There was a one-word expression of curiosity KR used to utter when reflecting on an idea presented to him: “Huh.” It was inquisitive, said in a way like, “Is that right?!” as he processed the statement made in his presence. I say he used to, because, like a lot of things he created, his friends and colleagues immediately borrowed it and wore it out. One day the Kreator of the comment found it cliched and had to come up with a new way to evoke consideration.
KR had enough understanding of good process to build a strong school of thought in San Francisco. He came from Queens with an intrinsic understanding of the basic elements of graff; tags, throw-ups, and straight letters. By example, he showed that good supplies, a good ethic in their application, and rigorous documentation worked together with Swiss precision to maximize the effectiveness of every mark made. In a few minutes, several writers synchronized their watches and knew what time it was. (The TMF crew, it must be told, was already clocking.) By placing equal importance on every step of the process, his ethic became an ethos, and today the city is a model of marking excellence.
First things first, good supplies; Krink is a homemade silver ink that when properly applied, booms like Metallica off any smooth surface. It was developed in the KR kitchen, shared amongst a few colleagues, and is now synonymous with San Francisco. To see its shine anywhere else is a reflection on the city and the singular civic-minded citizen who created it. He receives no royalties, so say “Thanks K” whenever you see it gleam.
Second of all, good process; KR arrived in SF with a sound foundation, but attending school at the San Francisco Art Institute reinforced the importance of process to art. He applied this thinking to graff, realizing that getting the supplies, getting the spot, and getting the flick were all parts of a greater whole. He also learned the importance of research. He spends a good deal of time looking for new tools, new media, and new ways of getting up. Once discovered, he shares them, making his generosity resemble downright philanthropy. Finally, school gave him a sense of kindred spirit with artists that shared a similar sensibility. He is a minimalist in his medium, concentrating his efforts on tags, throw-ups, and straight letters. By doing those base forms endlessly he continually reveals nuances and provides new value to the most hated of graffiti expressions.
KR left town as the most respected writer amongst the most respected writers. And while most of the marks he made have been removed, the third and final step, good documentation, lasts forever. It’s an adage of mine that while a picture is worth a thousand words, a good word is worth a thousand pictures. KR has plenty of both in stock. He’s got thousands of pictures, and one word that weighs a thousand, huh.
The Queens Globe, WHAT! KRINK getting its shine on, and GO K GO!
Above it all in San Fran.
“KR” 6′ × 8′ × 2′, wood, latex paint. 1998. At the Asian Arts Museum, San Francisco.
Wolf has a great hand that stands out from most of the NYC crowd, and to this day keeps quite a few blocks on lock in lower Manhattan. TOP TO BOTTOM: He came to play, Gnome came to wage war. Alter-ego FLOW. Grate hit. Parking lot style, when you could still say, “Yo I got permission”, and the Fives would drive away. WOLFISM, and the crew is The Drunken Assholes. Finally, a crew I can believe in.
TYKE is from LA and down with AWR. There is a TIKE from the Bronx who is down with TFO. Give ’em both a pound.
