flux factory,a not for profit arts organization supporting innovation in things.
a not for profit arts organization supporting innovation in things.
present fluxers

Kerry Downey

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(my Flux friends made this video for me for my benefit party, thanks Shuffy, Jean, Morgan, Paul, Chen, Mikey!)

Being from sunny South Florida, Kerry has the disposition of a tender, curmudgeonly, cardigan-sporting geriatric patient. She lives as if each day was her last, reveling in the sunshine of her mind’s eye. She prefers tea over coffee, music over sound, friends over enemies, her studio over the street. A Bard graduate of the Fine Arts, a current MFA candidate at Hunter College, list-maker extraordinaire, a skeptic of skepticism, a lover of all synchronicities, a Leo with a Cancer moon, and a lock on her studio so she can moonwalk with no interruptions. Despite being lactose-intolerant, she is easily one of the cheesiest people alive.

Kerry curated Flux Factory’s What the Book?, co-curated NOVEL, Works on Paper, and Grizzly Proof, and has participated in numerous other shows and collaborative projects.

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CURRENTLY I am preparing for something totally awesome: top surgery (June 20th). Should you be curious, the details are below. It’s important to understand that this event has been made public for the primary reason of fundraising and the secondary reason of raising awareness. DONATIONS WELCOME! Let me be frank, I need to raise a whole hell of lot more money. Anyone who digs my art and donates can e-mail me and I’ll mail you a print. Seriously.


Questions and comments: Kerry@fluxfactory.org

kerry art

kerry art

kerry art

A Brief History of My Boobs
By Kerry Downey

Titties in the Wind

As I sit under a blooming cherry blossom, I think back to the fountain of my youth. Ahh yes, the early days. There once was a Kerry who ran swift and light below South Florida streetlights, across green manicured soccer fields, through Canadian forest. I was as fast and often faster than most boys. I could really kick your ass and probably did. Shit, I had a quarter pipe, got every Metallica album in my Christmas stocking, and made Skid Row music videos on my roof. And then slowly some welts grew on my chest. Then quicker, quicker until these nodules became golf balls became oranges and well, you get the idea. Slowly a stitch grew in my side when I ran. I couldn’t stand up straight anymore and was suddenly humbled beneath the growing weight of my womanboob. The density of this change with the unholy ebb and flow of hormonal nonsense hit a sensitive Kerry with a great vengeance. Boy was I furious. These motherfuckers would not stop growing. So I nightly prayed to the Boob Goddess to undo such growing endowment. But she was a generous deity and with every unkind ounce, my body arched further downward. The humility my family raised me with manifested itself physically into a curmudgeonly, geriatric posture. I tried to keep playing soccer but I was slow and my titties in the wind were hard on my small frame. I was told to stand up straight and push this unwieldy bust out into the world. I was told to be unashamed of the female form. I had no problem with this form fitting other women, but I felt unmoved by my own majestic mountains. So I rejected such notions of proper posture as triumphantly as I rejected the school ritual of fluoride swishing. Fuck no.

Ironically, the same time I struggled to keep up in soccer, at the height of puberty’s evil, my mother lost her breasts to cancer. Double mastectomy with no reconstructive surgery. It’s some twisted shit when you find yourself jealous of your Mom’s surgically flattened chest. It wasn’t until much later that I could understand my mother’s incredible courage.

When my boobs got some lovin’

Well, I gave up sports, much to my dismay, and became an artist. What other options were there? I went to an artsy fartsy high school and met cute girls who wanted to touch my tits. I was fortunate enough to find that my first love loved me back and loved my boobs even more. Over the years such kind ladies encouraged tighter shirts and feminist notions of self love. Despite a growing fanbase for my chest, I still resented them. I would wear the same ugly, yellowing sports bras from Sears to avoid the shameful shopping for newer, more stylish ones. I was safer in the bra and underwear section of Sears where only South Florida geriatrics would gawk at me. I would (and still) never hang out braless (even around these women who swore their love to me) for fear my breasts will drip into lap into a puddle of fat. Sleeping naked is also not an option as it inspires nightmares of blobby boob creatures swallowing me up in their voluptuousness. These sweet ladyfolk of both my high school and Bard college days showed various stylings of love and encouragement but at the end of the day, it all felt rather insufficient. Even with the best mood lighting of candles and starlight could not make these jugs look good on me. They’re just not sexy because they’re just not me.

Androgyny, baby

The physical and psychological weight of these things is not easily measured. I have found that in discussing my boobs, many people understand things like back and neck pain. People see how having weight on your chest is difficult to carry around. Many people also understand that it’s annoying to have people look at the one part of your body you wish would disappear. But what most people seem confused by, is why exercise, back braces, physical therapy, and the right attitude do not cure this boob dilemma. The other side of this matter is rather abstract for many people. I want to be androgynous.

As a little kid I was mercilessly picked on (as most of us were for one thing or another) for my androgyny. Are you a girl or a boy was so common that after awhile I learned to have some fun with it. “No bitch, I’m your worst nightmare.” I learned to talk back and speak loud. I never defended my femaleness as this seemed not only beside the point, but also incorrect. Was I a girl or a boy? I internalized such questions and grew comfortable operating in the spaces in between. I was angry when I lost this power with big boobs even though it alleviated a great deal of confusion on the world’s behalf. It’s strange to think that one would want to return to this place of androgyny, but it is not a place of shame. It is who I am most comfortable being.

Androgyny is a tricky thing though. What am I even talking about? What’s funny is that the definitions of androgyny describe it as either having both male and female (masculine or feminine) characteristics OR having neither. So what is it that I want to be, neither or both? Can I be both neither and both or neither both nor neither? Wait, I’m getting confused. Fuck this, I just want to wear cute little tank tops and run fast again.

The Decision

Many of my peoples know that I have been thinking about breast reduction and top surgery for many years. Recently, with greater queer and trans activism and awareness, and with advanced technologies and surgeons, surgery became more and more realistic. But there was a recent moment at the doctor that made top surgery an urgent necessity. I was laying on the Dr.’s table to have a cist examined. My tits were covered in cold Vaseline while some kind of sonogram machine was being smooshed against them when tears started flowing down my face. It was in this moment that I decided that I was not going to spend the rest of my life being inspected, tested, felt up, pressured and paranoid about the breast cancer that is both sides of my family tree. So the removal of this flesh is not only to relieve back pain, to relieve some of the psychological weight, to find a more androgynous, gender-queer body, to be able to wear the clothes I want to wear, to be able to run again, but also, alas to free my body from the years of traumatic breast examination that is uncomfortable emotionally and physically. I consider this elective mastectomy a kind of solidarity with my mother as well as with the trans and queer communities as large.

So there you have it. Boobs be gone. I wanted to get up from that freezing cold Dr.’s table right then saying, “fuck you, get off my tits you fucking mean people!” However, I kept it inside and I let them finish their job. I didn’t stop crying until I got on the subway. But at this point these sweet tears were those of joy because in that walk from the Elmhurst Hospital to the 7 train, my decision was made that the time was now.

The Process

I didn’t think very long about a breast reduction because with very little brain effort I knew that it is not simply chest comfort that I am interested in, but, like my mother’s mastectomy, a removal of all that is potentially cancerous, metaphorically and otherwise. While I am not interested in passing as a man, I am also not interested in completely passing as a woman. Any size boob is just too much boob for me. It made sense at this point to research top surgery and to align myself with queer and trans folks rather than to think about this process in terms of breast reduction. With some research I found the right surgical procedure: bilateral subcutaneous mastectomy with nipple grafts—which means I keep my nipples (although I’ve been considering following my friend Annie’s suggestion of just having them tattooed on).

At this point I began to talk to every friend who would listen about my desire for top surgery. I started to reach out to my queer peoples from Bard and Hunter and have been in constant tit talk with my Flux Factory folk for many months. Being that the cost of the surgery is $7500, I had to make this private process public by eliciting help from basically every friend I have. It hasn’t been easy or entirely comfortable but by making this experience public, it has been an opportunity to build my community, talk about these things that, while deeply personal, are incredibly important to me. From finding the right surgeon to the organizing of the fundraiser, this has been a real communal effort. I have been pleasantly surprised to find my friends and family very supportive (with few exceptions).

Once I found the right surgeon for me, I had to make a down payment, fill out shitloads of forms, meet with my Primary Care Physician to ensure he’s willing and able to deal with my tubes post operation, and prepare for the blood tests, medication, and month of recovery, (and here is where it gets interesting) find a therapist willing to write a letter stating that s/he has diagnosed me with “Gender Dysphoria.”

Harrowing.

So what the fuck is Gender Dysphoria? It turns out that legally, to have top surgery, which is technically a transgender (female to male or F to M) surgery, law requires that one must prove their sanity. Gender Dysphoria is a gender identity disorder where a person is uncomfortable with the gender they were born as. Psychologically speaking, the disorder has a history of being viewed as a mental illness. This is a diagnosis that labels non-traditional bodies psychologically unstable. Such diagnosis renders transsexuality, and transqueer people pathological and has been a way to monitor even young children displaying early signs of homosexuality. Thankfully many doctors have moved past such hysteria.

Do you think that women who have breast implants need letters from their therapists? Hell no. Psychiatric evaluation is one of many forms of legislation of queer bodies. This process of needing a letter relates to the longstanding history of criminalization and marginalization of homosexuality, trans people, and those who do not comply with the heteronormative. So I have to sit and talk to a completely ignorant therapist once a week to obtain a letter that is not only a lie, but a total double standard in relation to cosmetic surgery (which, if it hasn’t been made clear already, I am not having). I believe there is a distinction between progressive uses of surgery that weaken gender authority and cosmetic surgery which often reasserts gender stereotypes and the gender binary. In addition to making my physical body more comfortable, I am interested in overthrowing notions of compulsory gender by breaking down the lines that are drawn between female/male, homosexual/heterosexual.
Judith Butler sees a call for elective surgery as one of the many important ways to “challenge the principle that a natural dimorphism should be established or maintained at all costs. Intersex activists work to rectify the erroneous assumption that every body has an inborn ‘truth’ of sex that medical professionals can discern.” She also makes clear that one cannot remake the world so that the subject is the maker. Identities and bodies are constantly being negotiated in relation to and with an awareness of the power that comes through and at the cost of recognition (or passing). By believing one has godlike powers, one only refuses the ways we are constituted. My body works in collaboration with the world around me and its many possibilities. Surgery saves lives. It can also make lives more viable.

Freedom, I won’t let you down

Speaking of viability, let me take a moment to talk about freedom. The removal of this excess weight is a physical act wherein pain transforms into a kind of pleasure and a symbolic weight is being lifted. I believe this act can be innovative in that the notions of humanness are being expanded to open potentials for safety, love, and dignity. An old friend recently told me I was cutting off so many options and possibilities in my life. I told her I was doing the opposite.

This proactive process is not an overnight quick fix to my life’s problems. It is an ongoing experience that relates as much to aging an illness as it does to bodily plasticity and flexibility. This freedom that I seek will not be found the second I wake from anesthesia but will be a continuous struggle to both seek the healthiest body and simultaneously work to accept the current physical space I inhabit. I consider this surgery a great privilege that is the result of a fantastic family, an especially righteous Mom, and an incredible support network of friends. With this privilege, I believe comes a responsibility to keep an open heart and mind and to allow for a greater promise of love in my life. This is not idealism. It is hard work.

Thank you for your generous support and interest.

Love,
Kerry

Special Thanks to Galapagos for hosting my fundraiser.
Thanks to my Mom, who truly is the best Mom ever. Thanks to my Flux Factory people for all your generosity. Mostly though, thanks for listening and laughing. Thanks to Ser Rodriguez for his wisdom and openness. Thanks to Ka-Man and the Dirtypop kids for your support and connections . Thanks to all the entertainment! Stefany, Chiara, Marla Hooch and Josh Sparber—you all totally fucking rule. Thanks to Tubby for the most hilarious flyer. Thanks to Angela for our amazing conversations and for joining me on the journey. Thanks to Aya for decorations, ideas, and friendship. Thanks to all my new peoples at Hunter—let’s be friends forever. Thanks to those of you who have come near and far to support me. What comes around goes around.

kerry art

affiliated fluxers

Sara Clarke

Sara Clarke was born in New Orleans and raised in the swamps of rural southeast Louisiana. Branded a girl genius at the age of 4, she spent most of her childhood participating in special summer programs and being warned away from the alligators in the bayou behind her house. After surviving both the gators and the programs, Sara attended the Louisiana School for Math, Science, and the Arts in Natchitoches, LA, and then left the state at warp speed to study more things than there is room to mention here at various universities in Boston and New York. After moving to New York in late 2000, she had many scary adventures and became officially Punk Rawk. She will (finally) graduate from Hunter College with a B.A. in anthropology and women’s studies this June. She hopes to finish her first novel within the year, but then again, she’s been saying that since she was 9.

affiliated fluxers

Tubby Bastard

(Heartbreaker Extrodinaire):

In the proud tradition of Flux Factory, Tubby graduated from Bard College with a degree in studio art. After graduation he had his brief brush with the sex industry when moving to Los Angeles. Later on he decided he grew bored binging off suburban sprawl, and being a walking stereotype so he decided to go back home to Providence RI to take post graduate classes at the Rhode Island School of Design.
Tubby joined the Flux crew back in September of 2004 when he managed to snag himself a position after sleeping with Morgan and Shuffy (sleeping with, meaning-got down on all hands and knees begging, as the both of them threw things at him laughing, and called him a weenie). Luckily he some how managed to convince them to take a shine to the little bugger, and was declared a permanent member in November.
Nowadays, Tubby allows himself to be exploited and underpaid by various employers in the NYC area working freelance graphic design jobs as a more productive alternative to selling his body on the 42nd st Duece, while trying to make a life for himself as a painter. He also works for Joe Bob Briggs, reviewing films submitted for an all horror movie channel, which is planned to launch in NYC shortly. He is fascinated with, and has made a life for himself out of studying sleaze culture, and social deviancy, mainly in the world of genre films, and hopes to turn post gentrified New York, back into the dirty sleazy arm pit of a city it once was [fingers crossed]. He enjoys moonlight strolls, long walks on the beach, and awkward fat children with lisps.

www.tubbyworks.com

affiliated fluxers

Jason David Brown

A.K.A “Phunquey”, lost 5 pounds during the later stages of summer 2002.

present fluxers

Jean Barberis

Jean Barberis, a native of France, came to New York in 2000 to learn a few things and has never left. He is a well-travelled young man and a jack of all trades. Barberis is co-founder of Flux Factory’s gallery space and arts collective. As a curator, his interests are wide and his curiosity unbound. He likes to engage artists in the curatorial process, and to foster collaborations and encourage the production of ambitious new works.

Jean Barberis

press

QUEENS TRIBUNE - Aug 2006

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press

Dazed and Confused - Sept 2006

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DAZED & CONFUSED
September 2006 Issue *41

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BEYOND RACE - Aug 2006



In “Flux” with New York’s Coolest Factory
The Flux Factory
By Noah Davis

Flux Factory, a combination living space/art gallery housed in a warehouse in Queens, is located far enough from the worn hipster pathways of Manhattan and Brooklyn that Hopstopping directions to my cell phone is a necessity. Despite my foresight, I still end up lost in 100-degree heat, wandering around the industrial wasteland that is Long Island City.

When I finally arrive, after a pit stop at Hess (for water and Chex Mix, but not directions), I’m greeted by a shirtless man in his late twenties or early thirties who is wearing a necklace made from rope, tape and two Sharpies. Later, I will learn that his name is Brian Matthews. He is the “mad scientist of the house” and his room is too messy for me to see. Now, however, he simply invites me in, asks who I am and proceeds to call my contact on his cell phone. “Hey Stefany, are you at the house?” he asks. I gather that this is how people communicate in the 7,500 square foot space and wonder what the group did before the invention of cell phones. Perhaps there was a series of tin cans and tangled wires running to and fro.

Stefany Anne Goldberg is stuck at work, but Kerry Downey, a resident of Flux for the last two and a half years, offers to speak with me. We retire to the only place in the building with air conditioning, a jerry-rigged 10′ x 10′ room that is walled on two sides by a drop cloth hung three feet below the ceiling. There’s still some debate among the house members as to whether this actually contains the cool air, even though earlier that day Matthews used his new instant thermometer to prove it was cooler and spread the news by e-mail to the house’s 17 live-in members.

This huge number of residents is what makes Flux Factory, well, so in “flux.” The project, however, hasn’t always been so large. It began in 1994 in an old Williamsburg spice factory. By 1998, the group gained official 501 (c)(3) nonprofit status and moved to its current location. Today, the collective curates four shows per year, a requirement for the grants that help fund the project. The shows are created by multiple artists functioning as a unit to build a work greater than the sum of its parts. The day I visit, a handmade city featuring buildings built by 15 artists stands in the gallery. Called Opolis, it’s the “the third manifestation of Flux Factory’s annual ‘Comix Fluxture’ exhibit” which seeks to “create comic narratives that also function as installation art.” The previous show, Flux Box, featured seven kinetic sound sculptures that played a music box song when the viewer turned a crank.

While Goldberg and a few others have lived at Flux since its inception, others have been there for shorter periods. According to Downey, this is both a blessing and a curse. “It’s kind of a push and pull. The people who started it are trying to build based on a common goal and future plans,” while new people add energy and vitality. Sometimes, however, “people move in and don’t do anything at all.” The group lives as a social collective where everyone is responsible for cleaning the house, building the art exhibitions and other tasks. When new or old roommates don’t pull their own weight, the system fails.

This living situation is just as experimental as the shows they curate. “You can see how people that you love and with whom you share ideals can ruin the whole world because they can’t wash a dish.you start to understand why the world turns to shit,” Downey explains.

A tour of the space is as impressive, insane and totally overwhelming as is meeting all the roommates. Aside from the gallery, the floor includes 17 bedrooms, a kitchen, two bathrooms and an overflowing craft space that resembles a kindergarten room on crack. A library filled with hundreds of books has evolved over the years. “At one point, we had four copies of The Shipping News, my tour guide admits proudly, although only two currently grace the shelves. The collection is the kind of place where you find Dave Barry’s Guide to Life next to a detailed academic breakdown of surrealist artist Man Ray’s work. The “executive wing” of Flux is named so because it has its own door. Glamorous moniker aside, “it’s just art storage and a crapper. Oh, and the cats live here too.”

Even the bedrooms are in a state of constant transition. Improvement, additions or projects started by one resident are often completed by the next patron, giving the whole place a never-finished feeling. No one seems to mind. One resident, Nick Normal, has begun his own gallery in his bedroom that he calls Normal Space @ the Flux Factory. Occasionally, people will show up on the warehouse doorstep looking for exhibits at Normal Space. His fellow roommates find this incredibly amusing.

As Downey and I chat, Morgan Meis, Flux Factory’s “driving force,” enters the makeshift room. He’s wearing a tucked in button up shirt, dress pants and shoes. In the chaos that is the collective, his dress seems absurdly overdone but Downey laughs it off, assuring me that “he dresses as pompously as possible all the time.”

As he is about to sit, he notices the newly hung drop cloth. “This is…um…interesting,” he remarks, surprisingly unfazed by the new addition to his home. “Yeah, it’s just a temporary solution to it being too fucking hot,” Downey explains with a competing level of blasé. I get the distinct impression that “improvements” of this nature are pretty standard happenings in a place that houses almost two baseball teams worth of exceptionally creative souls.

Once Meis takes a seat and starts vibing about the Factory, I can sense the contagiousness of his enthusiasm for the project. In the constant push and pull between the house and the art space, he functions as “the gallery’s cheerleader,” who is willing to curate any show at the expense of his fellow residents’ comfort. Others are the liaisons between the house and the gallery. Balancing the needs of the house versus those of the gallery is a consistent source of difficulty, but the group takes it in stride.

In addition to these routine concerns, the Fluxers are currently dealing with a potentially pressing problem. The MTA is tearing the block down and, while it has yet to purchase the building which houses the Factory, reality dictates that it’s only a matter of time before the cooperative must find a new home. Future plans are, as usual, in flux. Rest assured that they will find a new space and continue to make great art while living the crazy life they’ve carved out for themselves. If you get a chance, you should visit before the warehouse becomes another casualty of “progress.” But when you do, make sure to bring a cell phone.

DOWN THE STREET AND AROUND THE CORNER

Sept 23rd - Oct 21st, 2006

This past year, and especially the last few months, we began to notice the streets of WesternQueens becoming filled with new works of public art. More and more, it seems that the neighborhoods of Long Island City, Astoria, Sunnyside, and Woodside have become a laboratory for the latest in street art.

Further research revealed a hitherto unknown collective called Queens Blackout Division that has recently put out a call to artists asking them to produce art in the streets of Western Queens. They want artists to post information about the work on their website, queensblackoutdivision.net.

The more we thought about it over here at the old Flux Factory, the more we realized that we have something of a movement on our hands. Our show, therefore, is simply a concerted effort to get the public out on the streets and interacting with the work. To facilitate this interaction, we’re organizing audio tours, walking tours, bike tours, maps, and other material. The exact schedule for these tours will be posted on this site soon. By the opening of the show, September 23, most of this material will be easily downloaded directly from this site. These tours should be good fun and will all be different.

Our space on 43rd Street will become a video archive, headquarters, and giant map for charting all the work going on in the neighborhood.

Looking forward to seeing you out on the street!

CATALOGUE by Melanie Cohn
you may view and purchace a copy here

AUDIO TOUR BY STEFANY ANNE GOLBERG and MORGAN MEIS
Download tour here (zipped folder, mp3 format)
Instructions: There is currently one Audio Tour. Listen to all individual tracks in order.

VIDEOS
Showing in the Flux Factory space: Open Air by Knox, a street art documentary starring ESPO, Marco, Dan Witz, FAILE, Michael De Feo, Skewville, Tiki Jay-One, Lou. www.myspace.com/openairstreetart

MAPS
Map are free and downloadable. Print one out and see the streets of Queens on your own.

TOURS-All tours meet at Flux Factory at 3pm unless otherwise indicated.
Bikes for bike tours will NOT be provided by Flux Factory.

Sunday, September 24: Bike tour with Jean Barberis

Saturday, September 30: Walking tour with Andrea Dezsö
THIS TOUR IS NOT MEETING AT FLUX FACTORY! Meet at 3 pm on Ditmars Blvd. in front of the Starbucks. Take the N or W to Astoria get off at the last stop, the Starbucks store is right there at the end of the elevated train as you come down the stairs.
(***more info below)

Sunday, October 1st: Bike tour with Kerry Downey

Saturday, October 7th: OPEN HOUSE NEW YORK WEEKEND!
and Walking tour with Melanie Franklin Cohn

Sunday, October 8th: OPEN HOUSE NEW YORK WEEKEND!
and Bike tour with Ellen Kleckner

Saturday, October 14th: Walking tour with Meg Duguid

Sunday, October 15th: TBA

Saturday, October 21st: Street Tour and Pub Crawl with Morgan Meis and Ellen Kleckner

***Andrea Dezsö and Adam Gurvitch: Chasing Berch Walking Tour

High Art, Low Art, No Art - Berch in Queens

Depending on one’s class and neighborhood, many Americans’ exposure to ‘art’ is limited to what they see in advertisement: billboards, TV commercials, product packaging, calendars; homes, bars, and shops display reprints of vintage beverage logos, travel posters, and promos for movies and music.

Astoria and Long Island City, solidly working class neighborhoods being revived foremost through immigration and increasingly through gentrification, are distinguished by a streak of nostalgic painting on shop windows and exterior walls by the artist Berch. Berch has given the neighborhood a subtle, defined visual brand invoking the American dream of the neighborhood’s Italian, Irish, and Greek settlers of decades ago. Berch’s street paintings depict Easter feasts, Christmas regalia, autumnal bounties, Greek New Year’s delicacies, fruit cornucopias, bouquets, loaves of peasant bread, and crisp pizzas.

Berch gives us an expression of enduring aspirations, a common thread extending the desires of the neighborhood’s established ethnic enclaves to the newest generation of settlers who seek the neighborhood’s promise. Walking the neighborhood’s commercial avenues from Broadway to Ditmars, residents of western Queens are enticed to indulge in each new season’s festivities and the idealized goods on offer inside the shops that Berch has adorned. Forego the latest, hippest trends, and Berch will point you to family businesses that have sustained Astorians for generations with prosciutto, Sicilian slices, stuffed grape leaves, fresh fruit, and all the rest.

Berch’s style is reminiscent of the commercial art of an earlier period. His content and subject matter are strictly proscribed, but he paints with a free hand. After September 11th, 2001, Berch contributed to the city’s burgeoning impromptu wall memorial movement. His work is distinctive enough that you can always recognize a Berch without having to see the signature, which is high praise for any street artist. We’ve sought out Berch, but haven’t yet been able to speak with him.

So who is Berch, and what are we to make of his art? Are the neighborhood’s pervasive, custom hand-painted still lifes decoration, advertising, mural, or something beyond?

And Dubok Demolition Rok duo

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