INTERVIEW WITH WILLEM SPEERSTRA: 40 YEARS COMMITTED TO GRAFFITI

The Speerstra Gallery, active since 1984, is the Rosetta Stone of art galleries that made a commitment to graffiti outside its natural environment practically since its beginnings. Thanks to this, a bridge was built between American artists and the old continent. This is not a metaphor. Speerstra was the one who brought Rammellzee to Monaco, surrounded by pieces by Crash, Daze, Futura 2000 and Zephyr among others.
We wanted to congratulate them on their 40th anniversary and share their story with you through this interview with Willem Speerstra.

The gallery has been active since 1984. Can you summarize the history of this project from its beginnings in Monaco?
My father started collecting art at a very early age. Even before graffiti, he had a fondness for colorful productions with a destabilizing energy. When we lived in Amsterdam in 1980, he played an important role in introducing American artists in Europe and gaining recognition for the movement. The Speerstra gallery opened in Monaco in April 1984. I was only 12 at the time, and it was my parents who invited Rammellzee to come and do a musical set amid works by Crash, Bill Blast, Daze, Quik, Futura 2000, Seen, Noc 167, Zephyr, and photographs by Henry Chalfant and Martha Cooper.

In 1990, the gallery moved to Paris, before opening a second space in Switzerland in 2007. This expansion broadened the scope of exhibitions and strengthened the graffiti movement. The gallery exhibits artists from different generations, from graffiti pioneers to new talents, as well as photographers and contemporary artists.

“Very early on, my father intuited the historical value of the graffiti movement and was among the first buyers. Although he was interested in other artistic trends, he was immediately captivated by the energy and talent of graffiti artists, convinced that this movement would mark the history of art.”

We know that Speerstra has an interesting collection that includes works by New York graffiti pioneers.
The oldest work in our collection, dating from 1974, is by Snake1. Very early on, my father intuited the historical value of the graffiti movement and was among the first buyers. Although he was interested in other artistic trends, he was immediately captivated by the energy and talent of graffiti artists, convinced that this movement would mark the history of art. During his visits to artists’ studios in New York, he would ask them to create works on canvas, which he would bring back to Amsterdam. This supported the artists in their transition to a studio practice.

Over the years, my father and I have continued to acquire key post-graffiti works, contributing to the movement’s historical, aesthetic and commercial recognition. We are true enthusiasts. Our collection includes many iconic works from the 80s, as well as pieces from the 90s to the present day. Many of our old-school works are on loan to museum exhibitions devoted to graffiti. We also highlight other artistic movements, such as Figuration Libre and the Neue Wilden.

In 2023, for the “Basquiat × Warhol, à quatre mains” exhibition, we lent the Fondation Louis Vuitton the very first work painted by six hands by A One, Crash and Daze. It was created live in front of the entrance to Art Basel in Switzerland in 1984.

As far as the origins of graffiti in the Big Apple are concerned, which works are the most interesting? Can you tell us any anecdotes about these works or their creators?
To me, there are more than just two or three remarkable works; there are dozens. These post-graffiti works testify to the transition from the street and the subway to the studio, where artists have time to work and experiment with various media, without the pressure of running away from the anti-graffiti brigade or the police. The immediacy is obviously not the same, but what counts is the end result.
One work in particular, by New York artist Bill Blast, fascinated me the day my father hung it in our living room in 1984. It was a visual slap in the face from which I have never recovered. In 1991, it was loaned to the “Graffiti Art” exhibition at Musée national des Monuments français in Paris. To my horror, during the opening, a stranger stabbed one of the corners of the work. He was never charged, but the incident remains engraved in my memory. I’ve never quite understood the motivation for attacking a work of art!

Bill Blast’s “Sky’s the Limit” is an iconic work of the 80s hip-hop movement, fascinating in its depth and composition. Before becoming a painting on canvas, this work was a gigantic and mythical mural located at the intersection of 99th Street and Amsterdam Avenue in New York, a meeting place for the hip youth of the time, where breakdance battles and basketball games were held.
Regular visitor Bill Blast chose the park’s largest wall to paint “Sky’s the Limit”. Inspired by the environment and its symbols, he illustrated iconic New York features such as the World Trade Center and the Statue of Liberty. The composition of the work is carefully thought out: on the left, the world of power and success; on the right, the world of night and celebration. A central road, with bare footprints, symbolizes life choices and decisions influencing the future, guided by music emanating from a ghetto-blaster tuned to “W.bil” Fm, playing D Train’s “Keep On”.
The entire work is bathed in the light of a street lamp, and at sunset, the magic happens when the flames of the Statue of Liberty mingle with the music, giving birth to the title “Sky’s the Limit”. This message invites us to keep a free spirit and believe in our dreams, symbolized by the Bronx Bridge in the background, opening up the prospect of a better future.
Despite the mural’s fame and respect, it was soon vandalized. Bill Blast accepted the challenge of reproducing it on canvas in 1983. Today, although the original mural has disappeared, the canvas version continues to convey this powerful message: there are no limits to our dreams.

“…(with our artist) We share much more than just a professional relationship; we share the moments of joy and sometimes sorrow that punctuate our lives. Passion is a force that enables us to overcome all trials.”

40 years is a long time. What are the main obstacles you’ve encountered in the course of Speerstra’s history?
We have encountered many difficulties, but these have enabled us to reorient ourselves, to find new ideas and strategies to continue promoting the work of our artists. Some of them have been working with us for over 30 years, and it’s vital for us to maintain this link, and nurture their careers. We share much more than just a professional relationship; we share the moments of joy and sometimes sorrow that punctuate our lives. Passion is a force that enables us to overcome all trials.
Our two galleries are organized in such a way that we can adapt to an ever-changing economic environment. We are proud to have succeeded in maintaining an artistic output that continues to resonate with the public and collectors alike. Today, we are able to reach a vast international audience, while contributing to the recognition of the art movement in institutions.

“In the 80s, post-graffiti was considered a niche market, even scorned by contemporary art collectors. However, since the 2000s, the visibility of artists via the Internet, in the media and on the walls of major cities has considerably changed the situation.”

How has the art circuit’s awareness of urban art and graffiti evolved over the years?
In the 80s, post-graffiti was considered a niche market, even scorned by contemporary art collectors. However, since the 2000s, the visibility of artists via the Internet, in the media and on the walls of major cities has considerably changed the situation. Emblematic figures such as Invader, Banksy, Obey and Futura 2000 have emerged, not only for their artistic works, but also through their collaborations in branding and even fashion.
Numerous galleries took a keen interest in this emerging movement, helping to raise its profile and create a rapidly expanding market. Renowned auction houses also took part in the movement, playing a crucial role in its development. Record-breaking prices in a very short space of time further fuelled public interest.
It’s worth noting that although the general public often refers to street art, I prefer to use the term urban art, as I believe it encompasses a variety of practices such as graffiti vandalism, legal graffiti, collage, stencilling and other art forms linked to the urban environment.

“Only those artists who have remained true to their vision and values can ensure the future of the movement. Competition has lessened, but it has also increased in terms of quality.”

What points do you feel are essential for assessing this development?
The movement diversified in many directions. Sometimes, clumsy initiatives may have disappointed artists or new collectors. Today, the market has refocused and the public has become more discerning. Only those artists who have remained true to their vision and values can ensure the future of the movement. Competition has lessened, but it has also increased in terms of quality.
New players, such as marketplaces, now offer online art sales with excellent services, particularly in terms of ease of payment and transport. This opens up an almost limitless, borderless market. The public is becoming increasingly curious and knowledgeable, and it’s a real challenge to succeed in surprising and innovating.

Has there also been a change on the part of the artists themselves? What would be the most important change?
In 1973/74, the first exhibitions of works on canvas by artists such as Coco144, Snake1, Phase2, Lee 163, Stitch 1, Blade, and many others, were marginal events. The aim was simply to share with their community and have a good time.
With the advent of subsequent generations, represented by artists such as Crash, Futura 2000, Dondi White, Daze, MinOne and others, the general public began to witness large, colorful, character-filled works adorning the sides of subways. It was this artistic explosion that led Martha Cooper and Henry Chalfant to immortalize what became known as the “Golden Age of Graffiti”, helping to spread the movement around the world. In 1983, the term “post-graffiti” was born, popularized by New York gallery owner and collector Sydney Janis.

Aside from its long history, what are the key elements that differentiate Speerstra from the rest of the galleries focused on urban art and graffiti?
Our galleries don’t really stand out from the others in terms of strategy. What is certain, however, is that we bring that distinctive Speerstra touch. We have long-standing relationships with most of our artists, which means we benefit from their trust. This makes it easier for us to ask them to create special series of works that other galleries might never have considered exhibiting.
It’s unfortunate that many galleries focus primarily on profit, sometimes to the detriment of the quality of the works exhibited, and without any real consideration for the artists and their careers!

As you may know, Montana Colors has its own art gallery, with its own distinctive features compared to other galleries. What do you find interesting about Montana’s gallery?
I’ve been following the Montana Gallery Barcelona since its beginnings and in 2013 I discovered Alex Kuznetsov through his exhibition “Abstract Spraypainting”. After discussions with Montana Gallery and the artist, we organized an exhibition. I’ve been working with Alex Kuznetsov for over 10 years.
You’re very close to talented artists, and you know how to maintain a link that’s essential for the proper development of careers.

Of the last three artists to have exhibited at Speerstra, what do you think is the most interesting aspect of each of their works?

• Exhibition Stanislas “FUZI” Baritaux, “Passions Tristes”, May 2024 – Speerstra Gallery Paris.
  The “Passions Tristes” exhibition marks a significant maturity in Fuzi’s work on canvas, affirming his search for a balance between the constant influence of graffiti vandalism, which built him up artistically, and the multiple means of expression he has since developed. It was the influence of his many trips to Mexico City that was the genesis of the works presented for this exhibition; a wide range of facets of Mexican culture thus infiltrated his creativity. He was fascinated by the unchecked urbanization that has imposed itself on nature. It is this powerful duality that echoes his own inner feelings. Over ten years ago, Fuzi left France to question the truths he had built up. These explorations led him to a real awakening. His perceptions of the world and the battles he had waged against “the others” were nothing but pipe dreams.

• • Exhibition John “JONONE” Perello, “Beats and Rhymes”, October 2023 – Speerstra Gallery Paris.

“Beats and Rhymes” plunges us into the heart of JonOne’s raw power and creative dynamism. We go back to his sources of inspiration, to the days when the New York subway was the canvas for his creations. As if sections of a railcar had been extracted, the presented works are made on aluminum, finished with a car body varnish, and unfold like captivating fragments, immortalizing a pivotal moment in his work. The abundance of energy, the kaleidoscope of colors and the challenge to established norms reflect the boldness and insubordination inherent in the graffiti movement of the 80’s. “Beats and Rhymes” tells a story of determination and perseverance, a narrative that attests to the challenges he had to overcome. Every brushstroke marks his artistic journey, testifying to his tireless pursuit of a freestyle expression.

• • • Exhibition “CRAPULE CLUB”, November 2022 – Speerstra Gallery Paris.
      Among the shadows of the city, in weightlessness between the roofs and the asphalt: a dozen photographers come together under the banner of the Crapule Club.
      The exhibition highlights the visual murmurs of an uninhibited and insolent youth. It draws little by little the desiderata of a better world. Spectators of the free world, the artists exhibit archives taken on the spot, of an alternative part of the city.
      Through the swirls of spray paint cans and countless burnt films, Crapule 2000 brings together young talents of the analog culture. From free electrons with fiery and optimistic dreams capturing the multiple faces of society’s paradoxes.
      

Are there any plans to celebrate Speerstra’s 40th anniversary?
We recently organized a wonderful party on a barge in Paris with our artists and collectors.

Photo credit: Photocompulsif , Speerstra Gallery & Speerstra Collection.