Sunday, February 17, 2013

A LEGEND SPEAKS: COPE

Graffiti legend Cope2 speaks to Erb about his history in the New York City scene, his turn to the art world and more


When you think of New York, as we have in this issue of Erb, an almost never-ending list of cultural institutions come to mind. There’s Times Square, the Yankees, the Empire State Building, Broadway and, of course, the Wu-Tang Clan.

Also high on the list for anybody with a mind for hip-hop and artistic mind? Graffiti.

The aerosol art has seen its share of changes over the years, but New York has always been regarded as its birthplace and, generally, its epicenter. Graffiti went from underground to outlawed to commercially viable. It’s changed, evolved, morphed and, eventually, became an in-demand artistic commodity.

So when we wanted to talk New York City graffiti, we looked to Cope2, a tried and true legend of NYC’s scene. As he’ll tell you, he’s grown up and moved on, taken the style he learned on subway cars in the early ’80s and honed it for the fine art and commercial world of 2012.

Now in his mid-40s, he’s shown his work at galleries in New York, Tokyo, Paris and is gearing up for a show in San Francisco later this year. He’s been in a video game, created his own shoe, worked with Time Magazine and much more. And it all started from painting his name on trains.

“Graffiti is pretty much done for me,” Cope2 says from his home in upstate New York. “But it’s always in my blood.”

In a candid interview, we talked to Cope2 about the New York City graffiti scene he grew up in, how it’s changed over the years, his transition into the art world and more.

First and foremost, Cope2, thanks for taking the time to talk to us. How's 2012 been treating you thus far?
So far, it's been a blessed year, considering my art has gone to another level. At the beginning of the year, I had a solo exhibition in Paris called Cope2 “Defiance.” It was a pretty amazing turnout. We had a private reception and everything sold out. The paintings I do are totally different than the normal Cope2 burners and the Cope2 bubble letters. I still keep my traditional style that I’ve been doing for 30-plus years, but it's more mixed-media painting. I guess the French loved the show. That was a good way to start the year. I've got another show coming up in October. So 2012 has been pretty good -- artistically and personally. I can’t complain. God has been good.

For any of our readers who might not be familiar with your work -- we're not a graf mag, after all -- please give us a brief introduction?
I would introduce myself as a Bronx graffiti legend. I started writing graffiti in the late '70s and early '80s in the New York subways, watching the legends before me like Comet, Blade, Mitch 77 and Pnut2. Watching them inspired me to write on subway cars. Throughout the years, around 1988 and 1989, the subway graffiti era died. I moved onto bombing the streets. Through all five boroughs, I was bombing everything. I would just do my name everywhere. Through the ’90s, we used to do more burners, production walls, honor walls. We’d get together with graffiti writers from all around the world. When they came to New York, we'd get together and paint. That's how I made a name for myself: from the subway cars into into the streets and now I’ve transitioned into art galleries, auctions and museums all around the world.

Looking back at the legendary career you've had, what are some of the most memorable moments?
Stealing the spray paint and then going right to the train yard to paint. That was the ultimate thing. Being in the train yard for hours. Then the next day waiting for the trains to roll by and your name would roll by. That was the exciting. People who lived it, know what I’m talking about. It’s an electrifying feeling.

Anything more current?
When I did something for Time Magazine, back in 2005, which was huge. A lot of people were talking about it. It was all over the news. My Adidas collection also, which came out in 2007. I've done a lot of other things, but those were pretty big. Also the Marc Ecko video game, “Getting Up.” That was huge.

In recent years, your work has transferred into the art realm, with shows in places such as Europe, Tokyo and Hollywood in addition to New York. Does the fine art world give you the same satisfaction as the graffiti scene?
The graffiti world is just done. It was great in the early ’80s. Today, it’s just terrible. The young kids have no respect. You have the Internet now and people come on there and label you something you're not. They'll disrespect you. You don't know who these kids are because they're posting under fake names. It’s not the same and it's not even worth it. Today, if I paint, if I do a piece, I do it for me, because I love it. Today, in my mid-40s, I love doing the paintings and exhibiting in an art gallery or museum. People come and appreciate it. They can purchase it and put it their house and it's forever. Graffiti in the streets, it gets painted over or it gets crossed out.
 
Back when you were younger and bombing trains, did you think there was even a possibility this is where you'd end up?
Oh, hell no, I would have never imagined this. You think the subways will be like that forever when you're young. As the years go on, it’s kind of amazing how you transition. I remember writers back in the ’90s doing gallery shows. I didn’t understand how they were painting on canvas and selling it. It was kinda weird. I was like “Uhh, that's not me.’ I always kept it hood and kept it in the streets. But as time went by, things changed. In life you have to look at changes. There's a graffiti task force in New York City now. You can't just paint on anything. I don't need those headaches anymore.

Given your place as a legend in the NYC graffiti, how have you seen the city's scene change over the years -- for better or worse?
It’s definitely changed for the worse. I’m sure it’s the same everywhere, but New York is just too much. The writers can’t get along. This one hates on that one. Back in the ’90s, it was easier to get a big wall and paint it. But I’ve noticed it's starting to get better. So let's see. Give it a couple of years. It might get good again.

Graffiti as a whole is something that's changed immensely since you started out. It's embraced more commercially and artistically. What's your take on whether this is good or bad for the graffiti community?
It’s good for graffiti artists, especially some graffiti artists like me who have a family and children to take care of and bills to pay. If you get a gig, you do something with Adidas or Converse, and you get paid 20 grand to do it, you're gonna do it. It's good money. Some of these graffiti artists, they can't even find a job. If a corporate company comes up to them and wants to pay them 10 or 15 thousand, why not? Who's not going to do it? It doesn't mean you're selling out. You’ve got to live. How long can you keep going illegal graffiti? It just don’t pay after a while.

You've had the opportunity to create with people who are legends in the street and people who highly revered into the art and business communities. Is there anyone or anything -- a real person, a brand, etc. -- you'd want to collaborate with in the future?
Ahh yeah, definitely, I'd like to do something with Hennessy. They did limited edition bottles with Kaw and Futura. They looks really great. That's something I’d like to do. Who know. It's all in God's plan. I’m pretty much down to do anything that's cool. I’m hopefully doing a collaboration with Shepard Fairey and his clothing line. We did a print together. That was amazing. I’d like to do something with Nike. Any company that comes at me with a great deal, I’m always open.







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