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  • CRAIG COSTELLO: I never studied painting.

  • All my experience with putting paint on

  • something came from graffiti.

  • And the kind of graffiti I did was always really simple.

  • As I started to paint in a studio, I would paint these

  • letters and straight lines and everything.

  • And I would try to make it perfect, and it

  • just drove me insane.

  • I grew up in New York.

  • I'm from Queens, Forest Hills.

  • And I grew up, I was a teenager in the '80s, and I

  • was into skating and everything from hardcore to

  • hip-hop, punk rock.

  • I grew up in a culture of like, you stole your paint,

  • you wrote illegally, you made your own markers, or you found

  • your own caps.

  • And you took care of them, and it was all tools.

  • And you had to learn and understand

  • everything on your own.

  • Like this cap was good for this, or this paint was no

  • good, or whatever it was.

  • When I started just doing drips on doors or mailboxes, I

  • got a lot of positive feedback.

  • People were really interested in it, they thought it was

  • really cool.

  • The fire extinguishers is something that I didn't invent

  • it, I wasn't the first one to use it for those means.

  • But it was another example of reappropriating something to

  • basically use as a tool.

  • It acted very similarly to the markers that I made.

  • I moved to San Francisco.

  • I went to school for photography.

  • I lived there from '92 to '98.

  • I don't know, it was easier to get materials.

  • So from a graffiti sense, paint was more accessible,

  • markers were more accessible, all kinds of things were more

  • accessible to me.

  • Because in New York, stuff is so locked down.

  • I probably started making Krink around '93,

  • and that was it.

  • There's was no business plan, there was no T-shirt company,

  • there was no street art.

  • It was just friends and having a good time.

  • I was able to have my own aesthetic on the street and

  • stand out from the rest of the people.

  • And since I had my own kind of tool and materials, people had

  • to figure that out just to get to where I was.

  • So it was just being that little bit ahead of the curve.

  • So I moved back to New York.

  • I was living in the Lower East Side, and I met these guys who

  • opened a store called ALIFE.

  • They were just like, look, this is really interesting

  • what you're doing.

  • We think you could sell it--

  • we'll help you.

  • And it became this creative project.

  • I made some Krink.

  • We made a logo, we made some labels, put some

  • directions on it.

  • Put it in their store and it sold out right away.

  • So they got press.

  • They had Krink there, other shops saw that and wanted it.

  • And then at the same time I would hook up

  • with the Irak crew.

  • They were young, I was a little bit older at that time

  • so I wasn't really going hard.

  • These guys were really going hard.

  • And so I'd give them Krink, and they would just be out

  • every night writing until all of downtown

  • was basically covered.

  • And that got a lot of attention because everybody's

  • like what is that?

  • What is that?

  • How are they doing it?

  • It's Krink.

  • I run a business as one part of something that I do.

  • But I also work on art and design projects.

  • And it's really difficult sometimes to be doing both,

  • because mentally they can be really different spaces.

  • People ask the question.

  • Like oh, you were in the street, should stay in street.

  • And who's to say that I'm not allowed to evolve?

  • And I really love being behind the brand sometimes, because

  • the brand is more-- it's a brand, it's not really me.

  • And I kind of like just brand it and market it.

  • With me sometimes, it's like stuff is emotional, and I kind

  • of want to have to be able to do whatever the

  • hell I want to do.

  • There's definitely been some great opportunities for public

  • art projects and travel.

  • And I think that a lot of people are beginning to try to

  • organize things themselves.

  • And I've definitely been involved in things where they

  • get the community involved, the local community.

  • And they get business owners to contribute walls.

  • They fly in artists from all over to paint on walls as part

  • of greater public art project.

  • And it's all people who are just really interested in art,

  • but maybe it's not a formal gallery setting.

  • It's more interested in the public

  • space and youth culture.

  • TIFFANY TANAKA: We are at Loft in Space in Honolulu, Hawaii.

  • I've been on Queen Street for about the

  • past eight years now.

  • Slowly made my way into this warehouse.

  • We acquired the front, we had a denim store.

  • And before the denim store we had a streetware store called

  • Queens, and we carried Krink.

  • So I was in contact with Krink about five years ago.

  • And when we were planning these shows, I thought it

  • would be so cool to bring him here because he's such an

  • inspiration to so many artists out here.

  • And the simplicity of what he does is amazing.

  • But he's the expert in dripping and ink.

  • One big thing for both of us, I think , is

  • art for social change.

  • And it really affects what's going on, and especially our

  • economy in Hawaii.

  • JASPER WONG: I've lived in Portland and San Francisco and

  • Japan and Hong Kong.

  • And she's lived in San Francisco and New York and

  • Paris and stuff.

  • And we're exposed to lots of that kind of

  • artwork and we love it.

  • We wanted to bring what we saw out there in

  • those cities to Hawaii.

  • We knew it was going to be hard.

  • We knew that there was going to be a huge educational

  • aspect to it, because it's not as common

  • here to have art shows.

  • How's it coming?

  • Good?

  • MALE SPEAKER: Oh, yeah.

  • CRAIG COSTELLO: I've definitely done some

  • sculptural pieces, and I'm really interested in working

  • the sculpture.

  • And this comes back to like, this is very architectural.

  • And I'm also do things that are very minimal, and those

  • things are really interesting to me.

  • So I think that this shape and this size is really not

  • foreign to me at all.

  • I've done a couple of things that have been much smaller.

  • But I just felt, this space, there was a really good

  • opportunity, and Jasper and Tiffany were down.

  • And they're ambitious, and I think this is ambitious.

  • It's still a small underground space.

  • We're just trying to make something happen that is going

  • to be a little different maybe from some of the other things

  • that they've done.

  • I've definitely done a few things like this that are

  • really buildings, or large walls, interior or exterior,

  • all painted with fire extinguishers.

  • I've done all over, from Moscow to Prague--

  • I've been really fortunate.

  • Dry.

  • The wall is hot.

  • You're really dealing with architecture.

  • You're dealing with the angle of how a wall is seen.

  • Or maybe it's a rooftop, and you've got to climb to it.

  • Or maybe it's got a corner, or there's a ledge, and you've

  • got to stand on a foot-wide ledge to paint the wall.

  • And you're painting a 10-foot wall by as tall as you can

  • reach or something.

  • And all of those things make you consider space really

  • differently.

  • And so that was a really big influence

  • for sure on my process.

  • I don't write graffiti anymore, but I still see how

  • it's such a big influence on what I do and how I do it.

  • In the beginning I had done some stuff with more colors.

  • But then I just pared it down and just kind of worked within

  • a smaller palette.

  • Because it was just easier to make decisions.

  • I really like yellow and blue, and it was really just the