fantasizing about the extraordinary in the ordinary: graffiti aesthetics and the appropriation of...

8/2/2019 Fantasizing about the Extraordinary in the Ordinary: Graffiti Aesthetics and the Appropriation of Public Space

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Pauline Chavez

Tom Hubbard

Esthetique

1/12/12

Fantasizing about the Extraordinary in the Ordinary: Graffiti Aesthetics and the Appropriation of

Public Space

Graffiti has received a bad reputation throughout the last few decades. However, graffiti

has a long-standing history and for archaeologists, graffiti serves as a great insight to the culture

of a people. It can be a tool used to decipher past writing systems, topics of discussion, cultural

and religious beliefs, systems of hierarchy, etc. The term ‘graffiti’ comes from Italian. It is the

plural of ‘graffito’ which means ‘an inscription,’ and it is derived from the Italian verb ‘graffiare’

which means ‘to scratch.’1 Today, graffiti’s meaning has expanded to include a number of

different types of publicly displayed illustrations. The first recorded instances of ‘graffiti’ are

cave paintings. Among the earliest discovered are the cave paintings in Lascaux, France which

date back to more than 30,000 years ago.2 Archaeologists and cultural anthropologists do not

know the exact meaning or use of these paintings, but some consider them to be the first signs of

human artistic expression. Similarly, a research article written by Louise M. Breitenbach in

1906 entitled “Pompeian Wall-Scribblings” discusses the findings of graffiti found in Pompeii, a

Roman city which is of particular interest to archaeologists due to the fact that a large volcanic

eruption in 79 AD has preserved much of its original structure.3 Breitenbach discusses the vast

findings of the two-thousand-year-old graffiti by saying:

This wall-literature, which is found in the interior of homes as well as on public buildings, is the

work of school children, slaves, soldiers, and idlers. Of miscellaneous character, it includes

1 http://dictionary.reference.com/browse/graffiti2 http://www.culture.gouv.fr/culture/arcnat/chauvet/en/3http://www.pompeionline.net/pompeii/set_history.htm



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quotations from poets, doggerel verses, acclamations, insulting and often obscene words,

caricatures, catch-words, alphabets, amatory outbursts. Some of these scribblings, which were

scratched in the smooth surface of the walls, and hence called by the Italians graffiti, were of a

religious, while many were of a political, character; but the great majority were purely personal—

of so motley a nature, however, as to defy classification (529).

Not much has changed in the last two-thousand years. Breitenbach’s findings demonstrate the

large variety of symbols and images that fall under the classification of ‘graffiti’ even today.

Breitenbach refers to the images as “wall-literature,” and this is very interesting especially

because graffiti is often quickly dismissed as a ‘valid’ art form. In addition, one usually

associates graffiti with the art forms of painting or drawing and not literature. This shows how

graffiti is an art which intersects with multiple art forms.

More commonly throughout the world, and specifically in the U.S. today, graffiti is

associated with a specific subculture of resistance and social consciousness. In the 80’s and

90’s, this was associated with a hip hop culture located in highly visible urban areas such as New

York City.4 Graffiti was considered as one of the four elements of hip hop: graffiti, emceeing

(rapping), DJing (disc jockey), and b-boying (break-dancing), all of which inspired and worked

to complement each other as each challenged the concepts of what can be considered as ‘art,’

‘song,’ ‘music,’ or ‘dance,’5

Graffiti also challenges the notion of ‘public’ and ‘private’ spaces,

and this is why it has a negative reputation because in order to avoid legal issues, artists are

forced to perform their creative acts secretly.6 This comes at the expense of keeping the artist’s

identity hidden, however at the same time, offers itself as an invitation for others to do the same.

In addition, the use of graffiti expands beyond the U.S. Throughout this essay, I will explore

images from around the world which are part of the 2011 selection of ‘Most Beloved Street Art

Photos’ featured on the Street Art Utopia website; a collective of individuals around the world

4 http://csdt.rpi.edu/subcult/grafitti/culture/Birth_and_Evolution.html5 http://csdt.rpi.edu/subcult/grafitti/culture/index.html6 http://csdt.rpi.edu/subcult/grafitti/culture/index.html



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who declare “the world as our canvas.”7 As stated above, graffiti works in conjunction with as

well as inspires multiple artistic forms. In admiring a work of graffiti, the spectator enters a

fantastic world and at the same time, this fantastic world interacts with the ‘real’ world; working

to provoke a change in its environment whether that change is political, social, mental

perspective, or simply to inspire the imagination of the spectator.

In combination with the above, Gary K. Woolfe, in his essay “The Encounter with

Fantasy,” featured among a collection of essays in the 1982 book The Aesthetics of Fantasy

Literature and Art, brings credibility to the creativity of today’s graffiti artists. His essay

explores the notion of artistic fantasy, and the book’s preface by its editor Roger C. Schlobin,

speaks about the need and importance of and for such creative acts. Schlobin quotes theologian

Harvey Cox by saying, “‘the survival of mankind as a species has . . . been placed in jeopardy by

the repression of festivity and fantasy’ and without fantasy ‘a society cuts itself off from the

visceral fronts of renewal’” (xiv). Schlobin, like many before him, says that rationality is a

threat to creativity and therefore to the ‘renewal’ and growth of a society. Not bound by frame

or by canvas, graffiti is a promising and unrestrictive art form as it is constantly pushing its

creative limitations.

The first series of images that I will examine are ones in which the graffiti is directly

interacting with its environment, even dependent on it. Because graffiti is associated with

‘urban’ communities and impoverished areas, the images I have chosen are particular to the

destruction and decay associated with these kinds of environments. Figure 1 and 2 are by artist

Oakoak. The artist of Figure 3 is unknown, and Figure 4 is by artist Sendra. In figures 1 and 2,

the artist uses the cracks in the wall as part of the fantasy created by the illustration. In figure 1,

the vertical crack functions as the web upon which the recognizable figure, Spiderman, uses to

7 http://www.streetartutopia.com/?p=5982



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Fig. 1

Fig. 2

Fig. 3 Fig. 4



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swing for transportation to make his way speedily through the city i.e. urban space, in order to

fight crime, another aspect associated with urban life. In figure 3, the spectator is made to

believe that the wall discoloration, due to erosion, is a desert scene as the parade of travelers and

accompanying camels walk across the vertical, undulating crack in the wall which functions as

imaginative sand dunes. In figure 3, the recognizable Pac-man figures are placed within the

gray, concrete surface of the wall, an area created by the juxtaposition of the pink colored paint

which has been stripped off the wall, either naturally or manually. The spectator is made to

believe that the reason for this paint-stripping is due to the whimsy of the fantastical characters

painted beside it. Figure 4 depicts a sad, young girl with a utensil in hand preparing to eat. As

she is reaching down, the spectator’s eyes are lead to a pile of debris and broken pieces of a

structure which have been cast aside, or ‘swept into the corner.’ The fantastic world created by

this image implies that the illustrated girl is despaired by the ‘real’ world. She is reaching for her

meal, but all that remains is inedible waste. Her world, which is at the same time part of our

world, has been reduced to rubble, and this figure, like the preceding figures, works to draw

attention to such destructive conditions; raising awareness of them but also raising consciousness

of how they come to exist and the hopeful possibility of preventing a decaying environment.

However, at the same time, the individuals within these communities produce imaginative and

uplifting creations from this decay; from death springs life and from destruction springs

‘renewal.’ Each image is inserted in an already existing environment which has not been altered

in order to supplement the illustration. Rather, the illustration supplements the environment as it

is directly interacting with it by calling attention to itself and its physical environment. The

illustration is dependent on this environment in order for the fantastical world of the image to be

fully realized and experienced by the spectator.



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Fig 5

Fig 6Fig 7



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The next series of images that I will discuss challenge the limitations of graffiti. These

images make use of multiple surface planes as well as multiple points of view. Figure 5 makes

use of three surface planes: the ceiling, the wall, and the ground. Its most salient features are the

use of colors; a multicolored trunk leading to a monotone, white, flourish of leaves. This, in

conjunction with the intentional white drips of paint falling from the upper leaves down to the

roots of the tree, points to the artificial and constructed nature of the image itself. At the same

time, the image shows the roots of the tree penetrating through the concrete structure, an object

which is also artificial and constructed in nature. On both the left and right side of the

photograph, green vegetation can be seen. This adds greater commentary to the image as the

image has been placed in an area inhabited by thriving foliage, and among this foliage is a large

concrete structure, perhaps existing as a result of having destroyed the natural life around it. The

artificial, illustrated tree now stands in place of the real tree that may have been there. The

artist’s choice in presenting a tree to the spectator conjures such thoughts and perspectives as the

preceding. Unfortunately, the artist of figure 5 is unknown, but the artist of figure 6 is growing

in popularity.

Julian Beever is an English artist famous for creating images which make use of ‘trompe

l'oeil’ which is an illustration technique used to deceive the eye.8 The image itself is of course

two-dimensional, but when viewed from a particular vantage point, the image becomes three-

dimensional. Similar to music, the use of mathematics is essential to graffiti art in order to create

such astounding images.9 Beever has created numerous illustrations over the years, and he often

makes use of concrete pavements such as sidewalks. This gives the spectator a different

perspective of the use of ground space which we often take for granted. Figure 6 shows a large

crevice which is in the process of opening which we can deduce from the given visual cues of

crumbling rocks of ice in the middle of the image. Contrasted by the bluish-white ice and the

8 http://www.boredpanda.com/44-amazing-3d-sidewalk-chalk-artworks-by-julian-beever/9 http://csdt.rpi.edu/subcult/grafitti/index.html



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brightly lit sky, the opening creates a deep, dark abyss. The use of the human actor adds to this

effect as they are seen towards the top-center of the photograph balancing on the depicted edge

within the image. The spectator senses movement within this image as the fantastic world of the

illustration is interacting with the ‘real’ world, and for this image specifically, the ‘real’ world is

willingly interacting back; desiring to become part of the fantasy and engaging with this different

and artistic use of ground space.

The artist of figure 7 is also unknown. This image depicts a staircase; a series of vertical

and horizontal lines perhaps inspired by its environment within this subway station wherein the

spectator can see the intersecting vertical and horizontal lines on the wall and the floor. The

image defies space because the moment the spectator sees this image as ‘a staircase,’ the

spectator makes an implied contract with the artist; the notion of impossibility within fantasy is

negotiated between what the spectator believes to be impossible or not and although the spectator

may still recognize the image as impossible, “[the] impossibilities we encounter will be made

significant to us” (Wolfe 3). Through the spectator’s willing suspension of disbelief, this

magical staircase which seems to have appeared out of thin air, can be imagined to originate

from underneath the floor and transcend beyond the wall, or vice versa, in which the only part

visible to us momentarily is the image that seems to be limited by the wall and floor but is

certainly not doomed to be. It is this stretching of the impossible and possible which ‘sustains’

the spectator within the fantasy of the image and gives significance to it. Bachelard and Freud

say that fantasy is “closer to daydreaming or reverie than to cognitive thought,” and figure 7

certainly illustrates this (Wolfe 6).

Figures 5, 6, and 7 defy the traditional space used by graffiti artists. The art form of

graffiti pushes the limits of what ‘art’ is and the variety of ways it can be executed and depicted.

These three images make use of multiple planes, which are separate from each other but

dependent on each other. Each separate plane, or piece, interacts with the other to create what



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the spectator experiences as a whole or single piece of art similar to other three-dimensional art

forms such as a sculpture. This expands the idea of depicting illustrations and different

perspectives as it also highlights the complementary relationship between the photographic art

form and the ‘graphic’ art form of the image displayed within the photograph. In addition, the

photograph works as a frame which encompasses the fantastic image and the image of ‘reality,’

emphasizing their interconnection.

The next set of images function a bit differently than the preceding ones. Figure 8, by an

unknown artist, features a mother and a child walking past a man who is holding a sign which

reads, “J’ai faim,” which means ‘I am hungry.’ The child is reaching toward the man to give

him her lollipop and therefore food for which he craves. The mother continues to walk forward

as she speaks on her cell phone. She does not give the starving man a second thought, if she

even saw him at all. The child is quick to act according to instinct, helping someone who is

struggling, whereas the adult has become numb to this instinctual compassion for other beings.

This imagined scene reflects reality in which the same scene of ‘the haves’ willfully ignoring

‘the have nots’ can be frequently observed within urban areas. The urban streets upon which this

image has be composed and consciously placed is part of the art piece itself; it interacts and

works with the image in order to bring further credibility and immediacy to the message of the

image. Placing such an image in a highly visible area, such as an urban street, imposes itself

upon the spectator, forcing the spectator to look at that which they make efforts to ignore in

reality. The image shows a part of modern-day human nature which we are ashamed to admit,

but in placing such an image in front of a spectator, the spectator is forced to observe and re-

examine such an image as it is a reflection of the daily reality of the urban streets upon which

they walk. Hopefully in seeing such an image, the spectator will not desire to reproduce such

action in their daily life, therefore creating a change in thought which may lead to a change in

behavior.



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Fig 8 Fig 9

Fig 10



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Figure 9 by artist Blu, depicts a sequence, or narrative, in which the subject is a man.

The sequence is interesting because it is able to convey motion through a motionless art form.

Each image is part of the whole art piece, however the spectator is not forced to follow the

images sequence-by-sequence. Adding to this, the sequence can be read from right to left or left

to right, which adds greater complexity to this piece, telling a slightly different story. However, I

will analyze the sequence using a traditional left to right reading. Within the sequence, we see

that the man’s head is shaved, a key act used to symbolize one’s initiation into an institutional

military. Throughout the remaining sequence, we see that the man’s brain has been extracted

from his head from a set of unidentified hands signifying the ‘higher powers above’ of

governmental officials. Finally, the man’s brain has been replaced by a militant helmet. The

social and political commentary is quite explicit in this image: those who participate in the

military are mindless drones working for a nation which could care less about them. The image

carries a powerful message to its spectator. Like the other images discussed, the imaginative, or

fantastic world, created in this image is directly reaching out to its spectator in an attempt to

invoke a change. The image has been inspired by reality and attempts to return this inspiration to

reality by offering an alternative perspective of conventional society to the spectator; a domino

effect which begins by a change in the spectator’s perspective and ends with a change in the

spectator’s behavior or action. Gary Wolfe’s analysis of our ‘encounter with fantasy,’ such as

our encounter with this image, claims that fantasy is “the deliberate violation of norms and facts

we regard as essential to our conventional conception of ‘reality’” (1). In challenging these

conventions, the artist offers us an invitation to imagine alternative ways of being, and remember

that the anonymity of the art form itself offers an invitation for the spectator to perform and posit

their own creations too. We should not sacrifice our minds for the destruction of humanity, but

rather preserve our minds in order to utilize our imaginative abilities for the ‘renewal’ of

humanity.



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Figure 10 is the only image which was not taken from the Street Art Utopia Collective.

Its title is “Chicano Legacy 40 años.” This mural is displayed on the University of California

San Diego campus, and I had the privilege of attending this university at the time it was

constructed. This mural is unique in its function because unlike the other images I have

presented in this paper, this image makes explicit references to a specific history and connects

this history to the present. Similar to Egyptian hieroglyphs or the way a history textbook

functions, this mural serves as a pictorial recollection of a specific history. The artist of this

image, Mario Torero, worked in coordination with the student organization MEChA,

Movimiento Estudiantil Chicano de Azatlán, a name which references the wrongful oppression,

enslavement, and forced migration of the indigenous populations of Central America, or

‘Mesoamerica,’ by European settlers. The Aztec imagery in figure 10 connects to the blank

referential foundation of this student organization, as well as connecting contemporary figures

for the struggle of human rights such as César Chávez and Dolores Huerta who were involved in

the founding of the United Farm Workers Union.10

Torero says that the iconic figures of César

Chávez and Dolores Huerta ‘continue to resonate today not only for Chicanos but for all working

families.’11

This illustration presents a retelling of history from a different perspective, a

perspective which digresses from the traditional perspective of United States history taught in

American schools. Because the figures within the image ‘resonates’ with a large demographic,

its access to the public empowers individuals to continue the struggle for social equality. By

connecting present figures and struggles with past figures and struggles, the image offers a

different relationship to history. ‘History’ is still experienced within the present. Contrary to

what a textual recount of history would lead one to believe, history is not a linear line in which

events happen in the past and stay in the past. Figure 10 emphasizes this with images that appear

simultaneously and interconnectedly as one image blends into the surrounding images. This

10 http://ucsdnews.ucsd.edu/thisweek/2011/05/16_ChicanoLegacy.asp11 http://ucsdnews.ucsd.edu/thisweek/2011/05/16_ChicanoLegacy.asp

http://ucsdnews.ucsd.edu/thisweek/2011/05/16_ChicanoLegacy.asp






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Fig 11

Fig 12







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cannot be accomplished through a textual recount of history which must be written sequentially.

The image also works to ‘immortalize’ itself the same way historical events and figures become

immortalized through textual documentation as well as to validate itself as a source of

information which is as credible as any history text.

Carl Gustav Jung said that fantasy is “the living union of the outer and inner worlds”

(Schlobin xiv). Figure 11 is by artist Oakoak, and figure 12 is by an unknown artist. Both

images present a hidden world to the spectator. In figure 11, the image of a girl, implied by the

petite figure and long hair, can be seen. She is painted in all black. The darkness of the figure,

contrasted by the brightness of the white behind, implies that this background illumination is

casting a shadow on the subject, and therefore appearing to us only in black. This is how we

know that the subject is containing herself within and behind the blue paint. She has painted the

entire wall blue which is implied by the blue paint on her paint brush. She is creating a division

between her world and our world. However, she has not finished creating this division, so the

image appears to us as a revelation; an act of revealing. The spectator receives a glimpse of the

imaginative world, a world which is all around us and inside of us but not often visited. This

image inspires imaginative thought; thought which provokes and creates fantastical worlds such

as that shown within figure 11. The spectator is left wondering who and what is this figure

which is in the process of returning to hiding. If she is in the process of covering herself, was

there a time in which she was already covered and therefore existing? Will she continue to exist

in this imaginative world once the entire wall is painted blue and we no longer see her? And

since we have seen her and her world, is it possible to return to the state of mind before we

witnessed this existence? The image presents the notion of temporality and the function of

veiling and unveiling, as in one moment we have the privilege of stealing a glimpse of the dream

or fantasy world, but the next moment, this privilege may be taken away since the subject of the

painting seems to be in the process of covering, or disguising, the wall and herself completely





























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from reality. This image reminds us that there are many things existing in ‘reality’ which are not

visible to us; the molecules which compose the things around us for example. However,

revealed to us or not, there are many things within and out which structure ‘reality,’ and this

interrelationship between the imaginative and ‘real’ world is essential to having a deeper

knowledge and understanding of such things.

Figure 12 works similarly. The spectator can see that the façade of the building is

peeling, or folding back, in order to reveal to us a different world within. Both figure 11 and 12

function as ‘portals’ or ‘gateways,’ representing the line between and proposing the intersection

of reality and the dream or fantastical world. The blades of grass depicted in figure 11 blends

with the real blades of grass growing between the cracks in the pavement. This highlights the

fact that the illustration exists within an urban space as it is contrasted with images, both real and

illustrated, of nature. The size of the illustration is small and the photograph depicts it as a peek

hole through which to see the fantastic world for those who are interested in seeing it or for those

who have the ability to perceive it. Ray Bradbury said that “each fantasy assaults and breaks a

particular law [and] attempts to disrupt the physical world in order to bring change to the heart

and mind” (Wolfe 2). The spectator understands the impossibility of these images actually being

a door through which to physically step, so the fantasy presented by these images is an attempt to

‘disrupt’ or destabilize the spectator’s understanding of the ‘laws’ of reality and how reality

functions in order to encourage imaginative change and creativity within the spectator.

We have explored only a few of the multi-functions and performances of graffiti, and

there are much more which, unfortunately, I was not able to highlight in such a short paper.

Fortunately, many of us often have the privilege and accessibility through which to observe and

contemplate the mentioned and unmentioned highlights of this paper. It is a daring act for an

artist to display their work publicly; for it invites both criticism and admiration. Even

alphabetical symbols take on new pictorial significance, as people do not often think of a writing





























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system as being composed of a series of symbols which each possess an aesthetic quality and

uniqueness. Public bathroom doodlings give new sense to displaying one’s ‘art.’ Public space is

used in accordance to the very meaning of this term—space for people to do what they see fit

with it—and the notion of this social space is expanded as artists perform their creative act on

spaces which are considered to be ‘private.’ Performing such creative acts, most of the time

anonymously, invites the spectator to do the same and as there is no penalty for those artists who

remain anonymous, the motivation to ‘display’ one’s ‘art’ is increased. In addition, whether one

appreciates this ‘art’ or not, graffiti has the power to stop us for a moment in order to observe its

creation as we admire, despise, or simply attempt to decipher it. Like the art displayed within

museums, graffiti strikes our eye, inspires our imagination, and provokes our emotions. It invites

us to explore a different perspective whether it is individual or collective, political, social,

physical, mental or imaginative. Graffiti functions as a link between the inner and outer worlds

of ‘reality’ and fantasy, and it encourages the revitalization of humanity as it invites everyone to

reclaim their own voice and imaginative input about society, the world, and everything else.

And now my friends, I leave you with a few thoughtful words and images which helped inspire

this essay . . .




















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“Th“Th“Th“The suburbs is more than just an unfortunate geographical location, it is ane suburbs is more than just an unfortunate geographical location, it is ane suburbs is more than just an unfortunate geographical location, it is ane suburbs is more than just an unfortunate geographical location, it is an

unfortunate stateunfortunate stateunfortunate stateunfortunate state----of of of of----mind. It’s the American statemind. It’s the American statemind. It’s the American statemind. It’s the American state----of of of of----mind, founded on fear,mind, founded on fear,mind, founded on fear,mind, founded on fear,

conformity, shallowness of character, and dullness of imagination”conformity, shallowness of character, and dullness of imagination”conformity, shallowness of character, and dullness of imagination”conformity, shallowness of character, and dullness of imagination”

---- William Upski Wimsatt, William Upski Wimsatt, William Upski Wimsatt, William Upski Wimsatt, Bomb the S Bomb the S Bomb the S Bomb the Suburbsuburbsuburbsuburbs*

*(bomb: the act of creating graffiti)

“ A member of Street Art Utopia on Facebook wrote a year ago this nice pieceabout the future:

- My son, do you want to hear something strange?– Yes! What? - You know the new tree painting we did on the garage last week. Up until around the year 2050people generally did not have paintings on houses!– What? Were they grey? - Well, yes, many were. Often they would paint villas in One colour, like blue or yellow, but very rarely in more than one or two colours and almost never any pictures. Most apartment houses

and government buildings and so on were grey. Artists sometimes went and painted on tunnels,grey municipal buildings and so on, but the pictures were washed away! By the government!– …Was art forbidden? - Well no, but it had to be in special buildings only. Some people felt that houses were not to bepainted on, except in one pale colour all over.– Wow... How dull. - Yes, my son. Now let’s get our jackets and go pick some fruit.”****(http://www.streetartutopia.com/?p=5982)

“A sense of wonder and peacefulness is felt as you wander thetiny streets of this modest section of the big city. Bright lively colors call out to your inner child as you find what appears to

be an endless seam of creative whimsical imagery.”–Steven R. Barringer, Photographer

Rainbow Family Village in Taichung, Taiwan






















































https://www.facebook.com/photo.php?fbid=10150121550432700&set=a.311820137699.147776.310375597699&ref=nf

http://www.streetartutopia.com/?p=5982

http://www.streetartutopia.com/?p=5982

https://www.facebook.com/photo.php?fbid=10150121550432700&set=a.311820137699.147776.310375597699&ref=nf



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Bibliography

Breitenbach, Louise M. “Pompeian Wall-Scribblings.” The School Review, Vol 14, No. 7

(Sep., 1906), pp. 529-534. The University of Chicago Press. 7 Jan 2012.

<http://www.jstor.org/stable/1075311>.

Chazan, Michael. World Prehistory and Archaeology: Pathways through Time, 2nd

Edition.

Toronto: Prentice Hall 2010 Print.

Haviland, William A., Harald E. L. Prins, Dana Walrath, Bunny McBrida. Cultural

Anthropology: The Human Challenge, Twelfth Edition. Belmont: Thomson and

Wadsworth, 2008. Print.

MacDowall, Dr. Lachlan. Graffiti Reader. Community Cultural Development Program:

University of Melbourne, 2008. 7 Jan 2012 <www.graffitistudies.info/GraffitiReader.pdf>.

Wimsatt, William Upski. Bomb the Suburbs. Soft Skull Press: New York, 2000. Print

Wolfe, Gary K. “The Encounter with Fantasy.” The Aesthetics of Fantasy Literature and Art. Ed.

Roger C. Schlobin. Indiana: University of Notre Dame Press, 1982. Print.

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