Photo by Hargo
You could say I’m slightly obsessed with the Wall in Central Square. It’s sort of the same way I feel about certain bands, or certain musicians. Like when I’m watching a really phenomenally great band, and it’s maybe a band that not many people have heard of, or that isn’t making any money really (that’s pretty much everyone nowadays), and I get to witness That Moment. The moment where someone is just totally and completely lost in the music – hunched over, or crawling on the floor, or shaking their head, and sweating, and just totally oblivious that anyone is watching, because they are so absorbed and enamored by what they are creating, and I’m sort of caught up in it, too – well, those are my favorite moments. It’s amazing and slightly overwhelming, even just to witness, especially when it’s people I know or am friends with, because I feel suddenly feel so in awe of them that I don’t even know what to say afterwards. “Great show?” “Thanks for spilling your guts out on stage for no apparent reason other than just to do it?” And this is what makes me love music.
And that’s the same feeling I get from street art. When you walk into the alleyway by Central Kitchen that encompasses the Wall, it’s like the visual incarnation of that moment. Honestly, I think I have a stronger emotional reaction to the wall than to the Louvre or the nine million churches I was forced to visit for art history classes in Italy. I’ve always been more of a modern/20th-21st century art gal. The Mona Lisa, etc. always felt sort of dead to me, not just in the sense that the artist is literally dead, of course, but it just didn’t really speak to me in any way that later art, also by now-deceased artists like Mark Rothko or Matisse could. Obviously there is a place in this world for fine art; there’s a whole chain of influences in place. But visiting the Wall just feels so now. It’s truly imaginative, put there for no other reason than to create art, and all you have to do to see it is walk down the street.
So, when I heard about the latest show at the Distillery Gallery, in South Boston, I knew I had to write about it – just based on the list of names alone: Hargo, Dark Clouds, Buildmore, Kenji, Noir Boston, Alphabet Soup…
From today’s Phoenix:
“Not long after walking into the Distillery Gallery on a Monday evening, Thomas Buildmore removes two painted-over NO PARKING signs that had been screwed into the wall. “This show isn’t about street art,” he says.
If it were, “we’d have some cliché conversation about street art versus fine art.” Moments prior, I’d had that cliché conversation, with Cantabridgian artist Morgan Thomas. We agreed that “Paint It Now” — the show that opens tonight at the first-floor alt-gallery in the Distillery, South Boston’s living space-cum-artistic haven — is street art moved into the fine-art world. It’s just a change of location, with the added luxury of time, which most street artists — who are constantly looking over their shoulders — lack.
Buildmore’s sentiment is a surprising one, given that the show features a dozen or so artists, many of whom use city walls as their canvases. He and Thomas, who are part of a collective called Overkill Studio that’s based in the same building, organized the show with Scott Chase, the director of the Distillery Gallery.
The idea behind “Paint It Now” is simple: give two white walls and an unending supply of black paint to several of Boston and New York’s young artistic talents, and see what happens.”
Read the rest here. (Or come to the opening tonight.) Also, I took a film making class, and made my first ever movie at (you guessed it!) THE WALL. I’ll post that eventually.