Contemporary Art in Context: Ryan Gardell

The current proliferation of street art stems from the same impulses that drove the American mural movement in the 1970s: social issues. It also arose from the elevation of graffiti art to the status of fine art in the 1980s, due to the growing number of dedicated tag artists who expanded their work to include murals. The street art movement has built on the most important element of all the twentieth-century mural movements: connection and collaboration with the communities in which the artworks are created. Ryan Gardell is a mixed-media artist who works primarily in painting both on canvas and walls. He embodies the contemporary street art ethos of community involvement, beautification of neighborhoods, and uplifting community spirit.

Murals and Process
Gardell is also a graphic designer who enjoys illustration, photo-editing, motion graphics, and animation. It is his street art that he considers his most powerful tool because of its ability to communicate complex emotions to the widest possible audience. Gardell’s signature style is a blend of post-graffiti art, 1960s psychedelia, Surrealism, and abstraction. In 2017, he established Artifakt Studios, a creative agency specializing in custom murals, logo design, graphic design, and more. Gardell and Artifakt have produced over sixty-five murals, the majority of them in Worcester, Massachusetts. Gardell is also an art educator, teaching art to underprivileged youth in urban areas and in monthly painting classes in his pursuit to make art more inclusive and accessible.

The artists of Artifakt (Gardell, Audrey Tesserot, Christian Bachez, Brian Soldano, and Rocko Gardell) see their mission as one of amplifying the voice of the people and unifying neighborhoods through beauty. Gardell states that spray paint is his preferred medium because of its versatility. His ongoing homage to trailblazers of American counterculture, influenced by psychedelia, punk and rap music, and the skateboarding scene, includes appealing fantasy worlds such as The Elders off of Kelley Square in Worcester, and realistic mural portraits featuring artists like 1980s Expressionist painter Jean-Michel Basquiat and rapper Biggie Smalls.

Art History: Wall Paintings and Murals
The earliest wall paintings were created in prehistoric times on rocks and cave walls around the world. In the West, wall painting in the form of frescoes (pigment applied to wet plaster) was part of every ancient culture, from the walls of ancient Mexico to the palaces of ancient Crete, the pyramids of ancient Egypt, and the villas of ancient Rome. Fresco painting in western Europe reached its pinnacle during the Renaissance and Baroque periods (ca. 1400s–1600s). Painting on walls experienced a renaissance in the early 1900s with the Mexican Muralist Movement, which was inspired stylistically by Renaissance frescoes but focused on community instead of religious subjects. This movement, in turn, influenced the mural movements in America during the late twentieth century, which focused on social issues. That movement experienced another renaissance in the 2000s with a street art phenomenon that, like prehistoric cave painting, has truly blossomed all over the world.

About the Artist
Ryan Gardell was born in Worcester and raised in nearby Grafton. He became interested in art and music around age ten, drawing skateboard graphics on school notebook paper and studying art fundamentals in art classes. He studied graphic design (2007–2011) at Fitchburg State University, where he began to experiment with mixed-media painting techniques and graffiti. His explorations in graffiti sparked his “obsession” with large-scale public works as well as calligraphy. After pursuing freelance design between 2014 and 2016, his focus shifted toward mural production. With Artifakt, Gardell and his crew live by the motto, “Make art, not excuses.”

ARTIST Q&A
What are some of the biggest influences on your work?
RG: My biggest influence is the counterculture of the late 80s/early 90s, specifically graffiti, skateboarding, hip hop, punk, and dance music. During that time period I grew up in, these underground art forms seemed to all blend together. If you were into one thing, you were into all of it, and eventually these subcultures transcended above ground and shifted mainstream culture forever. It just spoke to me more than anything else did.

Specific artists and icons who influenced me from that era include Jean-Michel Basquiat, Keith Haring, Futura 2000, Seen, Ron English, Saber, Revok, and Risk. Musically, I’d say Wu-Tang, KRS One, Gangstarr, Biggie, Nas, The Ramones, The Clash, Phish, Bad Brains, Sublime, Goldie—quite an eclectic mix. Skateboarding was the melting pot that allowed all of my interests to coexist, and I would draw my favorite graphics and brand logos in all my notebooks in school. That’s how I discovered my passion for art.

What is a typical workday like for you?
RG: On studio days, I spend my time working on sketches and designs for upcoming projects, handling administrative tasks like emails and proposals, editing photos and video content, packing paints and materials for the next mural, and general upkeep like cleaning brushes or sorting equipment. Occasionally, we have in-house projects like custom canvas art, signs, etc., where we are painting in the studio all day, but most of our work is done on the road.

On mural days, I’m packing my work van and driving to the jobsite, which could be a business, private residence, public park, etc. Each mural job is unique. Every wall begins with prep work, usually masking off areas that shouldn’t be painted, scraping or washing the wall, applying primer, etc. The next step is transferring the sketch to the wall, either freehand, with a projector, or using the doodle grid method. Once the sketch is up, we fill in all of our colors and shading until the mural is finished. Usually, this process takes a few days, depending on the size of the wall. Once the piece is complete, we apply a varnish, add a signature, and take final photographs to be published on our website and social media.

What are some of the influences in your color choices?
RG: I am a big fan of 60s and 70s psychedelia, music festivals, and the fashion that emerged from that culture; everything is so vibrant and uses the entire spectrum of the rainbow. I’ve always had a hard time picking my favorite color; I love all of them equally, [and] it really depends on the mood of a certain space or environment. In the beginning, I used every color in every piece—nowadays I’m slimming my palettes down to be more refined—using more neutrals and earthy tones, with pops and splashes of brighter hues, mostly as accents. There is something easier on the eyes when the colors are muted or pastel; the softness feels more natural or realistic.

How does your process differ between a community centered project and one that is pure fantasy?
RG: Community mural projects are typically funded by public arts grants and involve a board or committee that oversees the project, chooses the artist(s), and approves the design. These projects tend to involve more planning and logistics, with a goal or theme in mind that correlates to the location of the mural. As an artist, we must consider the audience and the environment first and foremost so that our message is clear, inspiring, and effective. Our job as community mural artists is to amplify the voice of the people and unify our neighborhoods with pride.

On the flipside, we occasionally have mural projects that allow full creative freedom. These projects are typically self-funded or funded by a private party who fully trusts in the artist’s vision. This process is less about planning, and more about bringing a unique idea to life, which allows for more flexibility in the overall design. When the project is more open-ended, there’s room to play, experiment, become inspired, and make changes during the process. It’s a little more natural, and I tend to favor these projects most because of the flow state I find myself in.

Can you tell us about any upcoming projects?
RG: [This fall] we’re painting a really high-end restaurant in Wellesley, Massachusetts, and a few other commissions I can’t fully disclose, but are very exciting. I’ve also been focusing on restoring a few older murals in the Worcester area, some almost a decade old, which have become weathered by sun, rain, and snow. A fresh coat of paint goes a long way to preserve the work and extend the lifespan of the murals significantly. We’re gearing up to restore a huge mural located at George’s Coney Island in Worcester, which I painted with Kai Griffiths in 2017. We plan on slightly remixing the piece, so it has the same feel and theme as the original, but with some new flavor, as our styles have evolved since the initial creation. Besides all of that, my only plan for the future is to keep painting, keep traveling, stay inspired, stay weird, and spend as much time as I can with people I love!