The stakes are high! Visibility of the spots, legibility of the letters, size, notoriety, and quality of the works instantly come up when writers discuss what is needed to make a bomber famous. Undeniably, fame is a fundamental motivator within graffiti culture. Bigger, better, more. The more risk, the more recognition. The journey to fame within the culture is called getting up, a process of constant repetition and perfection of each previously mentioned component. So, Craig Castleman and Marc Ecko were right after all. But what happens if you take getting up literally?
We talked to RAMS, a member of MSK, who took graffiti to a new level with skill and dedication. We spoke about puns and painting over a relaxed cup of coffee. While he was traveling, we sat in the office, our conversation hanging by a thread as the Wi-Fi disconnected here and there, once more proving Murphy’s law. Sadly, technology partly let us down, but RAMS’ mood was up as he prepared for the next mission.
MONTANA CANS
Hey, RAMS, thanks so much for taking the time! How’s life at the moment?
RAMS
I’m good, just chilling. Just got some breakfast and about to check a spot to paint later tonight. We were checking before but I told my friends I needed to dip out for an hour to get something to eat and chat. The food here’s pretty sick. I got some onion rings and a coffee.
MONTANA CANS
Bon appetit! Since you enjoy local cuisine, what else do you like about traveling? Is it a harsh contrast between Europe and your home country?
RAMS
Well, I’m from a small country, so you run out of stuff to do in terms of graffiti quite quickly unless you repeat the same stuff. If I wanted to do graffiti properly, In my opinion I had to leave. It’s a relatively small island; with no metro system. Europe, on the other hand has so many options and opportunities.
MONTANA CANS
Is your approach to painting here the same as that in New Zealand, or do you approach things differently?
RAMS
The circumstances are just so different. When I’m at home, I have my circle of friends, so I only occasionally meet new writers, but when I’m traveling, I’m usually lucky enough to meet up with friends or friends of friends. I wasn’t too big on connecting with people initially, but over time this changed. Meeting new people, sharing information, hanging out, getting food, and just having fun in general – I get more joy from that than the actual painting these days.
MONTANA CANS
So it’s a social thing?
RAMS
Yes and no; I still have goals in mind and am working towards them, but meeting and connecting with new people is a really great part of it, and I can learn a lot from others! I mean, often, I’m connected to train writers, and sometimes they’re interested in rappelling. So I can share some insights and show them certain techniques. Then it feels a little more of an equal exchange, so I don’t just show up, get some help and then leave. It feels a lot better being able to give something back.
MONTANA CANS
That is a nice way of seeing things! Speaking of rappelling, how did you start with it? It must be an exhilarating feeling leaning over the edge of a roof for the first time and literally putting your life on the line.
RAMS
I did it for the first time in America. My buddy Notice had already done it a few times before. We went out the night before I left Philadelphia. I didn’t even know what the equipment was – He showed me on the roof. After that first time, I got some gear and went to LA. My crew and I got on top of buildings every night and did a lot in a short period of time. Later on, when I had some downtime, I started researching the gear and safer ways of doing rope actions.
MONTANA CANS
Safety is a significant concern, right? Have you ever experienced scary situations, like fear for your life while painting?
RAMS
Yeah, a couple of times, not setting up the gear properly because it was pitch black where I was getting ready, and I missed something. Another time where I had some gear fail. The thought of death isn’t so scary until it’s happening, then it’s not so chill.
MONTANA CANS
I believe that! Is that not a reason to reconsider or stop? What makes you get up a roof again the next time when such things happen? What is the appeal of these missions for you, and what is the experience or the recognition for doing hardcore spots?
RAMS
Rappelling opens up a whole new category of spots, and it’s a really effective way to stand out from anything else in a city. Initially, that was the intention, along with trying something new. Now I think it’s more from habit. Rappelling or trains are the most effective things to do if I have limited time in a city, so it’s mostly just that at the moment.
MONTANA CANS
Does fame count as a motivating factor for going for bold actions in visible spots?
RAMS
Well, not in the sense of an ego boost. But I like the way these actions have opened doors for me. The benefits have helped me in many ways, not only in the graffiti world.
MONTANA CANS
So, it’s not about the fame but rather the result of it?
RAMS
Yeah, more or less, it’s always nice when someone appreciates what I’m doing because I put a lot of time and effort into it, but I could live without that. The benefits and outcomes are a bigger factor for me.
MONTANA CANS
Speaking of outcomes and effects of these actions, to what extent do these missions affect your painting style? Can you paint what you want, or do you merely paint what you can, if that makes sense? The whole body movement must be very different from standing on firm ground.
RAMS
I do adjust my style to fit the vertical constraints of painting, but there’s always a way to achieve something else it just takes more time which isn’t always possible. Lately, I’ve started doing more block letters, which makes painting a bit easier since straight lines are easier to gauge scale when so close to the wall and unable to stand back. I was more into complex wild styles, but from afar, the pieces would be hard to read, like a blob of colors.So, my pieces, in general, became more legible.
MONTANA CANS
Interesting! Your work is highly technical, and the rappelling must be somewhat technical, too. So, do you ever paint spontaneously?
RAMS
Yeah, I mostly paint freestyle. While I have a plan for the mission, the painting part is very situational. I might have an idea for a block letter, but I figure out the details and variations on the spot. I want to avoid repeating the same sketch over and over. Painting trains helped me handle pressure and helped me think about efficiency a lot more. I spent a lot of time rendering my pieces as fast as possible, and it’s actually the same approach for the rappelling. I want to be on a wall for the shortest amount of time possible.
MONTANA CANS
Do the circumstances influence your way of painting, in the sense that your reach is limited to an arm’s length while hanging from the rope?
RAMS
That depends on the spot. If I’m painting on blast and I’m visible from a busy street, that might be the case because I can only go down once. But if it’s a spot where the potential of being spotted is lower, I can adjust and do whatever I want. Swinging back and forth to get more width or moving the rope across are really good ways to do a bigger wall properly, but of course, it’s just time-sensitive.
MONTANA CANS
I believe so. Time is always the most prominent factor. Does your choice of colors reflect these circumstances, too?
RAMS
Yeah, I use a lot of chrome and black. Being quick is one part, and chrome is so efficient that I can cover a lot of space with fewer cans. I can do a lot with two big chromes. But if I have more time, I might use 15 chromes plus outline, etc.
MONTANA CANS
That makes sense. Is rappelling physically challenging? Do you have to be fit to do it, or can you become fit by doing it?
RAMS
It’s more about technique. Of course, it’s physically draining to do it, but it’s not like you have to pull your body weight up constantly. I have seen friends who weigh 100 kg do it, so it’s possible. Being in shape is definitely a big benefit, but being in shape is important for painting graffiti in general or even just for life. It’s difficult to stay in shape while traveling, though.
MONTANA CANS
How do you choose the spots? Do you look at the cityscape differently than a classic ground-level spot? A whole different set of parameters is necessary for your kind of spots. Do you look for places where pieces are the most visible or where rappelling works best?
RAMS
I approach it a little differently. I don’t go to a city with a preconceived plan to paint something other than trains. Instead, I look for spots with the best visibility when I’m there. Once that’s determined, I’ll consider accessibility and work my way down from there, prioritizing as I go.
MONTANA CANS
The effort to look for spots directly pays off. You are already super up with two or three of these knock-out spots per city!
RAMS
Ah, thanks, man; I’m not doing anything new, though; rappelling has been around for a long time. But it’s usually used for tagging or political movements historically. I think there’s been quite a big change in the last year though with rappelling and graffiti, there’s a lot more people doing pieces now, its really cool to see. Using the rappelling equipment as a tool to be able to do big pieces or block letters down the side of buildings, it’s something you can’t miss. Say there is a ten-story building, and eight of those stories are covered by a single piece. The piece is impossible to miss as you walk by. Even if the city’s ground level is completely covered in graffiti, rappelling pieces give people something to talk about. Size plays a big part; a huge piece in a good spot will leave more of an impact on the viewer than 30 throw-ups, in my opinion.
MONTANA CANS
Did you consciously think about the recognition and fame before becoming a specialist in that discipline?
RAMS
My initial focus was on painting trains, and rappelling kind of just happened. Being recognized for it is more of a by-product than an actual focus of what I’m trying to do. When I visit a new city, my main goal is to paint the trains if I haven’t painted that system. Once that’s done, I shift my focus.
MONTANA CANS
Best of both worlds? Do you ever paint subtle stuff, like painting in abandoned buildings or tunnels? Or does your painting have to be visible?
RAMS
If I have excess time, I’ll paint chill spots. It’s fun for me just to chill with friends and paint a legal wall or bando. But the time I invest should be as efficient as possible when traveling. I once went on a trip for almost two months where I only painted trains, and more or less, nobody knew I was there, but after I started rappelling, it completely changed.
MONTANA CANS
Trainwriting is a relatively closed scene that is very secluded from regular society.
RAMS
Absolutely. Trainwriting is under the radar for most people in everyday society, but to me, it has its unique charm. The way a piece is painted, the element of the train, and the local circumstances all contribute to something special. Graffiti still looks the best on trains; I don’t think that will ever change for me.
MONTANA CANS
There are not so many trainwriters who are also proficient in street bombing, would you agree?
RAMS
Yeah, for the most part, but the people who dedicate themselves solely to trains will accomplish a lot more than I could ever do, which is cool, too. I can only speak for myself, but I like both. My preference usually depends on who I am with and if I have been to a place before. If not, I would focus on trains; otherwise, I focus on rappelling. But I am trying to be a well-rounded writer, or what I consider a well-rounded writer.
MONTANA CANS
We can see that! There are a lot of skills involved in your work.
RAMS
I appreciate that, man. I’m focused on doing what feels right and not letting others’ opinions sway me. As long as I’m true to what I think is correct, I’m happy. What I like most from all of this, however, is meeting like-minded people who have a similar belief system and tend to be on the outskirts of society.
All images by graffiti artist RAMS MSK
MONTANA CANS
So, where do you think you would be located within society?
RAMS
Well, I studied and was working in a profession for a little while, but at some point, it got too depressing. I figured I needed to get out, so nowadays I paint full time. But I’m not the biggest fan of people glamorizing this kind of lifestyle; it’s not really that sick—quite the opposite; it can be really difficult at times; not having a stable life and all of the negatives that come with that is a significant sacrifice, but for me, it’s worth it. I get to experience and do really unique things around the world and meet super interesting people.
MONTANA CANS
Speaking of the downsides, does the kind of documentation play a role in casting a shadow on that?
RAMS
Yeah, I’m aware of the content I share is only a small portion of what’s really going on.But it doesn’t make sense for me to overshare certain aspects of my life. I’m pretty open with people I trust, but not as much in the public domain. I believe I can pivot into a more sustainable lifestyle while still being true to myself time will tell.
MONTANA CANS
Fingers crossed! Thanks for taking the time take care!
This article was published in the Montana Cans LOOKBOOK #09 “Artist in focus” – if you missed the printed copy, you can find it here: Montana Cans LOOKBOOK #09