We had a fulfilling conversation with the RGA (Riot Grrrl Attack) crew, who have spent years collectively dressing dull walls in their own colours and are soon to celebrate their 10th anniversary. We talked about the legal and illegal sides of street art, male hegemony, graffiti culture, and much more. Let's pay attention together to these three artists who bring colour to the already speaking streets!
How did you get started, how and based on what did you choose your own aliases? How long have you been active?
Hemon: When my interest in hip-hop culture started to grow during high school years, the tags on the street caught my attention, and by making a few graffiti-artist friends, I also started. I've been actively doing graffiti under the alias Hemon for about 10 years. I created my alias myself by combining letters that were easy for me to write and that I liked.
Rikid: I used to make fanzines as a kid; the content I prepared was always under the riot grrrl heading. Thanks to old fanzines, I got to know graffiti and started researching women doing graffiti in Turkey. We didn't know each other back then, but I found Hemon and reached out to her to do a fanzine project together. In a short time, I did a lot of research; I didn't know anyone, but I was constantly examining tags. I used to go to middle school via the 'izban' (commuter train), the graffiti along the train tracks was very exciting for me, and that excitement was one of the factors that led me to start. In my first year, I did "Zona" bombings and sometimes threw in "Antifa" tags; I liked sending a message. As I got to know the culture, I realized I wasn't concerned with sending a message and just wanted to do graffiti without any meaning, and I started writing "Rikid" by combining letters I liked. (my tag has no meaning). I've been painting actively for 7-8 years.
Graffiti is, of course, a political expression. The political stance underlying its first examples is the fine line that separates graffiti from mural paintings.
Jaku: Actually, for those who feel themselves in the graffiti journey, there is a pulse of being on the street that comes from the soul. The year I started expressing myself with the power of existing on the street was 2011, with the graffiti I saw on the walls of the fine arts high school I attended. Starting the work and getting a taste for the intriguing actions, I began with the alias "Owl." One of the characteristics of finding a nickname, in my opinion, is a stage name where the letters have a rhythm together and, when you say it, you adopt it but you don't have to have any meaning; it's the identity you choose. In 2018, on my graffiti adventure, I chose the name 'JAKU'. With the name 'JAKU', every mark I leave on the walls reflects the excitement and passion of being a part of this culture. I've been doing graffiti for about thirteen years, and with every piece, I experience the excitement of expressing myself more.
Do you see graffiti as a form of action, a political expression?
Graffiti is, of course, a political expression. The political stance underlying its first examples is the fine line that separates graffiti from mural paintings.
In our opinion, the most important thing to solve this is, first, to be knowledgeable about what gender inequality is and to develop social consciousness.
Is there gender inequality in the graffiti world? If so, what is it, and how can it be prevented?
Gender inequality, stemming from graffiti culture being perceived as a male-dominated culture, is a situation that has been encountered for years. It can be difficult to be included and accepted within male-dominated groups; women are questioned more about their skills and achievements and face prejudice. In our opinion, the most important thing to solve this is, first, to be knowledgeable about what gender inequality is and to develop social consciousness. For example, during a crowded illegal painting day we attend as a crew or individually, if they suggest we paint in the place they see as easiest and most comfortable for us, thinking we won't be able to run well or we'll get caught if we encounter any problem, this is not a thoughtful behavior but rather reinforces gender inequality. For a solution, people need to focus only on the work done, without considering gender, age, etc. What we do is graffiti, and we are doing the same work in the same field; the fact that we are even talking about gender inequality in this context is very interesting.
Which of your works are you most proud of?
Actually, the works we are proud of are more about the entirety of what we do, rather than individual pieces. If the work we do awakens a consciousness in people, making them think about why we do graffiti, that is an indicator of our passion for self-expression. Therefore, knowing that all our work is done with this consciousness is a source of pride for us.
What is your view on legal murals / graffiti?
Jaku: My perspective on legal murals and graffiti is quite positive. Practicing street art within a legal framework allows artists to freely showcase their talents and also brings this art to wider audiences. Legal works show that street art is not just a form of vandalism but can add aesthetic and cultural value to society.
However, I also believe illegal graffiti is an inseparable part of street art. It reflects the artist's freedom of expression and the true spirit of the streets. Therefore, I think both forms are valuable in their own right and create the richness of street art. Legal or illegal, every wall tells a story, and these stories reflect the identity and soul of cities.
Do you think graffiti in Turkey is confined to "elite" neighborhoods? Additionally, can you talk about Darağaç?
We observe that graffiti culture is developing in Turkey; of course, there are some truths to this art form being more concentrated in 'elite' neighborhoods. Usually, because interest in art and culture is higher in such neighborhoods, graffiti and street art find more support in these areas. However, street art should not be limited to certain areas; it can find a place in every corner of cities. Street art is not just an aesthetic element but also a powerful form of expression that carries social messages and brings together people from different walks of life. In this context, Darağaç Neighborhood is a good example. This neighborhood in Izmir has almost become an open-air gallery for street artists. Darağaç is a space where artists can work freely, making art a part of daily life. In this neighborhood, it's possible to see many graffiti works in different styles, and this attracts the interest of both locals and visitors. Darağaç is an example of how street art can intertwine with society and contribute to the cultural identity of an area.
What is your approach before starting a new piece of graffiti? How do you choose the location, colors, and walls?
We generally prefer to paint places with high visibility that can attract people's attention. The location's potential to reach a wide audience is important to us. We like using warm and eye-catching colors because the harmony and contrast of colors increase the visual impact of graffiti. But for illegal work, everything can develop very spontaneously; sometimes we have to make do with the leftover paints we have. If we're going to do a planned piece, we prefer to design the work to suit the texture of the wall and its surroundings.
Do you prefer to go out painting during the day or at night?
We wait for shops to close and the city to calm down; usually, our preference is night. The pleasure of painting with a freshly baked 'boyoz' (pastry) from the bakery in the early morning is also unique. :)
What are your favorite graffiti styles, documentaries, and local or foreign writers?
Hemon: I really love graffiti in typography and calligraphy styles. I've watched KCBR's "Live Life Like Girls" film countless times. Local graffiti artists I follow and admire: Meck, Dozer, Kmr, Baker, Murys, Creor, Jaku, and Rikid ❤️ Foreign ones: Kkade, Warios, Merlot, Cabut, Shar, Semor, 1UP, and KCBR. The first names that come to mind.
Jaku: Among my favorite graffiti styles are different styles like wild style, bombing, and stencil. The complexity and dynamism of wild style have always impressed me; the interlocking of letters and strong color use make this style special for me. The bombing I love and do captures my attention with its ability to convey its message quickly and effectively. Stencil art is intriguing to me for its depth. Many documentaries about graffiti and street art have inspired me. Especially productions like 'Style Wars' and 'Exit Through the Gift Shop' greatly contributed to my understanding of this art's history and evolution. While 'Style Wars' deals with the 1980s New York graffiti scene and the birth of hip-hop culture, 'Exit Through the Gift Shop' introduces the commercial side of street art and legendary artists like Banksy. There are many names I admire among local and foreign writers. In Turkey, names like Omeria, Esk Reyn, Maxonduty stand out with their talent and original styles. Internationally, artists like MadC, Herakut, Zurik, Bublegum, and Smug inspire me with their work that pushes the boundaries of graffiti and street art.
We generally prefer to paint places with high visibility that can attract people's attention.
Rikid: My favorite graffiti styles are a very broad spectrum, I think; it's a vast topic and there are many artists I follow doing very different work. But I can say simple letters are always a priority for me. The first film I watched and was influenced by was undoubtedly Wild style. I also really love the graffiti films that came out in Russia in the early 2000s, "Why" (2004), "Russian Roulette" (2005); besides the usual hip-hop soundtracks, their use of many hardcore/punk tracks also appeals to me.
What is the thing that bothers you most in the scene?
There isn't much that bothers us in the scene, apart from a few issues. In recent years, with the rise of social media and rap music, graffiti has also started to become popular. This popularity has somewhat shaken graffiti's political stance and underground culture. With this popularization, we feel some of its meaning and values have been lost. However, seeing these problems gradually decrease a bit lately is promising. In general, preserving the core meaning of graffiti and ensuring gender equality are among the most important issues for us in the scene.
What is the strongest thing that binds you to graffiti?
The strongest thing that binds us to graffiti is, first and foremost, being together and being able to act with crew spirit for years. Creating together, taking risks together, and succeeding together strengthens the bond between us every day. The excitement, adrenaline, and sense of challenge we feel with each new piece have ingrained a fundamental movement habit in our lives.
What would make you say, "I won't do graffiti anymore"?
Honestly, we've never thought about it. As a crew, we have a belief in always keeping our motivation high and not succumbing to negativity. So, no matter what, we believe we have more colors to reflect on walls and more stories to tell.
If you have something like, "I wish they had asked this so we could talk about it," could you ask and answer it yourselves?
"I wish more people would talk about the social impacts of graffiti art." When we think of graffiti also as a powerful tool that conveys social messages, draws attention to social injustices, and brings various social issues to the agenda, especially among young people, it can increase social awareness, and we can use art as a form of expression for social change. Talking about creative projects and social impacts allows us to better understand the contributions of graffiti art to society. Therefore, it holds great importance as a tool for raising awareness.
Creating together, taking risks together, and succeeding together strengthens the bond between us every day.
How can people support you?
They can check out our merch. :)
What are your final words?
Revolution grrrl style, now!
