A Quote by Brad Holland

Many people decorate their homes with designer graffiti, even though most of them would probably have real graffiti scoured off the walls of their buildings. — © Brad Holland
Many people decorate their homes with designer graffiti, even though most of them would probably have real graffiti scoured off the walls of their buildings.
Traditional graffiti writers have a bunch of rules they like to stick to, and good luck to them, but I didn't become a graffiti artist so I could have somebody else tell me what to do. If you're the type who gets sentimental about people scribbling over your stuff, I suggest graffiti is probably not the right hobby for you.
Graffiti is art, but you don't see graffiti in the National Gallery. Graffiti is on the street - that's where it belongs.
My graffiti really comes more from a May '68, sort of Situationist vibe than the hip-hop world. I think a real graffiti artist would find me a poser.
All the work I did was to challenge politics, culture, and women's rights. I felt like I really wanted to break out. That's why I wanted to use graffiti. It's more open. I don't need people to come to an exhibition. Graffiti gives a voice to the walls.
Graffiti is only dangerous in the mind of three types of people; politicians, advertising executives and graffiti writers.
Bus stops are far more interesting and useful places to have art than in museums. Graffiti has more chance of meaning something or changing stuff than anything indoors. Graffiti has been used to start revolutions, stop wars, and generally is the voice of people who aren't listened to. Graffiti is one of those few tools you have if you have almost nothing. And even if you don't come up with a picture to cure world poverty you can make somebody smile while they're having a piss.
I love graffiti because it enables kids from every social extraction to do something that brings them closer to art, when they normally wouldn't be stimulated to be visually creative. Graffiti helps to develop an awareness of immediate expressive and uncontrolled freedom.
In college, all my friends were graffiti writers, but I never wrote graffiti. I wanted to participate and do something cool on the street, so I'd make these portraits of people. I'd isolate them on a white wall, make a silkscreen of it, and do these portraits in bathrooms and all around. That's how I started the Polaroids.
Obviously my own work comes from a conceptual art tradition, but I love the graffiti artists, and I feel spiritually closer to them than to most contemporary art; they make the city a free space of diverse voices and we shouldn't get all cynical about them just because Banksy made some money. I collaborate sometimes with Krae, who is an old school east London graffiti writer.
When we used to walk to school, I used to read off the walls, graffiti and stuff, everything. I used to write stories, but I'd never finish them. I wrote poems.
I always try to find time to do some graffiti here and there, but most of the time, I have so many walls that are given to me now, so anytime I want to go out and do something illegal, I can just do it legally.
One piece of graffiti doesn't mean much. Forty pieces of graffiti might mean something... It's all about connecting the dots.
Graffiti is linear, and it's done with a pencil, and it's like writing on walls.
Graffiti is usually a protest - ink on walls - or has a reason for being naughty or aggressive.
His achievements read like the graffiti on the walls of a hangman's changing room.
Graffiti is linear and it's done with a pencil, and it's like writing on walls. But in my paintings it's more lyrical.
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