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If tags are the cornerstone of graffiti then pieces are the buildings and skyscrapers which spring from those first bricks. Pieces – which is modest shortening of the word masterpieces – are the end result of the graffiti artists’ relentless flourish and scrawl. They are a large scale rendition of the tag, often executed in a three dimensional typography which at first can seem almost indecipherable in its intricacy, a giant prismatic Mobius strip of lines and colour, angles and edge. That is, of course, part of the intention, the piece the graffiti artist’s expression of their skill, dexterity and capability.
The piece is a large scale labour of love often rendered real through the sole use of aerosol. It takes an amazing amount of diligence and practice to wield an aerosol can. They not only come in a multitude of consistencies but now, thanks to the wonders of modern technology, they are also accompanied by an incredible amount of nozzles which refine or expand the sprays projection. Naturally, a graffiti artist finds their feet through experimentation, discovering which sprays with which nozzles will achieve a certain desired effect. And of course, as with all things in life, a little dedication goes a long way.
Preparation involves sketching drafts of the piece, refining said drafts and also finding the perfect location for the piece. As with most things in life, location is everything. Yet when it come to graffiti and street art, the importance of the location becomes paramount. After all, unlike the studio artist who can paint a picture on to a canvas and then exhibit that canvas in gallery after gallery, graffiti artists have traditionally striven to choose a location which not only promises maximum exposure for their work but also provides it with a degree of longevity. Open, urban areas means a piece can be buffered in a matter of days, more ingenious and discrete places (like the tops of buildings) means a piece can last longer. And garner more notoriety for the artist.
Given that graffiti developed as an underground, and now illegal, practice, time became a critical factor in the execution of pieces. Often such pieces were created at night and in a night. This time scale meant that the artist needed be proficient in the use of the tools they used – particularly as mistakes can only be covered over with more aerosol, not erased permanently. When working at night it was easier for artists to create pieces when the moon was full, especially since the use of artificial light would make the graffiti artist more visible to the authorities.
Interestingly, with the current stifling climate here in Perth toward street art, more and more legal graffiti crews are appearing. Some, like the Graphite Crew, offer their services to local business owners (such as Unison and Double Lucky, both in Leederville), promoting the fact that graffiti is a distinct form of urban branding, one which instantly conveys coolness to a vast number of subcultures. Elsewhere and PTA Urban Art work in conjunction with government agencies to add colour and vibrancy to dull, lifeless spots, particularly those along or near public transport routes. The artists who work for them not only have the pleasure of legitimately being able to claim for work materials, but creating their pieces without being hampered by the authorities.
OUTinPerth does not condone or recommend illegal practices in creating pieces.
