genesis stuck it through all the difficulties with a higher sense of tattooing.

The profession has been around for millennia. Inking skin has deep roots and connections to the community, identity, and collective and personal history. As an artist who gives this meaning of identity to someone, the feeling has to hit hard.

“I’m helping someone mark their body to create an identity for themselves.”


Genesis went on to say that ink, pain, and the human soul enduring are what connect us to our ancestors and allow us to be primitive. The ancient practiced artform lets us create our own narratives and “lets us go back to a simpler time” where judgment sparsely exists.

This sentiment is revived when someone gets a tattoo. Because when you mark yourself you’re doing it for yourself and this allows you to “get closer to who you are.” It’s a commitment you make to yourself.


Bruja Del Boque’s Commitments

Genesis has 15 or 16 tattoos. Her favorite is the stick-and-poke tattoo she got from an artist of the Suluape family who specializes in Samoan tatau.

The memory made her misty-eyed as she explained that the artist asked her about her family and history and created the design based on her story.

 

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Learn to take things at face value and go by your instincts. As humans our constant mission in life is to achieve happiness, and this is achievable only when we allow our selves to live in this vibration. Not every thought we have is fact , we make it fact by focusing on it, and giving it life. we must learn how not to feed the negative thoughts that the cosmos air drops into our minds on a daily basis. Reality starts in the mind, and if we can distinguish the good from the bad and remain neutral in the face of adversity while having faith in a higher power, well that’s called discipline. You are who you think you are. The darkest parts of your character attract (dark people,dark situations, and bring to light your darkest thoughts.) This is a period of assessment (current transits: sun:Scorpio, moon:Aqua, Mercury: Scorpio Rx, Venus: sag, mars: Libra, and Jupiter in sag. Who are we when we visit the darkest parts of our mind, and will we take responsibility for ourselves and things that we unconsciously attract? Or blame our environment and people for inhabiting our minds? It’s all you, and it’s always been you. An example of this is when you yell at someone… you just projected your inner world on to other people, now universe mimics this action back to you so that you can always have both perspectives. when that same treatment you threw out into the universe comes back to you from another individual like a karmic reflection you just experienced karmic justice. Live by example, practice conscious thinking/speaking, think about your behavior and act in accordance to your higher self because the youth is watching how we survive (both physically and spiritually). You are an example to everyone you meet in life. You can change the toxic environments and circles by starting with yourself.

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“I felt a different level of connection with my tattoo journey. I felt like I was part of a collective that goes deeper than what everybody knows about… It feels like something spiritual… Like a connection to God but through the markings on the skin.”

Genesis is highly aware of the power in tattooing. This led her to practice tattooing with the idea of providing medicine and connection to her clients.

“The art will bring you closer to who you are, or what you want to manifest or who you want to see yourself as.”

 

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Generations of women. Thank you for giving me the honor of marking your skin. You and your daughter sat great!✨ @sbapna

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Advice for new female tattoo artists

Genesis’ advice is heavily influenced by her own experience being introduced to the industry, but it’s potent.

Don’t waste time with male artists. Try to find a credible female artist to teach you.

Be dedicated, have patience and don’t be in a rush to learn something.

Respect your mentor like a sensei but also do your own research and do your own practice.

Use your intuition to know the difference between patience and wasting your time.

You can bolster yourself up to everyone but your tattoos don’t lie. When you go into tattooing with ego, your designs show it.

Don’t get complacent, there’s always someone hungrier.


Ongoing Struggle

Things are better for Genesis now.

She’s on her grind and looking to save up for a trip to Peru or Thailand. I caught her at a time where she’s all about chasing that bag and making things happen for herself.

And despite the haters who compare her to other artists, her light shines outside of their shadow.

“Whatever shadow anyone casts over me, it won’t even stand a chance against the brightness that comes from my work.”

Genesis is not mad at the shadow either, it motivates her to work to get out of it.

What’s a gifted non-achiever? The C student redefining education

“Everything you want to be, you already are. You’re simply on the path of discovering it.” – Alicia Keys

Education usually means opportunity. Opportunity usually means professional accessibility. But what do these words mean to low-income children, especially to those who are gifted beyond the realm of the classroom?

We can preach about inclusivity and diversity all we want, but no matter how appealing those terms look on paper, or when said aloud with an air of false dignity, they are still not wholly present in the American education system.

And so tangled, thus, in the midst of the paradox of our preaching, education, and opportunity are not necessarily mutually inclusive.

At least, that’s the case for those same children who attend often overcrowded schools in underfunded districts, where art programs are cut and curriculums are exam-oriented.

However, if one looks just a tad closer into the funding inequities that permeate national school districts, one would realize that it has arguably more to do not only with income but also with race.

No matter how much federal and state litigation has been proposed and implemented over the years, low-income minority students continue to fare worse as viable solutions remain unfounded.

According to the most recent study from Edbuild, a non-profit organization that focuses on school-funding issues, generally non-white school districts receive $23 billion less in funding than white districts, even if they serve the same amount of students.

This affects about 12.8 million students who are part of school districts where 75 percent of the students are non-white.

What’s disconcerting? According to the same report from Edbuild, this kind of gap is present across all high-poverty school districts.

Apparently, white low-income school districts receive much less funding than their wealthier counterparts. Yet they still receive about $1,500 more per student than non-white low-income districts. 

Gifted, in a school setting, is usually synonymous with excellent academic aptitude, but it would be wrong to consider the word merely through a one-dimensional lens. What does gifted mean for those same children, who are also so-called “gifted non-achievers”?

“I grew up in Bushwick, and I lived with my mom. She was a single parent with three kids. I’ve got an older brother and a younger sister. We all were pretty active kids, but school wasn’t particularly our strong suit; we were always good at other things.” -Anthony Ramos


A “gifted non-achiever,” as dubbed by authors Patricia Roach and David Bell in their 1986 article, “Identifying the Gifted: A Multiple Criteria Approach,” refers to the students who, for any given socio-economic reason, do not fall into the usually ideal standard for students. Instead of excelling in academic subjects, they express their talents best through the arts.

But in low-income districts across America, schools are so hard-pressed about boosting their students’ academic performance and their scores on standardized tests that they lack resources for creative extracurricular activities as well as for school-time arts programs.

The Common Core, introduced across the country in 2009, does mention the arts, in terms of critical thinking, innovation, and creativity, yet students find themselves spending more time preparing for tests.

And minority low-income students do so mostly without qualified instructors and with outdated workbooks. So, what kind of win-win offers do these tests provide for them? None.

It’s not surprising, then, to learn that after working towards the Common Core, these “gifted non-achievers” encounter a culture shock when they start college, one that is caused by a lack of cultural exposure and perhaps also by unpreparedness for their next step: entering the creative job market.

“The only thing that separates women of color from anyone else is opportunity.”  – Viola Davis

 

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@OprahMagazine shoot! Awesome day! ❤️ #TBT

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That’s when education and opportunity, for them, most evidently begin to lose their promised substance.

Instead of focusing so hard on boasting about “diversity” in schools and on campuses to the point that the word is rendered meaningless, we should take better care of those “gifted non-achievers,” even when their talents do not match the usual standards of the classroom.

What’s the point of promising “diversity,” if these students continuously feel out of place and out of touch? The “gifted non-achievers” need an urgent redefinition of education and opportunity.

“Greatness is not this wonderful, esoteric, elusive, god-like feature that only the special among us will ever taste, it’s something that truly exists in all of us.”  – Will Smith

 

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Framed Up! 📷 @nikosaliagas

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They need a sense of practicality and attention. They need to know that it is, essentially not their ability, or inability, to sit still in a classroom and focus on English and Math alone.

But it is their engagement with their inner voices, their production of content, their networking opportunities, their need for reliable mentors, their accessibility to hands-on training. 

Nonetheless, some might object to such a claim and begin to point to the many advantages of this age of technological advancement that in itself has “redefined” education and opportunity. By just a click of a button, some might say, a world of information and opportunity awaits.

That’s perhaps true, but it still offers an impractical perspective on a world that has only become more competitive and more favorable of the very privileged.

Even in schools, digital learning does not necessarily benefit all students. According to a 2018 study from Pew Research, one in five students struggle to do homework because of technological inaccessibility at home.

As much as technology can open doors to an opportunity for those who have 24-hour access to it, it is not so for many minority low-income students. 

Recently, I came across this book, Seeing a Color-Blind Future: The Paradox of Race, written in 1997 by Patricia J. Williams, a well-esteemed American legal scholar.

In it, she claimed:

“The very notion of blindness about color constitutes an ideological confusion at best, and denial at its very worst.”

Although a small excerpt from a text so profoundly important, it speaks to the core of the struggles that those young minority creatives of poor socioeconomic backgrounds face. 

When will education and opportunity for these “gifted non-achievers” become tractable instead of theoretical assets?

As Richard Florida, an American urban studies theorist, wrote in his 2016 CityLab article, “The Racial Divide in the Creative Economy,” in more than a quarter of all metros and in over 70 percent of large metros, 40 percent of white workers hold creative jobs; meanwhile, 40 percent of African-Americans hold creative jobs in only 5.7 percent of all metros in addition to only one large metro.

How could we make another practical change, aside from keeping the young and “gifted non-achievers” informed about job market trends and expectations? Perhaps diversity hiring could be another solution. 

With Incluzion, a new platform tailored for hiring managers and launched by Atlanta company, Spendwith Corp, the prospect of diversity hiring seems to hold a little more promise for the “gifted non-achievers.” But employers should also be careful about over-using the phrase “diversity hiring.”

In hiring the creatives, non-minority employers should evoke a sense of trust towards their hires without imposing their own “artistic vision” on their work.

There cannot be any “standard,” strict artistic vision if a company genuinely wants to appeal to more diverse audiences and if it maintains its support of diversity.

Before employers go on to boast about “diversity” within their companies, they must ensure that there is a fair and unbiased truth to that.

Of course, these young and “gifted non-achievers” could work, say, as freelancers, in the comfort of self-employment and schedule flexibility, but that notion is also impractical, for freelancers’ lifestyles cannot promise consistent stability.

“I’m a survivor, and all this struggle I went through—while it sucked at the time—is really helping me now. It has helped me get to where I am, and it will help me continue to improve and do better. It didn’t always feel like it at times, but I truly believe I am blessed.” -Tiffany Haddish


Even while, according to a 2019 report from Upworks and the Freelancers Union, approximately 57 million Americans are freelancers to date, 64 percent of them worry that costs will continue to pose as barriers to training programs and other resources. 

So, as much as freelancers should, even if occasionally, rely on other employers to produce and share their content, their employers should, in turn, allow their creatives’ vision to flourish.

In the 21st century, one would think that we’ve become more accepting, that we’ve moved far beyond those racial, socioeconomic divides that once were so tangible.

But no, even if perhaps less pronounced, those issues are still very much present, and as long as we continue to ignore them, those young and talented children, who’ve never known privilege, will not reach their successes as fairly and as deservedly as they’d like to.

For the sake of those children, education, and opportunity — without a question —  need to be redefined.

How POPaganda artist Ron English continues to create his own narrative

On a dreary and rainy Tuesday morning outside the New York Stock Exchange (NYSE), a beam of unexpected light shone inside the world’s foremost financial institution.

The bearer of light or rather the Prometheus-incumbent of the radiant flame that brilliantly flickered throughout the historical building was none other than the NYSE’s Peter Tuchman.

Heralded as the most photographed man of the NYSE, Tuchman has transcended his a role as a floor trader to a global personality, having exchanged trading tips and jokes with Shaq, championed art on the building’s 6th-floor walkway to the Board Room, and can’t be missed with his Einstein-like appearance.

He even goes by the Einstein of Wall Street. Don’t believe us? Check out his Instagram profile.

Like the myth of Prometheus, Tuchman carried onto the floor of the NYSE a brilliant fire. This source of thermo-brilliance belonged to none other than that of art icon Ron English. 

 

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Hammer time at The New York Stock Exchange. #petertuchman #moneyandart #nyse #Popaganda #Delusionville #ronenglish

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To those unfamiliar with Ron English and his work, he’s been [rightfully] dubbed as the “Godfather of Street Art.” His works act as a nexus for street art, connecting the bohemian ideologies of street art with the everyday patrons of the streets.

His murals quite literally cover both known and unknown corners of the world. English, a man of little to no boundaries has even collaborated with Pop Toys for various figurines, has directed and produced films, composed original music, written books, and just about anything under the sun that’s readily available for a modern-day renaissance man.

 

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Elefanka finished. #(RED)SAVESLIVES #streetart #Lyon #France #Delusionville #muralart #lyonfrance #elephant #red #bono

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English, as you can imagine, is a rare breed. Not only is he a legend in the contemporary art world, but he’s also a living legend at that.

While those privy to the art scene and/or English’s work are in tune with his catalog, it was a fascinating spectacle to see the mythologized artist on the floor of the NYSE- a realm far removed from the art world.

Or so we thought… 


Surrounded by mercurial traders, astute movers and shakers of global currencies, and bright-eyed, bushy-tailed college students keen on soaking in their experience at the NYSE, English casually blended in like a man who’s been there before.

It was as if he attained some sort of unknown level of artistic nirvana and bliss. Some might even argue that English has in fact reached such a level of grandeur throughout his career but that’s neither here nor there.

Needless to say, Ron English is an artist of such prominence and fame. However, he’s far from being a disillusioned or jaded celebrity of the art world. In fact, he’s the complete opposite. English, a modest man himself, is often humbled by life’s spontaneity and kept grounded by his wife and children. 

“I always say that I’m miracle co-dependent which means I literally depend on some miracle happening over and over and over again. That’s how I started this year on New Year’s Day. I had nothing [planned].”


Rather than being standoffish about his successes and haughty about his upcoming endeavors, English is as down to earth as the rain on that Tuesday morning.

He’s never afraid to answer a question if he can provide the answer, which makes sense for an artist with such a multidisciplinary approach to his work. Not only that, but he’s always welcoming of new ideas and possibilities, but precariously attentive to past experiences. 

This calculated and audacious mindset is indicative of how English got his start. English, who was both an unknown artist and who used to write for Detour Magazine in the early 90s, became increasingly interested in the work of Absolut Vodka’s late marketing legend Michel Roux. 

For those unfamiliar with his legacy, Roux is cited as being “the marketer best known for ushering Absolut Vodka into every bar in the United States.” However, his true claim to posthumous iconography in the marketing world is for propelling Absolut Vodka into a newer age of advertising.

As a result, Roux came up with a new campaign series for Absolut called Absolut Art, where Absolut (on the behalf of Roux) and advertising agency TBWA commissioned legendary artists to like Warhol, Haring, Scharf, and Leibovitz to put their own unique artistic touch on the Absolut bottles.

The artists’ renditions of Absolut bottles were widely published in print and transcended the boundaries of traditional advertising. Art and the ad world momentarily underwent a harmonious process of osmosis where the two were inseparable, thanks to Michel Roux’s genius. 

What started as a bold idea of Roux’s evolved into one of the more pivotal and daring moments in English’s early career. Having been inspired by Roux’s work, English finessed his way into interviewing Roux for Detour Magazine.

What was supposed to be an interview with Roux quickly became English’s elevator pitch. An all-or-nothing chance for him to have his work featured with the likes of the aforementioned contemporary art immortals. Needless to say, Roux was sold. 

“Then I said, you know the real reason I’m here is that I want to be an Absolut artist. He looked at a painting I already made and he goes, ‘You won!’ He bought six paintings from me and from there it was Absolut English. That was a really big deal then. He also sent me to Japan. He just had so much stuff for me!’

Fast forward 20+ years later, this fearless mindset has empowered Ron English to express himself in almost any and every way imaginable for an artist.

More recently, he’s launched his book Original Grin in 2019 and collaborated with Swarovski on a commemorative PopToy figurine of Big Poppa/the Notorious B.I.G, decked out in a Swarovski x Coogi sweater. 


As you can imagine, English is more than capable of creating art that is relevant to the times. He has reached a level of artistry that millions of artists have aspired to, currently aspire to, and will always aspire to- an unencumbered proclivity for creating the art they feel and know.

Ironically enough, here was Ron English on the floor of the NYSE. The man whose work so often critiques consumer capitalism. So much so that he even coined the term “POPaganda,” a term used to artistically critique and exploit the iconic, propagandized moments in mainstream culture.

This is best evinced in English’s works; his documentary POPaganda: The Art and Crimes of Ron English, his collaborative efforts with POP toys, i.e., MC Supersized, which was featured in the cultural zeitgeist of a film SuperSize Me, Hulk Menace; and so on. 

English reminisced, “I think that a lot of my stuff is a kind of critical of things. I also feel like you just don’t want to be the guy that just hates everything. They were showing my film “POPaganda” and it’s about me making fun of all these things. At the end of it, a guy stood and said, ‘Well, we know what you don’t like. What do you like?’”

“I realized there’s a lot of power and also shouting out things that you like and things that have influenced you.”

The man whose work is often labeled as “anti-corporate” was casually strolling through the NYSE learning the rich (pun intended) and detailed history of one of the most historic capitalist institutions of the modern era.

Sounds paradoxical, doesn’t it? If your answer is “yes” then I think it’s safe to say that you might see the world in black and white. But in a world where things teeter along the lines of gray, it only made sense for English to have been present.

As the colloquialism goes, inspiration comes from all places. 

 

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Kevin Durant having out in my studio. #studiolife #artstudio #kevindurant #Basketballgrin #basketball

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“Sometimes I’ll think that maybe Instagram or this kind of stuff will get me out there in a way and then I’ll let go of doing billboards and the illegal stuff,” said English.

He continued:

“Then I realized that they actually kind of put you in a little box and actually really narrow the range of people that are going to stumble onto your stuff. So then I’ll go back out on the streets and do stuff again.”

Gusto. Zeal. An appetite for trusting your instincts. Call it what you want. For Ron English, the recipe for his success has been a simple one. Or at least he makes it appear that way. Write your narrative the way you want to. If not you, then who?

 

Kidrobot’s ‘Bhunny’ is All Grown Up Thanks to Stuckist Artist Frank Kozik

It’s the late ’90s in Japan, and Frank Kozik is designing away, creating toys that are distant cousins to what other popular toymakers have done.

Kozik was obsessed with toys and found himself there when American toy markets dried up.

NEW YORK, NEW YORK – FEBRUARY 21: Frank Kozik attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020 in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Frank had a feeling that toys would return to pop-culture in the states.

Fast-forward to 2004, when Kidrobot was founded, and the first thing they did was contact Kozik. He immediately began creating characters and storylines for the newly founded [adult] toy store. 


Toys For Adults – Not Adult Toys

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

An avid toy collector, Kozik realized he can only get the toys he liked from a single, but limited supplied boutique in Los Angeles. The other places were Japan, and a website called Sweaty Frog, at the time.

Sweaty Frog would provide rare toys from Japan at doubled the retail price. Frank was a loyal enough customer that he was discovered through sales receipts by the founder of Sweaty Frog, Paul Bunditz. 

Bunditz is the mind behind Kidrobot, and when he realized Kozik worked with Medicom, at the time, he sought after his talents. Kozik recalls Bunditz’s offer; “Are you the Kozik who was working with Medicom?” Frank replied, “Yeah!” 

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

“Hey, man, do you want to do toys with us,” Bunditz implied, and Kozik enthusiastically agreed, “I am ready, I have 100 designs and I am totally into this.”

From there, Kozik designed and produced his first toy in the United States.


Punk Rock Kids & Robots

NEW YORK, NEW YORK – FEBRUARY 21: Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Kozik’s design skill goes back to the Punk Rock era where he designed posters and flyers for some of the top rock bands of the time.

Nirvana, Red Hot Chili Peppers, and Pearl Jam got posters made for their shows per Kozik and his Xerox process, and his diligence in promoting the shows around the city of Austin where he lived at the time.

Working in the clubs, Frank’s relationship with the bands and clubs grew, big enough for Frank to start a record label which he ran for six years.

NEW YORK, NEW YORK – FEBRUARY 21: Frank Kozik attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020 in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

“As the bands grew bigger, I got better gigs for doing rock posters and started a record label. I had a record label for like six years, and it did really well.”

Kozik continued,

“We [first] did Queens of the Stone Age records and we broke some other big bands. I started organically, no school. I just was a punk rock kid doing little fliers, riding my bicycle, putting them up on telephone poles, you know – [like] 35 years ago.”


China Hype

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Today, Kozik is the Chief Creative Officer of Kidrobot and has been since 2014. Creating unique designs for Kidrobot and himself, but mostly doing things for China. This is where the market is booming. According to Kozik:

“China is really getting on the hype trip. They are getting into sneaker culture, into street culture, into art, and music. Since it’s all about artists, there’s always something new. It doesn’t get that boring. There’s always somebody new who has a new cool thing that they are doing.”

This is why Frank was asked to refresh the brand in his promotion to Chief Creative. Hiring designers and artists from all over, Frank brought in female artists, including artists from South America, Mexico, and China. 

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Frank says he was “trying to get back there, to what Kidrobot was, originally. Which was all over the place, really colorful and some new voices. We paid a lot of attention to the customizing community.”


As Far As The Design Eye Can See

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020 in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Kozik has a broad interest in things. Things that are dark, demonic, cuddly, and cute, all seem to go hand and hand for Frank. Similar to his music taste, ambiguous and varied, Frank wants to create something for everyone.

The latest custom Bhunny toy designs by Kozik are exactly that, cute and cuddly characters of the furry variety, but rocking everything from Frankenstein stitches to Anarchy logos on the forehead. 

This inclusive approach has a lot to do with Frank’s days as a punk rocker.

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

“Punk Rock was really cool in the beginning because it was inclusive, everybody was welcome. It didn’t matter what color you were, if you were straight or gay, what kind of music you were into, how old you were, nothing, as long as you wanted to party, you were welcome.”

The most relevant features of his designs are contrasting in the custom ‘Bhunny’ collection. It’s a mash-up that an artist like Frank is attuned to as eclectic as he is. Kozik wants to level the playing field as much as possible with informed designs that everyone can relate to.

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

He continued:

“Everyone deserves a shot. Everyone should be able to do art, everybody should be able to buy art and appreciate it, no matter if it’s music or a toy or a piece of clothing or whatever.”


Design Something For Someone

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020, in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Frank refers to himself as a collage artist and a mixer of mediums. He started out doing cut-and-paste collages. Eventually, he learned to paint and draw, then design in three dimensions.

Stuckist artist – Stuckism, founded in 1999 — refers to art that sources from the real world with a call back to the true spirit of modernism – Kozik is an anti-anti-artist through this particular discipline. 

NEW YORK, NEW YORK – FEBRUARY 21: <> attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020 in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

Kozik doesn’t design from a unique style from within his being. He often has to look at all these different things around him.

“I look at this, I look at that, and then I say what if I take [this and that] and twisted it and stuck it out this and make something different,” as Frank referenced his design inspiration. 

NEW YORK, NEW YORK – FEBRUARY 21: Frank Kozik attends the Kidrobot x Bhunny Series Toy Fair Preview at Slate on February 21, 2020 in New York City. (Photo by Craig Barritt/Getty Images for Kidrobot)

A man like this has lived a lot more lives than the average and has brought joy to the world in the form of toys. As the toys live on, he is aware of the contemporary qualities of the real-life characters known as humans.

He understands life is short and encourages those who live it to be good to other people and have a good time while you’re here. Like the custom 1-of-1 toys he created for the Bhunny collection, it’s a discovery of yourself reflected in your choices.

Look out for this article on PAGE magazine.

#HairStory: Everything We Need to Push the CROWN Act Forward

 

De’Andre Arnold, the high school student who was ordered to cut his natural hair or face not walking at graduation, is moving the topic of hair discrimination forward with his poise and driven disposition amidst adversity.

Arnold is a senior at Barber Hill High School in Mont Belvieu, Texas, a town just outside of Houston. His circumstance of being discriminated against is dispiriting, and it is not an irregularity for people of color, specifically black people, in this country.

How can we forget the case of 6-year-old C.J. Stanley in 2018, who was barred from entering his kindergarten classroom because of his dreadlocks? What about high school wrestler Andrew Johnson who was forced to have his dreadlocks cut or else forfeit his match?

The issue principally comes down to people of color who are denied access, opportunities, and privileges that white people are afforded, for the simple reason that they are wearing their hairstyle naturally.

In some cases, it stretches beyond opportunity, when people like Arnold and Johnson are forced to sacrifice integral parts of their identity for arbitrary “rules.” These instances of exclusion and discrimination are gross injustices and inherently racist.

The NAACP Legal Defense and Educational Fund (LDF) represents De’Andre Arnold and his family. The LDF has pushed forward their efforts to sign into legislation the CROWN Act, a law that “ensures protection against discrimination based on hairstyles.”

We had the immense pleasure of speaking with LDF attorney Patricia Okonta about the CROWN Act, her work representing the Arnold family, and discrimination people of color face in this country.


The CROWN Act

The CROWN Act stands for “Creating a Respectful and Open World for Natural Hair,” and is the first legislation passed at the state level prohibiting hair discrimination.

California first passed the CROWN Act in January 2019, and the law went into effect on Jan. 1, 2020. New York followed suit, introducing the law in July 2019, followed by New Jersey in December. Now, 22 additional states are considering the CROWN Act or introducing their own anti-hair discrimination bills.

“CROWN Act measures generally prohibit discrimination against hairstyles commonly worn by black people, and so that would be both natural hair and protective hairstyles,” said Okonta.

The CROWN Act gained wider attention after Matthew Cherry and Karen Rupert Toliver won the Academy Award for Best Animated Short Film for their beautiful and impactful work Hair Love.

In their acceptance speech, Cherry and Toliver made sure to reference the CROWN Act.

Additionally, they mentioned how important it is for people of color, especially children, to love themselves and their natural hair unabashedly.

Hair Love’s message is intrinsically related to the CROWN Act, and the short film did a magnificent job of promoting awareness for this issue and highlighting the love between black families.

De’Andre was Cherry and Toliver’s special guest at the Oscars.


Okonta’s Beginnings

LDF NAACPOkonta interned with the LDF during law school because she wanted to do civil rights work, particularly focused through a racial justice lens. “I started working at the NAACP LDF immediately after law school,” said Okonta.

The history of the soon-to-be-80-year-old organization captured Okonta’s admiration and interest right away. The LDF was created under the vision of Thurgood Marshall, who later became the first black Supreme Court Justice.

“I already knew that they had this really prestigious and tremendous record. Being in their office and seeing the work that they do, how really vigorously they advocate for their clients and are really about pushing this needle of justice forward, I did everything I could to work towards getting here after law school,” she said.

Okonta received a fellowship to start her law career at the LDF.


Meeting De’Andre Arnold

NAACP
US director Matthew A. Cherry (L), US producer Karen Rupert Toliver (R) and Deandre Arnold (3rd L), the Texas teen who was told his dreadlocks violated school dress code, arrive for the 92nd Oscars at the Dolby Theatre in Hollywood, California on February 9, 2020. (Photo by Robyn Beck / AFP) (Photo by ROBYN BECK/AFP via Getty Images)

The LDF learned of Arnold’s situation at the end of January, after a school board meeting where the issue was brought up and plenty of activists attended. The story then gained national attention.

“We took particular interest in this case because it is particularly harsh to disrupt a child’s educational opportunities, simply because he’s choosing to wear his hair naturally,” said Okonta.

“So we thought his targeting was really reprehensible and we sought out ways in which we could help and assist,” she continued.

Okonta spoke beamingly of Arnold and his parents, a family in a situation of increased media attention and sometimes, scrutiny. Neither Arnold nor his parents wanted this situation.

Yet they understand that, now, their efforts and resolve can have a far broader impact than just on their own lives.

“It has been tremendous to get to know De’Andre and his family. I can say from personal experience and personal interaction, De’Andre is just so poised and intelligent and thoughtful and caring,” passionately expressed Okonta.

“He really understands that this issue is not only terrible and harmful to himself, but has an impact on other children that look like him and other students.”

Okonta continued, “so his ability to really stand up and push back against unfair policies has truly been inspirational. He has held himself to such an incredible standard despite all of this public attention, some of it is not always positive. He has held his head up, and he has really pushed this movement forward in a way that I think is incredible.”

Okonta was adamant about how strong and poised De’Andre’s parents have also been during this process. “I’m so grateful to have the opportunity to work with them.”


What Hair Represents

“I think hair is important to everyone, particularly black hair,” said Okonta.

 

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What comes to mind when you think of #NaturalHair? 👑

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Okonta further explained that for so long, the people of color’s hair has been unnecessarily controlled.

Especially black people were forced to assimilate to the standards of “professionalism” or what is popular at the time. “Often these standards really have an undercurrent of white supremacy and assimilating to white culture.”

“Black people embracing their natural hair, and really leaning into protective hairstyles, is something that is not only really intimately linked to the black identity but is the showing of power,” said Okonta.

Okonta explained that ideas and bills involved with hair discrimination were pursued a while.

“There has been a lot of organizing for years around individuals being treated fairly and respectfully for accepting their natural hair and their natural hairstyles,” said Okonta.

She expressed that outside of legislation, LDF has worked with students and individuals to fight for their right to wear their natural hair.

“But this legislation is just an indication that the public is now more aware and more accepting of this notion that everyone, regardless of their hair texture, should be given the equal access to opportunities,” voiced Okonta.


How Can One Protect Themselves?

“I think the most important thing is that individuals should look at the laws that affect their jurisdiction,” said Okonta.


Okonta made clear that so many different places have different laws, so the best thing an individual can do is to inform themselves on their rights and what kinds of protections exist where they live.

“I think it’s really important to share stories. The Arnold family shared their story about  the harm of this policy and how it impacted them and how it made them feel, and so sharing information with others can always be helpful.”

As hard as it is to share troubling and personal stories, organizations like the LDF are equipped and motivated to help.

Okonta explained that despite state-level solutions, “these racist stereotypes about natural hair still exist and persist through all areas of our country.”


The Larger Goal


Advocating for state-level laws is a good first step, but advocating for federal legislation to create a respectful and open workplace for natural hair is the larger goal.

Okonta noted that Senator Cory Booker and Congressman Cedric Richmond introduced a federal initiative in early December 2019.

The initiative serves as “an important bill that LDF supports, and it has the potential to prohibit natural hair discrimination on a federal level, which would impact a lot of people at once… and ensure long term protection.”

“[LDF] was founded in 1940 by Thurgood Marshall… and we are almost to our 80th anniversary, and since then, our mission, our goal, really has been to promote full and equal citizenship for Black Americans,” said Okonta.

The NAACP Legal Defense and Educational Fund (LDF) is the nation’s first civil and human rights law organization. Since 1957, the LDF has been a separate organization from the NAACP.

“Our mission, whether it’s through natural hair discrimination work, criminal justice reform work, through economic justice or educational equality work, is to ensure that black people can enjoy the same rights and liberties of citizenship as their white counterparts.”

Getty Images’ New Visual GPS Project Aims to Represent What’s Authentic

Getty Images, a pioneer in the visual trend landscape, is onto its next ambitious project: Visual GPS. The report’s multi-faceted approach leverages Getty Images internal search data, insights from the content powerhouse’s visual experts, and the latest market research, delivering a one-of-a-kind guide to finding the right images and videos to connect with consumers around the world.

In a world so inundated with information, and disinformation — political debates and rallies, news cycles, environmental activism, provocative imagery and videos, filtered posts on social media — brands are finding it harder than ever to connect to consumers.

It’s become equally straining to conjure up new strategies that could keep consumers engaged for more than eight seconds before scrolling further down their Instagram feeds. 

visual Gps
Photo Credit: Metamorworks

Brands can’t continue to use the excuse that the market is over-saturated because  competition has arguably always been there, in relative ebbs and flows, but it has always been there.

The only way to beat it today is with a carefully executed strategy coupled with in-depth research on consumers’ visual preferences, complaints, gaps, and behavioral patterns.

Understanding the ins-and-outs of media’s effect on consumers’ expectations and reactions to what they see.

Enter Getty Images’ 25 years of experience in visual insight, its over 375 million assets, and 310,000 contributors, and their project Visual GPS that launched earlier this week. 

Getty Images Visual GPS
Photo Credit: Willie B. Thomas

Getty Images’ Creative Insights team — made up of curators, futurists, archivists, and art directors — is using the one billion annual searches conducted on its two websites, gettyimages.com and istock.com, to better understand consumer preferences. 

This project was conducted in partnership with YouGov, a market research firm, that has compiled data from over 10,000 consumers across 26 countries and 13 languages. 

The research has revealed that while most consumers care about their own well-being as well as that of their families and the environment, they find that technology has not been easy to navigate when it comes to acting on their beliefs and intentions.

 

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Information overwhelm has caused a disconnect among consumers. Though visual content is more quickly accessible now, it’s harder to find the kind that’s truly resonant and authentic; that captures not only ideal moments but moments of works-in-progress, of real effort, of difference, and of commonality.

Stereotypical imagery in the wellness, realness, technology and sustainability segments are pervasive and the stigmas associated with them, make room for consequential issues between consumers and visual-media brands.

The four foregoing categories have been identified, by Visual GPS, as the main “Forces” that determine consumers’ preferences and decision-making.

While those “Forces” might vary in intensity over time, depending on location and demographics, each force is mutually inclusive and can cause new “Forces” to emerge as trends change. 

Getty Images
Photo Credit: Emma Kim

“We live in an increasingly visual world. Having the perfect image, video, or illustration can mean the difference between connecting with your audience or simply being bypassed,” said Ken Mainardis, Senior Vice President of Content at Getty Images.

“It can be difficult to choose visual content that will resonate with your target consumer unless you understand what’s important to your customers and what drives their decision making — this is the problem Visual GPS seeks to solve.”

At an event moderated, on February 25, by Senior Director of Creative Research at Getty Images Dr. Rebecca Swift, experts on realness, wellness, technology, and sustainability explained how every brand can consider those categories in conjunction with their relations to various geographies, demographics, industries, and generations to create and select effective imagery. 

Experts included John Antoniello, creative director at Publicis Sapient, Tatiana Kuzmowycz, creative director at ClassPass, Kate O’Neil, founder of KO Insights, and Tan Copsey, senior director of Projects and Partnerships at Climate Nexus, relatively.

Some of the findings, that Dr. Swift has reiterated to not only be “relevant, but truly actionable,” go against popular opinion when it comes to consumers’ intentions towards the “Forces.”

To dispel the first misconception, she says, sustainability is not a sheerly “young person’s concern.” It is important for people across generations, cultures, and geographies.

Photo Credit: Vm

The gap is not in generational misunderstandings about the urgency of global warming, but it’s in what the Visual GPS has identified as the “consumption conundrum.”

Around half of consumers report that they only purchase products from eco-friendly brands, but while 48 percent of consumers are aware of that urgency, they still prefer convenience. 

That awareness but lack of action towards what’s right suggests that change is completely possible and that brands can manifest it. Instead of, say, creating visuals that reflect only young people’s involvement in environmental efforts, more should represent those seniors who, too, put in just as much effort into ensuring their grandchildren’s future well-being.

And in tailoring attention to the mentioned “convenience approach,” images shouldn’t just be limited to reusable bags and water bottles.

“Our research shows us there is an opportunity for companies and brands to help consumers bridge the gap between their attitudes and their actions,” said Dr. Swift.

Getty
Photo Credit: SolStock

“Visual GPS shows us that sustainability is a universal concern across generations, gender, and regions — the potential for positive action is huge but consumers won’t engage if brands are not speaking to these issues in authentic visual terms.”

As important as sustainability, consumers are also invested in brands that keep to the promise of diversity and transparency. According to Dr. Swift,  33 percent of consumers, in the past two years, have boycotted a brand with whose values they didn’t agree.

An additional 34 percent have started purchasing from brands whose values they support. However, inclusivity (such as the kind pertaining to body shape, gender, age, demographics), hasn’t kept up to speed with consumers’ expectations.

Getty Images
Photo Credit: Nick David

Another misconception to dispel is the notion that people care more about physical health than mental health, but in fact, research suggests that both are highly valued; 88 percent of consumers value physical health and 90 percent value mental health.

Rather than associating well-being merely with fitness-related images, brands should create more imagery showing mental self-care.

Dr. Swift also noted that much of the visuals related to well-being almost always depict young people, but statistics show that older generations value “living by one’s principles” to a greater capacity.

Only 46 percent of millennials and 34 percent of Gen Z value wholesome well-being, as compared to 67 percent of Baby Boomers and 53 percent of GenX.

Visual Gps
Photo Credit: Sophie Mayanne

Technology, more than any of the other “Forces,” presents a tense contradiction in the ways that consumers regard it.

Sixty-five percent of Gen Z and 55 percent of millennials think that technology has worsened their ability to maintain relationships, in part because of how much they depend on building connections through social media, while a greater percentage of GenX and Baby Boomers reflect on technology as a “connector.” 

Regardless of that ambivalence, 97 percent of the respondents surveyed for Visual GPS say that technology has helped them feel connected, a statistic that is also promising for brands to consider.

Instead of depicting the downsides of technology, such as an image of a group of teenagers sitting side-by-side and interacting only with their phones, brands can represent technology’s advantages. Additionally, its ability to connect people beyond any physical barriers.

GPS
Photo Credit: Talia Herman

Even with such an information-saturated visual market, Visual GPS offers brands ready-made solutions for reaching and maintaining consumers’ interests. All it takes is getting to know what speaks to consumers’ lived lives. 

Creative sanity: Everyday tools we need to stay one step ahead

Creativity may be in the mind but to implement it we need tools.

Every painter needs a brush. Every musician needs an instrument. Every entrepreneur a strategy book. Creatives need tools. So we asked our community what they use to stay one step ahead.

Focus on your sanity

Image result for american psycho tumblr

While it’s obvious that we need our brains to get things done, it’s often not obvious that we need to keep them healthy to do it.

Sanity is your number one tool to get through any day, project or job. Pain and other negative human emotions may help create great works of art, but what’s the use if the artist cannot enjoy some part of their existence?

Therefore, mental and emotional health trump all other tools in our pursuit of great goals.


Plan accordingly

Whether that’s through a calendar, a reminders app or a physical notebook, staying organized is an important tool to get things done.

Creativity can often be disorientingly abundant so we need some structure to keep the flow going. Google Calendar or iPhone Calendar are lifesavers.

Some of our creatives even create events for themselves, as reminders. Some apps are pretty useful as well. If you’re more of a visual person, the Notebook App provides great color coding and various ways of keeping notes and lists.

For others, nothing beats pen and paper, and the perfect notebook for creatives is a must.


Keep your goal hitlist organized

Keeping track of goals is essential.

Many of us use a simple table of weekly versus daily goals, and still, others will even plan months ahead. Setting deadlines for yourself keeps things going smoothly.

Checking on what you’ve gotten done so far is helpful to keep your workload realistic and your motivation high. We all love crossing things off our lists. Plus, productivity feels good.


Always find time to journal

Journaling is a tool that you can use in your professional and personal lives. And for creatives, those two tend to collide and blend into each other often.

Journaling your thoughts at the beginning and end of the day can help ground you. Asking yourself how you feel at the start and close of a busy day can ease some of that stress and help brainstorming become far less painful.

Taking time to check-in and actively writing your feelings down helps us validate them and even at times let go of negativity.


Find time to disconnect

Image result for bruce lee gif

We all know that feeling of grinding so hard that you burn out. While productivity feels good, mental exhaustion does not.

Creatives need to take time to disconnect from their work so that they can come back to it with fresh eyes and a fresh mind.

Whether it’s one hour of silence and meditation or just 20 minutes of calm and no social media, your work will thank you for taking that break.

Why King Saladeen’s extraordinary journey is motivating us to create

King Saladeen is no stranger to the Kulture Hub family. The contemporary West Philly-based artist has been on our radar for some time.

Our link ups with Saladeen have left us with fire interviews, exclusive access to his studio, and even a figurine of JP the Money Bear- a trademark of King Saladeen’s brand

While JP the Money Bear captures King Saladeen’s identity as a brand, similar to Nike’s “Swoosh,” it’s the artist’s journey of overcoming life’s trials and tribulations that are the truest form of his brand identity.

Never giving in to life’s adversities, King Saladeen has found his own formula or rather keys to success over the years. Although it’s been a tough road, the contemporary artist is committed to the grind. 

He has to stay motivated and his art seems to be the guiding force. Keeping a narrow vision and honing in on his strengths has placed Saladeen where he deserves to be.

So, there have to be some gems he’s picked up along the way. Of course, there are and as well as we know Saladeen he’s dishing out wisdom like candy.

If he has the keys to motivate himself to continue creating his highly sought-after artwork, then we guess it would be smart to listen in. These major keys can be adopted by anyone looking to keep the grind going. That is if you’re really about this life.

The king has spoken! Check out King Saladeen’s keys to the kingdom. These five (5) simple but major keys are: finding your support system; finding your purpose; never forgetting where you’re from; grinding for yourself; always standing out. 

Rather than going off on each of them, we’ll let the king himself do the honors. Tap into the video above to see why King Saladeen’s journey motivates us all to create in some way or another. 

How broke bois can get through tax season without anxiety

As the new year progresses, we approach tax season. For a lot of us broke bois, taxes make us uncomfortable and we procrastinate getting them done.

It’s one of the most adult things you can do, and chances are you follow in your parents or older relatives’ footsteps when getting them done.

It might be a blur, for those who got them done for the first time last year. You met up with a notary? A tax expert? You went to an office and brought your W-2, but probably still needed another doc.

Then you went to go get it, came back and just answered a question here and there and signed some paperwork, paid around $100 and went on your way awaiting your return.

While we all feel uneasy with tax season, here are some pointers on how to lighten that burden:


Take a look at last year’s tax docs

Chances are that you have a folder with a copy of last year’s taxes. Taxes seldom change in the grand scheme of things.

So have a look. Follow the lines and compare the numbers to last year’s W2 (the doc you get from an employer), or if you’re self-employed your 1099 Tax Form. Those numbers are punched into each required category, and the boxes tell you what math you need to do.

Now, you don’t have to go ahead and fill out this year’s taxes yourself, but it helps to face your fears of confusing looking paperwork.


Find a tax preparing place

It might surprise you but most communities have a free tax prep program. If you’re in the NYC area, look up Urban UpBound, or NYC Free Tax Prep through the ACCESS NYC website.

Some spots are in-person walk-ins or by appointments, others assist you in filing yourself. All of them are free if you make under $64k.


Try Online Tax prep

The internet makes nearly all things convenient.

Tax prep is no exception. If you’ve got a W2 and no other streams of income, you can get away with the free version of TurboTax. If you have several different types of income such as income from liquidating stocks, even from jury duty, you’ll probably have to pay $80-$100.

Plus if you do it with TurboTax they save most of your info for next year’s return.


Gather your documents ahead of time

You’ll probably need the same docs you needed last year, so have those ready. If things have changed, it’s better to be over-prepared than underprepared.

If you keep your receipts as a freelancer/self-employed individual make sure you go through those and identify the ones that helped pay for your employment/business. This includes supplies, advertising, travel.

If it was vital to the business there’s a chance you can get it deducted from your taxable income. If you sold stocks, you want to get those tax documents from your broker, or app or website.

They usually make them available by the end of February.


File early

Anxiety or laziness can cause you to procrastinate until late March. But if you wait that long you probably won’t make the best decisions. You might need to rush to see that tax professional, or you might miss a few deductions you have a right to.

So as soon as you have your documents ready, FILE. Because when you’re done with it, all you gotta wait on is that return. And everyone loves that tax return $$.

Artist Gregory Siff reminds us that there is ‘Evidence of Life’

Artist Gregory Siff is reminding us in his new exhibition Evidence of Life that despite the hardships in life, there’s a silver lining. And despite the thunderstorms of life, a clear sky calls us.

Our bodies and spirits sprint through the cacophonic rat race that is life in the 21st century. As soon as we rise from a night’s slumber, we’re immediately thrust into the schemes and happenings of the present day.


Social media and other media outlets fast track us to information that we may or may not want to be privy to at that moment. Whether we like it or not, we’re living in a hyper-digital world that seems to make the past feel obsolete.

It’s almost as if the memories of yesterday (for better or worse) become a faint whisper in the roaring winds of the present. 

As harsh as it may seem, the truth is the truth. The answer is no and living will always be an undulating sea of serene and tumultuous experiences. Life in itself will always be a brutal challenge only fit for those willing to adapt and survive.

Yet, Siff is reminding us that there is indeed evidence of a joyous life waiting for us somewhere in a land that is much closer than we think. Somewhere beyond the sea lies a place where we can pause life and relish in all that makes living worthwhile. 

While these words may read like they are from a C.S Lewis novel, they are more real than they appear to be. Where’s the proof, you ask? Look no further. There is Evidence of Life.

With residency throughout the month of February, Gregory Siff will be showcasing his exhibition Evidence of Life at the CASS Contemporary Gallery in Tampa, Florida on February 28.


In his traditional style, Evidence of Life will capture a “literal, yet open for interpretation of nostalgia and childhood.” Siff will be doing so through his “distinct emotionalism style” that fuses “unique elements of abstraction, pop, and action painting.”

The breadth of Siff’s artistic approach is made apparent throughout his catalog. Having worked with the likes of Pyer Moss’ Kerby Jean-Raymond, Balaram Stack and the MLB to Jay-Z’s Made in America and Yves Saint Laurent, Gregory Siff’s name speaks for itself. 

 

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Never stop. Photo @iamrickdelrio #gregorysiff #forthelove

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Rather than adopting the mentality of a defeatist, Siff uses his artistry as a gentle reminder that no mountain is too high to climb or valley too low to traverse. 

But such a statement needs firm backing. It’s one thing to say, “look on the bright side.” or “ there’s always a silver lining.” However, it’s another to live as optimistically as Gregory Siff does.

Luckily for us at Kulture Hub, we sat down with Siff and learned about his upcoming exhibition Evidence of Life and how it’s inspiring him to live life to the fullest.


How has everything been since you last spoke with Kulture Hub?

Gregory Siff (GS): Well the show in New York City in 2018 When You Were Little You Used to Color was the last time that we checked in.

The momentum has been real and it’s gone from making so many new pieces that have led to more collaborations. I did a huge collaboration and painted live for Major League Baseball at Complexcon last year.

Stance [socks] was through the summer. Stance flew me out to Japan to go paint live. We sold out of the collection there. I’ve never been to Tokyo before. I fueled up on such inspiration that you’re going to see in the new show.


I just really have been on a ride filled up with inspiration and it’s a good place to be. I painted a surfboard for Balaram Stack which he surfed and used in the Volcom Pipe Pro last year. I just found that art is finding its home on a lot of childhood dreams.


With your residency for “Evidence of Life” fast approaching, what has been your mindset leading up to this part of your journey?

GS: It’s great that you bring up the past. I did a lecture last night at the University of Tampa and I realized it’s been 10 years. It’s been a decade of me deciding to paint every day.


I was reminded of 2011 when I started painting for one of my first shows called the G Show 11-11-11 and I worked in a garage in Downtown LA. I didn’t have anything on my mind but building that show.

Now that I’m in Tampa, I’m getting the same sort of vibration and mentality of working in one space for four weeks straight building a show and having that kind of freedom. I’m in a very calm and excited headspace. I’m not trying to flex or impress. I’m just trying to say ‘enjoy what I put out there.’


How have you managed to keep the fire alive? What have some of your biggest inspirations over the course of your artistry?

Gregory Siff
@gregorysiff

GS: If you get stuck in rendition you’re going to be that same performer. You have to take ideas in your mind that you don’t think can come true and figure out how to do it.

I’m working with round circular canvases in the show. I’ve never done that before. I want that to be indicative of when people go, ‘Oh, that’s the Tampa show that happened at CASS.’

Sometimes we’re so in love with ourselves. Sometimes we go through the gamut of those emotions, but people don’t understand sometimes. So that’s how I keep the fire alive by new experiences like traveling. I went to Tulum. I went to Japan. I went to places that wake up your idea of what art is. 


As an artist who incorporates emotionalism in their work, why do you think your art leaves lasting impressions on your viewers?

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GS: I think that people understand the work in that nature because when I’m painting and telling the story, I’m thinking about the best times in my life.

I’m thinking about the people I shared them with. I’m trying to freeze those moments. I try to absorb as much as I can about what it is to be alive and put that into the crayon strokes and put that into the sprays.

You can freeze that sunset for just that moment. I also try to connect with my father when I’m painting. When I’m rocking and rolling, I know my dad’s up there dancing on the floor. I know it.


Who would you be if you weren’t an artist?


GS: I don’t want to know! The way that things happened and the choices that I made, I couldn’t see it ever going in a different way. I always said that I paint my way out of anything that happens in my life.

If there’s a problem I paint my way out of it. I can’t see myself doing something different. I’m still in love with it. I’m in love with artists. I’m in love with the way that they see the world. I’ll always know that there’s power in paint. 


As you start to garner even more attention, what keeps you grounded? What keeps you humble?

GS: What keeps me humble is knowing that you’re not the only one.

Everybody is the hero of their own story. You’re going through things and you get highs and lows all the time. When it’s low just remember to use that in the work. And when you’re up really high it’s a lesson, when you’re rockin’ and rollin’ like that. It could just be another moment.

 

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It’s okay because that’s what makes the work real. That’s what makes you appreciate the touch when you do have it. Treat every day like you’re the intern. You can’t sweat the small things and you have to be grateful for what you have.

There’s nothing better than knowing that you’re in a safe place, but you want to know something?! There’s nothing more exciting than not knowing what’s going to happen next and then you get in there and you’re like ‘I gotta paint to survive!’ You don’t want to get cushy.

You don’t want to be sitting in a comfortable chair too long. You want to get some cuts on your hand. You don’t want the full eight hours of sleep. You want that to show up on the canvas! 


What brings joy to you? What makes you happy?


GS: Rhythm! I like when the rhythm is going right. When music is giving me that and my brain starts clicking. The rhythm is what keeps me going. My girlfriend and the way that we want to keep going. She’s also an artist. We push each other. We drive each other. My friends make me happy. My mom.

Having everything all in order and then just exploding and getting all the paint out. Those “aha!” moments where you are don’t know where it comes from but there’s a trust and then you know what the piece is going to have. I love that.


Any last words for creatives or anyone?

 

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Burgertime. Photo @2wenty @chips_afoye #gregorysiff @4am_gallery #burger #siffstudio

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GS: Carry that notebook with you and write down all the things you want to see come true. Write it in there. How you see it. Draw it out. Dream it up. Get it out there. Get it on the paper and then bring it to life because it’s possible. Many have done it and that could go for work, for life, for art.

“There’s nothing better than that, you know.”

The voyage of life is a personal quest. There’s no universal manual or guidebook. There’s no one-size-fits-all solution to life’s challenges.

Life is the most personal experience that happens to you. It stands on the pillars of both the known and unknown. Uncharted terrains and waters await us. And though they can be daunting at times, always remember that your strength comes from within.

Your journey is yours to embrace and revel in. You are the star of your own [Truman] show. As Greg would say, “You’re the hero of your own story.”