Today we met a curious talent. His name is Jon Burgerman.

He’s an english artist born in 1979 now based in New York City.

Jon’s art is a compulsive and frenetic desire of creating Doodles. He sees Doodles everywhere: Doodles in the studio, Doodles in the streets, Doodles in the subway. Pen, paper and Burgerman are all in one. Thanks to the special combination between creativity and English humor he makes original art that permits him to collaborate with famous commercial brands and big institutional musemus like Victoria & Albert Museum.

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Follow us in his studio, open your eyes and enter in the parallel Doodle’s world… 

We are so curious to know how you approach the ‘street life style’… please introduce yourself and your story. What kind of studies did you do? How did your passion start?

I studied Fine art at Nottingham Trent university (in the UK), graduating in 2001 with a first class hons degree. 

I was just into drawing and painting, I wasn’t focused on street life styles or anything else. How I work is how I think.

The drawing is a manifestation of my thought process, it’s how I see the world and how think about it. 

I always drew, from an early age, like most children. The thing is that I never stopped and haven’t really grown up since then.

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How important is for a street artist the studio activities? How is your work developed? How important is your relationship with your city?

The city provides inspiration and opportunities.

By the city I mean the population, the people, as well as the actual landscape and utilities.

The city is completely ambivalent to it’s residents I think. It treats everyone with an even distain, unless you are awash with money. 

My work, like any work, develops by pouring a lot of time and effort into it. There are no quick fixes. It all takes time.

You have to think, read, breathe and work. Work work work. Keep making and keep going.

It’s a marathon that never really will end.

You grow through your work and with your work.

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Can you tell us the story of you first graffiti? Was it in your city? Is street art appreciate in your place? Are there any legal problems? 

I made stickers and stuck them around my city. I had no idea why I was doing this.

This was a form of marking territory (although I didn’t take it as such at the time)

When I visited other cities I put stickers up there. It’s a very basic form of hobo-art, or outsider art. If you see the stickers and know me then you knew I’d been in your city. I think that’s what a lot of ‘street art’ or outside art is about, it’s territorial.

I’ve never got in trouble for that but then I don’t do it very often anymore.

A personal curiosity…What do you think about the commercial idea of Banksy in Central Park?

I thought this was the most brilliant intervention he made whilst in NYC. It was a perfect hoax and was further made brilliant by the artists who copied him the following week, selling copies of Banksy’s work. I like it when Banksy subverts the system in which commodifies his work. He’s very clever as he get’s to poke the system in the eye after making lots of money from it. These are far more interesting pieces than the stencils he makes, which are more like marketing material for his brand.

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Do you know some street artists in Iceland? If yes, what do you think about them?

Oups – don’t be mad but I don’t. Can you tell me about some, who’s work would I like?

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We will introduce amazing street artists from all over the world! So, keep in touch, the next will be someone from Iceland.

Text by: Carolina Gestri