Graffiti’s influence on an inspired street artist
Rising street artist Ra examines the politics, community, and dangers of graffiti, claiming it’s about resistance, identity, and survival in an industrialised world
In the busy, illuminating, and inspiring location in Waterloo called Leake Street Arches, Ra, an artist was doing his usual routine, experimenting, and leaving a mark at a new location.
He told us his view on authority, community, and the political aspects of graffiti. With insights and opinions, that some would deem controversial, he was firm and his belief and values, which could inspire others and provide a distinct perspective to those in the street art field.
Ra uses a mix of bubble and brushstrokes to create a bold, fun, and colourful final piece. The COVID-19 shutdown marked the start of his journey. Despite having a background in the arts, he emphasised the distinction between graffiti and conventional tools, saying, “You kind of aim at a spot and figure out how to move it. I was always amazed by that skill, but I never thought I could do it,” he said, referring to spray painting as “telepathy.” The capacity to try new things, start over, and make mistakes was what attracted him.
Graffiti soon evolved into more than simply art for Ra. He demonstrates that the spray can is more than just a tool and that it promotes his wellbeing: “So this, this little thing here [spray can], with the little cap that I put on, has been so important for my mental health.” Additionally, it exposed him to a different social setting.
“Connect with people and make mistakes in public that everyone can see,” he suggests, implying that accountability and visibility help him stay grounded while he grows and learns from his missteps.
He describes the culture as “dangerous and messy,” with its own politics and issues, acknowledging the contrasts within it. He feels that although graffiti is fundamentally illegal, it has been influenced by generations of artists who have built upon each other’s creations.
He contends that artists ought to be proud of their work and regard it as sacred. He considers the reality of contemporary life at the same time, pointing out the difficulties of living in a capitalist society by saying that “we are just selling ourselves” in order to keep up.
However, in the current environment, we have witnessed many collaborations between enterprises and street artists. While Ra feels that “selling ourselves” has bad connotations, other artists, such as Kaws x Uniqlo, Keith Haring x Swatch, and Shepard Fairey x Obey, may see it as a push into the mainstream or a necessary way to keep up.
Ra acknowledged that his viewpoint might be “controversial” when asked if there should be more legal venues for artistic expression. He clarified that, to the best of his knowledge, big boroughs already have designated spaces, and he does not necessarily see the need for more.
He believes that graffiti is more about something else. He claims that “it’s not supposed to be curated street art” and characterises it as “taking the space and being against authority.” In this way, resistance rather than acceptance defines graffiti.
By Ainara Darwin and Sofiia Barantseva