All my experience with putting paint on

[ハワイ ワイキキ]

something came from graffiti.

絵の勉強はしてない

And the kind of graffiti I did was always really simple.

唯一 経験があるのは グラフィティだけ

As I started to paint in a studio, I would paint these

昔からシンプルな作風を好んでた

letters and straight lines and everything.

アトリエで創作活動を 始めた頃はー

And I would try to make it perfect, and it

最初 文字ばかり描いてた

just drove me insane.

でも 文字の線を完璧に 描こうとして 狂いそうになったよ

I grew up in New York.

生まれは NYのクイーンズ

I'm from Queens, Forest Hills.

【KRINK 創始者 クレイグ・コステロ】 フォレスト・ヒルズだ

And I grew up, I was a teenager in the '80s, and I

ティーンだった80年代はー

was into skating and everything from hardcore to

スケボーにハマッてた

hip-hop, punk rock.

それにー

I grew up in a culture of like, you stole your paint,

ヒップホップやパンクを よく聴いてた

you wrote illegally, you made your own markers, or you found

地元では スプレー缶を盗み 違法に落書きを

your own caps.

マーカーを自作したりー

And you took care of them, and it was all tools.

ノズルを自分仕様に 改良したり 色々やった

And you had to learn and understand

自己流で 全部 独学だった

everything on your own.

道具作りは 試行錯誤の連続だったよ

Like this cap was good for this, or this paint was no

最初 ドアや ポストに 〝ドリップ〟をやった時ー

good, or whatever it was.

いい反響を得た

When I started just doing drips on doors or mailboxes, I

「超クールだ」ってね

got a lot of positive feedback.

消火器を使って ペイントしたのはー

People were really interested in it, they thought it was

オレが初めてじゃない

really cool.

でも 工夫を凝らして 道具として使った例だ

The fire extinguishers is something that I didn't invent

マーカーも その１つ

it, I wasn't the first one to use it for those means.

サンフランシスコでは 写真の学校に

But it was another example of reappropriating something to

住んでたのは 92～98年

basically use as a tool.

グラフィティ用の道具や材料は 入手しやすかった

It acted very similarly to the markers that I made.

スプレーや マーカーとかね

I moved to San Francisco.

NYと違って 何でも売ってたよ

I went to school for photography.

〝クリンク〟という ドリップの作風を 生み出したのが 93年頃か

I lived there from '92 to '98.

当初 具体的な ビジネスプランはなくー

I don't know, it was easier to get materials.

商品なんかが あるわけでもなかった

So from a graffiti sense, paint was more accessible,

ただ仲間と 街に 作品を残すだけ

markers were more accessible, all kinds of things were more

そうしていくうちに 作風が確立されー

accessible to me.

一目置かれた存在となった

Because in New York, stuff is so locked down.

ハンドメイドの道具や 材料を持ってたからー

I probably started making Krink around '93,

時代の先を行ってたんだ

and that was it.

それが 強みとなった

There's was no business plan, there was no T-shirt company,

その頃 NYに 拠点を移すとー

there was no street art.

〝ALIFE〟という店の オーナーに出会った

It was just friends and having a good time.

オレのペンキに 興味を持ってくれてー

I was able to have my own aesthetic on the street and

商品化することに

stand out from the rest of the people.

彼らの協力の下ー

And since I had my own kind of tool and materials, people had

〝KRINK〟のペンキをボトル化し ロゴを付け 使い方を貼った

to figure that out just to get to where I was.

ALIFEの店頭に置いたら すぐに売り切れたよ

So it was just being that little bit ahead of the curve.

それが記事に書かれー

So I moved back to New York.

他の店も こぞって KRINKを置きたがった

I was living in the Lower East Side, and I met these guys who

その頃 〝IRAK〟のメンバーとも 仲良くなった

opened a store called ALIFE.

皆 オレより年下でー

They were just like, look, this is really interesting

情熱にあふれてたから KRINKのペンキを貸した

what you're doing.

彼らは 毎晩のように 活動しー

We think you could sell it--

街全体を作品で覆い尽くし 注目を集めた

we'll help you.

「あれは何だ？」

And it became this creative project.

「KRINKだ！」って ウワサになったのさ

I made some Krink.

今はビジネスを 経営するだけじゃなくー

We made a logo, we made some labels, put some

デザインプロジェクトも 手がけてるから 大変だよ

directions on it.

両立するには 頭の切り替えが必要だ

Put it in their store and it sold out right away.

よく聞かれるよ

So they got press.

「ストリートだけで 十分でしょ？」って

They had Krink there, other shops saw that and wanted it.

でも オレは 常に進化していたい

And then at the same time I would hook up

ブランドから離れてる時の方が 生き生きする

with the Irak crew.

ブランドは 自己表現じゃないからね

They were young, I was a little bit older at that time

自分にとって大切なのは 直感に従うこと

so I wasn't really going hard.

好きなことをやらないと 気が済まない

These guys were really going hard.

おかげで パブリック・アートを 手がける機会に恵まれたりー

And so I'd give them Krink, and they would just be out

いろんな国にも行けた

every night writing until all of downtown

最近は KRINK関連の活動を 自主的に企画してくれる人もいる

was basically covered.

オレも 地元地域に密着した 活動に関わってるけどー

And that got a lot of attention because everybody's

みな 協力的だよ

like what is that?

世界中からアーティストを呼びー

What is that?

企業に提供してもらった壁に ペイントを施すんだ

How are they doing it?

みんな アートが好きな連中で 解放的な空間を求めてる

It's Krink.

彼らは 公共の場で 若者文化を発信したいんだ

I run a business as one part of something that I do.

ここは 〝ロフト・イン・スペース〟

But I also work on art and design projects.

この界隈に来て ８年になるわ

And it's really difficult sometimes to be doing both,

【ロフト・イン・スペース ハワイ ホノルル】 ここではー

because mentally they can be really different spaces.

最初の頃ー

People ask the question.

【ティファニー/ジャスパー 共同創設者】 ストリート系の店を構えててー

Like oh, you were in the street, should stay in street.

KRINKも置いてた

And who's to say that I'm not allowed to evolve?

５年前 クレイグと連絡をとり 作品展を企画すると同時にー

And I really love being behind the brand sometimes, because

彼自身も 招待することに

the brand is more-- it's a brand, it's not really me.

ハワイの若い作家に 人気があるの

And I kind of like just brand it and market it.

シンプルな作風が 素敵だしー

With me sometimes, it's like stuff is emotional, and I kind

ドリップで 右に出る者はいない

of want to have to be able to do whatever the

私たちは アートで社会を変えたい

hell I want to do.

ハワイの経済においても アートは好影響を及ぼすわ

There's definitely been some great opportunities for public

オレは ポートランドや 日本 香港ー

art projects and travel.

彼女は NY パリに住んでた

And I think that a lot of people are beginning to try to

多種多様なアートに触れー

organize things themselves.

ハワイでも同じような 環境を作りたかった

And I've definitely been involved in things where they

一筋縄ではいかないのは 分かってた

get the community involved, the local community.

展示は珍しいからね

And they get business owners to contribute walls.

作業は順調？

They fly in artists from all over to paint on walls as part

彫刻的な作品もあるよ

of greater public art project.

彫刻は立体だから おもしろい

And it's all people who are just really interested in art,

建築と 共通する部分があるよね

but maybe it's not a formal gallery setting.

ミニマリズムにも轢かれるしー

It's more interested in the public

〝最小限〟を心がけてる

space and youth culture.

今回使うオブジェの形状は 見慣れてるし なじみがある

TIFFANY TANAKA: We are at Loft in Space in Honolulu, Hawaii.

小さい作品を 手がけたこともあるがー

I've been on Queen Street for about the

今回 この空間を自由に 使わせてくれると言われー

past eight years now.

意欲的な試みだと思ったんだ

Slowly made my way into this warehouse.

狭い空間だけど インパクトがあってー

We acquired the front, we had a denim store.

今までにない作品を 作りたかった

And before the denim store we had a streetware store called

前にも 建物や壁に ペイントしたことがある

Queens, and we carried Krink.

消火器を使って 外壁や 建物の内側を塗ったりね

So I was in contact with Krink about five years ago.

モスクワや プラハまでー

And when we were planning these shows, I thought it

世界中の壁を 塗ってきた

would be so cool to bring him here because he's such an

乾いてる... 壁が熱いな

inspiration to so many artists out here.

建物の構造を考慮しー

And the simplicity of what he does is amazing.

どの角度から見るかも 計算する

But he's the expert in dripping and ink.

屋上や 出っ張りに立って 作業することも

One big thing for both of us, I think , is

足場が悪いから 一苦労だよ

art for social change.

３メートル以上の壁で 手が届くのがやっとのことも

And it really affects what's going on, and especially our

空間の認識が 変わってくるよ

economy in Hawaii.

グラフィティは卒業して シーンから遠ざかってるけどー

JASPER WONG: I've lived in Portland and San Francisco and

自分のスタイルに 大きな影響を 与えたのは確かだ

Japan and Hong Kong.

昔は 色をたくさん 使ったけどー

And she's lived in San Francisco and New York and

今は 少なくしてる

Paris and stuff.

その方が色々 決断しやすいからね

And we're exposed to lots of that kind of

特に 黄色と青色が好き

artwork and we love it.

混ぜると緑になるから 面白くてね

We wanted to bring what we saw out there in

太陽と空のような 自然の色 陳腐に思うかもしれないがー

those cities to Hawaii.

見る人も 共感しやすい

We knew it was going to be hard.

明るい色は 都会のような 殺風景な場所に よく映える

We knew that there was going to be a huge educational

これは コンクリートブロックの壁

aspect to it, because it's not as common

目立った特徴はないがー

here to have art shows.

そこに 彩りを添える

How's it coming?

そういうのに興味がある

Good?

公共の場に 作品を作ればー

MALE SPEAKER: Oh, yeah.

誰もが無償で鑑賞でき 気軽に楽しめる

CRAIG COSTELLO: I've definitely done some

街の人たちの反応はー

sculptural pieces, and I'm really interested in working

おかげさまで いつも上々さ

the sculpture.

広告ばかり見る人が多いけど パブリックアートは大事だよ

And this comes back to like, this is very architectural.

字幕翻訳　日本映像翻訳アカデミー 字幕監修　大石レナ

And I'm also do things that are very minimal, and those

things are really interesting to me.

So I think that this shape and this size is really not

foreign to me at all.

I've done a couple of things that have been much smaller.

But I just felt, this space, there was a really good

opportunity, and Jasper and Tiffany were down.

And they're ambitious, and I think this is ambitious.

It's still a small underground space.

We're just trying to make something happen that is going

to be a little different maybe from some of the other things

that they've done.

I've definitely done a few things like this that are

really buildings, or large walls, interior or exterior,

all painted with fire extinguishers.

I've done all over, from Moscow to Prague--

I've been really fortunate.

Dry.

The wall is hot.

You're really dealing with architecture.

You're dealing with the angle of how a wall is seen.

Or maybe it's a rooftop, and you've got to climb to it.

Or maybe it's got a corner, or there's a ledge, and you've

got to stand on a foot-wide ledge to paint the wall.

And you're painting a 10-foot wall by as tall as you can

reach or something.

And all of those things make you consider space really

differently.

And so that was a really big influence

for sure on my process.

I don't write graffiti anymore, but I still see how

it's such a big influence on what I do and how I do it.

In the beginning I had done some stuff with more colors.

But then I just pared it down and just kind of worked within

a smaller palette.

Because it was just easier to make decisions.

I really like yellow and blue, and it was really just the

blending of them making green that became really

interesting.

They're very natural colors-- it's like the sun and the sky.

And it might sound corny, but it's true.

And I think that there's something that people

recognize in that.

With colors, because I've always been in this urban

environment, I can bring a lot to those often drab places.

So this is a cinder block wall.

It's not necessarily architecturally noteworthy,

but I think to bring color to that is part of something that

I'm just interested in doing.

When you do stuff in the public space, basically anyone

can see it.

It's free, and it's available, and people come by.

And there's a reaction, and it's almost always positive.

Oftentimes more people care about just advertising

something, but I think that public art is important.