About

Originally born and raised in Germany in 1981 Bond TruLuv became involved with graffiti-writing at the beginning of this millennium. Since then he has eagerly committed himself to examining new ways of composing letters and calligraphic ways of expression, as well as modes of fine arts and graphic design. His permanent longing for transformation and variation in terms of material and style is cultivated through extensive travelling as well as the search for environments and sceneries that inspire new pieces interactively.

The artistic map of Bond TruLuv features murals and exhibitions all over Europe, Africa and especially Asia (India, Indonesia, Thailand, Malaysia, Myanmar, Singapore, Taiwan, Japan, etc.). There he found social life and culture happening extensively on the streets, offering a public forum where his graffiti would be appreciated by the locals and would adopt the various dominating atmospheres and emotions. At the same time he is constantly experimenting with different materials such as canvas, video and installations. The recently discovered tool of long-exposure photography combined with additional light-sources („light-writing“) enabled him to reach a new level of Graffiti-Art, creating spectacularily vivid images, morphing reality and dimensions within the letters and the locations they are applied in.

After receiving his MA in Anthropology in 2010 and participating in theDarmasiswa” scholarship at the University of Arts (ISI) in Yogjakarta, Indonesia he works as an independent artist, travelling all over the world from wall to wall.


Artist video portrait via Arte Creative (including all kinds of subtitels)



Exhibitions/Projects

2017. Groupexhibition “Magic City”, SC Entertainment, Munich / Germany

2017. Soloexhibition “Next Level”, Jahn Galerie, Leipzig / Germany

2016. Soloexhibition “#bits&piece$”, Original Dampkring Gallery, Amsterdam / Netherlands

2016. Soloexhibition “Digital / Analog”, Oxymoron Galerie, Wien / Österreich

2016. Groupexhibition “Luminale Light+Building”, Naxoshalle, Frankfurt / Germany

2015. Soloexhibition “Beyond”, Galerie Hier+Jetzt, Leipzig / Germany

2015. Groupexhibition “Graffiti Art Fair”, Les Bozar, Mulhouse / France

2015. Groupexhibition “Knotenpunkt 15″, Affenfaust Galerie, Hamburg / Germany

2014. Groupexhibition “Neon Nights”, Name Gallery, Amsterdam / Netherlands

2014. Groupexhibition “Magma”, St+Art India, Mumbai / India

2014. Soloexhibition “Glow In The Dark”, Starkart Urban Art Gallery, Zürich / Switzerland

2014. Groupexhibition “This Is Not Streetart”, 12 Social Space, Delhi / India

2013. Groupexhibtion „Artlon“,  Galerie Artlon, Rheinberg / Germany

2013. Soloexhibtion „Quest – Magic places and Graffiti in Southeastasia“,  KINGSIZE Galerie, Leipzig / Germany

2012. Groupexhibtion „Cantamananas IX: El Arte de lo Desterrado“, Museo Contemporaneo de Huarte/ Spain

2012. Groupexhibition “Jerin”, Taman Ismail Marzuki, Jakarta/Indonesia

2012. Groupexhibition “Seni Lukis Lanjut Exam”, Katamsi Gallery ISI, Yogjakarta/Indonesia

2011. Groupexhibition “Andersroom”, Tapetenwerk Leipzig/Germany

2010. Soloexhibition “Life Is Bright”, Mocha Arthouse, New Delhi/India

2010. Groupexhibtion „Al Otro Lado del Muro“ Museo Contemporaneo de Huarte/ Spain

2009. Groupexhibition „Mensa III“ Westwerk, Leipzig/Germany

2008. Soloexhibition „Nu Luv“ KlonLabor, Heidelberg/Germany


Motivation

Tru Luv is more than the relationship between two people. It describes a positive attitude towards life and the things I do. The passion to create and to evolve during the process. To live consciously, respectfully and humble. Luv letters, luv life, luv yourself and everything around you in equal measure.

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Graffiti Writers see the world with a different eye. Focus is brought intensely on spots for future works and wherever we walk we are constantly checking for new ones. This worldview is deep inside and will hardly ever go away. Each one of us has their own priorities in the final choice of what is good and what is bad about a wall and if it is finally painted or not. Most tend to share the idea that the best suitable place for the beloved piece is a facility that is most public and can be seen by as much people as possible in everyday life. The driving factor fame and the eternal wish of being literally everywhere is the basic idea behind this perspective, I understand. You gotta be fast, you have to run and sometimes you have to fight to paint those places to earn your portion of fame in our funny little hierarchical society of writers. There exists a variety of laws and attributes to judge “the worth” of a piece and you have to vague each factor carefully before you take action. There is of course those type of spots that involve the above and then there is those, that are the total opposite. Quiet places far away from stress and hassle. Places that have been forgotten by society or never ever even have been discovered in the first place. Urban- and natural areas offer them both splendidly to those who take some time to look carefully and accept the adventure of getting away from the beaten tracks of worn feet. Abandoned factories, – drainage channels, -military bases and long forgotten rotten residences on the countryside and in the city are found in every part of the world alike. Also rocks and smooth stonewalls in mountaineous terrain are most welcome to be redesigned by the ambitious artistic dude. Everyone who has ever roamed around one or more of the mentioned scenarios knows the special atmosphere that inhabits them. Each is host to a mix of features, unique in their composition. Be it the variety of rotten smells, the splashing of raging waves, dripping and cracking noises from decaying construction or the sighing and roaring of wind around it, the setup is special and never to be found again similarily. Most of the time you are the first one to feel those vibes in a long time and probably again for a long time. The remoteness assures a meditative silence in which a stressfree and concentrated artistic process is much more likely to be given. The atmosphere interacts with you and your creative output is affected by it.

For many people abandoned and farout places don’t offer the real deal. Painting them is not what true graffiti is about. They are lacking the action, illegal- and therefore “hardcore”-factors. To most writers they are just good enough for training style and seem to be simply worse halls of fame.

To me they always had an undeniable attraction and surge and seemed perfect breeding ground for graffiti, as I desired to do it. Time and daylight (most times) are factors that I found very valuable to achieve a certain quality in a piece of art and also the unique surfaces and interiors I could discover in the rooms and enviroments I was exploring inspired me in many ways. I always tried to see a piece rather as an installation that corresponded to its surroundings than a kind of sticker, that was quickly patched in. Of course I mostly tried not to forget that it was about letters and styling them. The task of combining those two claims – synthesis and style – is not a simple one and regularly forces your creative chaffer to go new ways. And that is for me a very desirable demand of the better graffiti writer, seen as an artist. The reinvention of ones style. The approach of new methods and new forms on a regular basis. Failure is nearly impossible. The expression “everything´s allowed” counts more than anywhere else in our guilde of art. Spots included. And there are so many out there! The whole world is full with beautiful places that just wait to be redesigned. It does not only stop at your backyard. It speaks so many visual languages that can lead you towards new experiences. The whole world is full with moments of compassion in the act of painting and the range of feelings that it offers. And all of them are waiting just there. If a style doesn’t fit, try a new one. If you fuck up a wall, find a new one. Space is there. Time as well.

Forward.
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Pointless magazine feature/ Nov. 2015

Author: Bond Truluv

When I first got introduced to Graffiti, it was all about New York. When asked about their motives and inspiration on their way of chosing to graphically recreate their made-up names – be it legally or illegally – most writers from my generation and before will probably name the movies style wars, wildstyle and beat-street. The content of these films is always build around the Hip Hop movement, set in early 80´s New York and first showcased the modes of a Graffiti subculture that went global in the years to come. Eventually few graffiti-writers made the journey themselves to meet the interpreters of this young subculture in person on the spot, but the basic founding myth plus a given set of rules and regulations („no crossing over“, „bigger is better“, „throw-up over tags“, etc.), terminology (outline, wild-style, panels, pieces, etc.) and finally hierarchy (toy, king, tags, throw-up, burner, etc.) came through these motion pictures. A lot of these identity-giving notions and specialised knowledge are still deeply enrouted in the highly varying interpreters. This common knowledge is partially the reason why amongst this closed group, we can interact with each other, regardless of language, religion and status, sharing certain references when painting together. Despite the common ground that is shared by the ones who know about the founding myth and its customs and furthermore have decided that these rules are just and pratically valid – naturally – obligation came along. When I started to paint quite late in 2002, I found that many writers where still almost dogmatically following the traditions that were handed to them from their forefathers. You do an outline, fill-in, blocks, outline and highlights. In these steps you were free to vary of course, but the basic scheme was more or less always the same. There are certain benefits within this universal procedure; first of all the whole process of painting a piece was fast and well-ordered, therefor easy to execute in an illegal session where time was of the essence, and second universally applicable between writers who didnt know each other yet. I felt, that something was missing and few writers seemed to break this routine, despite the creative potential of Graffiti and its self-proclaimed revolutionary aspects of freedom. For many of my fellows the act of painting illegally was enough rebellion and active counter-culture, that it didnt actually matter what they were painting.
Personally I always rather wanted to push style and try things that haven´t been done before in the context of letters. I found it very fruitful to get inspired not only from different schools of art but also advertisment, places, music and foreign scripts and fonts, isolating certain styles, graphics and emotions to puzzle them into my letters. In this regard I found New York as an idea of style still important, but at some point outdated for myself and my artistic evolution.

In recent years not only the range of style but also the whole definition of Graffiti has shifted a lot. Writers have become much more open minded and allow outside-inspiration to seep into their works. Insanity gets rewarded and the weirdest ideas are praised the most. A counter-movement against the sometimes conservative seaming old-school. Highly skilled artists are using highly developed tools to produce highly reduced nonsense. Awesome. „Streetart“ has brought new players on the map amongst which a few smart artists generate highly interesting stuff while the majority is producing rather corny kitsch to market it online and become trending. Social media has given the opportunity to reach an international audience and turn from zero to hero in a short time. It´s not about how many pieces you have in your neighborhood anymore, but only the likes on your profile show how good your output actually is. Sometimes I get the feeling that it has become regular procedure that anyone showcases their stuff, while not even finished painting it, just to generate content, amongst which I would classify most of it as spam.

Commercial interests have taken a hold of the „street aesthetics“ and it is an internationally widespread tactic of advertisment agencies to use Graffiti elements to charge products and media with street credibilities and youthful appearance. Usually the artists are willing to donate their work for a peanut and if not, the agency just finishes the job with their in-house designers. After all, graffitistreetartwhatever is easy to reproduce, they think.

Also the established art market is more and more using the fresh created section of „Urban Art“ to milk the cow. Premium shows are conducted to sell tons of artwork to collectors. Small galleries, specialized on the subject, as well as artists hope to get a piece of the cake and produce art according to what´s hot. Urban art can be anything that sells well. By all means, it´s not all evil sell-out, though! The hype provides ressources and enables a lot of artists to produce great art and fantastic, entertaining and sometimes critical pieces. The growing positive connotation towards the sub-culture from the average consumer population offers them respect and eventually a livelihood with what they love and cherish. After all, if you deny the market for your ideals, you have to be pretty tough these days. It´s just not SUB-culture anymore, but turns to consumer culture in many regards. Let´s face that. Also I wouldn´t want to single out individuals or certain groups in these scenarios, as I shockingly find myself more or less often participating in some of these habits on the virtual run for that ego-pushing fame.

Certainly, Graffiti has come very far from a few outlined letters in the Bronx, if one would associate Streetart and Urban Art or (whatever you may call all that stuff) with the original idea, that is. Right now, I feel that it is one of the fastest changing, open minded and most interesting forms of contemporary art and I can´t wait to see what´s happening next.