Estria started his career in spray painting in Hawaii year 1984 and has created numerous amount of murals and became and influential leader of the “Golden Age” of graffiti in San Francisco, mastering characters, techniques and scenes. He is one of the artist that started stencil tip – a modified cap used by different graffiti artists to create thin airbrush-like lines. Estria’s works have been showcased in various countries such as Peru, Italy, Mexico, Japan and many many more.

Estria also co-founded Visual Element, the EastSide Arts Alliance´s free mural workshop that develops youth as a voice of the People. He has served the community through his cultural work for over 25 years.

Today, it’s my pleasure to be interviewed and be blogged by one of the masters in the graffiti business, and here how it goes.

Estria: With increasing penalties and surveillance technologies, do you think graffiti will end up surviving as primarily a legal activity?

Erni: Absolutely, I have friends that have had their lives changed after search warrants and seizures of their artwork that all is never returned, passports flagged which presents problems for traveling. Graffiti, the only element of hip hop that is illegal has always beed the unwanted stepchild of the genre. I always preach to fellow artists, especially the ones who do a lot of illegal activities, not knowing the law is NOT and excuse! Decide for yourself if bombing the neighborhood (which has been done thousands of times before so it’s usually nothing new) is worth the price you will end up paying? If yes, God bless but you need to know. The more artistic set has already migrated to legal-ness, I have to admit that today, the thought of being chased or arrested or bothered by law enforcement is not something I desire in life. There will be few people helping bail me out if I was arrested for illegal painting.

As cities face budget crises nationwide, anti-graffiti departments and arts commissions seek pro-graffiti alternative programs. How do you see this impacting graffiti in the next 5-10 years?

It’s hard for me to say since there are many programs, in many cites and so many artists so it depends on how good the programs are run, how good and professional the talent is applying for these programs and what economic state of the program city is. there are so many variables i cant really say what the impact would be. I can say that I have been lucky enough to recently begin working with Graffiti Arts Programming in Winnipeg, Canada and after experiencing how they operate and meeting the directors and many financial supporters I have come to see this  institution as an outstanding institution.

(www.graffitigallery.ca) Places like this, that helps out people who dont have the outlets someone might have in a bigger city like NYC or LA, on the other hand there are no institutions like G.A.P. in either LA or NYC, its great to see the city help finance a gallery that helps teach and expose artists to more legal and lucrative options.

What is your definition of ’selling out’?

Selling out is the term that people who want to hold your career back use when you are becoming successful. No one who ever accused me of selling out ever, I mean never ever offered me a slice of pizza when I was hungry or offered any assistance when I was in need but soon as I bettered myself I heard lots ridiculous comments. Selling out means I’m doing well for myself and I really enjoy doing well. I enjoy traveling, eating well, being treated well, and I do, should I worry about derogatory terms when I am enjoying my life because of Graffiti? Thats my definition of selling out, derogatory term.

Many of you actively promote your art career online. How do you balance the opposing pressures of writers expecting you to ‘keep it real,’ and keep bombing, and having to be conscious of narcs reading your posts, tweets, facebook pages, etc.?

None of that affects me, I am an artist. I have a foundation based in graffiti and a graffiti style, this allows me to create art and do what I love as a career. I’m very fortunate because of it, I say fortunate because since I am part of the history of graffiti, I painted subways, I bombed NYC streets, that allows me a kind of carte blanche which other artists aren’t afforded, if I was raised in any other city at that time what would I be known for? Sometimes luck, or fate plays a part in shaping a career as much as and sometimes more than actual talent.
I promote myself because if people can’t find me, someone else will get work I can get. The internet allows me so many new opportunities.

To be continued…