17.1 Discover (Winter 24|25)

ISSUE 17.1 WINTER 24/25

C

Silicon Valley’s Innovative and Creative Culture

DISCOVER

FEATURING: Nexus King157 CAMER1

CONTENT MAGAZINE, SAN JOSE $14.95

Jaya Griscom

next at works/san josé: close to the skin november november16 16totodecember december21, 21,2024 2024 the thework workofofthis thisall allfemale femalecollective collectivecoalesces coalescesininan anintensely intensely personal personalnarrative narrativeofofstrength, strength,fragility, fragility,sexuality, sexuality,pain painand and aanearly nearlyheart-broken heart-brokendesire desiretotomake makesense senseofofthe thehuman human experience. experience.artists: artists:sydney sydneybrown, brown,katharine katharinet.t.jacob, jacob,jackelin jackelin solorio, solorio,dani danitorvick, torvick,laamie laamieyoung, young,and andlucia luciaznamirowski. znamirowski.

sydney sydneybrown brownininclose closetotothe theskin skin

lucia luciaznamirowski znamirowskiininclose closetotothe theskin skin

back to square one january january25 25totofebruary february16, 16,2025 2025 aastory storyofofconquest, conquest,erasure, erasure,and andappropriation appropriationthrough through pattern patternand andgrid gridininculture cultureand andcommunity. community.guest guestcurators curators pantea panteakarimi karimiand andirene irenecarvajal carvajalintroduce introducework workwith withnina nina kkekman, ekman,deborah deborahkennedy, kennedy,victoria victoriamara maraheilweil, heilweil,jessica jessica kwong, kwong,yuting yutingwang, wang,and andinvite invitethe thecommunity communitytotoparticipate. participate.

pantea panteakarimi karimiininback backtotosquare squareone one

irene irenecarvajal carvajalininback backtotosquare squareone one

community art auction march march77totoauction auctionnight nightapril april5,5,2025 2025 one onehundred hundredlocal localartists artistsoffer offerwork workatataafraction fractionofofretail retail totohelp helpstart startororbuild buildyour yourcollection! collection!the thecommunity communityart art auction auctionisisthe themost mostaccessible accessibleininthe thearea areaand andincludes includes established establishedartists artistsand andemerging emergingtalent. talent.come cometotosupport support local localart artand andartists! artists!

38 south 2nd street the thecommunity communityart artauction auctionatatworks/san works/sanjosé josé

join joinus usatatour ourhome homeininopen opensan sanjosé! josé! hours hoursduring duringexhibitions exhibitionsare are12pm–6pm 12pm–6pmfridays, fridays, 12pm–4pm 12pm–4pmsaturdays saturdaysand andsundays, sundays,and andevery everysouth southfirst first friday fridayart artwalk walkfrom from5pm 5pmtoto9pm.

9pm.works worksalso alsopresents presents exhibitions exhibitionsininthe theschool schoolofofarts artsand andculture culturegallery galleryatat mexican mexicanheritage heritageplaza plazainineast eastside sidesan sanjosé. josé.

www.workssanjose.org artists—find artists—findout outhow howyou youcan canparticipate participateininopen opencall calland and member memberexhibitions. exhibitions.works workshosts hostswell wellred redpoetry poetryreadings readings every everysecond secondtuesday tuesdayatat7pm 7pmand andevery everyother othersecond second wednesday wednesdayisisflash flashfiction fictionforum. forum.follow followworks workson onfacebook facebook and andinstagram instagramtotosee seeall allour ourevents! events!visit visitour ourwebsite websitetoto join jointhe thee-list! e-list!

@workssanjose

works workshosts hostsabout about400 400 emerging emergingtotoestablished established artists artistsand andperformers performers each eachyear—several year—severalfor for the thefirst firsttime timeinina apublic public workd workdmember memberexhibition exhibition2024 2024 venue. venue.exhibits exhibitscome come from frompublic publicproposals proposals and andare arefacilitated facilitatedbyby works worksvolunteers. volunteers.find find out outhow howyou youcan canparparticipate ticipatein,in,benefit benefitfrom, from, and andsupport supportworks—your works—your community communityart artspace! space!

works worksisismember memberand and volunteer volunteersupported, supported,and and isisfunded, funded,ininpart, part,bybya a grant grantfrom fromcity cityofofsan san josé joséoffice officeofofcultural cultural affairs, affairs,bybysvsvcreates, creates, ininpartnership partnershipwith withthe the county countyofofsanta santaclara, clara, bybyapplied appliedmaterials materials foundation, foundation,and andeternally eternally bybythe theray rayashley ashleytrust. trust. ad addesign designbyby joe joemiller’s miller’scompany company

C CONTENT ISSUE 17.1

“Discover”

Winter 2024/25 Cultivator Daniel Garcia Editors Elizabeth Sullivan Danae Stahlnecker, Grace Olivieri Katherine Hypes, Katie Shiver Samantha Hull, Virginia Graham William Jeske Photographers Cyntia Apps, Jason Leung Lauren Locquiao Stan Olszewski, Victor Aquino

Developer David E. Valdespino Jr. Writers Brandon Roos, Bree Karpavage Joey Reyes, Mighty Mike McGee Michelle Rundowitz, Nikoo Parsizadeh Samantha Hull, Saira Singh Taran Escobar-Ausman, Victor Aquino Designers Jesse Garcia, Sana Chiang

Publisher SVCREATES

I have wanted to do a primer on graffiti writing for years, and I am excited to see it finally become a reality in this issue. I wanted a primer because, though I don’t know much about graffiti, I wanted to honor the long tradition of street art in the South Bay and appreciate graffiti art’s role in many artists’ journeys. Many “bombers” have found their community through painting, which has helped them avoid other avenues that might not have been positive. I can’t pretend to be knowledgeable or an expert; thus, I am very thankful to Joey Reyes for helping bring this primer into existence.

Also, I want to thank Andrew Espino of 1Culture for his support in connecting us with Nexus and King157 and for providing a venue and a “yard” where this artwork could be created and displayed.

This issue is merely an overview of the craft. We will continue to feature these oftenoverlooked artists in the future, as we have in the past with Girafa, RC, Mesngr, and Wisper. But for now, we hope that in this issue, you will see that there is more to street art to be discovered.

Enjoy, Daniel Garcia THE CULTIVATOR

IN THIS ISSUE

King157 | Nexus | Jaya Griscom | CAMER1 To participate in CONTENT MAGAZINE: daniel@content-magazine.com Membership & sponsorship information available by contacting david@content-magazine.com

501(c)(3)

CONTENT MAGAZINE is a quarterly publication about the innovative and creative culture of Silicon Valley, published by

.

Cut Cut from from the the SAme SAme Cloth Cloth Textile Textile + + Technology Technology

Aiko Aiko Tezuka, Tezuka, Fragile Fragile Surface Surface - Blue - Blue Peacock Peacock 6,6, 2023 2023

January January 18–April 18–April 6, 6, 2025 2025

Explore Explore how how contemporary contemporary art art practice practice highlights highlights connections between craft and technology connections between craft and technology in in this this compelling exhibition. compelling exhibition.

Palo Palo Alto Alto Art Art Center Center

Free admission Free admission www.cityofpaloalto.org/artcenter www.cityofpaloalto.org/artcenter

CONTENT DISCOVER 17.1.

Winter 2024 Dec. 2024 – March 2025 San Jose, California

ART & CULTURE 10 The Grand Strike Mural,

Miguel Machuca, Melissa Manuel

Jordan Gabriel, Eddie Romo

Juan Velazquez, Analyn Bones 16 Shades of Brown Alliance, Joey Castaneda 20 Textile Artist and Printmaker, Jaya Griscom 26 Painter, Fabricio Ponce 30 Graffiti Primer, Joey Reyes 36 Graffiti Writer, King157 44 Graffiti Writer, Robert “Nexus” Ortiz 50 Santa Cruz Street Art Scene, Scotty Greathouse 54 Artist, Curator, Educator, Cameron “CAMER1” Moberg

King157, pg. 36

MUSIC & DANCE 60 Breakdancer, Vicki “La Vix” Chang 64 DJ Brotha Reese, Mauricio Cuellar Jr. 68 Contributors Vicki Chang, pg. 60

All materials in CONTENT MAGAZINE are protected by United States copyright law and may not be reproduced, distributed, transmitted, displayed, published, broadcast, or modified in any way without the prior written consent of Silicon Valley Creates, or in the case of third party materials, the owner of that content. You may not alter or remove any trademark, copyright or other notice from copies of this content. For further information, or to participate in the production or distribution, please contact us at editor@content-magazine.com.

CONTENT MAGAZINE is made possible in part by funding from the County of Santa Clara.

Nexus, pg. 44

Shades of Brown Alliance, pg. 16

CILKER SCHOOL OF ART & DESIGN

CREATE CULTURE CHANGE

Get a premier arts education at West Valley’s Cilker School of Art & Design. As a top transfer institution, we know what it takes to help you achieve your educational goals.

With world-class art, design, and performing arts courses taught by industry experts and experienced faculty, West Valley College prepares you for the path you want to take!

ACCREDITED PROGRAMS

» National Association of Schools of Art & Design » National Association of Schools of Music Cilker is a Steinway School offering courses in Stage Technology (Performing Arts), CLO3D (Fashion), and Animation (Visual Art).

Enroll Now! westvalley.edu/cilker @wvccilkersoad

NEW

Visual Arts Building Open Now

10 Discover 17.1

the ng u s g n n i u a Tell ry of h g u o l. o t a s r r i h u h t m s l e a o i s r her e v ro t n o c

m Instagra _ 1culture s wall culture

by Written quino Victor A phy by ra g Photo quino Victor A

E H T D N A R G E K I R T S RAL U M

Miguel Machuca

Jordan Gabriel

Analyn Bones

Eddie Romo

Melissa Manuel

11

RAND

“Doing a mural on an old building is no joke.”

12 Discover 17.1

13

T

he corner of East Santa Clara Street and Fourth Street in downtown San Jose is a bustling area of development, like much of the city.

On one corner is City Hall, and diagonally across from it is a Chevron gas station that has been there since 1969.

Adjacent to the gas station is a 118-year-old, two-story building filled with various businesses.

The only “organic” representation of histor y, cultur e, and community are the murals on the back wall of the building that faces the gas station—mo st notably, The Grand Strike Mural.

The two-story wall contains larger-than-life artwo rk that features civil rights activists Dolores Huerta and Larry Itliong, both of whom are still considered unsung heroes behind the farmworker rights movement led by the more famou s César Chávez. Chávez and Huerta’s work spearheaded the National Farm Workers Assoc iation that started in the 1960s.

Itliong was a powerful Filipino civil rights activist and labor organizer. Along with lesser-known Filip ino activists Philip Vera Cruz and Pete Velasco, Itliong thrust the two farm-working cultures together synergistically to create the United Farm Workers Union. The cooperative with Chávez was pushed to its limits durin g the five-year Delano Grape Strike in the 1960s that ultimately won better pay and benefits and workers’ rights. These wins continue to serve the greater good despite the widening socioeconomic gap of today .

The decades-long battle from the mid-20th century against elite farm owners still widely translates to current day in the neo form of gentrificati on, discrimination, and victimization.

This includes the passionate artists who struggled every step of the way to create the longoverdue tribute mural for the community—a mural that took only two weeks to complete. The Grand Strike Mural project represented a spectrum of challenges and rewards. “That damn wall was a curse and a blessing at the same time,” said Analy n Bones, the consensus captain of the crew among her cohort of individuals who sacrifi ced and labored intently to complete the symbolic cultural work. “Doing a mural on an old building is no joke.”

Artists Miguel Machuca, Melissa Manuel, Jordan Gabriel, Eddie Romo, and Juan Velazquez joined Bones in a passi on project that raised eyebrows from the beginning. Velazquez helped set the tone by painting Huerta into The Grand Strike Mural in less than three days. Andrew Espin o, an arts advocate, joined the crew and helped drive the work to completion with his behin d-the-scenes logistical support. “While there’s this beaut y that’s happening with the mura l, we were also getting bombarded with negativity and complaints: ‘You can’t park there. You’re making a lot of noise. How long is this going to take? Why are they on the wall?’ But every day, these artists were hardworking and happy, regardless. The inspiration from their work was tangible,” said Espino as he juxtaposed the hard work and challenges of the farm workers of yester year.

ST R I K

Melissa Manuel added, “Supposed ly there were two [unhoused] peo ple that even climbed all the way to the top of the [scissor ] lift, fought, and then climbed bac k dow n. We got a lot of heat for it.” Despite the many neg ative stories pushing against them , they all knew that the positive interactions with the mur al would out weigh the controversy .

For Filipino tattoo artist Jordan Gabriel, the mural experience was deeply personal.

“Painting Larry was really imp ortant for me. My dad was a farm er. He always told me his life growing up was hard. He was always in the mud, planting rice and crops and any thing they could eat. Then, coming to the US as an immigrant, he con tinued to farm in Lodi,” said an emotional Gabriel. He was the one who selected Itliong’s portrai t that graces the wall.

The portrait immediately became controversial to some community members because of the signature cigar Itliong eternally holds.

Despite Itliong’s transcend ent life force, it has onl y been in the last 10 years that his influence has become more widely kno wn, mainly from PBS documentaries and social media. Itliong’s sheer will and tena city was the missing piece that made Chávez become a hou sehold name. Itliong still remains relatively unk now n, even amongst many Filipinos, who typ ically take great pride in their cou ntry men. As an American hero, Itliong’s tough, altruistic app roach is vital even today. “When I started learning about Larry, I said, ‘Holy Cow! This is really important. He needs to be up there,’” said Machuca.

“We’re an extension of the mov ement they started. We knew our work was going to start a ripple among people who still don ’t know that side of the stor y.”

Without Bones’ ambition and drive to connect the artists and to push the envelope, including Larry Itliong in The Gra nd Strike Mural would remain a pipe dream. Luckily, along with Espino’s partnership, the effort took hold within a year.

“It was actually back in 2021 when I had a conversation with artist Francisco Ramirez, who unsuccessfully tried to put Larry up first. Larry was too und erground for most people,” said Bones. “I studied Larry and knew it would take a joint effort to make it a reality. In the end, there were a lot of emotions involved that brought us all clos er together.”

On the frontlines, the technicalitie s at the wall presented another dim ension of complexities most muralists face. “With that spe cific surface, you couldn’t even bru sh it or roll [paint] on it, because it would just disinteg rate ,” said Romo. “It was challenging , but it was fun at the same time.” Romo also taught the enti re team how to address the conditi ons of the wall and how to use a lift. “The amount of people showing up every day and talk ing to us about what we were doing was also a part of the process .”

Sharing this part of histor y is a process that contin ues for the crew of The Grand Strike Mural, who were touched by the sacrifi ces and efforts of civil and labor rights lea ders. The crew’s labor of love and self-funded project is their small sac rifice and artful sign of respect and honor.

Their work is an encourage ment for others to contin ue a story that needs to be heard, taught, and shared for those who do not know Larry Itliong’s story and for those firmly against cultural art. C

with the auty that’s happening “While there’s this be

14 Discover 17.1

tting bombarded mural, we wer also ge with negativity and co mplaints.”

15

Joey Castaneda and the Shades of Brown Alliance

G

ilroy, California, often known as the “Garlic Capital of the World,” holds a rich cultural tapestry that extends far beyond its famous crop. Nestled in the heart of Santa Clara Valley, Gilroy is a town where agricultural roots blend with creativity.

The city’s growing community of artists, musicians, and creators is carving out space for art within its evolving culture. From public murals that reflect the town’s history to local art collectives chanting diverse voices, Gilroy’s art scene is blossoming and ready to share its unique voice.

One of Gilroy’s prominent artists and art advocates is Joey Castaneda, a fourth-generation native who discovered his passion for art at a young age. His love for tattoos, along with inspiration from his uncle José, drove Joey to bring his artwork to life by getting his first tattoo when he was just 14. By the time he was 15, Joey was deeply immersed in the world of tattooing. He quickly dove into the craft by exploring various styles and developing his skills.

Adopting the name Chokotattoos, Joey took his tattooing journey to the next level. Although he started with drawing as his first art medium, his true calling as a tattoo artist emerged during an apprenticeship with a friend. This pivotal experience allowed Joey to refine his craft, transitioning from casual experimentation to professional expertise. He quickly mastered various styles, including traditional, fine-line, and black-and-gray work, each of which requires a unique blend of precision and creativity.

Reflecting on his growth, Joey recognizes the importance of timing and mentorship in his development. His ability to adapt and learn from others has become a cornerstone of his success, fueling both his personal growth and his contributions to the artistic community. He shares, “Being in the right place at the right time and learning from the older generation, I feel like all the styles I learned early on were crucial to my career today.”

When Joey creates art, he explores a genre called Chicano surrealism, which draws inspiration from dreams and the unseen aspects of life. For Joey, the journey of art is never-ending. New mediums continually appear on the horizon, and he is eager to explore airbrushing and ceramics as his next craft.

“I try everything if I can, especially if there is someone there who knows it well. If they want to teach me, I’ll sit and try it out and give it my best,” he says.

After serving in the army, Joey’s passion for tattooing remained strong. Yet his desire to amplify the voice of artists in his community grew even stronger. Together with his wife, Jade, he founded the Shades of Brown Alliance (SOBA), an alliance dedicated to providing resources, opportunities, and work for local artists. Serving as SOBA’s collective founder and executive director, Joey’s mission is rooted in the culture of the Gilroy community. Beyond SOBA’s mission, Joey is committed to nurturing the next generation of artists by helping

16 Discover 17.1

Written by Nikoo Parsizadeh Photography by Daniel Garcia sobacollective.com Instagram sobacollective

Taylor Cherry, Relations Committee Sarah Retana, Trustee Founder Edward Valdez, Treasurer Isaiah Kittles, Trustee

Darlene Cordova, Trustee Jade Castaneda, Co-Founder Itzayana Silva, Development Committee Joey Castaneda, Co-Founder

Julian Torres, Trustee Louie Andrade, Executive Co-Chair Angelica Jimenez, Secretary Desiree Villescaz, Governance Chair 17

“Most of the time artists sell themselves short. Even though they know their work is worth $300, they will say they can do it for $50. If you keep this pattern going, you are not going to the next level.”

-Joey Castaneda

them become self-sufficient and ensuring they receive the recognition they deserve. His goal is to empower artists to fully utilize the resources available to them and to embrace growth and appreciation for their talents.

A major challenge SOBA deals with is exploitation. That’s because the community in Gilroy often lacks knowledge on how to approach art commissions to ensure that work is fairly valued and compensated. Compared to San Jose, Joey believes that Gilroy lags 10 years behind in terms of its artist community.

To create opportunities for SOBA’s artists, the organization helps iron out pay discrepancies, streamline invoicing, and equips artists with necessary tools. Joey explains that “most of the time artists sell themselves short. Even though they know their work is worth $300, they will say they can do it for $50. If you keep this pattern going, you are not going to the next level.”

The organization also hosts bi-monthly meetings, which alternate between board meetings and artist networking sessions. Workshops that would provide opportunities for artists to learn figurative drawing, spray painting, and more are in the works for the coming year.

SOBA brings the community together through events that showcase a vibrant mix of culture and creativity, from vinyl DJs and lowrider enthusiasts to a diverse group of vendors and artists. These collective efforts are central to SOBA’s fundraising initiatives, which support both the artists and the community.

SOBA embraces a wide range of artistic expressions, from tra18 Discover 17.1

–Pamela Walsh

ditional art forms to more unconventional ones, like baking and tattooing. Currently, Joey’s vision for SOBA is to secure larger and more impactful projects for the artists to expand their reach and influence while embracing a stronger, more connected community of artists. For example, SOBA is in the process of securing fiscal sponsorship through Local Color, which will provide the group with opportunities to grow.

In collaboration with Emily McEwan-Upright, founder of 6th Street Studios & Art Center and 1202 Contemporary gallery, Joey’s next major project for SOBA is a large mural that will serve as a centerpiece for the Youth Mentorship Program and will emphasize nurturing the next generation of artists.

Known for its vibrant support of the arts community, 6th Street Studios & Art Center offers a range of resources, from rental spaces and art classes to creative programs. The center also leads youth mentorship initiatives and cultivates creativity across all ages and skill levels. Through their shared vision, Joey and Emily aim to foster a strong, inclusive artistic community that uplifts local and marginalized voices.

Joey’s deep-rooted connection to Gilroy drives his passion for supporting local artists. For him, providing these resources is a personal mission to uplift the community. While Joey envisions expanding SOBA beyond Gilroy, he remains committed to making his hometown the heart of the collective.

Joey envisions the town as not only the birthplace of SOBA but also as a cultural hub whose unique character and artistic contributions are celebrated. Gilroy’s identity will anchor SOBA’s growth, allowing it to influence and inspire both local and regional art communities. C 19

Jaya Griscom

20 Discover 17.1 16.1

Weaving the Old With the New

I

n the heart of Silicon Valley, where technology and innovation reign supreme, lies a hidden gem in the world of textile art. Jaya Griscom is a talented artist who has been weaving a new path in the world of textiles, blending figurative abstraction with cutting-edge textile technology.

Griscom was born in Menlo Park, California, and lived in the Bay Area through grade school. From a young age, she knew that creating art was what she was meant to do. “I knew from the time that I was quite little that art was kind of what I wanted to spend my life doing,” Griscom recalls.

“From being very tiny, as soon as I could hold markers and paints and everything…that was always my first choice of what I wanted to spend my time doing.”

Her parents quickly realized that art was their daughter’s passion and enrolled her in the Peninsula School, which emphasized art programs and self-directed creative time for its students. “One of the founders of the school over 100 years ago had been a weaver. So [they] started a weaving program at the school that then ended up sticking with the curriculum, because they had the looms and they had the materials,” says Griscom. Although she didn’t know it at the time, this was the gateway into her lifelong pursuit of weaving and creating textile art. She states: “I ended up learning how to weave when I was like five, and I fell in love with the tactile experience of working with fiber.” Griscom describes textile art as soft and “that it feels good, that it’s cozy, that it’s kind of quiet and absorbs sounds.”

Griscom began her formal fine art education in high school, by earning a visual art certificate from Idyllwild Arts Academy. She then studied at Bard College, double majoring in studio art and religious studies. From there she moved back to the Bay Area and completed an additional degree from Cañada College in fashion design merchandising and small business management.

Eventually, she found herself back at Peninsula School, this time teaching the very same weaving class that had

Written by Michelle Rundowitz Photography by Lauren Locquiao jayagris.com Instagram jaya.griscom 21

Hand with Yarn, 2023, Handwoven cotton jacquard, 41” x 32” 22 Discover 17.1

Behind, 2023, Handwoven cotton jacquard, 18” x 12”

“Operating on a scale that is at least as large as the human body, if not larger, has a very different kind of physical relationship when you’re viewing or touching it.”

-Jaya Griscom

23

Shared Genes, 2013, Deconstructed blue jeans, cotton broadcloth, and machine stitching, 95” x 85” x 1”

“I ended up learning how to weave when I was like five, and I fell in love with the tactile experience of working with fiber.”

-Jaya Griscom

24 Discover 17.1

inspired her as a child. “It was wonderful to be back. I love being in the classroom,” recalls Griscom. As with so many educators, Griscom’s job was impacted by the pandemic, and she was forced to shift to remote work. “Teaching anything remotely is certainly not optimal, but specifically teaching something that is so hands-on and material intensive was really challenging to make work.” While she made teaching work remotely for a while, she decided it was no longer a fit without being in-person and instead focused more attention on her own practice.

Working with various types of looms, from traditional to new age, has allowed Griscom to create both simple and complex designs. Most recently, she was excited to have access to a digital Jacquard loom through a residency program at Praxis Fiber Workshop in Cleveland, Ohio. This loom unlocked new opportunities for creating more photorealistic designs, which often depict human features such as hands.

“The human body is fascinating, and I think that as much as we all are so familiar with bodies...it can be a really exciting way to kind of reexamine that connection with self, as well as reexamine the hefty societal expectations placed on ourselves in terms of physical appearance.”

Griscom makes a point to share that the intersection of the ancient art of weaving and modern technology isn’t new. “There have always kind of been these parallels in this dialogue between computer coding and weaving.” She adds, “You have warp strings, your vertical strings. You have your weft strings, your horizontals. It’s either a weft on top of a warp, or it’s a warp on top of a weft. It’s a zero or one, like it is with binary code.”

Griscom has also recently started combining prints, repurposed clothes, and 3D contours into her larger-scale textile artwork. Griscom admitted that while she does enjoy art in all sizes, she’s found herself drawn to larger pieces.

“Operating on a scale that is at least as large as the human body, if not larger, has a very different kind of physical relationship when you’re viewing or touching it,” she shares.

As a result, she has been accepted into the Cubberley Artist Studio Program in Palo Alto, which provides a large studio for bigger projects. Griscom is excited to continue to expand her practice with new techniques and materials, weaving the old and new together. C 25

Fabricio Ponce From cutting classes to holding down a job, painter Fabricio Ponce puts in the work to keep his art alive.

Written by Mighty Mike McGee Photography by Jason Leung Instagram bobzilllla 26 Discover 17.1

“San Jose is home.

It’s…mine,”

says painter Fabricio Ponce.

He clarifies his “mine” to say that returning to San Jose from anywhere else is to immerse himself in pure familiarity and comfort. He sighs as he sinks into a metaphorical couch and offers that once he is back home in San Jose, “All the sensors can get turned off now; it’ll be fine.”

Fabricio smokes a cigarette outside at a table on an unused loading dock at the Citadel Art Studios. The building—a former cannery—is a labyrinthian compound just off 280 on the corner of South Fifth and Martha Streets, housing dozens of artist studios. He’s rented a variety of spaces in the complex for the last eight years, but he’s come to terms with a need for personal change.

San Jose belongs to Fabricio as much as it belongs to any artist who has made the choice to stay in a city of this size with a support system for the arts that grows at the speed of never. “We got to stay here and keep the original spirit alive,” he says.

Born in San Jose and raised downtown on Eighth Street, Fabricio has been drawing since he could hold a pencil. “I remember being at my babysitter’s and asking for pens and paper,” he recalls. His first artistic influences came from comic book art and his mother’s sketches. An early compliment on his drawing of a tank was pivotal for him, fueling his confidence. “It was the sickest tank you ever seen,” he says with a sincere chuckle.

27

The ever growing need to draw followed him into his teens and onto any surface that could hold paint. Fabricio says he got into graffiti, then doubles down with, “I got heavily into graffiti.” His slowed-down emphasis on the middle word tells a thousand stories of joy, risk, and craft. “Sophomore year I figured out that I could walk off campus and nobody would tell me anything,” he says with a laugh. So he ditched classes until he was sent to an independent studies program, which put him on track to graduate and gave him ample time to explore the social dynamics of the San Jose graffiti scene.

Now his tools are brushes, plywood boards, and handmade frames. No more hopping fences and climbing roofs. “As I get older, anybody that’s putting paint on a surface anywhere, I give them props,” he says. He also mentions his appreciation for the work ethic he sees in his studio mates and fellow artists—Emmanuel Cervantes Mejia, Rayos Magos, Willy Baet and Force 129. “Force has always been the man. He’s a hard worker,” he says.

These days, Fabricio’s life is split into three shifts: art, work, and sleep. His full-time job affords him the time and space to be an artist who doesn’t have to depend on his creative endeavors to pay the bills. “I would love to make the transition into finding a place where I am comfortable selling my art and making prints and stuff,” he says, then shrugs it into a maybe. “I’ve painted stuff just to make money, and I hate it,” Fabricio confesses. He doesn’t take detailed commissions anymore due to the nature of the requests. He was once asked to draw a realistic portrait of a tradesman’s tool. “I don’t want to spend four hours on a wrench,” he admits.

28 Discover 17.1

“I don’t see myself living any other way besides being a painter, painting, and just creating.”

Recently, Fabricio left a painting at the Santa Clara County Fairgrounds with the hope that someone would stumble across it and take it home. He likes the idea of the joy it might bring someone, along with the space its absence makes in his very tiny studio. He has given away a lot of paintings this way, including some as big as four feet long.

“I don’t see myself living any other way besides being a painter, painting, and just creating,” he says. In further support of his art, Fabricio has requested a switch to the swing shift at his job to give himself more time in the morning to paint. “That’s something I figured out this year. [Mornings are] my sweet spot. It’s my time to create,” he says.

Every move he makes has been for his art. He brought his desk to his new home and workspace on Third Street, just a few blocks from where he grew up. He already misses the Citadel as he stands inside it. “It turns out my grandma used to work here when it was a cannery,” he says. “When I first moved in, I had the studio near the front door, which is where my mom would pick up [my grandma] after work.”

He pauses for a moment, then offers, “We used the same door to get in.” C

29

30 Discover 17.1

T

KAZE, 1Culture Alley

he South Bay Area, encompassing cities like San Jose, Santa Clara, and Sunnyvale, has a rich history that stretches back to its days as a fertile agricultural hub. Known for its orchards and fields, this region was once known as the Valley of Heart’s Delight, a moniker that reflected its agricultural history. However, the mid-20th century brought seismic changes as agriculture gave way to technological innovation, transforming the area into what is now known as Silicon Valley. This transition not only reshaped the economic and social landscape but also influenced the development of a vibrant graffiti culture that has left an indelible mark on the region and beyond.

GRAFFITI “WRITER” Writer or Style Writer is the earliest term to identify someone who writes graffiti.

Zook58

Amidst this well-documented evolution from fields to tech hubs, a lesser-known narrative exists. While the tech industry shaped the economic and social landscape, graffiti writers quietly, and sometimes boldly, redefined the cultural and artistic landscape of the South Bay.

TAG/HANDSTYLE A unique stylized signature

Written by Joey Reyes Photography by Daniel Garcia 31

Before the 1980s, the most visible form of graffiti in the South Bay was the Chicano cholo style of writing.

This style, which began developing on the West Coast as early as the 1940s, has its roots in gang culture and was used primarily for marking territory and asserting neighborhood ident it y.

The cholo style continues to be a distinct form of self-expression within the Chicano communities of the South Bay. The cholo graffiti served as a precursor to the more elaborate styles that would emerge in the 1980s, laying the foundation for the South Bay’s unique graffiti culture.

Sample Sampleof ofCholo CholoStyle Styleby byAbraham AbrahamOrtega Ortega

CHOLO STYLE A traditional form of graffiti writing rooted in Chicano gang culture, characterized by blocky, angular letters.

THROW-UP/THROWIE A more complex form of tag, often involving bubble letters and two or three colors

Sample of Throw-up Style by SON1

The 1980s marked a transformative period for graffiti in the South Bay. During this time, the cholo style began to share space with a new form of graffiti imported from the East Coast. The influence of New York’s graffiti culture, with its vibrant colors, stylized lettering, and intricate designs, began to permeate the West Coast, including the South Bay. Local graffiti artists quickly adapted these new styles, merging them with existing Chicano influences.

The result was a hybrid form of graffiti that reflected the diverse cultural landscape of the South Bay. The arrival of 32 Discover 17.1

Style Wars, a PBS documentary that aired in 1983, ignited widespread interest in graffiti among young people in the region. This documentary and the influential books Subway Art (1986) and Spraycan Art (1987) provided inspiration and a visual blueprint for aspiring graffiti artists.

The 1980s also saw the formation of the first graffiti crews in the South Bay. These crews played a pivotal role in developing the local scene.

They were not just groups of artists but communities that shared techniques, ideas, and a commitment to pushing the boundaries of graffiti as an art form.

CREW An organized group of affiliated graffiti writers.

To nurture their burgeoning talents, South Bay graffiti writers needed spaces to practice and showcase their work. This need led to the establishment of graffiti yards.

Among the earliest and most inf luential of these yards were the Walls of Fame, Almaden and Branham Walls, and 11th and Taylor in San Jose. These locations became the epicenters of the South Bay graffiti scene, providing artists with canvases to experiment on with new styles and techniques.

The first yards that emerged in the late 1980s were crucial in the evolution of the South Bay graffiti scene. These spaces allowed for more elaborate and timeintensive pieces, moving beyond simple tags and throw-ups to complex murals that demonstrated graffiti’s artistic potential.

PIECE Short for “masterpiece,” a large, elaborate, detailed graffiti artwork of stylized interlocking letterforms. A “wildstyle” is a complex, more evolved form of a “piece.”

GRAFFITI YARD A designated area where graffiti writers can paint.

Sample of a “Yard” at 1Culture Alley

NEW WAVE An abstract, stylized form of graffiti lettering characterized by its clean lines, bold colors, and often minimalist approach. This style is attributed to the graffiti crew TWS (Together With Style), which has roots in the greater San Francisco Bay Area. San Jose writers also developed a regional version of New Wave–style graffiti. Shen had a style of New Wave she developed.

By the late 1980s, the South Bay graffiti scene had developed several distinct regional styles. Among the most notable were New Wave, 3D Wildstyle, Funk, and Mirror Vision. These styles reflected the creativity and innovation of South Bay artists, who were constantly experimenting with new techniques and forms.

One key characteristic of South Bay graffiti was its emphasis on lettering.

Artists in the region became known for their complex and stylized letterforms, often incorporating threedimensional effects and intricate patterns. The South Bay also boasts several firsts in the graffiti world, including the emergence of the region’s first female graffiti artist, Shen, and the early development of three-dimensional letterforms of Nexus.

Shen, 1Culture Alley

33

The 1990s marked a period of significant growth and expansion for the South Bay graffiti scene.

Several factors contribute d to t h i s g row t h, including the increased accessibility of graffiti media, the rise of the Bay Area as a graffiti hub, and the movement of graffiti artists to and from the region.

One of the most inf luent ia l development s during this period was the launch of the online platform Art Crimes in 1994. This online platform became the largest archival site dedicated to g ra f f it i worldw ide, a llowing artists to showcase their work to a global audience. Although Art Crimes is no longer active,

it played a pivotal role i n d issem i nat i ng g ra ff it i cu lt u re. It helped establish the South Bay as a significant player in the global graffiti scene.

The DIY ethos of the graffiti community also t h r ived i n t he 1990s, with the production of independent magazines document ing t he loca l scene. Phantom Magazine, produced by Bill’s Wheels Sk ate Shop in Santa Cruz in 1991, and Clout Magazine, first released in 2001 out of San Jose, were i n st r u mental in promoting the work of South Bay graffiti artists. These publications provided a platform for artists to share their work, e xc h a n g e i d e a s , a n d

connect with others in the community.

T wo -w ay m i g r a t i o n a lso had a sig ni f ica nt impact on the South Bay graffiti scene during this period. As the Bay Area became a hub for graffiti culture, artists from other cities, including Los Angeles, New York, and c it ie s i n C on ne c t ic ut, moved to the region to immerse themselves in the la rger Bay A rea g ra ffiti scene—some attending regional universities.

At the same time, South Bay ar tists traveled to other parts of the count r y, spread i ng t he region’s unique styles and influences to cities like Seattle, Portland, Miami, and New York City.

The rise of Silicon Valley has shaped the economic landscape of the South Bay and influenced its graffiti culture. The tech boom brought with it a new generation of artists who were familiar with traditional graffiti techniques

and skilled in digital art and design. This intersection of technology and graffiti has led to new styles and mediums.

Social media platforms like Instagram have also played a crucial role in the evolution of graffiti culture.

These platforms have given graffiti writers a global audience, allowing them to showcase their work and connect with other writers worldwide.

3D WILDSTYLE This distinctive style, which emerged in San Jose during the mid-1980s and was developed by early San Jose graffiti writer Nexus, is characterized by threedimensional lettering. This style features intricate, interwoven letter structures, dynamic color schemes, and precise shading techniques to create depth and visual complexity.

34 Discover 17.1

Nexus, 1Culture Alley

As the South Bay continues to evolve, so will its graffiti culture. The region’s unique blend of history, diversity, and technological innovation provides a fertile ground for artistic experimentation and growth. While the future of graffiti in the South Bay is uncertain, one thing is clear: the art form will continue to be a powerful means of expression and identity for those who call this region home.

In recent years, there has been a growing recognition of the cultural value of graffiti, with more public art programs and initiatives aimed at preserving and promoting the work of local artists. This shift in perception suggests that though once relegated to the shadows, graffiti may soon take its rightful place in the spotlight as a vital part of South Bay’s cultural heritage.

FUNK STYLE A style of graffiti lettering that started in New York City featuring “bar letters” that flow in a rhythmic, musical manner.

While the style can range from straightforward and legible to wilder, more dynamic forms, it is always defined by its fluid and interconnected lettering.

Bay Area cities like San Francisco and San Jose developed regional versions of the funk style. San Jose graffiti writers like King157 are known for contributing to the funk-style cannon. King157’s graffiti style is traditional funk.

Zest, TDK Crew, 1Culture Alley

From its agricultural roots to its current status as a tech powerhouse, the South Bay Area has always been a region of innovation. This spirit of innovation extends beyond technology and into the streets, where graffiti writers have quietly shaped the cultural landscape for decades. As the South Bay looks to the future, its graffiti culture will undoubtedly continue to evolve, reflecting the ever-changing dynamics of the region while staying

true to its roots as a form of artistic resistance and self-expression.

This is not just a story about graffiti; it’s about a region that has always been at the forefront of change, where tradition and innovation coexist, and where art continues to flourish in the most unexpected places.

The following interviews will highlight the stories of some of the earlier innovators of the South Bay Area’s graffiti scene.

MIRROR VISION/ DOUBLE VISION A style that uses symmetrical designs where letters or elements are reflected across a central axis, creating a mirrored effect. This approach adds visual balance. Both Nexus and King157 paint in this style, King more frequently.

35

36 Discover 17.1

37

“I represent the old school, using the gift I was given to produce high quality professional graffiti art…and yes, that name will always be associated with the word ‘outlaw.’ ” 38 Discover 17.1

Daniel Garcia Instagram 1984.yo

K ing157

Photography by

A local OG graffiti king innovates by keeping it old school.

Written by Taran Escobar-Ausman

39

Mural at 1Culture Alley

T

he history of graffiti art in the public consciousness owes its duplicity to the fact that the medium of choice is borrowed canvases from liminal spaces of urban geometry. After more than 60 years of urban graffiti, the art form still exists in a precarious space between acceptance and distaste. As the art form progressed over the years—from its origins with artists like NYC’s TAKI 183 tagging subways in the 1960s and 70s—graffiti innovators and legends were born. Almost anyone, regardless of their interest in art, will be familiar with the names Picasso, Monet, or Dalí. Graffiti artists, however, don’t hold the same place in society’s consciousness, despite the fact that pivotal figures from around the world—like Futura 2000, Cap, Skeme, and Cornbread—are essential to the evolution and development of graffiti as a true art form. One of our own homegrown legends goes by the name King157 and has been putting up his heart and soul on walls and trains for 40 years now.

Decoto, a small town that was eventually absorbed by Union City and Fremont, was predominantly populated by Mexican Americans during World War II. By the 1970s, at the height of the Chicano Movement and as gentrification gripped Decoto neighborhoods, racial tensions gave way to riots.

The community expressed their stance during this struggle through graffiti. At this moment in time and place, King was two years old, living with his family in the heart of the fray.

King moved to San Jose before he was nine but often visited his family in Decoto on the weekends. One of his earliest memories of picking up a spray can was painting a Schwinn Lowrider bike when he was seven years old. He was constantly surrounded by letters, fonts, and the beauty of creating. He remembers the Old English cholo lettering tattooed on his tíos and his mom, Sally, drawing and writing beautiful poems.

Sally and his Tía Sandra take credit for teaching him how to color, blend, and stay inside the lines. As King drove back and forth between Decoto and San Jose, the “cholo gangster letters” seen on highways 680 and 101 started to make an impression on him.

By the 1980s, King157 was putting up his own pieces and burners. He is known for his clean, thin, and complex lines in his lettering, his use of vibrant colors, and his b-boy and b-girl characters that harken back to 1970s comic characters Puck and Cheech Wizard. King was inspired by everything

40 Discover 17.1

Image courtesy of graffiti-database.com 41

Kin Mural at Santa Clara County Fairgrounds

42 Discover 17.1

“This new graffiti movement was m a d e u p by k i d s… r e m e m b e r t h a t p a r t .”

Image courtesy of graffiti-database.com

157

from Teen Angels magazine, comic books, Saturday-morning cartoons, and even the Yellow Pages. “Back then you didn’t have the internet,” he explains. “I rode my trusty Mongoose BMX all over Northside and Eastside San Jo, then took the bus to Bart to Oakland and San Francisco. I said to myself, ‘There have to be other crazy guys that love this shit as much as I do.’

So I would explore and document the art form called graffiti art with my 110 Kodak camera (thanks, ma!). This new graffiti movement was made up by kids…remember that part,” King says. He drew further inspiration from local artists, such as Mix 182, T.G.K. Crew, Nexus, and T.D.K. Crew.

King has been fine-tuning his style ever since then, while staying true to the origins of his style. “I tried all styles, experimented in the 1980s and all of the ’90s, but in the great year of Y2K 2000, I had to ask myself, ‘Why did I start writing in the first place?’ Simple answer: It was all about letters, and it will always be about letters. So I broke down my style to no connections, no loop-de-loops, no doodads, or arrows… just the funk, the essence of the letter.”

Though he has witnessed the evolution of graffiti over the past 40 years, King still believes it hasn’t found its proper respect as an art form among the general public. Muralists have benefited from the many attempts by communities to provide a space for the art form, but for King, graffiti is not graffiti if it’s officially sanctioned. That is the beauty of it—the disapproval of graffiti became part of the fabric of its history and identity. King relates, “I represent the old school, using the gift I was given to produce high quality professional graffiti art…and yes, that name will always be associated with the word ‘outlaw.’ ” Graffiti work keeps you on the move and King is no exception. He is still rocking his 1980s flavors, most recently at the famed 44th annual Graffiti Hall of Fame in Harlem, where he shared his work with top graffiti artists around the world. “You can say I’m living in a dream, another revolution in the circle of life. Rock on King157, the last of the Mohicans.” C 43

44 Discover Profiles 16.4 17.1

NEXUS How a legendary San Jose graffiti writer was introduced to graffiti and continues to practice his craft 42 years later

T

he San Jose–born graffiti writer Nexus sits in a bustling coffee shop on Blossom Hill Road sketching a hip-hop– themed cartoon of DJ Dapper Dan, a friend who was placed on hospice, trying to wrap up the graphic so he could send it over as soon as possible. He was planning to paint a mural in an alleyway at Stevens Creek Boulevard and Bascom Avenue a few days later. “I haven’t seen the wall yet,” he says, “but if there is enough space, and I have leftover paint, I might add Dapper Dan’s character on the wall next to my graffiti letters.”

Nexus seemed to instantly attract the attention of locals around the shop. Patrons stopped by his table to inspect his sketchbook or compliment the graphic on his black T-shirt or listen to his stories from more than 40 years of creating graffiti. To everyone that stopped by, Nexus handed them a business card that said “NEXUS” in big letters, with his real name (Bob Ortiz) written above and his multiple professions (Street Art/Web Developer/Graphic Designer) included below.

“A lot of times, while I’m painting, people will ask me to do some work for them,” he says. “So, I’ll usually just keep business cards in my paint case so that I don’t have to get off of my ladder, and I can just keep going.”

Nexus left San Jose 25 years ago and now resides in New Jersey, just outside of Atlantic City. However, he frequently encounters his Bay Area cohorts when he returns to visit and work on art projects. “Somebody called me the mayor of San Jose one time,” Nexus jokes. “A lot of people just know me by my graffiti name, [but] some may just know me from my art,” he adds. “Everybody loves Bobby Ortiz, man,” Dan Sullivan, a former coworker quipped.

When Ortiz was 13 years old and attending Lincoln High School, a new student named “Demo” arrived from New

Written by Saira Singh Photography by Daniel Garcia Nexus Instagram og_nexus_408 45

Nexus, Santa Clara Fairground, 1Culture

“ I realized that I could actually do artwork. And it gave me so much more freedom than what I had been doing with spray paint. I thought it was awesome.”

46 Discover 17.1

Nexus, 1Culture Alley

York and introduced Ortiz to graffiti. Meeting Demo opened his mind to what graffiti art could look like. “When Demo explained what graffiti writing is—that you can design your own lettering and create giant murals with spray painting—I was instantly hooked,” Nexus recalls. “I realized that I could actually do artwork. And it gave me so much more freedom than what I had been doing with spray paint. I thought it was awesome.”

About a month later, Demo and Ortiz found themselves around the corner of Ortiz’s house, painting their first graffiti mural. At the time, Ortiz was deciding among three graffiti names—Klass, Doc, and Nexus. In their first piece, he signed Klass. For Ortiz’s first year as a graffiti artist, he was mainly known as Doc—a nickname he picked up because he played basketball and was a fan of Julius Erving (known colloquially as Dr. J).

One day, Doc and his cousin spray painted a mural at Silver Creek High School. A few days later, the police showed up at his high school and pulled him and Demo out of class, the first of what would be three times that week. “It wouldn’t be so bad if he pulled us out of algebra or geometry or freaking social

studies,” Ortiz gripes, “but he kept pulling us out of art class.” The third time, the officer revealed that he was aware that Ortiz and Demo were “Master Bombers Only”—the name of their group, which had been painted all over the Silver Creek High School mural.

Because of that, at age 14, Ortiz changed his name from Doc to Nexus. That has been his graffiti name ever since.

A lot has changed for Nexus since his early days. Most notably, from the age of 23 onwards, Nexus has only worked on legally commissioned projects. “I decided to work exclusively on ‘legal murals’ because of the threat of actually getting in trouble and going to jail after spending so much time going to college and getting a degree,” Nexus says.

“As much as I love doing illegal murals, no one pays for it, and there were certain things I wanted out of life: I wanted a wife and kids, I wanted my own house, I wanted the stability that I didn’t have as a kid growing up on welfare.” And stability is a huge part of Nexus’s values and the life he has built. “First and foremost, I am a family man—which I have wanted from a young age. I grew up in a single-parent home. I was raised by my Mom 47

Nexus, Santa Clara Fairground, 1Culture

“ Graffiti is probably one of the purest forms of creativity.”

48 Discover 17.1

and sisters, and our family went through a lot of turmoil.”

He deeply values being responsible for the well-being of his wife and kids and has tried to focus on giving his children more opportunities than he had. Nexus has a career as a software developer, and he now manages the patient portal for a health care organization. “It’s an extremely fulfilling job because I still get to help customers like nurses and doctors,” he says.

Nexus continues to work on his graffiti part-time— working on murals in gyms and outside of taquerias and other commissioned projects. He is selective about projects he’ll accept. He usually works on no more than two murals a month, uses spray cans as his main medium, and strictly refuses to work on canvases smaller than ten-square feet.

“Being a part-time artist is the best decision I made…just for peace of mind,” Nexus says. “By having a full-time job to pay my bills, it allows me to be more flexible with the jobs I take and make sure I don’t feel pigeonholed by projects. I have the ability to say no to projects because I am not fully dependent upon my art for my livelihood.”

Through part-time work, Nexus has painted some deeply fulfilling pieces of art. He particularly enjoys painting wild animals, noting that one of his favorite murals, which he did pro bono for O.C.E.A.N. Inc. in Atlantic City, featured a whale, an octopus, and a giant sea turtle. Nexus has also perfected his efficiency, needing only about five hours to knock out an entire 12-square-foot mural.

As his skill and graffiti style have evolved, Nexus has always valued graffiti writing as contributing art to the community.

“Graffiti is probably one of the purest forms of creativity,” Nexus says. “A lot of the folks that I grew up with in the 1980s would put so much effort into creating art that was nice and eye-catching, without getting paid and risking the threat of getting arrested—all in the interest of expressing themselves.” C 49

50 Discover 17.1

A claim, a territory, an expression, a voice. In the true nature of art, graffiti artists have a story to tell and a statement to make through their art form. At its roots graffiti is an underground, anonymous, and illusive culture that never asks permission and always challenges the system. In Santa Cruz County, crews like FTL (Fuck the Law) and TITS (Time Is Too Short) have been leaving their marks for decades.

Stripped down to basics, graffiti is defined as “unauthorized writing or drawing on a public surface.” The definition of street art varies—it’s all in who you ask. Some say street art is any painting in a public space—both legal and illegal, some say street art is permission-based, and some say graffiti and street art are one and the same. The line between the two feels blurred, while also intersected, both being spatial art practices with creative expression at their core and spray paint in hand.

Local artist and muralist Scotty Greathouse recounts Santa Cruz graffiti culture in the late ’80s and early ’90s as a kid in high school, hanging with his friend and fellow artist, Mike Carrillo. Mike, now passed, had an invincibility and rebelliousness that was both intriguing and admirable. A founding member of the FTL crew in Santa Cruz, Mike “embodied the spirit of graffiti” through his edgy lifestyle, commitment to the art form, stylistic lettering and brilliant creative mind. He was hyper crafty with spray paint cans, fire extinguishers, and streakers, leaving so many marks in Santa Cruz that he eventually got busted in 1994—the start of a heavy crack down in the county on graffiti.

Scotty has an understanding and respect around graffiti culture and the artists inside it. It seems the lack of other opportunities and resources to create and show their art is one of the reasons graffiti artists choose to go out in the dark and leave their mark in public spaces.

“They might not have another way to show their brilliance, and if they can go out with a couple of cans from the hardware store and put up their art piece somewhere, they’re getting it out there. I don’t blame them at all,” Scotty says.

Written by Bree Karpavage Photography by Daniel Garcia 51

Dondi White standing in front of his UCSC Sesnon Gallery mural, 1982

Dondi White standing in front of his 1982 UCSC Sesnon Gallery mural The Incredible True Story, Shane Jessup & Time is Too Short Crew, 2018

Sample of graffiti wall in “The Ditch” Santa Cruz graffiti location

52 Discover 17.1

Dondi White standing in front of his 1982 UCSC Sesnon Gallery mural Sample of graffiti wall in “The Ditch” Santa Cruz graffiti location

Dondi White standing in front of his 1982 UCSC Sesnon Gallery mural Entrance to “The Ditch” Santa Cruz graffiti location.

Scotty is also a member of a local collective of muralists and street artists, MFC (Made Fresh Crew), who, he says, are inspired by graffiti. Working closely with nonprofits, the city, and other artist collectives, MFC promotes environmental and social justice through public art initiatives. They have over a hundred members around the world and have created hundreds of murals, many in Santa Cruz County. Take a drive through Santa Cruz and chances are you’ll see an MFC mural or three.

Showcasing a variety of artists and styles, MFC creates “public art for the people.” MFC founder Taylor Reinhold says the impact of large-scale paintings on walls accelerates the artist’s style and makes a statement that’s hard to ignore. The colors and visuals of mural art definitely change the vibe of a space and can even shift the energy of an entire city.

Santa Cruz has exploded with murals over the past five years.

The gutsy roots of graffiti have helped inspire and pave the way for legal street art in Santa Cruz and around the world. Super raw and honest, graffiti is art at its soul—unfiltered self-expression created without permission and without apology. It’s a voice that begs to be heard, exhibiting a personal release of creative expression that sparks emotion and provokes thought. It moves the viewer, in both good ways and bad, and for many artists it’s inspiring. The graffiti style is alive and well in both illegal and legal forms in Santa Cruz and pays homage to a history and tradition rich in culture, creativity, and autonomy. Its ingredients are simple—a couple cans of spray paint, a story, and the guts to get it out there by any means necessary. C 53

Cameron CAMER1 Moberg Encouraging change and doing good, one wall and community at a time.

Written by Samantha Hull Photography by Stan Olszewski camer1.com talkingwalls.art Instagram camer1sf talkingwalls.art 54 Discover 17.1

C

ameron “CAMER1” Moberg’s experience making art began as a child, drawing with his Aunt Nancy. Together they would paint f lowers and bugs, motifs still present in his work today. When Cameron was in second grade, his artwork was exhibited in local coffee shops, allowing him to see how people reacted to his work and finding joy in their reactions.

Soon after, hip-hop culture—particularly break dancing, DJing, and graffiti—became integral to Cameron’s drawings. Growing up in San Francisco, Cameron followed two crews—Class Acts and ICP—that became informal teachers, with artists Reminisce, Twist (Barry McGee), Mike Giant, and Satyr heavily influencing his artistic development. They introduced Cameron to graffiti as an artistic medium, providing him with the opportunity to develop his own character style, a key attribute of the culture. “I think that all of us street artists would not be here if it wasn’t for graffiti paving the way,” he says. In tandem, Cameron spent years working at his family’s recreation center, City Crossroads, which also served as his makeshift studio. He

practiced on the building’s basketball court wall—a place where he could make mistakes and paint over and over again.

Practicing at the recreation center and volunteering with local graffiti artists led Cameron to his own gigs, where the characters he developed began to garner attention.

Establishing his style with regular street art commissions, he wanted to commit to his art full-time, but in a way where he could still do the community work that heavily informed his youth. As a contestant on the reality TV show Street Art Showdown in 2015, Cameron met fellow street artists and demonstrated his speed. He won the competition and used the reward to purchase much-needed supplies, jump-starting his career and boosting his confidence in his artistic ability. He reflects, “I never thought I would go into that show and win the show. But it really boosted my self-esteem and it gave me the confidence, ‘Okay I have something here.’ ” Since then, Cameron’s career has flourished. His commissions take him all over the country, including the South Bay Area where several of his murals can be found across Silicon Valley. The Los Altos Community Mural commissioned by Arts Los Altos demonstrates

55

“I think that all of us street artists would not be here if it wasn’t for graffiti paving the way.”

Be The Change, Arts Los Altos

56 Discover 17.1

57

California Love, Cottle Road, San Jose Walls

Hummingbird, The Gathering SJ

“I paint these butterflies for those who have been hurt and are still hurting. I hope it’s an encouragement that their transformation can and will come.”

58 Discover 17.1

The Greenway, Visitacion Valley, San Francisco

Cameron’s commitment to bringing art to everyone. In this mural, 100 individuals signed up to participate, creating their own design element within a specific shape. He described the project as “chaos within boundaries.”

Cameron is committed to bringing the community what they want but in his own way. Two examples of this are Be the Change, an Arts Los Altos commission on State Street, and California Love, a mural on Cottle Road, made in partnership with San Jose Walls. Both murals include Cameron’s signature monarch butterfly abstract.

This homage is not only to the bugs he grew up drawing but also to the knowledge that caterpillars experience pain during chrysalis as they transform into butterflies. This realization inspired Cameron to incorporate a monarch abstract into several murals—a signature of leaving the body and not bringing your old self with you—which he hopes inspires a sense of transformation in viewers. He says, “I paint these butterflies for those who have been hurt and are still hurting. I hope it’s an encouragement that their transformation can and will come.”

Since 2018, Cameron and his wife Crystal have managed Talking Walls, an art studio without walls. Together they run art festivals to bring artists into a community with opportunities to learn from one another and grow together. Artists

involved in the week-long festivals are financially taken care of, creating a space where the ego is nonexistent. All of their living expenses and supplies are covered, and they receive an additional artist honorarium for participating. Cameron says, “I really don’t care how famous anyone is.

I really don’t care how good they think they are.

That doesn’t matter to us. What matters to us is the experience together as artists. We want everybody to leave changed and to feel that was the most fun, restful, or hardworking week.” Talking Walls’ program allows artists to recognize they’re not in competition with one another, addressing an unfortunate side of the art world’s scarcity mindset. Cameron adds, “I feel like I have a specific mission. If I can help artists not turn into those mean people and have a good experience, then they’re going to affect artists and so on. It’s going to create a good cycle.”

Cameron leads his life following Gandhi’s wise words, “Be the change.” He explains, “I can’t force anyone else to change. I can only be responsible for my own actions and my own creativity.

And I would hope that every mural festival we do, every art piece, would leave the world better than before I got there.” Whether it be through his art, festivals, or giving back to the community, Cameron is rooted in doing good, one wall at a time. C 59

V i c k i “L aV i x ” Chang The B-Ballad of Vicki Chang Written by Victor Aquino Photography by Daniel Garcia Instagram la_vix 60 Discover 17.1

J

ust as creative expression on a one-dimensional plane helps prove an artful existence, there are physical manifestations of art that are dynamic in three dimensions. Athletes, especially world-class ones, show grace and power in movement, whether it is a brutal or elegant sport. In the world of competitive breaking, creative expression and athleticism go hand in hand.

For San Jose native Vicki “LaVix” Chang, there is yet another dimension—a highly functional left-brain life, where Chang hovered between living the status quo and the breaking world that now permeates her b-girl life. It all also drove her 2024 Paris Olympic chance where breaking debuted. “I started breaking when I went to UC Berkeley 15 years ago, and it’s been a tension between a career in science or a career in dance, where I had always chosen science,” says Chang, who studied ecology and restoration sociology. “I started dancing late, too. The summer after finishing high school, I was watching So You Think You Can Dance with my mom, and that’s when I first got hooked.”

Starting off at the open breaking sessions at Cal proved to be challenging. “I got the cold shoulder for weeks. Nobody talked to me, because they really wanted to make sure you’re there for the long haul,” Chang recalls.

She still has breaker friends from then, includ-

ing her best friend, who is part of her breaking crew today.

Regarding the “LaVix” moniker, it’s an homage to Chang’s breaking mentor Lance La Rock. “When I was in marching band at Cal, they would call me ‘Vix’ and traditionally, you take part of your mentor’s name and combine it with yours.”

Chang’s dream of breaking at the Olympics started back with the 2018 Youth Olympics in Brazil. “At that time, I was just entering different events, having fun, and traveling before I thought, ‘You know what? I could do that.’ ” The combination and dichotomy of Chang’s reality is being intelligent and unassuming as much as she is athletic and expressive. “With science, there’s a career path you can map out for the future and there’s healthcare and a steady check. I went so far as studying marine ecology in Australia on a ship, but realized I couldn’t practice dancing on a boat.” As much as Chang was full of nine-to-five options and paths to corporate success, we all know it’s also the intangibles that need to be answered in the one life the universe bestows on you.

“My mom would ask if I was still working with plants as a glorified gardener. She was worried even then regardless of what I was doing, but winning at breaking, making Team USA, and seeing all the positive effects made it real for her and me.”

Chang is also a simple book cover with many chapters of an introverted character set that

61

“I didn’t get into breaking because it was just athletic.

I got into it because I liked the way I could express m y s e l f c r e a t i v e l y.

It’s my outlet.”

uniquely morphs into the layers of breaking.

“Yes, there’s humongous egos in these battles, and it makes sense considering its history, but it’s also hard to switch on and off, because I’m not like that. I know a lot of people who are really nice and then get super aggressive out there and can just switch back. I get it because I’m competitive too, and I don’t want to lose either.”

It’s an unusual combination in a world of flash, fantasy, and attention. “My parents are both Taiwanese. My sister is a lawyer, my brother-in-law is a doctor, and I worked for years in plant ecology and environmental science before I quit,” says Chang in full pivot.

Throughout Chang’s college life and professional career, the creative calling was there—spending hours practicing and understanding the strategies, nuances, and evolution of breaking. Historically, b-boy battles started in the Bronx in New York in the 1970s in lieu of fighting. Since then, breaking has gone global, with many of the world’s best coming from all continents. From this, two groups have emerged—the purists and the progressives.

“On the West Coast, people originally learned from what they saw on TV. There really wasn’t anyone to teach them. They would just try it, and it would come out different. They didn’t really study the foundation of it like East Coast people did. So, in a way, it gave them more freedom to move differently, which East Coast breakers didn’t like.” Purists believe it is a commitment to culture over personal gain.

Progressives simply classify breaking with four mainstays: downrock, toprock, power moves, and freezes. They combine popping, locking, martial arts, and gymnastics—bold athletic moves—to various styles of modern mixed music.

Where does Chang fit in all this? Simply put, she is the embodiment of past and future, as it should be.

Firstly, Chang is an artistic soul: “I didn’t get into breaking because it was just athletic. I got into it because I liked the way I could express myself creatively. It’s my outlet.” Secondly, 62 Discover 17.1

L

Chang’s analytical side provides its own competitive edge. “People like the power moves and the crazy spinning, but in the Olympics, they emphasize the sports aspect of it.”

In competition, the criteria of technique, execution, vocabulary, originality, and musicality are distinguished throughout every round, where repetitiveness can be a breakers’ downfall. Chang studies the entirety of the competition—the music, the competition, the judges, and that every move in every round is choreographed to be her own. “My coach and I look at everything, and even though they’re trying to make it objective, it’s still really subjective.”

Originality is at the core of what differentiates Chang—how and where she fits in as she continues to evolve. “I believe my material is super original and my overall style is really original. Unfortunately, that’s only one out of five categories and unfortunately, what you mostly see are people copying each other.

Popularity is still king, and originality is still underground.” Chang’s preparing for whatever comes next, as she fell just short at the Olympic qualifiers in Budapest in June.

Nonetheless, Chang seems at peace, but as with many artists and athletes, how to make a living is typically the compromise. “The only ways I can make a living are to start a studio and teach or become an influencer and be good at marketing. Or create shows, though it’s difficult to fund.”

Chang’s right-brain comes on strong. “Unless I’m constantly out at competitions, I have to find a different way to connect and that’s via companies—especially streetwear brands.”

Chang cold-calls big companies seeking sponsorships, which is not for the faint of heart.

“Like any industry, they need marketing metrics, so that’s a popularity game too; but out of left-field, I get Jack-in-the-Box taking a chance on me.”

It all begs the universal question: who is taking a chance on you, if there’s only you?

For Chang, the journey is the destination, and she is ready to break it down. C

AV I X

“My coach and I look at everything, and even though they’re trying to make it objective, it’s still really subjective.”

63

64 Discover 17.1

J D Br o T ha Re s E e The nonstop party that can accompany DJ life almost robbed Brotha Reese of everything. Twenty years in, with a new outlook, he’s as dedicated as ever to sharing joy through song selection.

Written by Brandon Roos Photography by Cyntia Apps twitch.tv/djbrothareese Instagram djbrothareese Mixcloud djbrothareese 65

T

he sounds of A Tribe Called Quest’s “Find A Way” escape from under a partially open garage door.

The song is playing as part of Brotha Reese’s five o’clock Traffic Mix on Q102 FM. A garage door lifts to reveal a DJ wonderland: walls of 12-inch vinyl records, sorted by style and era, with 45 packed travel crates situated atop the shelving; two DJ set ups—one contemporary and one throwback, the latter featuring an old-school Rane mixer placed inside a wooden console with two turntables resting on top; and PCs and webcams to power Twitch livestreams. Murals by graffiti legend King157 adorn the two long walls. It’s Reese’s self-stylized oasis.

“I look at these [walls], I get that smile, and I put on a record.

It takes me back to when I was a kid,” notes Reese. “Music is so powerful. It can take you to another place. I can even remember smells when I hear certain records.” The space is an accurate reflection of Reese—Mauricio Cuellar Jr.—endlessly passionate about music and mindful of the legacy of his craft, yet always open to absorbing the new sounds needed to rock the next crowd he encounters. He speaks with an overflowing reverence for the songs he loves, singing choruses and beatboxing drum patterns while he talks. Over 40 years, he’s played weddings, bar mitzvahs, quinceañeras, and debuts, rocked packed club dance floors, soundtracked intimate dinners, and mixed over the drive-time airwaves.

Reese’s parents arrived in America from El Salvador, and first moved to California’s San Fernando Valley, where he was born, before eventually settling in San Jose. He credits his father, a multi-instrumentalist who played in bands since his teenage years, as a major influence on his own passion for music. “When you grow up in South San Jose, you grow up with everybody,” he explains, noting that the diversity of his community informed his musical taste. “You would hear guys cruising in lowriders, bumping Zapp & Roger. I could hear my next door neighbors playing gospel on Sundays. And then I had my cool white-boy friends that listened to punk music, so I got exposed to Black Flag, Metallica, and Pantera.” He earned the name “Brotha Reese” because of the hip-hop flavor he brought to his sets at Latin clubs.

At 13, he fell in love with DJing after touching a set of turntables owned by his cousin in Queens. After assembling his own setup from gear donated to him by friends, he practiced obsessively.

“It became so bad with the DJing that I would take the turntables with me everywhere I went,” he adds. “If I went to your house and you didn’t have decks, I would [set up in] a little corner and make tapes for everybody.”

66 Discover 17.1

“It became so bad with the DJing that I would take the turntables with me everywhere I went. If I went to your house and you didn’t have decks, I would [set up in] a little corner and make tapes for everybody.”

-Mauricio Cuellar Jr.

The ’80s mix show DJs Michael Erickson and Cameron Paul were major inspirations. Legendary Bay Area DJ Jazzy Jim served as a mentor. In the early 1990s, he joined the Hot 97.7 FM street team, DJing lunchtime gigs and dances at high schools. When the famous Dog House morning show shifted to Wild 107.7, he became the show’s DJ. His first club gig, in 1992, was at Cactus Club. In later years, he ran a modern rock night with his friend DJ Deluxe at Zoe. But as his opportunities piled up, his constant role as the life of the party took its toll, leading Reese to abuse alcohol, marijuana, and crystal meth. “Because I was DJing six nights out of the week, it was a party every day. I’d go on benders,” he shares of this dark time. After having a tough conversation with his wife, he decided to seek help at an outpatient program offered by Kaiser. Now 20 years clean and sober, he’s grateful for how much he’s grown, and the chance to return to a calling he once had to step away from.

“I don’t have to run to go use to hide those feelings [anymore],” he says. “If I can change, you can change.”

Currently, Reese holds residencies at Willard Hicks, Sushi Confidential, and Branham Lounge, and regularly streams The Soul Parlour Radio Show bi-weekly on Twitch alongside DJ Tay. Thanks to a longstanding friendship with radio legend Chuy Gomez, he’s been DJing for the San Jose Earthquakes and is back to regularly mixing on the radio.

At 53, he has no interest in stepping away from the decks. While his lifestyle around the party may look much different than it once did, he’s still locked into the pursuit of spreading joy across any dance floor he presides over. “DJing saved my life,” he shares.

“If God will bless me with many more years, and I can still hear and see, I’m still gonna play records, even if it’s just for me and my grandkids.” C 67

CONTRIBUTORS The production of CONTENT MAGAZINE would not be possible without the talented writers, editors, graphic artists, and photographers who contribute to each issue. We thank you and are proud to provide a publication to display your work. We are also thankful for the sponsors and readers who have supported this magazine through sponsorships and memberships.

LAUREN LOCQUIAO Lauren is a creative from San Jose. Her work consists of documenting people’s “moments.” When she’s not behind the camera, she’s juggling other hobbies.

SAMANTHA HULL Samantha is an arts administrator by day and a hopeless wanderer at heart. In her spare time, she is almost always exploring the great outdoors.

Instagram: naulenmedia

Linkedin: samantha-hull-art

VICTOR AQUINO A longtime East San Jose native and creative, Victor is a writer, photographer, documentarian, and web developer supporting activities of social good and social justice.

Instagram: realitymaniacs

CYNTIA APPS Cyntia is a commercial and food photographer from Panama based in Silicon Valley. She specializes in brand elevation services for businesses through compelling and visionary storytelling.

TARAN ESCOBAR-AUSMAN Taran grew up in East San Jose where he has become a father, educator, freelance writer, and avid record collector. He finds joy in discovering any meaningful and serendipitous patterns among the arts and in his life that make the world even more wondrous.

Instagram: taran_ea

COVER ART This issue’s cover is by King157. Read about his work and journey on page 36.

JOSÉ “JOEY” REYES Joey is an arts professional in the Bay Area with over 20 years of experience, including Arts Program Director for the William James Association and Director of Engagement & Dialogue at MACLA, and 30 years as a graffiti writer.

Be a part of the CONTENT community.

Contact us at:

editor@content-magazine.com

Instagram: cyntiaapps

WILLIAM JESKE William is a reporter-in-exile and amateur photographer in San Jose. By night he profiles amazing people; by day he’s a mild-mannered medical records technician.

Instagram: kajmere120

C 68 Discover 17.1

N OW O P E N

IN

PALO

ALTO

FOR

LUNCH

&

DINNER

Vote d B est Sushi Restaurant in Silicon Valley” M O D E R N

L U X U R Y

SUSHI ROKU PALO ALTO - 180 El Camino Real | sushiroku.com | 650.507.2100 | @sushirokupaloalto

@firstfridaysantacruz firstfridaysantacruz.com

creativityiscontagious, pass it on.

Exhibitions, Art Classes, Workshops, Community, Free Events, and more

pacificartleague.org

Immersive Video Mapping Experience September 6 - December 15, 2024

Chopsticks Alley Art Gallery Open San Jose 38 S. 2nd Street San Jose, CA 95113 Gallery Hours Saturdays & Sundays 12 – 4 pm First Fridays ArtWalk SJ 5 – 9 pm

CITY LIGHTS THEATER: INNOVATIVE. INTIMATE. INSPIRING. NOW OPEN!

IN LOVE AND WARCRAFT

HEAD OVER HEELS

THE CAKE

THE MOUSETRAP

ESCAPE INTO THE STORY. 529 S. Second Street, Downtown San Jose

CLTC.ORG

Partially funded by:

Kambui Olujimi: North Star Through June 1, 2025

SAN JOSE MUSEUM OF ART 110 SOUTH MARKET STREET SJMUSART.ORG/KAMBUI

Museum admission is FREE for youth, students, and teachers with ID Artwork: Kambui Olujimi, When You Find Me (detail), 2021.

Watercolor, ink, and graphite on paper, 51 × 77 inches. Courtesy of the artist.

CREATE : CONNECT : SAN JOSE

A MILLION TIMES (SAN JOSE) Artist: Humans since 1982 Location: San José Mineta International Airport (Terminal B) Composed of 160 clock faces with white hands set against a black stone-like surface, the piece combines software, hardware, sensors, and contemporary aesthetics. By programing the clock hands to spin individually, but in formation, the artwork reports time accurately while also playfully representing the concept of time passing. www.sanjoseculture.org

MADSEN G A L L E R Y

T O

L O S

A L T O S

P R E S E N T S S I L I C O N V A L L E Y

2 0 2 4 P O L L O C K - K R A S N E R F O U N D A T I O N G R A N T R E C I P I E N T

L U C A S B L O K 1 2 / 5 / 2 4 R E C E P T I O N 3 5 1

- 3 / 1 / 2 5 1 2 / 7 , 5 - 7

P M

M A I N S T . L O S A L T O S A P M A D S E N . C O M

SILICON VALLEY’S

INNOVATIVE & CREATIVE

CULTURE made in san jose, ca

NEXT ISSUE

Connect 17.2 Next

Pick-Up Party March 14, 2025 San Jose City Hall Rotunda

WWW.CONTENT-MAGAZINE.COM social media: contentmag

ANNUAL MEMBERSHIP- $42.00 SINGLE ISSUE- $14.95

SUPPORT

www.content-magazine.com