Every time I've been to DC in the last two years, I've seen "borf" spraypainted primitavely on mailboxes, parking meters, trashbins,
walls (like the stuff posted here). The first time I saw borf, I thoght maybe it was a subversive
statement about the gentrification of Logan Circle, which hasn't ever
been the same since the Whole Foods moved in and the porn video shop
(and poor folk) moved out. Then I wondered if this was a movement: I
saw graffiti enough to make me believe that it might be the work of
several people, not just one.
The mystery is solved: Borf is in fact an 18-year old kid from Great Falls.
But the messy scrawl that I saw was more likely the work of his
imitators. Of course he'll be charged, and he should be. If an artist is willing to make a point by pushing the limits of law
and society, then they've got to be willing to take the consequences.
Borf isn't the first or best DC graffiti artist. Nor is he the best or only graffiti artist in the world. In fact, his work seems to be a vaguely influenced (or imitative) of Banksy, from Britain. Cheeky, that one - he snuck in a fake cave painting of early man with shopping cart into the British Museum. I know little about the debate that rages about such acts, but I know that the primary question is: is it vandalism, or is it art? Wherever you fall on that debate - you have to admit, some if it surely beats planting random painted cows (or donkeys and elephants, in the case of DC) in public spaces.
But let's talk about graffit art in Uganda. Let's talk about Xenson,
the sometime graffiti artist that I met in East Africa. His story is
especially interesting: in a country like Uganda, where there is no
Ministry of Culture, where artists make their living primarily by
selling to wealthier ex-pats looking for good art at a low price, where
(as I've been told) people are all too willing to absorb another culture
rather than value their own, where public art is found primarily near the ritzy hotels, I appreciate his efforts to bring his
version of truly public art into a more egalitarian space. His work is part political
statement, part performance art, and the interpretation of a foreign concept (hip-hop) into an expression of Ugandan self. And surprisingly, it works - his more successful paintings
are decidedly hip-hop in their style, but the subject matter and the
message are unmistakably Ugandan - optimstic, gentle, and playful, even
the face of sad memories and oppression. (His view of art comes through in his spoken word pieces, like this).
In fact, I found that of a lot of Ugandan art. Afrigo, "Uganda's oldest band,"
has lost members of their band to AIDS and to the violence of Idi Amin,
and yet, their set at Club Obligato is defiantly joyful and laid-back.
As a customer reviewer for the Afrigo Batuuse 2 says:
Afrigo is Uganda. Steamed matooke in banana leaf with a big Nile
Special, the red clay, waragi at home with the elders, the most
beautiful women in the world, the lake flies swarming around Lake
Victoria.
And such it is with art - at its best when it expresses the irrepressible, hopeful self.