All Creation is an Act Of Destruction: Guerilla Gardening and Grafilthy.
1. Graffilthy
* Graffitti's natural progression: Super Soakers, filled with paint,
creating
a Jackson Pollack Landscape. The differential between art and
reality meets
an all time union.
* The new Militant left declares a war and fights it with the
combination of
childish things (vandalism, waterguns) and artistic tools (paint,
guerilla
art.) Inherently it is a satire of the Militant Right.
* Graffilthy has merged with performance art on several occasions.
Wearing
goggles, bicycle helmets and kneepads, on a bicycle with a water
gun, an
unidentified Graffilthy Perpetrator runs through town ringing his
bell and
spraying paint.
* Even authorities are disinterested, going so far as to refuse to
call it
"vandalism." Teachers, College Professors, Doctors and Dentists have
all
remarked on its prettiness. The landmark bridge was coated with
pastel
paints, which remain today.
* As with any underground art movement, there are rumors abound:
that
the graffilthy movement is sponsored by the city as part of the
desire
to modernize Boston. That news reports have identified it, with its
proper name.
http://beaconhilltimes.com/times_feature4.mv?20000425
http://one38.org/graffilthy/
2. Guerilla Gardening: The Response to Graffilthy
* Balance is an essential piece of any artistic endeavor. As a
result,
there is a new flipped version of graffilthy: Guerilla Gardening.
* Groups of youths with Ski Masks and pick up trucks jump from the
truck
into traffic circles, parking lots, sidewalks, with green watering
cans
seeds. Rakes if neccessary. The seeds are planted and the location
is
placed on a Map.
* The groups care for these seeds on a daily basis in the same
manner,
though often for the sake of convienience the spectacle is reduced,
and shifts are rotated.
* Soon, the city is overrun by broad, colorful splashes of paint at
eye level, and legions of self-perpetuating flowers on the ground.
Its Relation To The Internet:
Through the internet, both movements have been able to become
inexplicably intertwined with the street cultures of various cities
that it would perhaps never reach otherwise. Streetwise is slowly
coming to mean net.savvy, and previously local scenes for Graffitti
artists are getting smaller- increasing the desire to top a larger
collective
pool.
This means an essentially immense increase in the collective quality
of graffitti artists. When one gets up in Utah, one can also be seen by
the artists in London.
Essentially, net.savvy has led to a desire to literally have a style
war
with everyone in the world. As a result of this networking, which has
occured for several years, though now, with cable and computer
access more popular than ever before, it has reached an all time high.
The product of this has been the formation of the Graffitti Avant
Garde.
Graffilthy is aware of the internet, sharing the same ideologies that
Graffitti
and the net share: the desire to be seen, to put forward art and ideas
instead
of merely recieving them from established sources.
Just as early electronic music and Graffitti were tied together, the
internet
and Graffitti will enjoy in the 21st century a symbiotic relationship
which
could change the realm of internet art to involve a more direct sense of
action
and real-time, non virtual results.
