JAY ONE, A PIOONER MORE IMPORTANT THAN YOU CAN IMAGINE

Photos  Jay one & «Paris Characters», Karim Boukercha 2004.

Not long ago we were able to meet -remotely- with Bando, a mainstay of European graffiti, and get a glimpse of his way of thinking when it comes to graffiti.
We have taken a liking to visiting the writers who laid the foundations of graffiti in Europe, and who in one way or another helped to shape the culture. This time, the words are from Jay One, one of the members of BBC (Bad Boy Crew).
Jay One, besides being a graffiti writer and multidisciplinary artist, is an expert in post 21st century black music, and a fine connoisseur of hip hop culture. He was involved in the magazines Zulu Letters (Paris) and Backjumps (Berlin) and since 2010 he has served as the artistic director and conceptual collaborator of the contemporary art magazine Afrikadaa, a publication that highlights the work of African artists.

“(graffiti) It represented a compelling departure from the established norms of the past, dismantling the cultural dominance of the bourgeoisie of the  ’70s and early ‘80s with a bit of spice of rebellious yet creative drive.”

Can you provide a context for when you started painting in Paris? How did you create a scene out of nothing?
It all started in the early ‘80s, during the inception of Hip-Hop culture in Paris. Before that, Paris already boasted a vibrant landscape of public art. This artistic movement was nurtured by a cohort of creators, drawing inspiration from the nascent NYC graffiti scene of the ‘70s  or the politically-charged legacy of the Paris student protests in 1968. Armed with brushes or spray paint, these artists adorned walls and various surfaces, utilizing stencils; many of these murals and “Graffiti” were crafted by anonymous hands except for some notable actors. The most dedicated figures were Blek le Rat, Miss Tic, Paella, Costa, “Les Musulmans Fumants,” and Jerome Ménagers. They emerged, leaving their indelible marks on the cityscape. This dynamic artistic milieu captivated my initial fascination with street art. Interestingly, the “Figuration Libre” movement, the umbrella term, can be translated by “Freestyle” in English.

Skki and I crossed paths during the heyday of this movement, embarking on our artistic journey with small stencils – a prelude to our eventual transition to Graffiti, influenced by the Hip Hop culture. Around 1981-1982, when it started to emerge, the magnetism and allure of this movement captivated us with its rich cultural landscape, interwoven with music, dance, and boundless energy, perfectly resonating with the spirit of our generation. It represented a compelling departure from the established norms of the past, dismantling the cultural dominance of the bourgeoisie of the  ’70s and early ‘80s with a bit of spice of rebellious yet creative drive.

How was the BBC group formed, and who are its members?
Skki, Cash (whose career was short-lived), and I had just formed the crew on a whim one afternoon in the recreation hall of our college. The idea was to emulate what was commonly done in New York with their gangs and crews. But also because, at the time, it took a group effort to produce a mural. This was also what we noticed with the complex painting produced by some of the collectives who painted in the “Figuration Libre” style. Collaborative effort was key at the time.

How would you summarize the evolution of Parisian graffiti from then on?
In our small circle, apart from Lokiss, Scipion, the rest of us adopted and embraced the raw vitality of the New York Graffiti Style. This stylistic allegiance served as an avant-garde channel for self-expression. Within the realm of this new visual expression—reminiscent of Cubism, Futurism, and Constructivism when they broke with the aesthetic conventions of their time. Most artists were convinced that it was the way to go; it was just a way to be in sync with your time and they also lived that rebellious allure that was a departure from the expected. Aesthetically, for me, it became the quintessential pursuit, encapsulating a rebellious spirit within a visually compelling framework.

We know that you had a direct connection with Madrid writers like Zeta and Chop in the eighties, but your influence was more important in Barcelona. Are you aware of this? Why do you think this was so?
That’s news to me; I haven’t extensively traveled to Spain and have spent limited time there. I was introduced to Spain’s writing scene by Enrique Santana, known as “Echo,” a French-Venezuelan artist from Paris. Perhaps, through the magazine Backjumps, I had some influence. However, my perceived influence was more conspicuous in Berlin.

“… my influences extend to lesser-known NYC writers, such as Flyte TDS, Poke IBM, Gnome CWK, etc. – influences that might go unnoticed by most observers.”

We understand that you shared a studio for a while with Aone and JonOne, can you tell us something relevant about that period?
We had that New York connection in Paris, and artists like Anthony “A-One” Clark, Torrick “Toxic” Ablack, Aaron “Sharp” Goodstone, or Jonone Perello played a crucial role in shaping our understanding of Art. They were pivotal figures, having lived through the era when graffiti found its place in New York galleries. Moreover, they navigated the realm of mainstream art, distinguishing themselves from graffiti writers of the same period. Remember, lacking academic training, we had to learn on the fly. Having these artists around was invaluable, even as we endeavored to forge and preserve a distinctive identity and personality in our work.
Returning to the earlier question, this association gave us an edge compared to other writers, influencing our work elsewhere. For instance, our inclination towards Freestyle or deviating from conventional lettering in our paintings stemmed from a desire to assert our individuality, expressing our unique European (Caribbean, in my case) cultural and social experiences within the realm of this art form.

Some of your pieces, like Mode2, take elements from T-Kid’s graffiti. Do you think this is so?
I was captivated as early as 1985 by the intricate compositions of Julius “T-Kid” Caverro, a maestro of writing much like Dondi White. T-Kid elevated the art of crafting letters to its zenith. Subsequently, what followed were mere variations and somewhat illusory assimilation from other writing cultures, such as the calligraphic and typographic traditions and even the computational realm of fonts; that’s my opinion.
Our initial encounter occurred in 1987 in Bridlington, England. Still, it wasn’t until later that next summer, during my travels to NYC, that I truly embraced and “absorbed” that particular style while staying with T.Kid’s friend and teammate, Rac7, Roman Ricardo.
But in truth, my influences extend to lesser-known NYC writers, such as Flyte TDS, Poke IBM, Gnome CWK, etc. – influences that might go unnoticed by most observers.

You were the creator of a Montana logo that now belongs to Montana-Cans. Do you remember when you did it and in what situation?
That was a weird situation.
In the ’90s, somewhere around 96???
I was in Germany at that time and was doing the Backjumps magazine. So, I was asked by the German side of the business to create a logo for Montana, the Joint Venture.
Then, a few years later, they parted ways; I had met Jordi then (not quite sure??? ). Anyway, I thought it was just right to give it to the German guys since they were the ones who came to me… And it was not a difficult decision. On the other hand, I didn’t like that they kept the name Montana (Basically, the name means mountain where the original factory was located). I thought at that time that it was not a good move. I’m not that procedural, and I don’t like the copyright laws, but it was what it was.

“The art world cannot accept the fact that some knuckleheads from some American ghetto can create and develop an art form that has some aesthetically, or conceptual value…”

How do you explain the artistic component within graffiti?
Graffiti is distinct from Calligraphy or Typography, although some may approach it from those perspectives. While there’s a cool graphic design element, I view Graffiti as a complex form of artistic expression. I firmly position it alongside other significant painting movements, borrowing from certain principles of more academic painting. At its core lies a movement that has been present since its inception; the act of writing on walls, stones, or other surfaces is as old as humanity. However, graffiti transcends this historical practice in its most sophisticated form. It is truly a painting practice, except its sin is to be practiced by kids, in reality, teenagers with no academic training- The art world cannot accept the fact that some knuckleheads from some American ghetto can create and develop an art form that has some aesthetically, or conceptual value… Miles Davis joined his first band he was only 13teen, John Coltrane 16teen, Prince was 17 when he scored his first album, and Pele was 16 and some when he won his 1st World Cup.
Instead, they elevate artists who are heavily inspired by the culture. Looking at some established artists today, you can see that influx… Just look at Katharina Grosse or Sterling Ruby… Even if they weren’t directly influenced by “spray can artists or “writing,” you rarely -if never- see their name and the word graffiti in the same sentence.
Today, after passing through the filter of commercialism and advertising, a particular iconography has emerged from graffiti, akin to the aesthetics of Pop Art or Cubism. In a sense, it is an unorthodox act—destroying the pre-existing norms to recreate the ‘art of writing.’

How does a writer become a professional artist?
By practicing -in the training sense- and then accessing the professional market. No matter the practice, the level of success… Graffiti is just an expression; there are others.

What role does graffiti play in your way of life today?
Little !?