LUXURY GRAFFITI
Stephen Wilson
My work is most succinctly described as mixed-media assemblages that reference contemporary themes
and culture at large. My process utilizes a combination of both modern and traditional techniques and tools.
The technical process of my work begins with digitizing, which is essentially hand-drawing on a tablet via
an embroidery design software program, thus translating the nuanced markings of my stylus into stitches
of the machine. The finished drawing is then uploaded into an industrial-level embroidery machine while
I maintain control of every aspect of the material work, from thread color to the thickness of a stitch. I can
even program the machine to perform intricate laser-cuts, allowing for an extra degree of detail the hand
alone cannot achieve.
What makes this process interesting is the base medium in which this embroidery work is applied, be it an
ink-jet photograph on rag paper or a discarded designer shoe-box. Once the specific piece is stitched
and embroidered (often with over a million stitches), I employ a variety of hand processes, like painting
and collage, to manipulate the surface. Occasionally I augment these techniques with other mixed-media
components, including 3D printed icons, lace appliqué é flowers, designer textiles and found objects.
I tend to work in series centered around exploration of a particular technique like quilting or sometimes
loosely around a thematic idea. Most recently, I’ve began to even further blur the lines between mediums
with a new series titled Luxury Graffiti. The series furthers my exploration of appropriation and found object
art, as I recycle discarded designer packaging into multi-layered expressions of our society’s consumption
and celebration of luxury brands.
Society’s relationship with brands is complicated and increasingly becoming intertwined with fashion, art
and music. It is a lot to unpack, which is why I am working in a multitude of mediums, from assemblage to
photography to sculpture. The subject matter of the series is the unifying element, which looks at this mash-up
of hi-lo dichotomies present in contemporary culture at large. For example, a tastemaker no longer wears
strictly Chanel, but rather styles their wool bouclé jacket with Nike trainers. An art collector now displays
KAWS’ “BFF” toy collectibles alongside their original Cy Twombly drawings. Nobody is turning their nose up
at this either. Rather, it is cool - how they can curate and express themselves through these oppositions.
This series is about mixing the high with the low - luxury and commercial, art and branding. I see this
becoming more relative in our society as the message is reinforced through social media. Thirty years ago,
you wouldn’t know what these luxury brands - Hermès, Gucci, Chanel - were, unless you were born into
an affluent lifestyle. Now every kid knows. I saw this constant message of luxury lifestyle being conveyed
to everyone on the street and the work reflects that. With Luxury Graffiti, I’m taking these components,
deconstructing them, and then re-assembling into something with my own tag.