The Fauxreel Interview

The Fauxreel Interview - unurth - street art: "

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Dan Bergeron, a.k.a. Fauxreel, creates stunning photo-based street art that also explores really interesting themes - from homelessness & community to the intersection of art & advertising, so I was excited to get into it with him.


What is your history in art, how did you come to focus on photography and street art?

In terms of art, I am self-taught, although I studied Film and Sonic Design at Carleton University in Ottawa, Canada. I became seriously interested in photography once I was finished university. At first it seemed like a smart career move; I was working here and there as a freelance writer for a few magazines in Toronto and I looked at photography as a way of making myself more marketable. About 2 years passed and I was working as an assistant video editor at an advertising agency and continuing with photography as a hobby. My time inside the walls of an ad agency opened up my eyes to all sorts of design and illustration and I had access to a cold press machine that could apply adhesion to essentially any paper medium. So I put two and two together and started to turn my darkroom prints into stickers, as large as 20 x 24 inches, and began selectively putting them in spots around the city. I was thinking of the process as photograffiti, and as a way that I could express what I thought or saw to the largest amount of people possible. Now, some seven years later, I’m still working with photography and exhibiting my work outdoors, but with more thought for my surroundings, more sensitivity to the people who occupy these spaces and using regular 20 lb paper instead of photographic prints.

What attracts you to photography in street art? Who do you think is using it well?

I like how photography democratizes street art. Not only does it make the work more accessible for the viewer, because most people have taken a photo and they understand the various nuances of photographic representation, but it also allows more people the opportunity to get their work up quite easily. I’m not saying that the majority of the photos that you see pasted up are good, it’s actually the opposite, but a camera can be a very powerful tool that levels the playing field in a lot of respects.

Aesthetically, I like how black and white photos look juxtaposed against the color world. The work really pops off the wall, especially when human scale and the placement of the image is given a lot of consideration.

In terms of who’s using photography in an interesting way in street art, I definitely have to mention JR. He understands scale, placement and he thinks in big ways – all very important elements of working as an outdoor artist. However, what JR really understands and conveys through his work is how photographic representation can be used to positively enhance people’s lives and help to give the subject a voice. His work is not about him, but about the people that he photographs and pastes up around the world. He shines light on the “other”, those largely unrepresented in media, through his art.

Other photo-based artists I like who work out in the street would include Andrew01 from Vancouver, Raul Zito from Sao Paolo and Cayetano Ferrer from Chicago. Each of these artists shoot their own images and have come to create their own language in terms of utilizing their images in an original and creative way.

Other street artists who I admire, like Judith Supine or Bast, use photography in their work, but I consider this differently as they are using found photos as part of their collage and because, from my understanding, they do not photograph any of the images they use.

read the rest of the interview and see more images at The Fauxreel Interview
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The Fauxreel Interview

All City Writers

All City Writers: "

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The title, All City Writers, describes a vast research on the Writing movement, focusing particularly on the process of its exportation from New York to all of Europe during the 80s. The first part of the research analyzes how graffiti in media such as movies, videos, magazines, and books from New York influenced Europe. When images of the New York subway arrived in London, Paris, Munich and Amsterdam, a huge milestone was set: a first generation of European graffiti writers started to follow the letters, the method, the techniques, and the general lifestyle of New York in the 70s. The book, a massive volume of more than 400 pages, has been conceived as an imaginary newspaper. The chronicles it contains have not been penned by real journalists or narrators, but by people who define themselves as ‘writers’. In this volume, a chorus of uncensored voices in the first person reveal their knowledge of European cities, their infrastructures, interstices and neighbourhoods. This is the generation who in the last two decades of the 20th Century imported the countercultural phenomenon from New York commonly known as “Graffiti”.

At the outset, the obsessive repetition of a tag and the search for urban fame became a widespread and spontaneous act, an infinite ego trip that was rarely dissociated from the reproduction of the chosen letters. In these pages, European writers abandon the compulsive act of tagging for a moment, to narrate the city and cast a personal eye – not always detached – on the trains, the streets and the urban surroundings that common citizens generally cannot or will not acknowledge. The chapters that compose this book focus on specific themes, comparable to the sections of a daily newspaper, presented here as special reports on the New York subway, the European network or the first urban strongholds. The combination of these elements, including, among others, a detailed, in-depth description of the phenomenon’s explosion in Italy during the 90’s, provides a unique history of the variety of pathways they explored and documents the desires of an entire generation intent on describing and interpreting their cultural movement.Through historic and detailed documentation deriving from a singular urban episode, the New York City Subway, All City Writers wants to investigate the evolution and the consequences of a countercultural phenomenon, which in the last decades has provoked a change in the rules of aesthetics and communication in modern day society.

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All City Writers