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.
fancy colorful fill-ins,
fancy colorful fill-ins, backgrounds, and all the unnecessary effects for the letter itself to look good. At that stage, I decided to focus on what was most pure and intuitive for me, and at the same time, it was giving me the most satisfaction. I got back to the most simple form, a tag, and after some time of pushing it, I realized that you could do a lot more with hand style than just a quick drunken tag on the way back home from a party. The more work I have put into it, the more I started developing new ways to make it look as good as a separate art form. Over time, I began learning to use new tools, mix them, play with shapes, and find my own path. Everything I do on my way is a part of the bigger picture — my aim is to achieve the perfect shape/tool mix that will make my style, even more, stand out from the crowd. So, assuming — it is a mix of natural development and conscious choices. Over time, I began learning to use new tools, mix them, play with shapes, and find my own path ↑ The onlooker. Sicoer contemplates if all colors and shapes are in exactly the right position? ↓ Letters turn to abstraction. The message is clear to the initiated and beautiful to those that aren’t. MC For some reason, tags seem to be rooted within urban landscapes. What makes working in the streets so unique for you? SICOER Mainly, the variety of surfaces and spots you have to fit in, mixed with all the unpredictable street activities. You never know what will happen and who you will meet during your walk. It’s an adventure. 12 Interview Sicoer
MC Sounds like it! Adventures always contain some unpredictable elements in them, right? So, are you always confident with the results of your work? Or do you ever feel uncertain when creating something? SICOER To be honest, I feel uncertain most of the time; it is the constant battle with my own quality standard control. I am very picky regarding my work, and there is a lot of stuff that goes in the bin, especially the studio work. Obviously, I can do my basic tag with muscle memory, and it most likely will keep up to the standard, but when it comes to experimenting with shapes, I analyze a lot. The problem is that I am so much into my forms that I usually see more than other people when they look at them. Also, what’s important to me is the flow I have while painting. Usually, when the hand — and the brain — is warmed up enough — the best stuff comes with intuitive movement. I think it’s a bit like sport — you need to warm up, and then you follow your instinct. Then it goes out well. MC Why did you choose this exact shade of blue? Is this your favorite color? Instantly, bold black and white works come to my mind when I think of your work. That probably derived from watching your video on Tags and Throws. So, I was surprised to see your choice. ↑ Black and white, and nothing more needed. Sicoer mixes black fat round cap sprayed lines with hard brush painted lines on a neutral white background. SICOER No, I’m not going to lie to you — as you probably know, the artist series has all my favorite colors locked already. Hence, I was choosing between the most basic colors that are left. I needed something dark — since it can be used well for tagging. Black, white and red were already taken before. I’m not a fan of green, so blue seemed to be the best choice. To be honest, I feel uncertain most of the time; it is the constant battle with my own quality standard control → Leave the unnecessary, with two colors an image is created that features both abstraction and letters. ← A change of palette and a change of context. Sicoer tags as muralism. Interview Sicoer 13
