Yonkers, where it all began

I grew up in Yonkers NY, in this city I learned about Graffiti, from People like Sylvester YSS, Drifter, Trac II Earl, and many other writers who traveled into Yonkers and left remnants of style for me to grow upon.
Throughout the years I have been fortunate to return home to Yonkers visit family and create some beautiful works of art. Back in 1992 with the support of the Department of Parks and Recreation I was commissioned to design and paint 3 murals within the city which in fact help launch my painting career.
Back again 17 years later I returned home for a visit that turned into a mural project!
But this time I wasn’t alone… with the help of Delve, Luv, Asia, Leon Rainbow, Rolo and first time painter Danielle, (my newly adopted daughter) and myself Mr. Maxx Moses we completed a 200 ft mural titled “ a Brief Description of what love Creates”
What a wonderful creative experience this was and special thanks to Ken Davis for Buying food for all the artist, Wanda London for putting this project together and the department of parks and recreation for there continued support over the years.You are all appreciated

This mural was designed to reflect the history and future of the 14th and Girard Street Park. It takes into account the rich history and present reality of the space. For those that are unfamiliar, this park has for most of its recent history been a park for elders to congregate, play checkers and various card games.
With the renewal of the park, it has moved more in the direction of being a multi generational meeting ground where kids of all ages come out to play basketball. Those same elders however have not left; in fact they have remained the primary users of the park and some of its most staunch defenders and advocates.
We have developed this mural with the help of Pose, Aniekan Udofia, the Clolumbia Heights Youth Club, the Mary Center, Martha’s Table and the Word’s Beats &Life’s own DC Urban Arts Academy.
Personally i’d like to thank Cory and Mazi of Words Beats & and Life for including me on this outstanding project and also Peter Krsko, of Albus Cavus for his assistance as well. But a special Thanks goes of to Amack and Isiah for there huge painting assistance… without there help wow this project would have never gotten completed on schedule.

2009 was equally divided between the east and west coast for sure and right after the sensational run of the play was over and the mural with the students at Kearny HS was completed it was back to the east coast, Washington DC, to work with Peter Krsko, and the Albus Cavus family.

But you no the phrase all work and no play carries a lot of weight so it was time spend some time with my kids. My first stop was to visit my daughter and attend her high school graduation… congratulations my princess, your future awaits you… This young lady finished high school while raising her one year old and being pregnant with her second child… amazing much success to you and your family…
Then off to visit My son at his school it was a pleasure to spend the day with him and his friend Stephen boy did we laugh… it was a great day

Back to the grizzle, it was time to begin the project of the year, 6 artist and 45 students were off to create the biggest mural in Washington DC. This project lasted about 8 weeks total and 6 weeks were dedicated to the preparation and education of mural making with our students. The last two weeks were just pure devotion, non- stop painting around the clock with Chor Boogie, Joshua Mays, Quest Skinner, Decoy and myself Mr. Maxx Moses. Although this mural was a lot of work it was also an extreme pleasure to collaborate and create with this unique group of artist and students. The ending dedication was attended with a huge turn out of artists, activist and politicians all celebrating and enjoying the completion of the mural. A big shout out to Mayor, Fenty and the entire DC Commission of Arts who supported this successful endeavor.

The year 2009 has been filled with and onslaught of incredible projects and the meeting wonderful people. The 2008 year ended with the injury of my dad when he fell and broke his hip… so I returned to New York to spend some time with him during his healing process… As of today at 81 years old he’s back in full stride and pure style, that’s my dad.

During the month of January thru march I began my own healing process through writing. Graffiti Life the color of my sole was the end result. This script which was written for dance theater was performed in conjunction with Culture Shock Dance Company in May of 2009 and will be performed again in April and May of 2010, so stay alert to the specific dates and locations. Special thanks to Chris keeney, and Carlos for taking such great photos

Right after the completion of “Graffiti Life, the color of my sole” I was gifted the opportunity to teach and learn from a group of great students at Kerney High School in San Diego… This group of mature young people co-created a masterpiece mural on their school. It was such a pleasure to work with a bunch of students who are hungry to learn listen and create together… I look forward to working with this group again this winter… Yo, that time is coming soon I hope you guys are ready… ah yes and a special thanks to Gewels for hanging out and getting these great photos!

¬¬Beauty and the Beast

The wise ones say, when duality is dissolved and what appears to be separate and in opposition is realized as being one, life will be a continues flowing stream of joy and natural highness …

But before this sense of balance is created…we must experience the extreme!

On September 26,2009, Mid City Art Gallery, in Los Angeles California, presents “BEAUTY and the BEAST”. The courageous Installation/Exhibition from two of the most dynamic and opposing forces within the world of Spray Can Art… COPE 2 and CHORBOOGIE.

COPE 2 is a king and a Graffiti legend from the Bronx whose reputation for bombing has earned him the title “God of Destruction”. CHORBOOGIE is the rising Sun of California who’s work is purely legal, spiritual and therapeutic.

Two diverse and powerful individuals who have traveled the world afar with two totally different approaches, philosophies and techniques Will come together to expand create build and destroy our expectations our beliefs and our limitations of what art is …

photos by Felix natal

Moo news

The “mad cow wild style” is one of many cows that were painted in April/May 2009 for the La Jolla street sculptures project and created by Pose 2 aka Mr. Maxx Moses. There were at least 20 various artists that participated in painting the cows, which was done specifically as a fundraiser for unfortunate kids.
Unfortunately there have been little efforts to get the cows auctioned off and sold so we (the artist) are looking for ways to get them sold and so any and all suggestions are welcome!!!
Anyhow here are a few photos off what was done by Vyal and myself!!!

the protective coating

vyal's cow

This is a wonderful interview done by Jennifer Kester asking Pose 2 about his desires as an artist and why he decided to write a script for dance theater!!!

Where are you from?
I’m originally from New York. I grew up in the Bronx and Yonkers.

Has hip-hop culture always been a constant in your life?
My generation started hip-hop. We were doing it before it got a name, before it was called hip-hop. It’s funny because I’ve connected with some of my old friends and one of them said he was told about me. He was like, “I remember Pose. Boy, that guy could really dance.” I was like, “Wow, that’s pretty interesting since I’m doing dance theater now.” So definitely, there’s always been that connection there.

When did you start getting into graffiti?
Since 1975.

How long have you been living in San Diego?
I moved here in 2006 and I’ve been a bicoastal resident since then, up until 2009. Now, I feel like I’m complete.

I heard Culture Shock San Diego’s last theatrical production, “Christopher,” was an inspiration for this show?
That was definitely the catalyst. A friend of mine said, “Let’s go see this show.” And I was like, “Oh, gosh, do we have to?” Then I saw the show and was so blown away. I remember going to see Christopher with a young lady friend of mine and she was in tears. She was so moved by it. I had never seen a group of choreographed b-boys perform and I was really impressed. Then I started making music on my computer. And in the process of making music, I’m listening back at it and I’m dancing and while I’m dancing I’m having visions of me going into train yards and bombing trains and stuff and I’m like, “This could be choreographed. This could be a show.”

What made you realize you wanted Culture Shock involved in this new show?
It just happened. It was so natural. I was at a meeting at the Art Academy where we were putting together a hip-hop graffiti event. And Angie [Bunch, Culture Shock San Diego’s executive director] was one of the people involved in the meeting. And we were just standing next to each other and I pitched this idea out to her. I said, “I have this idea of doing this show based on graffiti.” I threw some ideas at them and they fell in love with the concept. And here we are today.

How does Culture Shock bring this show to life?
They are organized, they are young, they are enthusiastic, and they are directly connected to the people, to this generation.

Did you find it difficult to write a play for dancers?
I had to really dig deep. Initially it was all about me and that was important. It was like writing a really good paper, the research has to be really good. You have to do a lot of research. I did a lot of internal research about my history and my experiences and that brought forth the core of the story. First I made all this music, and every scene was based off of a song. So that’s how I did all of my writing. I had it all in my head just based on the songs I was making. I was making music for months, listen to it and then I would visualize from that process. It was months of writing it down and getting the story down, and rewriting, rewriting and rewriting.

How long did it take you to write it?
I started it last year and it took about a year.

What was it like seeing dancers bring your vision to the stage?
This is a learning process and for me it’s a huge learning process. I like to think I’m a really good collaborator. I have my vision and I have my story, but there are other artists you are working with and you have to give them their room to be artists. It’s important to let artists have their role. I’m learning to throw this idea out, paint this story and let them create, let them have room to create so they can be artists as well. That way, the creativity flows. You don’t want to create an environment where people are tight. You want people to be fluid and open and willing to enhance upon what you made.

What is the concept of the show?
The show is about the evolution of graffiti, the conflicts that exist within graffiti as an art form and the conflicts that exist between graffiti and society. And it’s about gaining a greater understanding about graffiti as an art form through dance.

Is the show autobiographical or is it more generally about the culture?
Initially the script was more autobiographical but as it evolved, it’s become more of the story and the essence of the art form. You’ll find elements of me in the story and my experience, but it’s not about me, it’s about the art form. And that’s what is important. That’s the story that needs to be told.

Is the show a history of the art form? Or a contemporary take on it?
It’s is the relevancy of the art form. It’s the importance of what’s going on right now. That’s what’s so poignant about this; it’s about what’s been taking place within the art form over the last decade and bringing it to the head of what’s relevant right now, right at this moment, and that’s why it’s important.

Tell me what the story is about.
The main male character is called Ill. Ill is a strong, dominant male character who represents an aspect of graffiti that is perceived as destructive. He represents that element of graffiti that goes out and tags everywhere, which we may not want to see. Then there’s SheRock. She is the female energy and she represents the beautiful aspect of the art form and the stuff we are comfortable with—the artwork we can relate to. Then there is the Young Boys, and the Young Boys is a crew of up-and-coming writers. There are three of them primarily. One is Destin, one is Reckless and one is Hunger. They are the new generation of up-and-coming writers and they are influenced from both aspects of the art form. They like the destructive nature that it represents—the fame, the outlaw and the aggressive nature of that. And they are also attracted by what SheRock represents, the beauty, quality, style and essence of what she has to offer. So they are influenced by both.

Do you think graffiti gets a bad rap from taggers who write on buildings? Are you trying to dispel that kind of idea with the show?
I am trying to enlighten the general public about this art form that’s just totally misunderstood and try to shine some light on it from a different perspective.

Is there going to be any of your art displayed in the show onstage?
Yes, definitely, there will be my art and several artists’ work shown throughout the show. The focal point is dance, but it’s actually a multimedia performance.

Is there a theme for you gallery show at the Lyceum that is running concurrently with “Graffiti Life”?
The theme of the art show is “this is how we take the old from the new.” “This is how we take the old from the new, the new to the old, the old to the new.” The name of the show is “Pose 2 is Mr. Maxx Moses.”

When people ask you what you do for a living, how do you describe what you do?
I paint. I create. I live. The art of living.

Are you self-taught or did you take classes somewhere?
Self-taught in the New York City subways. I went to school for business and while I was there I took a few painting classes, but I’m primarily self-taught.

How has your artwork evolved?
My artwork has evolved tremendously over the years. I consider myself a concrete alchemist. That’s where I am now and you’ll see it at this show and exhibition. My artwork is very transformational, it’s evolutionary and it still carries the energy and essence of graffiti, but has evolved onward. I still use spray paint primarily. But on my canvases I use mixed media.

Where have we seen your work?
You have seen my work at the Children’s Museum, Barrio Logan, in the Downtown area, 9th and G, 9th and C, the Art Academy of San Diego, a brand-new project with La Entrada. A project that is a new development that was just built in the Barrio Logan. But I do murals all over the planet.

Where do you find inspiration for your work?
I find my inspiration for my work from my interactions with people, from my relationships. I think those are the things that affect my work at this stage of my career. And how I interact with people and how I relate with people—that relationship is coming forth in my artwork, that connecting with people is what I’m about. I think that’s important.

Is this your first time doing a dance show?
Yes, it is.

How has the experience been thus far?
Extremely exciting. So much newness and I like that because I’m learning a new language. I’m hearing the dancers talk and the choreographers talking about blocking and staging and upstage and downstage and all this stuff about theater, which is really, really nice. I think right now I’m living my mother’s dream. She was heavily into theater and art and she tried to expose it to us as much as possible. She passed away a few years ago and I don’t think she ever realized that all of those trips, taking rides on the subway, going to and fro, how much that influenced my life. I think I’m fulfilling her dream.

What do you feel is your role in the show?
Graffiti is the most unknown aspect of hip-hop. People in general don’t know a lot about graffiti. They see it, but they don’t see it being done, they don’t know the inner workings of the writer, of the graffiti writer—they don’t even know we consider ourselves writers—so it’s like I’m the writer of the story. I’m there infusing the authenticity of the art form to the dancers and the directors. Just my presence there constantly, I have to get the point across, the essence and the feel of what this culture is all about. So they can interpret it and tell the stories themselves.

Why do you think graffiti is the least known of all the forms of hip-hop?
’Cause it’s illegal. There’s nothing illegal about picking up a microphone and rapping, there’s nothing illegal about dancing, there’s nothing illegal about deejaying. But graffiti is illegal, it’s against society, it’s against the law. For somebody to have that much courage and that much passion about doing something, knowing that they can be punished by law for what they are doing but are still passionate enough to do it against all odds—there’s a tremendous about of courage, a tremendous amount of passion and a tremendous amount of strength to do that. Because a lot of the times graffiti writers are doing it not only against the law but against their parents’ wishes, against their families’ wishes. It’s rebellion. And it’s time for us to at least take a look at that rebellion and try to understand why.

Why is there that rebellion?
It’s human nature.

I know that you’re offering a scholarship in conjunction with the show. What will people get with it?
They will get a seven- to 14-week class at the Art Academy of San Diego, the “Graffiti as an Art Form” class. They’ll learn the history, styles and traditions of graffiti writing.

What are you looking for in a scholarship candidate?
I’m looking for someone who is passionate, who really wants to learn. I don’t care what age, sex, class, ethnicity—it doesn’t matter. Somebody who would really get something out of it.

Do you think there’s a way to practice graffiti so that people won’t get in trouble by the law?
That’s what the class provides.

In general, do you think there’s a big stigma attached to graffiti writers? For example, if you tell someone you practice graffiti as an art form, do people put it on the same level as a painter or sketch artist?
That’s part of the misunderstanding and the problem with the language. When I came up, and it’s still relevant today, we don’t call ourselves “graffitists,” we call ourselves writers. That alone changes that stigma. If I talk to you and I call you a writer and you call me a writer, there’s intelligence behind that word. You’re a writer—that means you’re an intellectual. So we always looked at ourselves as writers, we never looked at ourselves as anything less. We are intelligent beings creating.

Do you think that’s the biggest misunderstanding about graffiti artists?
The biggest misunderstanding is that we’re not intelligent. That there’s not a sense of purpose behind what we are doing, although it’s illegal.

Where do you see your career headed? Do you want to do more dance shows?
Definitely. I’d love to do more shows. I really would. I’m enjoying it so much right now. I just want to tell stories. I think it’s important; I think there are a lot of important stories to tell. And just from hip-hop and this underground culture, you get the same repetitive stories over and over again and there are so many more interesting stories available. But they can’t be boring; they have to be relevant, engaging, powerful and passionate.

And you’ll still be doing art as well?
Always. I’ll always be creating.

You have break-dancing and graffiti in the show. Do you have other forms of hip-hop in the show like emceeing or deejaying?
I don’t think graffiti as an art form gets enough shine and I want to focus on that. The beautiful thing is that another form of hip-hop, dance, is actually getting a chance to speak for graffiti and that’s huge. I think it’s huge because graffiti is always standing alone. Nobody stands in defense of graffiti; graffiti is by itself. You barely see rappers embracing graffiti. You would think every album cover would have graffiti on it—it’s part of the family. Graffiti stands on its own. It’s outlaw. But people disassociate themselves from it. Now it’s getting some support and I think that it’s important, that it could be told through another means, another medium. And I think we can reach a lot more people.

Why should people come to this show?
Because it’s relevant. First of all, graffiti as an art form is the most relevant art form right now because it’s alive, you don’t have to go to a museum to see it, it’s in the street, we interact with it every day and there’s so much controversy surrounding it—a lot of controversy, a lot of mystery, a lot of misunderstanding so all of those things combined are making this art form very relevant. And so it’s an education and entertainment at the same time so I think it’s an extremely important piece of theater right now.

Wow is what I have to say about last weekends adventure at the 43rd street, farmers market where the students from the San Diego Art Academy, Graffiti the art form class, were invited to participate with the Fab Lab. Fab Labs, or Fabrication Laboratories, are located around the globe, everywhere from rural India, where community members invented a bicycle that converts kinetic energy into electric energy. Fortunately there’s one right hear in San Diego, in City Heights, and the sweet thing is that its open to the public!

The initial idea was to create some laser graffiti, well ok stencils created on a laser cutter. So the night before the event I went over to fab lab and created some crazy fresh stencils. It was amazing to learn the process and see the machines in action producing my ideas…

Saturday at the market was awesome the students had the opportunity to show off their emerging skills and meet a bunch of amazing Artist and Inventors. Furniture designer, Brian…. Creator of the Rubix Snake Table offered the students an opportunity to collaborate with him. For most of the students it was there first time painting a 3d object.  New ideas flourished from this conversion of artists. Our students and Brian are planning to work together on some more projects in the near future.

Overall this was a great event, who would have known a farmers market could be so fun and inspiring! …  special thanks to my peoples Xavier, Katy and Fabiola, from Fab Lab, I’ll be back I have some more ideas to explore!!!

Oct of 2008 The American University of Dubai invited Albus Cavus a New Jersey Based Artist Collective to do a workshop and collaborative mural with its art students. Once we arrived on campus I knew we where in for a treat. Faculty members Roberto and Mike were excited to have us and were giving us a tour of the campus along with a few very enthusiastic students who couldn’t wait to have us bless their campus with our style.

Peter Krisko headed up the workshop with a power point presentation, that enlightened faculty and students about the various projects albus Cavus’s has done throughout the United States, its ideals about public space, and how this interaction between artist and community enhances and beautifies our lives.

After a thorough tour of the campus we decided which wall we would work on but first it was time to get the students in sync with what we do, and introduce to them our distinct method on how we create. Customarily Chor Boogie and Myself (Pose Two) create from within, meaning we have no preconceived plan of what we are going to create before we create it. We trust, flow and integrate intuitively as painters, as artist and as human beings. We have come to a point of understanding the importance of the process: interacting and engaging with the moment at hand, seizing those opportunities and flowing with them…aliveness!

We had no doubts that this awesome group of students would be able to flow with us but most of these students never used spray paint, our number one tool! Aware of this fact we decided to first allow the students an opportunity to play, get free and express on some canvass boards. What was supposed to be a few moments of trial and practice turned into hours joy and pure expressionism. Although these students never touched a spray can before their individuality and collective spirit shone through and they were ready to collaborate with us.

This project offered Albus Cavus a great opportunity to work with photographers, painters, sculptures and enthusiast who a helped create a wonderful mural that captures the spirit of Dubai the energy of its youth and its vision to create a beautiful city with powerful art.

We are truly grateful to be granted this huge opportunity in such a new and diverse City. Experiences like these are life enriching and eye opening. Hopefully this exchange of creative energy will help raise the frequency in our hearts and minds to increasingly love, share and cultivate our beautiful future.

Press release: Local graffiti artists going to Dubai.

Public Artists to Explore and Transform Public Spaces in Dubai

Pose2 creating art

(Washington, DC / Dubai, United Arab Emirates, October 4 -18, 2008) – American public artists will visit Dubai this week to create innovative public art projects that promote community engagement, civic pride and artistic creativity of local residents. Albus Cavus is an artist collective that reinvents and revitalizes public spaces for better service to community. The scale of the planned Dubai projects range from small murals and sculptures to large parks that are designed to foster imagination and playfulness.

Albus Cavus representatives Peter Krsko, Jason “Chor Boogie” Hailey and Daniel “Pose 2” Hopkins will travel to Dubai in the first two weeks of October to meet with community members, artists, students and innovative professionals to learn about demand for public spaces. Dubai’s fast-growing metropolis offers an opportunity to be on the cutting edge of community art projects. The three will present their artwork and initiate art ventures that will have positive effect on neighborhood life. This model follows Albus Cavus’s celebrated art projects in New Brunswick, NJ and their recent tour of the East Coast, called the Concrete Alchemy Tour.

The artists grew up in America’s urban centers, surrounded by ill-designed public spaces that alienated the young residents. Their art of graffiti has become a direct response to grey and decaying landscape. Though illegal, graffiti became successful in improving visual state of many neighborhoods ; and, more importantly, graffiti art had a positive impact on community development. Today, the artists Pose 2 and Chor Boogie represent a novel approach to public arts with their advanced technique of painting with aerosol. Their award-winning work is featured in every major city around the United States. Albus Cavus manages Raritan River Art Walk in New Brunswick NJ and is in process of opening additional art parks in Newark, NJ, San Diego, CA and Washington, DC.

In Dubai, a fast growing modern city, public spaces play an important role. What was neglected in American urban development during their boom in early 1950’s must be brought to light, emphasized and embraced in this cosmopolitan and culturally-rich metropolis. “As the city grows, Dubai has a tremendous potential to become an inspiration for global public art and user-friendly urban design that avoids negative public spaces,” said Peter Krsko. The group’s schedule of this two-week trip is packed with workshops and art demonstrations. A series of art happenings organized in collaboration with The Jam Jar, a Dubai-based gallery and community arts center, will explore the arts in public sphere through discussions in creative settings that will involve interactive mural and multimedia presentation with Dubai artists.

Albus Cavus, a non-profit organization utilizes arts to:

• Promote development of strong and healthy communities by involving the residents in projects that result in improved public, gathering and common spaces.
• Design and develop novel interactive and participatory art projects in public space.
• Reinvent existing public spaces that are underutilized, neglected and abandoned.
• Cultivate healthy development of young residents through practical experience in complex projects that encourage team work and democratic process.
• Support artistic excellence by providing necessary consulting services, supplies and mentorship to emerging artists.