Skea: “I feel bad — I just go and draw, I feel good — I just go and draw”


Tell us a few words about yourself: How did you come into graffiti? What main steps of creative development can you highlight?

I suppose I came into graffiti like most. I liked to draw since childhood and mainly I drew cartoon characters. I had no computer almost until my adulthood, so during school years I went to play computer games to my friends. Once my friend showed me the “Icy Tower” game, which we called “Jumping Rapper”, and in that very game I saw painted, swirling letters. That got me interested, but I wasn’t able to find any information about it that time. Later I learned what it was and what to do with it.

Around 2002, I started to draw letters, fonts. I haven’t hold spray paint can up to 2005, but when I drew with paint for the first time, it had become my passion and I wanted to draw more and more, but there was no possibility to buy sprays often, so I started doing sketches and tags closely. I drew all day: at school, after it, instead of homework — I drew always, whether there was spare time or wasn't.

As I said before, I didn’t have a computer back then, but I used to like going to store and browse through CDs. Once, I saw a disc with a character holding a spray paint depicted on it with a title “Graffiti” under it. I immediately ran home and told my mother and grandmother about my discovery. Since my birthday was approaching, granny gave me money to buy it and I rushed back to the store like a bullet. I bought it and went to my friend who had a computer. On that CD, there was everything I needed —photos, videos, articles. After receiving such charge of information, I began drawing even more. This is the most precious step for me.


Can you describe your style?

Five years ago, I had a moment, when I thought that I had found my style, found those forms of letters, which I am able to draw quick and easy, as my hand leads me. Over time, I realized if I would continue this, I would just stop. I started experimenting with straight lines, which lead me to do what I do now. It is hard to tell whether it’s a style or not, let’s see what will happen next.

—Is professional art education necessary to achieve great results in graffiti, what do you think?

Nowadays graffiti steadily transforms into art. Considering this, education might help. Nevertheless, I think after you get into those limits they put you during the study, you are not able to do something new, something nobody has seen.

Do you draw just for yourself much? Do you continue to self-develop?

Two years ago I began doing pieces freestyle only, then I started to pay less attention and time to sketches. However, sometimes I get a charge and do a lot. I want to invent something new, but for now it’s difficult.

—Which one of your work you consider best? What is your attitude towards your work, in general?

One day I do it cool, but the next day — not that well. I prefer the atmosphere, the place. I don’t like my pieces, I like my “S” letter.

—What artists do you like? Are there any of them to the skill level of whom you would like to aim? Would you like to adopt something from them, maybe?

I try not to follow foreign writers, as for me, there’s a lot of stuff that looks copied. I follow the graffiti scene of our country.  


Do you draw on request?

Sometimes yes.

Are the any places abroad where you were able to draw, where would you like to draw in future?

Abroad, I have only been to Ukraine and Moldova. For the time being, I would like to travel through the second part of Russia, which I’ve never visited. In addition, I would like to fulfill a dream in Paris.

Don’t you think that once you’ve felt that you’ve found your style, it reasonable to start looking for the new one?

It is obvious that that’s how the constant progress and serious work on yourself looks like. There are many bright writers, who either will not dwell on a certain style, or will go from one style further.

It is possible always to do absolutely different pieces, with various elements, features, letters, but if you’ve done a piece and haven’t signed it, for instance, yet you’ve left some recognizable elements, then your colleagues will tell the owner. After all, I am more inclined to systematic transformation of the font, if you are able do so, of course. In my opinion, I am not yet able. 

Were there any cases when your hobby helped you survive? Conversely, were there any situations when you thought you had better not draw at all?

When I lived in the North, where people are lazy and if they are not really into it, they support interests of others poorly (maybe bitter cold is to blame, I don’t really know). I used to work at a plant, where every day is like Groundhog Day — everything goes by the schedule, you always know exactly when men play domino, when one of them tells the same joke he tells every day, or when someone comes to his locker to drink vodka shot. That’s when graffiti helped me survive. I feel bad — I just go and draw, I feel good — I just go and draw.

I had never thought of not drawing at all, since I don’t know what else I would do. Sometimes, however, I thought to place photography to the fore, because there were occasions when you turn you head, while drawing on the train with lads, and see a cool shot, but you understand that security or someone like that can appear any moment and you won’t be able to finish it. It is the same with video; you often fail to shoot well. But graffiti always takes up!

Thank you for your time. We wish you success and fulfillment of your Paris dream as soon as possible.

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