Victor Reyes is opening his solo exhibition, MISSPELLED, an alphabet handmade in California, at E6 Gallery on Wednesday, July 7th. You can read more about his love affair with letters in a recent SF Chronicle article. GO SUPPORT OUR HOMEY!
MORE ABOUT THE SHOW:
The ambitious public art installation turned gallery exhibition explores the artists’ unique approach to graffiti, by dissecting individual letters and exploring the anatomy and architecture found in the symbols we use to communicate. Inspired by San Francisco’s streets, surfaces, and overall visual vibrancy, Reyes reinterprets the letters and presents them to us in a brilliant array of color and movement. These alphabets, recontextualized on various abandoned surfaces around the city, are not intended to provide answers, but to raise questions about how we interpret public spaces and the content assumed within.
Over the past 2 years, Reyes has been diligently painting freestanding alphabets within San Francisco on its many vacant surfaces that resulted from the financial crash in 2008. What started as an initial impulse to push color and movement in a city with a long history of outdoor murals and graffiti has morphed into an attempt to inspire personal and public change in reaction to the economic downturn of recent years.
The individual letters painted in multitude have become an indiscernible narrative written in spray paint and acrylic house paints. These letters adorn trucks, fences, walls and rooftops throughout San Francisco. Alphabets have been strung together and carved out of forgotten spaces, exceeding his original intentions, multiplying in numbers.
Reyes’ restlessness in California over the last two years is portrayed in the landscapes and figures formed out of these letters. Often using the juxtaposition of vibrant colors and dirt, his unique hand-painted characters are meant to exist on their own, an unconventional quality unseen with most street writing. Their message is scattered and fleeting, open to interpretation; The letters are ephemeral, constantly weathering, fading over time, and are often facing neighborhood intervention. The placement of letters on the sides of panel trucks that disappear at the change of a stoplight exemplifies the alphabet’s physical mobility, in most cases leaving us with only a photograph as proof of their existence. Since the projects inception in 2008, Reyes has executed over forty site specific murals around the city, as well as created countless studies and mixed media works for the exhibition.