Posts tagged Street Art
Bianca Romero
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The work of contemporary mixed media artist Bianca Romero is a study in fusion and contrasts. Blending together a vibrant potpourri of wheatpaste, acrylics, typography, and miscellaneous textures, the NYC-based creative conceptualizes each of her painterly collages as a literal metaphor for personal identity, speaking to the idea that all individuals are a byproduct of our singular lived experiences, relationships, and environments. Bianca is also heavily influenced by her biracial heritage, being half Korean and half Spanish. Raised by a graphic designer and fashion designer, artistic expression always played an integral role in her life, beginning at a very young age. With an extensive background in experiential marketing and event production, she is passionate about creating opportunities for fellow multi-disciplinary artists through the development of unusual curatorial projects and brand activations.

Throughout the month of June, Bianca is partnering with Effen Vodka onArt Ambush” , a pop-up event series featuring a rotating roster of New York City's most influential street artists including Crash, Sen 2 Figueroa, Vers718, Eric Inkala, Keli Lucas, Lexi Bella, Cern, OG Millie, Turtle Caps, and Bianca herself. Recently Bianca completed work on two new mural installations for the William Vale Hotel rooftop and the Legion Lighting Factory.

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Evoca1 Artist Feature | Moniker Art Fair
Image courtesy of Evoca1.

Image courtesy of Evoca1.

We’re just a few short weeks away from Moniker Art Fair which will be held May 1-5, 2019 in New York City. The international fair’s 2019 exhibitors include some of the world’s most renowned urban & contemporary artists and galleries in booth exhibitions as well as solo presentations and installations. 28 exhibitors and four special projects, hailing from 13 countries around the globe, will present work in alignment with this year’s theme, Cause & Effect, which examines our shared roles and commitment to addressing the current state of political, social and ecological issues. Create! will be providing coverage of the fair, but we’re also excited to be bringing you a sneak peek at some of the artists who will be highlighted at this year’s NYC edition of Moniker. Last week we introduced you to WK Interact and this week we’re sharing the incredible work of Evoca1!

Image courtesy of Evoca1.

Image courtesy of Evoca1.

Evoca1 was born in the Dominican Republic, where he spent most of his childhood drawing on walls and playing baseball, until eventually moving to Hollywood, Florida at age 11. 

As an autodidact, he has received his art education from the compulsive study of the old masters’ works and techniques. His pieces are a personal reflection of his life experiences, as well as observations of human behaviors and social struggles.

He currently lives and works out of South Florida, where he continues to develop his craft and research of figurative painting. In recent years, this mainly happened in public spaces where he has painted large-scale murals. His interaction with the local environments has been essential in generating the concept of his work.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

For more information about Moniker please visit their website and follow along with Evoca1 on Instagram.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

WK Interact Interview | Moniker Art Fair
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Create! Magazine is a proud partner of Moniker International Art Fair which will be held in May in New York City. Moniker shines a spotlight not only on young and emerging artists, but also on leaders in the urban and new contemporary art movement. For the forthcoming iteration of the fair, they will be highlighting one of NYC’s most recognized wheat pasting artist, WK Interact. Originally from France, WK Interact has been working in New York for over 20 years. Read our interview below to learn more about his work!

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Tell us about your background. Were you interested in art as a child or did you come to it later in life?

Well, I started to draw when I was 8 years old as my father was a painter. I think I became passionate about art from seeing him in his studio.

What brought you to New York?

I was first in New York when I was 13 years old, but did not have a chance to visit as I had only landed there for a connecting flight to Miami. I came back at age 16 in 1982 and it ended up having an incredible impact on me. My flight arrived late at night and I only knew the address of my hotel on 82nd street near Central Park. Of course, it was the cheapest place to stay and the worst hotel at $15 per night. I spent the next three months traveling all over the state using Greyhound buses and after this, I decided to focus on creating art ‘in motion’. At the age of 18, I came up with a process of making distorted images using a Xerox copy machine which helped me find my signature style. After placing many canvases in my hometown in the south of France illegally, it was obvious to me that the best city to create that sort of interaction with my work would be New York. I ended up living in the city for many years and became a french New Yorker. I’m still living there today!

How has living there affected your work?

Living in New York for me was important to just be there and connect with the city. For my work, I feel that it becomes part of an event or a corner of the street. Even I start to blend in with my work by wearing all black clothes.

Can you explain your interest in figures and your unique techniques to create your work?

My work is based on the following concept: First illustration, then the location, then the motion interacting with the scale of the building. My real motivation is film. I decide to use the street to recreate a story and take photos with people passing by. The interaction part of my concept and process is where I came up with the name WK INTERACT.

What are some of your inspirations?

Sculptors and photographers like Calder and William Klein as well as the film industry including French Connection, Blade Runner...and so many others.

What will you be exhibiting at Moniker?

I  will have one large work and 8 posters plus a large print directly installed on a wall.

Besides showing with Moniker, do you have any other projects this year you'd like to share?

Plenty of projects, but I can’t mention anything yet :)

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Moniker Art Fair has earned a reputation as one of the most exciting contemporary art fairs with it’s roots embedded in urban culture. Learn more by visiting their website or follow them on Instagram.

Spotlight: Stencil Exhibition at Hashimoto Contemporary
Eelus

Eelus

April 6th - April 27th, 2019

NEW YORK CITY - Hashimoto Contemporary is pleased to present Spotlight: Stencil, a group exhibition surveying contemporary stencil art. The exhibition features an international roster of artists who push the boundaries of the medium both inside and outside the studio.

Eelus is a UK based mural artist and screen printer. An early member of the street-art bastion Pictures on Walls, Eelus is a contemporary of Banksy, Shepard Fairey, Hush, and many more working in stencils.

Jana & JS are an Austro-French duo whose work merge their shared passion for photography and urban environments. Inspired by the city, its architecture and inhabitants, their work focuses on urban landscapes, portraits and details of architecture.

Joe Lurato,

Joe Lurato,

Joe Iurato is a multidisciplinary artist whose works are built on a foundation of stencils and aerosol. Falling somewhere in between simplistic and photorealistic, his multi-layer stencils offer a distinctly clean and illustrative aesthetic.

Mando Marie

Mando Marie

Mando Marie is known for her graphic work, which uses images of tales and repetition of motifs to inform the compositions of her paintings. Her works play with elements of both the spooky and nostalgia.

OakOak is an anonymous artist who transforms everyday objects, utilizing them for his cleverly placed imagery, creating works that are a combination of humor and urban poetry.

Oak Oak

Oak Oak

Penny finds inspiration in everyday objects and often overlooked ephemera, but currency is the most prominent recurring theme in his work. He has received global critical acclaim for his hand cut, extremely detailed stencil work.

This exhibition will be on view through Saturday, April 27th. A limited edition 7-layer screen print titled Red Dress by Eelus is scheduled to be released in conjunction with the exhibition and will be available in person at the opening. For more information, additional images, or exclusive content, please email nyc@hashimotocontemporary.com

Jacquie Comrie
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Jacquie Comrie is a multidisciplinary, whose colourful work has been making a global impact, using colour as a main tool for social change and mental health at large. 

Whether as murals on buildings, large scale structures or canvases,  her work has a  wellness approach, that combines scale, movement, and colour to transform city scapes while catering to the mental well being of its communities.   

Comrie’s colour palette s  are deliberately orchestrated aiming to repair, heal, uplift spaces and minds. With mental health issues on the rise across the globe, her work continues  contributing to much needed inclusive public spaces, aiming to ultimately unite and  improve lives of all individuals. 

FUNQEST
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Street artist FUNQEST was born and raised in Gifu, Japan where he was inspired by anime and manga. Following a tumultuous lifestyle as a rock musician in his 20’s, he relocated to East Harlem and set his sights on a career in street art. Guided by a universal vision and his love for Buddhist philosophy, his canvas works and murals exude an eclectic swagger and wide-eyed fearlessness. FUNQEST’s intricate aesthetic draws influence from the Nipponese culture of his homeland, infused with a psychedelic twist that recalls geometric designs of the ancient Inca civilization and the Kool-Aid colored brilliance of the Africobra collective. Weaving in social commentary and personal mantras of empowerment, his distinct imagery speaks to the “solider of love” within all of us. FUNQEST exhibits artwork at galleries, cafés, and pop-up exhibits throughout New York City as well as across the US and Mexico.

Words by: Nathalie Levey

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Jessica Curtaz

Jessica Curtaz is a Philadelphia-based street artist and arts advocate. She transforms public space through installing crocheted weeds, insects, real and imaginary creatures, and other, over-sized flora and fauna onto the urban landscape, bringing a feminized craft out of the home and onto the streets. 

Born and raised in California, Jessica holds a BA in both plant biology and fine art from the University of California at Santa Cruz. Her background in science, and early career as a researcher at UCLA, collecting water samples off a boat in the Santa Monica Bay and staring at diatoms through a microscope, has been a huge influence on the subject matter and style of Curtaz’s work. She plays with and distorts natural elements, elongating forms, tweaking shapes, and creating the macro out of the micro.

Being seasick for two years prompted a career change. Jessica completed her MFA in drawing from Claremont Graduate University in 2006, shortly before moving to Philadelphia. Jessica now works as a teaching artist, specializing in adaptive teaching methods to special needs populations including the blind and visually impaired, and adults and children with physical and intellectual disabilities. These classes focus on art both as a creative outlet and a vocation. She is an advocate for increasing the autonomy of marginalized populations as well as strengthening their voice in the larger community. To these ends she has led several public art projects, including a knit bombing installation with students at the PA School for the Deaf focusing on de’VIA (Deaf view/image art) principals and the specifics of communicating when deaf. She also organizes community volunteers to participate in her classes, work with students with disabilities and further increase understanding and communication between differently abled populations.

Statement

My work challenges the boundaries we impose around art, making it accessible to everyone. I take a practice often considered as feminine domestic craft and bring it into public space, imposing my imagination and “feminine” perspective on the urban landscape. I crochet giant weeds, insects, real and imaginary creatures, creating oversized fantastical renditions of flora and fauna, that I install, with and without permission, on chain link fences, city lampposts, and, occasionally, gallery walls. My public installations play with scale, with subject, with context and location. I spend just as much time crocheting paper airplanes that will last less than 24 hour on a chain link fence as creating a giant garden for an interior space. I am interested in navigating this struggle between creating ephemeral works, in unexpected outdoor locations, and more solid, more permanent pieces.  I am interested in challenging how location equates to monetary value. What does it mean when a crocheted nasturtium is installed on a gallery wall versus when it appears outside that gallery on a chain link fence. I want to make art a part of people’s everyday lives. I want someone to be confronted with a seven foot crocheted praying mantis on their way to work, or for the fence around their parking lot to suddenly sprout giant dandelions. These pieces incorporate humor and escapism into an explicitly political feminist project, blending the banal with the fantastic, the domestic realm with the public sphere.



Seth Remsnyder
“Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake.”
— Kurt Vonnegut

Seth Remsnyder began seriously painting in 1996 at the behest of his high school art teacher, Mr. Charles Acri. “Ack” as the kids sometimes called him would put Seth in the hallway with two talkative classmates for models, have him stretch a canvas and paint for the entirety of his art classes and study halls. The good teacher taught Seth to paint expressively and to avoid “worrying about likeness for now and to just paint.” And his soul grew. He then pursued his Bachelors Degree in the Fine Arts from the Pennsylvania School of Art and Design, graduating with the BFA in 2001.

After a rather drawn out and confusing hiatus from painting after graduating college, in 2008 Seth began to paint again. It was in late 2009 that Seth began to experiment with the work that he is now involved with. Seth is now enrolled in the MFA program for painting at the Savannah College of Art and Design and working in the Automotive Restoration Industry.

Seth is married and lives in Maryland with his wife and is a Dad to three little girls and one little boy in heaven. Seth’s hope is to continue painting come hell or high water and his utmost hope is that his soul will continue to grow.

Statement

My current body of work is titled: “Signage”. These are paintings on metal pieces like signs. The paintings are non-representational works focused on color, arrangement and movement. Some are placed on sign posts and installed in the public to play off of the signage that covers our communities. The intent of this body of work is to place serious works of visual art in a public context that deals with the concept of taking notice of the world around us. Signage is intended to grab the attention. So is visual art. The difference is often the context. Why do we so often miss what we are supposed to see when we are out in the world? Is the benefit of visual art in the public space the benefit of helping us remember how to see? I propose that it is. My current work aims to play off of the concept of signage to confront the public with visual art work in the public spaces that we traverse and all too often ignore. Perhaps most important is the basic idea that works such as these hold the possibility of brightening the days of the residents of our communities.

We Were Wild: Interview with Risa Friedman and Meredith Feniak

By Sarah Mills

We Were Wild's paste ups celebrate often overlooked urban architecture, mostly from the metro Denver area. Scenes that we might pass in our everyday lives - our alleys, homes and businesses - are elevated and honored. The changes and development happening in our city today are combined with Denver's history through the use of calico fabrics, which represent the Western Movement. Mixing the paper image (parts of our work are printed on Tyvek for stability) and the dimensionality and movement of fabric, We Were Wild creates whimsical, interactive street art installations.

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Tell us What We Were Wild is and how it started?

We met through Denver’s art scene, and instantly saw that our aesthetic, although expressed differently, was actually quite similar. We both love when nature and architecture intersect, finding beauty in hidden and unexpected places, public art, and collage. Our desire to create work accessible outside of galleries meant street art was a natural fit.

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Where do you draw inspiration from?

We realized that we often notice the same urban details, stopping at the same time to take a closer look. For We Were Wild, these moments always involve architecture - ranging from busy demolition sites to quiet corners where nature is slowly peeling away paint and coming up through cracks. Our favorite sites are often aging but have strong lines, color and texture. We are drawn to places that are usually overlooked despite being located in heavily trafficked areas.

Once we begin the process of printing and collaging elements, the images become imaginary habitats for flora and fauna with working doors and windows and folded fabric curtains. As children, we both made doll clothing and built dollhouses. We are reminded of those days when working among piles of architectural images and fabrics in the studio.

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What mediums do you typically work in for this project?

Photos printed on regular paper and Tyvek (to make the parts of the paste ups that open, such as windows and doors, more durable) combined with fabric and haberdashery make up our collaged paste-ups. We use traditional wheat paste or a gel medium when we want them to last longer.

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How do you decide where to paste your work?

Other wheat paste artists taught us about the “rules” of street art. We paste on dumpsters, and temporary walls/windows that are already partially covered with bills. We also paste on private walls where the owners give us permission or request a piece. Part of our practice includes not covering up other people’s art and tags. 

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What do you hope the viewer takes away from your work?

We want to help viewers see everyday places in a new way - to notice color, lines, and textures they might have missed in the past, but in a fun and whimsical way. This is why we cut up the photos and often collage them back together in unexpected combinations. Art should be more accessible, so we bring art to the people on the streets and invite them to physically touch our pieces, opening the doors and windows and feel the texture of the fabrics. We are especially excited to see children discover that our street art is interactive.

What is the biggest lesson you have learned from this project?

Both of us, a photographer and artist/illustrator, had to adjust to the fact that we do not have control over the final outcome. Whether it is the fact that there are two of us making decisions in the collaboration, altering the layout to complement cracks in the wall, pieces blowing away in the wind, or pieces being ripped away, we have learned to love the fleeting nature of the initial idea, its execution, and eventual destruction of the installations.  Once we were able to fully accept this, we saw that it fit with our initial concept of appreciating the wildness of both manmade and natural constructions.

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What is the best piece of advice you have for an artist looking to utilize public spaces in their work?

There’s always an element of unknown when you work in public spaces. We’ve learned to appreciate the need to improvise as we don’t know exactly how a wall’s texture will change our piece or exactly how much room there will be to paste or how the weather might change how quickly the glue dries. We’ve also learned to not get too attached to each piece. Who knows how long a piece will last before somebody tags it or rips it or the colors begin to fade. We give each piece to the public and then it takes on a life of its own. That’s the beauty of street art; it can be fleeting and pieces often change quickly. There’s a constant collaboration with the weather and animals and residents and other street artists.

































































 

Amberella

Amberella is a Philadelphia based mixed media and street artist. Most of her work is conceptual and often comments on popular culture, body image, social justices, or lady drama. She draws inspiration from past and present personal life experiences. Her work, raw and vulnerable, seeks to touch on the viewer’s emotions and evoke feeling upon first glance. Amber Lynn holds a BFA in Photography from the University of the Arts, where she has also taught. She has been showing her work in Philadelphia and beyond since 1999 and also other artists works at her prior gallery and boutique, Amberella. She was awarded Rad Girls Artist of the Year 2016.

Michelle Angela Ortiz

Michelle Angela Ortiz is a visual artist/ skilled muralist/ community arts educator who uses her art as a vehicle to represent people and communities whose histories are often lost or co-opted. Through painting, printmaking, and community arts practices, she creates a safe space for dialogue around some of the most profound issues communities and individuals may face. Her work tells stories using richly crafted and emotive imagery to claim and transform “blighted” spaces into a visual affirmation that reveals the strength and spirit of the community.

For over eighteen years, Ortiz continues to be an active educator in using the arts as a tool for communication to bridge communities. As a highly skilled muralist, Ortiz has designed and created over 50 large-scale public works nationally (PA, NJ, MS, NY) and internationally. Since 2008, Ortiz has led community building and art for social change public art projects both independently in Costa Rica and Ecuador and through the United States Embassy as a Cultural Envoy in Fiji, Mexico, Argentina, Spain, Venezuela, and Honduras. In Cuba, she completed the first U.S. State funded public art project since the re-opening of the United States Embassy in Havana in 2015.

Ortiz is a 2018 PEW Fellow, a Rauschenberg Foundation Artist as Activist Fellow, a Kennedy Center Citizen Artist National Fellow, and a Santa Fe Art Institute Equal Justice Resident Artist. In 2016, she received the Americans for the Arts' Public Art Year in Review Award which honors outstanding public arts projects in the nation. She is also fellow of the National Association of Latino Arts and Culture Fund for the Arts (2011), recipient of the Leeway Foundation Transformation Award (2008) and Art & Change Grant (2013, 2012 & 2006.) She holds a Bachelor's Degree in Fine Arts from Moore College of Art & Design and a Master's Degree in Science of Arts and Cultural Management from Rosemont College.

The Complexity and Intricacy of Graffiti Tags: Interview with Stef Sutton

Stef has been practicing photography for about 10 years, starting with film in college. She gained an AA in Photography and later a BA in Art History and Museum Studies. Since then, she has worked with various Philadelphia museums and nonprofits such as the Penn Museum, Rosenbach Museum & Library and the Stedman Gallery at Rutgers University-Camden. She currently works full-time as Executive Assistant at the National Museum of American Jewish History and serves on the board of AIGA Philadelphia—a local chapter of the National graphic design organization—as Communications Director, practicing photography in her free time and through her travels around the city of Philadelphia. 

Statement

The birthplace of graffiti and home to its own unique style of writing, Philly is filled with various forms of street art, yet tags are often the most overlooked form of street art, often appearing on (and quickly disappearing from) dumpsters, construction equipment, and the walls of abandoned buildings. In photographing tags, I hope to highlight the complexity and intricacy of this artform and the diversity of the artists that create them.

By Sarah Mills

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Tell us a little bit about your background in the arts. 

I’ve had a love for art and have a B.A. in Art History. I’ve worked in various Museums and nonprofits and have been introduced to many different forms of art. Art is something I’ll never get bored of. 

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Were you always interested in tags? What was it that drew you to them?

I’ve always been interested in graffiti in general and tags seemed like the very underappreciated form of graffiti. Everyone likes the big, colorful pieces but less people notice tags—which are just about everywhere. Philly’s tags are surprisingly intricate and are unique to the artists creating them. I love when I’m able to recognize tags throughout the city. I’m trying to figure out a way to add that skill to my resume.  

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How has photographing artists tags helped you connect with that art community?

Taggers aren’t easy to find when they’re even on social media, so in attempting to attribute tags to the right people, it takes research and asking around which in turn has helped me connect with the community. 

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What is your favorite part of your artistic process?

I’m still new to this world of tags, so my favorite part of the process is when people—artists and/or other graffiti enthusiasts—help me identify tags when I post on Instagram.  

What is the best piece of advice you have been given in your art career that you would like to pass on to our readers?

I hate the word networking, but it really is the best advice I’ve been given and pass on. Attending gallery openings and other art events is the easiest way to meet other creatives. But even if you aren’t meeting people in person, finding creatives on social media and following their work is really inspirational—it’s also how a lot of really cool collaborations can start.

In your bio you state that you practice photography in your free time, how do you find balance and make time for your art?

I carry my camera with me every where I go, which makes finding time to practice A LOT easier. I can shoot before work, during a lunch break, or on my way to a meeting or event. I’ve also found that having a hobby outside of my regular 9-5 job has been beneficial to my mental health so I really do make an effort to make time for photography whether it’s actually shooting or researching and discovering other photographers.  

What do you hope viewers will take away from your photographs?

I hope that my photographs encourage people to find and appreciate all forms of art. There’s something oddly beautiful about a sharp, crisp tag on a blank wall, door, or dumpster.

Laura Storck

Laura Storck is an award-winning fine art and event photographer who is devoted to documenting timely discoveries of spot news, street art, mannequins, or the simply bizarre.  Laura completed her Certificate in Digital Photography from the University of the Arts in Spring 2016 during which she served as a photography apprentice for the City of Philadelphia Mural Arts Program and the Communications + Marketing Manager at Da Vinci Art Alliance (DVAA).   By day, Laura is a scientist for GlaxoSmithKline.  When she isn’t photographing, Laura can be found spending her free time in art galleries, basement punk shows, the library, or walking the streets of Philadelphia.

Statement

Hope is an instinct, a feeling, an impulse, and an insistent reflex in the face of adversity and despair. As a testament to human optimism and resilience, our sense of hope manifests itself in our surroundings - every single day - in its awesome power. A belief that every one of us has value is within both my conscious and subconscious guiding principle.  Hope is the language of our human energy as it strives to find the willing eyes and ears of others, and the acceptance that comes from one person paying another heed.

Ali Williams

Ali M Williams is an artist from Philadelphia. She has exhibited her work and murals internationally, and has created art-based curriculum for use in schools and community workshops throughout the Greater Philadelphia area. 

Ali is interested in how visually altering a space with public art affects the surrounding environment. Her murals invite you inside a collaged, fabricated dreamscape of paint, mysterious beauty, and contemporary iconography. Her work touches on the complexity of the human spirit; she often utilizes the female portrait as a means of self-reflection and identity. Her advocacy for environmental and wildlife conservation are also prevalent in her paintings. She regularly uses negative space, juxtaposing methods and visuals to help tell a story. Symbolic elements, graphic imagery, and muted tones in contrast with vibrant colors and realism are frequent components of her workShe has worked with numerous education and community outreach programs such as Cancer Treatment Centers of America, The American Foundation For Suicide Prevention, Riverside Correctional Facility, Zambia Tukongote Community Projects, The Philadelphia Animal Welfare Society, and Mural Arts Philadelphia. Some of her most recent clients include Zappos, The NFL, New Balance, Nasdaq, and The Schulson Collective. 

See more of her work at www.alimwilliams.com and get an inside peek on her instagram: @alimwilliams.

Catherine McMillan

Catherine McMillan (BSc, MSc) is a Canadian self-taught stencil artist from Ancaster, Ontario, currently living in Seattle, Washington.

Catherine’s propensity for high level detail is demonstrated aptly through her hyper-realistic paintings of urban streetscapes. By focusing on the instability of public spaces, which often goes unnoticed, Catherine’s work explores a heightened awareness of the minute changes that are perpetually occurring in and to a space. She is drawn to the challenge of translating the energy she personally feels in these spaces, whether they are silent or bustling, into intrigue in the viewer.