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Montana Cans LOOKBOOK 2022

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Montana Cans LOOKBOOK 2022 Edition #7 It's that time again to welcome the release of the Montana Cans Lookbook 2022 edition #7. There is no rewind button on life, making it all the more important to reflect on the year that was, and the things that happened during that period. The Montana-Cans Lookbook does just that and reflects on some of the highlights from the year prior. A moment to reflect on those things that may not have received as much shine as they deserved while being "in the moment". The 2021/2022 period was a particularly unique period not only for Montana Cans but for the world as a whole. Mankind arrived at what we hope is the end of the Coronavirus pandemic, there was turbulence in many regions, and the global population started to come to terms with the new financial challenges of life. But apart from increasing prices and challenging health/social situations, there were also many positive moments that brought innovation, fun, color, and creativity back into our lives. The Montana Cans collaborations continued with our many partners, artistic friends, and organizations within the creative world, including a vast array of amazing limited-edition cans, cool collectible products, and new innovations that make painting and creating even more enjoyable than before. Countless brave event organizers pushed forward with their dreams and their world-class events, with Montana Cans as partners on board regardless of the social and political hurdles put in place in the name of health and safety. And off the radar, the global graffiti community kept on creating and pushing our culture forward despite the challenges put in place around them. Regardless of where you were in 2021/2022, steel, bricks, canvas, furniture, and even clothing all got a special creative touch that Montana Cans was proud to be part of. With this in mind, we present to you the Montana-Cans Lookbook 2022 Edition #7 for your enjoyment. Available here digitally and in limited amounts in print at selected Montana Cans partners and resellers.

Hamburg 2015 I was just

Hamburg 2015 I was just practicing, testing out shapes, colors, 3D’s, and shadows brought Breakdancing, Graffiti, and Hip-Hop forward in Germany. So I never saw myself “selling anything out”. Neither back then, nor today. Nowadays it’s called “commercialization “, but it has the same meaning. When I do a commissioned graffiti job I don’t hurt anybody or take anybody’s place. And it doesn’t hurt the movement either. Only the poor and narrow-minded people envy the success of other people. I make a living with a mix of commissioned jobs and canvases. MC How would you describe the process of coming to your style? It is easy to say that it was NY influenced for example, but were there any iconic artists for you that had the greatest impact on you then, which led to the stylistic decisions that you made to enable you to be where you are stylistically now? CT It was a slow process. I was changing my artist name all the time. I sketched different letters with different styles all the time. I was just practicing, testing out shapes, colors, 3D’s, and shadows. When I went to Hamburg for the first time in 1987 I used CANTWO as my name to introduce myself. After this point, it was too late to change my name again as the other writers had gotten to know me by this name. SEEN had the most profound influence on my style, obviously due to his feature in Style Wars. I’ve watched this movie at least a hundred times, and every time I saw a SEEN piece on the screen I was impressed by his ability to write his name in so many different styles. Even though he admits that he got a lot of his style from Billy 167. However, he mastered it and made it his own. Frankfurt 2013 Istanbul 2017 36 Interview Can two

MC Ironically, the term ICON has already played a part in your career path by way of the “CANTWO – ICONS” solo show in Halle 02, 10 years ago in Heidelberg, Germany. In this exhibition, you featured many character-based works that featured some of the iconic artists / people in your life. Do you have a preference for working with characters or letters in your artwork? CT It was a great opportunity to showcase my works in Heidelberg. Letters are my main preference, but I love to put characters beside them. Either one of my own distinctive B-Boy characters or another cartoon-based character. They simply fill the walls with life. MC In a digital world where visual inspiration is only a click or a scroll away, even if you were to not know or relate to them, do you see any particular graffiti writers as special leaders/icons/role models in graffiti today? If yes, what is it about them, their artwork, or their actions that caught your attention? CT I don’t know if they are leaders, but there are so many talented writers out there. One, in particular, is CESER (@ceser87) whose creativity is mind-blowing, but also evergreens like BATES (@greatbates), WANE (@ waneonecod), or BIO (@biotatscru) are still on top of the style game. When it comes to trains, MOSES & TAPS (@moses.taps) are probably the most creative ones, SHARK (@shark.tuf) for his fascinating comeback, JESUS (twister_yckb_acm_vets_crew) for his hunger to paint and evolve, and ATOM (@atomoneski) for remaining prolific at a high level since the ’90s. They are absolutely worth mentioning among so many other crazily good artists. There are just too many to name. MC If you had the choice to work with any artist you wanted to, on any project worldwide. Who would it be, and what would the project be? CT I was blessed to work with Mark Bode a few years ago. Actually, I’m a great fan of Virgil Abloh (@virgilabloh), KONGO (@cyril_kongo) MIKAEL B (@mikaelbrandrup), DEMS (@demsky__), CEY (@ceyadams) and I’m sure that I’ll meet them (again) sooner or later to do any great project, whatever that will be. Helsingborg 2019 Budenheim 2019 Wiesbaden 2019 I sketched different letters with different styles all the time. I was just practicing, testing out shapes, colors, 3D’s, and shadows Interview Can two 37

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