Graffiti: Defiance or Expression?
The Pacific Northwest’s Approach to Street Art
By Liam Britt
A train passes by you, each railcar covered in an illegally painted name, phrase, or art piece. What do you call it?
Street art? Vandalism? Guerrilla art? Defacement? Whatever you call it, graffiti has been around for thousands of years and will be here for thousands more.
Modern graffiti started in the 1960s in cities like Philadelphia and New York. Initially, it was an opportunity for the average person to get their “tag” up. As it spread, people used it as more than an expression of self. It swiftly became an expression of freedom and dissent. In cases like the Berlin Wall, many used graffiti to defy the division the wall had brought.
Towards the end of the 20th century, graffiti was recognized as a legitimate art form. It started appearing in New York City galleries and became a part of pop culture. Much of this was thanks to artists like Keith Haring and Jean-Michel Basquait. They were the first to become mainstream from their graffiti. Their work entered the public sphere, not as vandalism or defacement, but as artworks.
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Old woman and graffiti"// photo from The New York Public Library Digital Collections. 1991. https://digitalcollections.nypl.org/items/9885c220-9311-0130-8587-58d385a7b928
As street art gained social acceptance, the culture gained prominence in the Pacific Northwest.. This sprouted into city-run programs like the Seattle Mural Project, launched in the early 2000s, and Portland’s Public Arts Mural Program, founded in 2010. Cities went from fighting graffiti to funding it. Unknown artists have been introduced to a larger market thanks to programs and festivals run by these cities.
Shogo Ota, an artist and designer, found his big break in Seattle. The city’s focus on art allows him to connect with city projects and companies while creating a career out of his talent. Since starting his work, Ota has created countless murals, done work with sports organizations and helped bring life into many areas around Seattle.
“I feel like murals are a new tattoo for cities and communities. I think it’s awesome that more artists have opportunities to showcase, share positive vibes in the communities, bring awareness to social issues and more,” Ota said. “I think it’s still a beauty of art and silent communication.”
One of Ota’s favorite murals is in Seattle’s Chinatown, on a 160 foot stretch of wall tucked under the I-5 Freeway. The area was known for crime, which made it difficult for locals trying to get across the freeway or use the bus stop. Ota brought countless volunteers from the community to help create the mural.
Mural of waves under the I-5 Freeway in Seattle, Wash., bringing color to the otherwise grey scenery // photo by Shogo Ota via Instagram
“When I was installing with a lot of volunteers, one person told me ‘Thank you for doing this for this area. It brightens up this area and I feel safer with the art,’” Ota recalled.
That small interaction helped him understand how art can change lives every day. By transforming a strip of road, the group was able to affect the community as a whole.
Although the biggest cities in the Pacific Northwest are headlining this shift towards supporting street art, smaller cities are also creating communities for artists. Bellingham’s Noisy Waters Mural Fest has been an opportunity for artists to break into the scene through the positivity of Bellingham’s art-centric audience.
Creative Director and Co-Founder of the festival, Gretchen Leggitt, has been running the festival for two years, inviting up-in-coming artists from around the world to participate. Leggitt has been working on murals for years, having worked in cities like Seattle, Bend, Ore. and Denver. Leggitt is hoping to bring the big-city art scenes to Bellingham.
“I am wildly impressed and inspired by the Vancouver Mural Festival. The team has transformed neighborhoods with high quality public art from a very diverse body of painters,” Leggitt said. “My goal is to replicate this in Bellingham, using Noisy Waters Mural Festival as the driving force.”
Leggitt’s love for Bellingham came from the city’s acceptance of art. It’s become an integral part of the community, brightening the city’s downtown and creating a unique environment for creativity to thrive.
“I was inspired by the very active, multi-disciplinary, creative community and haven't looked back,” Leggitt said.
Bellingham is known for its street arts, being an anonymous soapbox for many to voice themselves.
There are, however, issues in Bellingham when it comes to graffiti. Like many cities, downtown businesses are often the victim of less ‘artful’ graffiti. Just last year, The City of Bellingham spent over $30,000 on graffiti removal. Although the city’s efforts are attempting to mass remove graffiti, other options are available.
“I am a huge advocate for activating community ‘free walls’ to create legal spots for these individuals to paint,” Leggitt said.
Legal graffiti walls are a taboo topic in the US, but have seen prominent use in European nations. They give artists the opportunity to create without the many risks of illegal graffiti. However, there are arguments to the effectiveness of legal walls. While some believe it discourages graffiti on unsanctioned walls, others believe it has an opposite effect.
No matter where you stand on street art, its impact on society is only growing. Although much of graffiti falls under the lines of vandalism and destruction of property, the creativity and expression that comes from it cannot be understated.