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The word Gaia refers to the Greek deity representing the earth, body and how it functions as a whole. Since the 1970s, the mythology has also spurred the Gaia hypothesis, in which the earth is seen as a living organism whose different parts act as interdependent ecosystems. In 2007, a Baltimore-based street artist adopted the name for his art, which leans heavily on naturalistic scenes and socio-political critiques projected on buildings in murals or large-scale prints.
One body of Gaia s early trademarks were black and white drawings of animals or people s faces outlined with a thick border, floating over a background of collaged graffiti. Since then, his style has evolved to focus on colorful, large-scale murals. His work appears all over the world, including Rome, Seoul, Buenos Aires, and Amsterdam.
Gaia grew up in New York but now lives in Baltimore. He first started gaining serious recognition in 2008, when The New York Times featured his New York work in its travel section. His first major exhibition was at The Irvine Contemporary in Washington, D.C., in 2010. Last year, in Italy, the Palazzo Collicola gallery in Spoleto set up a permanent installation of his wall paintings of African immigrants and religious relics of the region of Umbria.
I was taking posters and wrapping them around doors and windows and whatnot, just sort of psycho-geographically navigating [the] city, and stamping these prints and then putting them up, Gaia told the Free Press.
I became interested in why is this building upending? Why is this street a one-way body street? So I slowly moved toward body a more site-generated approach where I was doing research and responding by creating work, he said.
I think it makes perfect body sense to incorporate nature into this concrete jungle and create an albeit body artificial, painted, and non-three dimensional body environment, said David Meade, a Street Art Walk guide touring hotbeds of street art in Bushwick and Williamsburg. But it is still at least a reference to earth and nature.
100 years ago, Silva told The Free Press, we were all pretty much on the same page telling a story about nature, about an endless source of resources body for us to control body and plunder. That was sort of the dominant nature story at the time.
Since then, other stories have emerged, Silva says, ones that are more specific and relevant to our current place in history. As evident in the work of Gaia and many other street artists, another narrative has emerged of late, which is a critique of the antiquated story of endless body natural resources, and how delusional it appears when told in 2014.
Linus is a Literary Studies major at Lang. He enjoys seeing dope music shows and cooking dope ass meals in his spare time. He hails from Seattle, WA and left there to get away from the perpetual grey weather and become a full time New Yorker instead. He plans to write fiction as a career (knock on wood) and travel a lot.
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The New School Free Press is The New School's university-wide, student-run publication. It is published with the support of The New School and the Literary Studies department of Eugene Lang College, and currently functions as a monthly publication with a daily presence on the web. The Free Press operates as a credit-based class though we do accept contributions and covers body each of The New School's seven divisions, Greenwich Village, New York City, and the world.
