Graffiti Park Radio! 🎨🎧 Where creativity knows no bounds.
Listen to Graffiti Park Radio were we’ll tap in with artists, our proud partners, and community stakeholders who believe in empowering the next generation of art visionaries and the valuable teaching moments that come from living, breathing art.
Announcer 0:00
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Wesley Knight 0:03
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Anika Jones 0:16
Let's get scratchin ladies and gentlemen welcome to the vibrant world of graffiti Park radio where creativity knows no bound will tap in with artists educators are proud partners and community stakeholders who believe in empowering the next generation of visionaries. Beyond the hidden alleyways abandoned warehouses and local city transits where artists are known to leave their mark graffiti Park Foundation has redefined and reimagined the persona of the street Museum. Hello and welcome to another episode of graffiti Park radio. I am your host and Nika Jones, and I am here with the Dan's Dan Maloney and Dan boll ghats. Here we are. Thank you, thank you. We're here interviewing one of our renowned artists matte black, aka black 57. How are you doing?
Matte Black 1:01
Doing good. I'm doing pretty good. Fantastic.
Anika Jones 1:03
Fantastic. Well, we know you have a lot of different projects around town, we want to learn a little bit more about you and what you got going on. Tell us a little bit about yourself and your background. What got you interested in art? Sure.
Matte Black 1:15
Yeah. Originally, I'm from Albuquerque, New Mexico. But I moved out here when I was about eight years old. So I think it was in 1999. So I've been here ever since I grew up here and, you know, learned life lessons and my art lessons and everything from Las Vegas, and from this people here in the streets here and just growing and learning. But what got me introduced to art was my you know, my older siblings, and also my older cousins, you know, they were the ones who were already teenagers in high school and middle school, paving the way for me to be creative, but also showing me how to be creative. You know, in my older cousins were the ones who are into the stuff I'm into now, which is like graffiti and hip hop and all that culture. They were already doing it. So they were the blueprint for me. Okay, you know, it's a really young kid. So I ended up finding my way back to it when I was, you know, coming of age myself. So yeah, all your family was a biggest influence for me. That's
Anika Jones 2:09
incredible. That's it? That was actually gonna be my next question. Now, how did you get connected with graffiti Park? And like, what were some of the projects that you know, you got involved in?
Matte Black 2:17
The first time I ever got involved? My buddy, who tagged me was Amen. He contacted me just reached reached out out of the blue made him go way back. He knew me back when I was just just starting in like walls and getting involved in like graffiti on walls. But artistically, you know, he sort of gave me some support back in the day. So it was okay, I think I first met him and he contacted me he was a few years ago, like 2020 or 2021. Yep. That was the first product. He just reached out, like, hey, got this thing. Work with these dudes over at the school. But they need all hands on deck. If you want to come through. And I guarantee you, you have a spot. So yeah, let's do it. I'd love to I haven't seen you in forever. So I came through and I was blown away with what they were doing. I was like, Oh my gosh, I wouldn't do more of this. Because it was a whole entire school is every single wall. Everybody was doing something different. But it was all based on the same theme. And everyone's painting. Like, this is beautiful. I want to I want more of this more of this. So from there, I tried to just make a good relationship. Just try to you know, introduce myself and like, hey, please bring him back. More, more, more. This would be fun. He's
Dan Bulgatz 3:19
being very honest. He dropped the dopest letters in. Yeah, the phrase was creativity changes our world. I think that's just so perfect for what we're talking about the impetus of graffiti Park and how we kind of all mesh together. So I
Matte Black 3:32
love it. It's hard for me to see that. It's so like, oh, yeah, this is pleased me more, but it's like, yeah, I mean, I'm glad you guys feel that way about it. You know, I get I get feedback. That's very positive. So I think I'm doing the right thing. Yeah, absolutely.
Anika Jones 3:44
You're gonna say something.
Dan Moloney 3:45
I was gonna say like, What is your perspective? Or was your perspective as like, a graffiti artist or coming from that world? And then hearing the call to come paint at an elementary school? Yeah. Like, how did that make you feel?
Matte Black 3:57
Well, back in the day, I think 2000 I think nine I was working at a charity for everything. It was almost like a safe nest for orphans, like an orphanage. And they had something similar, but it was very disorganized. And we did it way back then it was through a local graffiti shop that had happened that wasn't around at the time called amazing art. They had one spot in the meadows Mall. And then they had a spot that moved somewhere on like, the outskirts of the meadows Mall. But the guy there he was running, you know, just the paint shop trying to do community stuff. That was the only time I'd ever done anything like that. And it was really disorganized and he did it. We didn't do it. It was cool, but like nowhere near the scale or organization or inclusivity as what you guys were doing, because when graffiti Park goes at it you guys had every color you guys were given everyone free range to do stuff. It was it was it was amazing. It was it was incredible come from the graffiti background like we had look for a spot we had to go you know climb and jump over fences and through the tunnel pulls in, you know, I know that's part of the culture. And that's what we do. That's how you get started, you look for a place to begin your career. Rather than ask for a place you look for a space for yourself. Yes, we're providing that. And I'm like, this is incredible. And you don't have to, you know, you guys are providing an outlet, you know, for that. So I was like, This is great. This is that's why that's why it was like the energy involved. More that, you know, that's awesome. initial reaction was just more of this, you know?
Anika Jones 5:26
Yeah,
I like to hear that idea. Then, we talked a little bit about your influences, of course, your family and influence with hip hop and things like that. What would you say your artistic style is, now that you've kind of created a persona around those things?
Matte Black 5:39
Sure. I think it ranges to be honest, I think, growing up, my brother and my friends, and the other graffiti writers and artists that were in my atmosphere, had a very specific style and had a very specific tone and color palette and line work and shading style. But they would gravitate towards mainly just because that's what they grew comfortable doing. And that's what they knew they could produce comfortably. But, you know, hanging out with this one friend, he's doing this style, you know, how are you doing that? And I'd learned from him and learn why he's doing what he's doing. Like, okay, cool, I want to try that. And I would fill up like half a sketchbook with his style, you know, but through my eyes, and through my lens, because I was trying to, you know, see how he thinks, and then multiply that times, you know, all the years, I've been doing art, as I think the style can sort of be an amalgamation of a lot of styles. But I think ultimately, you see the fingerprints and the the soul through the color palettes, and through the composition and through the lighting. I think even if I change my style, it should still look like I produced it. Yeah,
Anika Jones 6:40
yeah, that's actually a perfect transition, I was going to ask you about your creative process, like walk us through your creative process from, you know, conception to completion, like, Sure. And that could be a particular project that you've recently done, or just kind of how you see working on different projects. Sure.
Matte Black 6:56
Well, when I come down to generating an idea, or an image rather, rather than an idea, because oftentimes, there'll be a theme, which is great to have direction, because if I'm shooting in the dark, I kind of just don't know what I'm grabbing. But often, oftentimes, there's a theme involved, whether it be producing for, for a very specific client, or a very specific school theme. So with those themes in mind, I sort of really have to meditate and relax, really relax my mind. And I sort of I sort of explained the creative process in this sort of esoteric way, almost. But the best, the best way I understand how it works is that there's two sides of the brain. And then the one side is constantly generating imagination, you know, it's new ideas, new concepts, new images, new theories, new things, and just going constantly, but then the other side of the mind that can grab one of those, yeah, expand on it, or produce it, or grab it and make it real. So relaxing, I try to take that part of me who that takes the idea, I try to sit down, okay, in sort of, almost like a television screen, you know, let the imagination just run through ideas, run through, run through, run through, run through until it something comes up, that I grab, but I have to relax enough to let that thing do its thing, you know, so it's not really ever and when you do it, that way, you don't ever really feel like you can take responsibility for the idea. You know, so when it comes to chiseling away, or morphing into something that fits better, it's never personal, because it was like, I didn't come up with that it's sort of birth itself, you know, became became to be you know, so I sort of explained it that way, then, as far as once you have the image, and you've chiseled it down, and you've brought it back here where everyone else can see it on paper, or you know, on paint. And everyone's like, okay, maybe we've put this here and do this. And after that process is done, and you have the final product, then it comes up becomes a thing of technical ability. How can you produce it, you know, so luckily, over the years, I've been studying, you know, how to paint, you know, painting techniques and actually had to use the medium of spray paint or latex, or brushes or acrylic to physically actually have the capability to do that, you know, so,
Dan Bulgatz 9:01
and black is being very modest here is if you go to his Instagram, he's mastering 1001 styles, it's in his bio. And he has done that. If you look across the almost 40 some odd projects we've probably done together over the last couple of years and going into that like black we've we've worked with almost 150 artists different around here around the Las Vegas Valley, dude. And I'm, I'm telling you, you are very, very special in that regard in the way that you're able to meditate on those ideas. So can I ask what was the first time that you realize that and that there's like something telling you there's all these ideas, but this is the one that would resonate the best or this is the one that hits all the criteria? Sure,
Matte Black 9:38
like something like the first time I was sort of cognizant of that. Yeah, concept. pretty late in my artistic career because I think I was stumbling around in the dark. Up until about 2000 in I think
Dan Bulgatz 9:51
a team when you say that stumbling around in the dark. What do you mean, stumbling around
Matte Black 9:56
the dark isn't like I know that I draw and I know I paint and I do that. And I always do that I always have done that. And always will do that. But it's just sort of just legitimately chaos, it's sort of looking up at the night sky, and not understanding that there's a governing law to the universe, it's sort of just taking it for a while. It's so crazy. This is sort of like that somewhere around the dark, unaware of the mechanics of how things happen. Once I started to study in in an introverted way, in a look inside kind of way, to the point where it's like clockwork happening on the interior of your mind, and of you of a person of your habits and emotions, and the way you perceive things, and why certain things have certain effects and the cause and effect of things and you start understanding that there's like these laws, then I started to click the things in the place, and then approaching the thing, I've always done the chaos thing, it made order out of it. And the order was that the order was that there is a side of me that's constantly creating, and that there's a side of me that is constantly physically creating, you know, yeah, that's not just in the imagination realm. It's like this other realm. But like, I always explain it. Like I was like, trying to help other artists get there, I would explain to them in your mind. Think of an apple and ask them legitimately, you think an apple, right? Where is that you see it? Right? You see the apple?
Dan Bulgatz 11:22
Where is it? On a tree? Is it on the
Matte Black 11:24
floor? No, no, like, like here, like in your in your actual mind. Because in your mind, you see it, and you get it, and you have the idea. And maybe you see the color of it, you see the shape of it. But here, we're really here breathing this air, filling this temperature, and there's no Apple or anything around. But that apple in your head, you see it? Where is it, you can bring it here, you just got to be able to record it correctly. It's like so that Apple is your mind, imagination. And then you being able to record it is the other side. So it started to click was like, Oh, my gosh, I can do that with lots of other images, you know, or concepts or ideas. So I started to actively practice that, you know,
Dan Moloney 12:02
I just want to pause for a second. That was that was an awesome way to explain the creative process, because I'm over here like, Whoa, yeah, I don't even have a question to ask. I'm trying to. I'm trying to figure that out in my brain. But it makes sense, though, because to Dan's point, you know, of the dozens of projects we've worked together on, you know, there'll be times where we're talking to you, and we're like, Hey, this is kind of what the client or the principle or XYZ, what they're looking for. And you're kind of like, okay, I'll think I'll think about it. I'll think there's something Yeah. And so it's cool to hear how you're actually thinking through that. Because then when you produce something, I'm like, how did he do that?
Matte Black 12:37
Yeah, it's like sort of they're like, it's like that, like, it's sort of, it's like a television screen, except there's no border. So remove the borders of the television. And now it's just the three dimensional sculpture floating in midair. And the ideas are that like morphing like clay, like in and out, but clay with light and clay with colors. And it's making shapes and it's making compositions, and it's making things so say like, for an example, the theme of the school is is is is tigers, but the surfing Tigers or something, okay, well, whatever, surfing tigers, all right, well, I'm gonna sit back now, I'm getting images of palm trees, images of sunsets, images of tigers on surfboards, maybe even on the beach, maybe with like little umbrellas, you know, all these things are coming due. And the ones that stick out are the ones that make me personally feel a certain way. I'd like to see that. And I, and that's me grabbing it. And now it's here. It's now out of the morphing clay thing. And I'll do that until I have a bag full of assets. And once I have a bag full of assets and the theme, then I'll start playing with it like it's, this goes here, this goes there and then, okay, well, let's we'll let me bring it here. So everyone else can have input on it, you know, and
Dan Bulgatz 13:43
then you bring the idea of how you compose things, your composition of how to include all of those elements or assets into something that produces feeling, yes, cohesive
Matte Black 13:52
feeling, and it comes down that comes down to the personal, you know, artistic judgment, I feel like sometimes, as an artist, you want to do something that's like along these lines, that very specific lines, so much so that you lose your artistry. And if you can pull something out that has like, okay, these are along the lines very heavily that they want. And then produce that sometimes it can it can feel stale, very like stagnant, not emotional. So take that idea. And then be the artists with it, grab it and push it, make the blues really vibrant. Make the blinds, the sharper, fuzzier line or whatever it is, but be the artist at that point and make yourself feel something personally and then show someone else that oh, yeah, that's cool. Yeah. Oh, that's awesome. You did it first try were like, Oh, that's cool. We should move this around. Then just do it, you know? And then it's like, oh, look, I didn't even know that was gonna happen, you know. And so working with other people, once you have that sort of idea, you morphing it even more is the fun part too, like whole collaboration thing.
Dan Bulgatz 14:48
Using these techniques. Do you ever run into any issues with creativity or like feeling blocked or is using that a way to completely eradicate that feeling?
Matte Black 14:59
Um, it's there's there's several techniques, that's I think one of the hardest techniques is doing the way I was explaining it just sort of relaxing your mind and going that meditative state and grabbing those things, bringing it back. The other way you can do it is is just as effective, which is an artificial way of doing it. Not artificial is the terms that we all kind of now at this present time in history, know what it is to say that we're artificial, or artificial in a way that you look around you at what's already produced. That's what's already made around you. At this second, maybe even Google Images, or whatever it is, and you take those assets, and you put those together. So there's several ways of doing it. That's just as effective. Except with that way, you're not just generating things out of your own head completely, but that's totally okay. It's like reference images. Yeah. Like, if I want to reference what a tiger looks like, and tonically correct, you know, have to look at what the tiger looks like, you know, so maybe grabbing one that has the right lighting, Oh, that's perfect. I don't even need to think think about how I want it to be composed. Because that's perfect that that gets the job done. You know, I'm okay with that. So you can play with that one and bring that here. And you can gather assets that way. So several ways of doing it. So even if I'm blocked on one end, there's another way of still getting the job done on another end, right, at least
Dan Moloney 16:09
gets the ball rolling, to get you in maybe some of those artificial tools, then prompt you to go into that other visual visualization exercise. Exactly.
Matte Black 16:19
Yes, it can. It can inspire you, you know, you know, and I always say to for inspiration, anything. When people ask me what inspiration is I really say everything just because if you're closed off to one failure, I mean, this to be inspired, the new year now negating your whole world's inspiration to just that one thing, and nothing else is inspiring you. It's like, you know, walking across the street singing bubble gum, on the bottom of a sign could inspire you, you know, with the with the pink against the bright white or the black, pink, white black? Oh, that's awesome color scheme. Look at that bubble gum, you know, it's like, that could have been an inspiration, you know. So, anywhere you look everything from color palettes, to compositions to lighting, I think everything as long as you're aware of it and absorbing it, it could inspire you, you know, and
Dan Moloney 17:03
I think there's something to be said about that. Because, you know, there'll be times where, like, well, if, if Black had the time, we could literally give him any project or request that is asked of us. And I think there's something Yeah, I think there's something to be said about that. In terms of like, if you're one if you don't have blinders on and your focus isn't so narrowly on one type are several types of inspiration that allows you that ability to be like, you know, if Dan or like Ollie, they want an aerial view, or they want a mascot or they want a portrait or whatever, any one of those we would feel confident calling black and being like, Hey, can you do this? So I think that there speaks there's part of that comes from your ability to be able to pull inspiration from whatever you're looking at. I think that's awesome, man. The
Matte Black 17:46
world inspiring, you know, I think every moment can be a catalyst any moment can be like, inspire inspiration. Yeah.
Dan Moloney 17:52
Speaking of catalyst,
Anika Jones 17:53
exactly.
Dan Moloney 17:54
Do you have like a moment that you feel like, can you describe like what you felt like? What's your biggest breakthrough in art?
Matte Black 18:03
Biggest they happen? They happen? Few and far, and incrementally, so much so that like, it's like when you're climbing a mountain, and you take one step at a time. But like, two hours later, you're you've ascended so far, but to you, it's just felt like little tiny steps, you know, the whole time. So it was actually kind of hard for me to pinpoint when I was a ha moment sort of, other than when I learned theory or learn technique, or learn more about physics or something like that. Well, that's mind blowing. I didn't know electrons work that way, you know, but that's not art related, you know? Sure. No, kind of is, but because it's the behavior of light. But, you know, as far as like, technical abilities are like when I had breakthroughs, they felt so incremental that like, it's just like, looking around, you're like, I don't even know where I'm at. But like, the view is nice. That's awesome. Yeah. So it's hard to feel like a height of accomplishment, you know, sure, one step at a time, you know, and then I look around, I could be way up the mountain, but I'm like, just one step.
Dan Moloney 19:03
Well, you've mentioned something that Dan and I, in the past have just like, even when it's, you know, because a part of what we're trying to do with graffiti Park is put artists on and take them to that next level, and to change that stereotype of a starving artist. And yeah, we've had great conversations to where, you know, there's some artists that we're trying to put on, and they're up and coming and you're like, Hey, you got to get your reps. And yeah, that might not be what you want to create or produce. But I think even those types of things, would you say those help add to those tiny steps very
Matte Black 19:31
much. Yeah, yeah, out of the comfort zone stuff, like I've done plenty of logo work, you know, and that's not artistic. It's but but sometimes, being able to produce good craftsmen or draftsmanship and your artwork that's going to train you to be better along the lines of whatever you're going to do in the future period. If you've never had the, the force to want to paint a dog ever, but someone's going to pay you to do a dog, they're going to pay you to learn it. So it's really valuable to try things you wouldn't normally want to try or ever try in your personal artwork, I always say that there's like the starving artists in the in the, I always say there's two different kinds of working artists and the starving artists, the working artist has no time. But he's got money, the starving artist has all the time, but no money. That's just the reality. You know, and it's because of the type of artwork, I feel like a lot of the times, as an artist, you know, I personally want to create a certain type of art that that resonates with me that I feel such joy creating. But oftentimes, what not? Well, sometimes I'm going to say sometimes that oftentimes, sometimes that doesn't resonate with everybody else. Sometimes you gotta give society what they want, you have to produce a value, and to be to be a working artist. And if society sees your value as a working artist, then they'll value your time and build value in a way where they will, they'll make sure that you're taking care of, you know what I mean? So I feel like some starving artists don't see it that way. They say, society must value me, based on my personal feelings, it's like understood, but it's a two way street, you know, it's, you have to understand what everyone else is also looking for everyone else has feelings. And the way that you get valued is by understanding that, and providing something for that and resonating with that, you know, like, giving back in, then they'll give back to you, you know, value your community and community will value you as an artist, you know, so make your personal art, but at the same time, you know, maybe do some logo jobs, you know, here,
Dan Bulgatz 21:24
yourself out of your comfort zone. Yeah, you find people that will challenge you to get out of that comfort zone. I love how you said make them pay you to learn it. Like that's an incredible way to look at that perception instead of oh, I have to paint this thing that I don't want to paint. Yeah, it's Oh, my goodness, somebody is literally paying me to learn a new skill. Yeah, to learn.
Matte Black 21:41
Exactly. And I built my career on that, you know,
Dan Bulgatz 21:45
you are a working artist, by all means.
Matte Black 21:47
I'm like living proof of that statement, you know, it's like, yes, you can do it, you just have to get out of that comfort zone and try things and get out on the limb, you know, and just give it a go. Because later on, you know, maybe for your own personal artwork, that commission you did for butterflies that you hated doing, maybe now the butterfly thing, since you've did it so many times, it'll fit into your personal artwork.
Dan Moloney 22:07
Sounds like there's like a balance. When you're talking about like creating for an audience or for yourself, you really have to like, take a look at both the things and see how they play into one another.
Matte Black 22:17
Yeah, because it's important to create for yourself as an artist, because it's an exhaust system, you know, it's an emotional exhaust it's outlet. So it's really important to create from your heart, and maybe that's your personal artwork. But to expect all the time to make money on just that kind of artwork is was rare, very, very rare. And it's also a slow burn to kind of have to build up to that sometimes. But in the meantime, you know, take on commissions take on things that you wouldn't normally do.
Dan Bulgatz 22:43
Absolutely. Is there something that as you're making art that you hope your viewers feel, or that you hope to
Matte Black 22:52
convey a tray? Yeah, convey? Yeah, absolutely. I want them to convey wonder, I want them to convey or at Wonder, that's ultimately what I want is I want that emotion of on wonder. Because I understand. I mean, I worked. I worked nine to fivers for a long time, while doing commission paintings and murals and personal artwork on the side of my nine to five job, you know, and I know what that's like. So I did that for since I was, you know, 2526, you know, and it's, it's not fun. You know, it's, it's hard. And it's hard work. And you go to work every day, you wake up early, and you're stuck in traffic, and you you're dealing with people who are unappreciative of you and I've been there, I know what that's like, I've thrown my back out at jobs, and it's painful. And it's, you know, my cars breaking down all the all the whole laundry list of bad stuff. So I think it's important as my position right now, what I can provide for people who are in a position like that, it's really important, I don't take it lightly to make them stop their day and give them a little piece of Wonder make them think and make them imagine and make them feel something positive. You know, if I can do that for somebody, then I'm doing a good job, you know? So I tried, I tried to convey that's really important to me, you know,
Anika Jones 24:00
this man speaks art and to words you've answered absolutely every question we could possibly think. Is there anything that you would say that you would like the community to hear from you or get from your work, the impact of the work that you're doing in the community?
Matte Black 24:14
Yeah, just don't be afraid to try things or be creative. And oftentimes, when I speak, when I when I speak to creatives, we're sort of always in the clouds a little a little in lala land, you know, this idea to be cool, but one of the would have rubber duck had big dragon, or whatever, you know, like, it seems like those are the conversations I have a lot. And that's with with creatives, or with artists or with musicians or with actors, or bullets, or singers or writers or anybody who's in the creative field. But then when I go to someone who's not that maybe they just like playing video games, maybe that's how they just spend their off time or go golfing and watch TV and that's all they do. They're not in that same realm. And I would I wouldn't encourage everybody to play more in that realm and to just experiment more because you know, there's anybody could be creative, it's like a muscle, you know, just how comfortable you are flexing it, maybe feel a little silly, you know, but that's the point. I think that's the point, it'll feel a little silly sometimes.
Dan Bulgatz 25:16
And it's important to to feel silly and to not be caught in the seriousness of life, because there's so much of life that can just weigh us down, and you have no idea of the battles that other people are facing. And so I think by being that creative, immature, quote, unquote, sure, and always playing to that creative, playful, fun side, I think that will take a lot farther in life. And I think you'll be a lot happier as a result of and, Matt, you are one of the happiest people.
Dan Moloney 25:44
And so, before we sign off here, are there any upcoming projects you're excited to tell us about or that you have on the horizon? I
Matte Black 25:52
think, you know, and I hear a lot of you guys specifically telling me that I'm really like, modest or something. But I mean, I feel that way. Like, you know, you know, normal people say no, but that may be something like, Oh, I'm doing some stuff for hair, this big company or this big company, but for me, it's like, oh, another day, you know, just painting painting walls, creating artwork, you know, just getting out there. You know, I got more stuff like this, like I'm what I'm wearing just anything like that. I'm just trying to make other things you know, awesome, as well as murals as well as our work so awesome. Well, I
Dan Moloney 26:21
know you're on our calendar. Yeah, with you guys. Next month. So keep a lookout for matt black. And if someone is interested in following you on social media or taking a look more at your work, where can they find you?
Matte Black 26:33
Yeah, if they're interested, they can look me up at Black 57 TCB that's on Instagram. And I have a link tree on there. So if anybody wants to see anything else, you know, I got all my stuff linked up there. And
Dan Bulgatz 26:46
he has an Etsy shop. He's again being very modest. He sells everything under the sun, custom prints, hand worked artwork, acrylic painting, spray painting Rs, T shirts, I mean, the list goes on and on. Is there any other ways or anything that other people can do to support you? Yeah,
Matte Black 27:02
that would be the best that would be honestly the best. It's just if they if they were interested in any of the artwork I produce I produce a lot of really colorful major scenes in spray paint art style, like how they do on Fremont. How they do on the strip that style of spray paint art I have a huge catalogue of stuff like that super colorful vibrant Maitri and I use like you said I'm getting into prints and I'm getting into like T shirts and stuff like that, but it's all linked on my Etsy so if anyone's interested wants to see some more colorful stuff on the linked up on my on my Instagram, which is a black 57 TCB
Dan Moloney 27:29
Well, incredible the man the myth, the legend, Mr. Matte black and it's been an honor to sit down with you today. Thank you for taking some time. You guys know where to find them. If you are interested. If you're interested in hearing more or learning more about graffiti park you can find us at graffiti Park underscore LV on Instagram. That's all that's where we're at right now.
Dan Bulgatz 27:51
Or graffiti park.org. You
Dan Moloney 27:56
can find us there too. Thank you for tuning in. I hope you have a fantastic Sunday or whatever day that you're listening to this