Very few street artists have managed to make a trans-generational and cultural impact the way Shepard has. What started almost like a prank back in 1989 with André the Giant Has a Posse guerrilla stickers evolved into an idiosyncratic, deep artistic practice, gracing private institutions and museum with emblematic pieces. Shepard is now a force to reckon with in the art world. Dubai’s Opera Gallery is welcoming Shepard Fairey for his first solo show in the region.

“Future Mosaic, my first art show in Dubai, features new works on canvas, paper, wood, and metal, as well as examples of iconic images and repeated motifs from the breadth of my artistic history. I chose the title Future Mosaic for several reasons. I have always considered my art practice as more than creating a collection of individual images, but an intentional cumulative mosaic of unique but aesthetically and conceptually related pieces in many mediums and contexts. The ever-expanding mosaic of my past images and ideas provides a framework for understanding and amplifying my ideas and creations as they evolve into the future. Shaping the future based on my ideals is at the thematic core of my art output. Though my mosaic is a collection of distinct fragments, those pieces fit together with an eye on creating an ideal future”.

As a former resident of New England, USA, I vividly recall seeing stickers of André the Giant, and its later iteration “Obey” scattered around Thayer Street, a stone throw away from the Rhode Island School of Design, which Fairey attended, and where his approach was born. The short and ubiquitous message, alongside the graphical representation of the Giant, made it impossible to ignore, and forced people to explore Fairey’s universe.

From the very beginning, the artist managed to start a conversation with the public, stemming from a clever combination of short, universally understandable words paired with strong, thought-provoking images. What makes Shepard’s body of work so unique is the seemingly simple message that the canvases convey, carrying so much more than what meets the eyes. Pieces need to be analysed, contextualised, and all of the sudden they become more than the sum of their parts. Over the years, we have seen Shepard’s murals, prints and messages evolve, making their way into becoming the most iconic campaign in support of the 44th US President Barack Obama, amongst other notable achievements.

Shepard’s work cannot be confined to gallery and institution walls. The artist also has a proven record of painting murals all over the world, redefining and embellishing various neighbourhoods with his vibrant visuals and politically committed messages. This aspect of Shepard’s practice has been fully understood and embraced by the local authorities of the region. On the occasion of his first visit to Dubai, the artist has been given the freedom to execute a giant mural in a secret location, which will be revealed this March. Accompanying this gigantic mural, Opera Gallery is proud to present a thoughtfully curated selection of unique canvases, works on paper, hand-painted multiples, rubies and prints.

Your unique style is internationally recognised as a street symbol for peace. How and when did you realise that your art could be that powerful?

I have always known that art can be powerful because I have seen how it affects me personally and many other people. I think I started to realise that my own art could make an impact when my early sticker campaign started getting attention from both the underground and some more mainstream media in the 1990s. In the early 2000s, I realised that other people were reusing the art I was making in protest against the Iraq War and I was excited that it would appear in unexpected places. My Obey campaign was always designed to be a grassroot, viral campaign that could be a template for empowerment. Still, it wasn’t until my anti-war pieces and especially the Obama Hope poster that I realised the full potential power of my art.

You are known/speak of yourself as an activist, has your art always been that committed?

Since I began with the Obey Giant art campaign 30 years ago, I designed my art to make people question things. As I learned more about what art and ideas effectively connect with people, I developed a more sophisticated understanding of social and political issues. By doing so, I became more topical with my art and more directly connected to activism. My evolution as an activist accelerated quickly after George W. Bush was elected. I do not think that all art has to be connected to activism, but most of mine is whether it is in obvious and pronounced ways or more subtle ways.

Can you tell us more about the genesis of Obey Giant?

Obey Giant started as a fun and mischievous sticker campaign that was an inside joke with my art school, skateboarder, and punk rock friends. However, I quickly noticed that my sticker of André the Giant prompted a range of reactions, all of which made me think about the control of public space, the control of messaging, and individual, non-corporate power and nongovernmental voices. I decided to evolve the sticker campaign to incorporate imagery around those and other social and political themes. I liked the idea of making a propaganda campaign meant to question propaganda campaigns.

What are the impulses that bring you to creation? How does your inspiration evolve?

I find inspiration in a lot of places. I love art, but I also love graphic design. I am inspired by album packaging, skateboard graphics, poster design and all the graphics you find in the cityscape, including street art and graffiti. I am influenced by music and its lyrics, articles, and books also inspire me. The urban landscape has so many different stimulating things, from architecture to hand-painted signs to advertising and commercial signage. I always get ideas cruising around big cities.

What is/was your inspiration for the Dubai exhibition this year?

I am always excited to show in new places, and I am a big fan of a lot of Middle Eastern fabric and tile designs, so I looked at how I could find a connection between my iconography and motifs from the region. One of the beautiful things about art is the latitude for interpretation that allows people to discover something new while also feeling a connection to something familiar. I am hoping that the work that I bring to Dubai will draw the viewers into my work in a more profound way. Art can help people see things as both unique and universal.

Is there a particular message you wish to convey to the Dubai population? What emotions/’reality check’ do you wish to stimulate on the viewers?

A lot of the work I am showing in Dubai focuses on the concepts of peace, justice, human rights, equality, and protecting the planet. How all of those things are achieved is open to interpretation, but the emotion I hope the work stimulates is compassion and empathy for humanity and the planet. Different cultures and places define the terms I mentioned in different ways, but I think some concepts of kindness and fairness are universal enough to cross over more superficial barriers.

Is there anything you can reveal about the monumental fresco you’re about to create in Dubai?

I cannot reveal it, but it will deal with somewhere between one and all of the themes I just mentioned.

You realised your famous Hope piece when you had hope for your country thanks to Barack Obama in 2008. Do you still have the same hope for our societies today?

I always have hope. I am an optimist, and hope motivates me, but I am also realistic about the tremendous scale of the challenges we face to make our societies more fair and humane, and make sure we preserve the planet.

You previously said that your works are designed to cut through the clutter of environments. So, is art essential in every societies and environments? What would then be a world without art?

Art is one of the most important symbols of civilisation and enlightened society. In my opinion, the more that art is appreciated and elevated, the more the most ideal traits of humanity will also be elevated and appreciated. Societies that censor or eradicate art tend to be societies run by tyrants who want to suppress free thought.

Your colour palette is instantaneously recognisable. How do you pick your colours? Is it a challenge to restrict yourself to a very limited number of hues?

I started with red, black, and white almost exclusively because I was poor, and a limited colour palette was all I could afford, with red, black, and white being the most attentiongrabbing colours. I have evolved to use a couple of shades of blue and gold. What began as a financial limitation turned into a distinct style of mine, and I feel that I could achieve everything I want to with a limited colour palette, while simultaneously ensuring that my work is recognisably mine. I also think that my work’s strength does not come from individual images but the cumulative effect of all the work, which is easier to understand if there are similar colours from piece to piece.

You have experimented with a wide variety of mediums: street art, painting on canvas, prints… is there any medium you haven’t tried yet?

I began making art when I was young, so I have tried almost all the traditional techniques, and I have used nearly every medium. I would be excited to do more with film and video because I think that film and video engages all of the senses powerfully and has the most profound impact on viewers. Having worked on some small music and skateboard video projects, I know the challenges that come with that medium. It is time-consuming and labour-intensive. Even so, I would be excited to take on the right project to further my artistic vision and share my ideas.

Looking back on your practice from its beginnings to now, how would you say it has evolved? How has your perception of art? Of your own art? Where do you see it going in the future?

I began with very few resources, but I tried to be innovative to effectively spread my messages. I have learned which techniques work as I have experimented with trial and error through the years. I now have more resources, much greater techniques, and a lot more experience dealing with people, organisations, charities, galleries, governments, etc., which allows me to find ways to bring my ideas to life. I am also lucky to have a great team that works with me, and many people who support my projects. Ultimately though, I think like an upstart and an outsider and I hope that the things I do with my art and how I do them encourage people to use their voices and their creativity even though they may not have the same connections or resources that I do. As far as the future goes, there are always things in the world that I want to respond to with my art, and I am always excited about learning and experiencing new things that I can build into my art practice and philosophy. Only boring people get bored.

Leave a Reply

Your email address will not be published. Required fields are marked *