The philosophy behind group street art

In the early 1990’s Shaya Weinberger and Chef Coka started “Street Art Exploded”, a graffiti-group which became one of the most famous groups in the era. What is interesting is that this group functioned differently than other groups from that era. The openness of this graffiti-painting group is what was unique. Other groups tried differentiating themselves with the same specialty producing some interesting mixed ideas on graffiti in the United States. LJB and Mill are graffiti artists who have joined “Street Art Exploded” and are prime examples of this phenomenon. When they arrived, they started opening up to the other members of this community, but had a different picture on how the graffiti culture works. The group initially accepted their presence, but this has led to some interesting conversations and philosophies. ”Street Art Exploded” practically could resemble any middle-aged group, where the people are on an intersection between numerous cross-routes. That magic of extreme openness cannot be found in the modern world, but it was used in modern subcultures. It is an object of permanent disputes and opposites philosophies, where the discussion never really ends. Situated in a group this open can lead to chaos, simply because the attendants in the group have different attitudes and expressions. But this is also the driving force behind the group - diversity, rather than similarity. This way, a group of artists became a real beacon of fresh ideas and bright colors on the streets".

Objectivity and the pursuit of that objectivity was a common theme for all members of the group “Street Art Exploded”. Unlike Weinberger, Chef Coka believes that redemption should be the prime motive for painting graffiti. He perceived redemption through faith and through religious light that shines from the holy aura. This can be seen in his paintings and LJB’s paintings as well. However, his are consisting of dark scenes of suffering and pain, through which we can see how he was prepared for his own suffering.

This may sound medieval or baroque, but these ideas actually cycle in art and can be seen in other graffiti artists and groups as well. Shaya’s darkest moments can be seen with an “Interstellar” tone, which should not be confused with defeat. He has repeated times and times again that his personal connection with objects (most notably buildings, towers and other open spaces) is the thing that drives him forward. He says that this is how painters from the past have been inspired, and this is how he is inspired. On the subject of openness of his group he says that this was the fastest and most certain way for ideas to flow freely, and for people to rediscover themselves or to find some other, elevated meaning.

This may have been the prime motive of the graffiti-painting group back in the 1990’s, when times were a lot simpler.

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