In the summer of 2016, we tore through the United States at breakneck speed. From Chicago, to San Diego, and back again in just a few days, walls were sprayed, Lak cans were emptied, blackbooks were sketched in, and sleep was lost. With such a hectic schedule, there was no time for street bombing, no time for Philly cheese steaks, no time for exploring, no time for Brooklyn Lager, no time for fried chicken, and certainly no time for fun.
Last year we got over to China a couple of times for some factory visits and the ‘Meeting Of Styles’ event in Hunan Province. We have mad love for China; the people are as nice as they come, the food is dope and the landscapes can change from the urban concrete sprawl to subtropical jungles on just a short drive. Most of all, we love linking with the writers in China; Graffiti truly is a global visual language that knows no barriers – style can’t be lost in translation or misinterpreted.
Here you can see parts of the Green Villain Demolition Exhibition, check it out!
In November 2014, as the people of the United Arab Emirates were gearing up to celebrate their 43rd year as a country, the Ironlak Family set off towards the Middle East from their respective corners of the globe. In Dubai the Lak Fam joined over 100 artists from around the world in an ambitious attempt to set a new world record for the “World’s Longest Graffiti Scroll”.
Titled ‘Rehlhatna’, meaning ‘Our Journey’, the main feature of the event was a ridiculously long canvas on Jumeirah Beach which was stretched into the shape of the country. The artists were asked to create work which reflected the past, present and future achievements of the UAE.
On the final day, an official judge from Guinness World Records measured out the scroll at 2245.4 metres and declared the new world record set.
Over the course of five days, JURNE caught up with Selina Miles to explore the neighbourhoods, train tracks and underground tunnels found in Oakland, California.
‘Science-ism’ also offers a glimpse into JURNE’s studio output, illustrating the connection between his work on the white walls of a gallery and the concrete walls of the city.