Ramos says that absence remains “an unhealed wound.” He also got a 14-year-old girlfriend pregnant and hasn’t seen his son since infancy. Instead, he returned to jail in 1992 on a marijuana possession charge. Cal State Northridge was eager to have him enroll as an art major.
The sadder truth resides in numerous old news stories: After his initial 1991 sentencing to three years’ probation and 1,560 hours of graffiti cleanup duty, opportunities were dangled, including designing T-shirts, inclusion in a gallery exhibition of graffiti art, maybe even a feature film or television documentary about his life. Had Chaka played his cards differently, he could have built something from his notoriety. graffiti,” she wrote, and his key contribution was the simplicity and legibility of his writing at a time when taggers’ script was too tangled or ornate to be understood by the uninitiated. Chaka, like the city, was anything you wanted to make him, Los Angeles at its best or its worst or at least its most quirky.”Ĭhaka became “the common reference point for all L.A. But, she wrote, “for others, he represented the worst of our city, out-of-control youth with screwed up values. In her 1999 book, “Wallbangin’: Graffiti and Gangs in L.A.,” anthropologist Susan A. Just a feeling of being able to get the public looking, to leave them in wonderment.” Just me, a spray can and a wall on the streets of L.A. “I wanted everybody on the edge of their seat, wondering, ‘Who is this guy?’ It leaves an anticipation in the air of what’s going to get hit next. He says he was writing a mystery, an aerosol whodunit, and taking silent pride in keeping the public guessing who that omnipresence on walls, trains, signs, water towers and freeway overpasses could be. But as he considers his two-year tagging spree more deeply, Ramos, 36, begins to talk about a motive beyond fame-seeking that led him to splash the cityscape with those five blatant, blocky, baldly legible letters.
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Please refer to this page for how to edit your Bookmarks.He is going over his past in a soft voice, his small but solid frame seated on a plastic milk crate in the dusty back courtyard of Mid-City Arts, Los Angeles street-art supply shop and gallery that this weekend mounts “Resurrection,” the first art show of his life.
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