Katch One / With the streets of Hawaii as his canvas, underground artist Katch One was once a snot-nosed tagger who roamed all sides of the island to satisfy his art fix.

Not anymore. With years of international acclaim behind him and a new 256-page artbook in print, Hawaii’s godfather of graffiti and founder of skateboard company Natural Koncepts recently made a stop back home for his first-ever art show.

Katch One, who rarely does interviews, sprang out of the depths of secrecy and anonymity to speak with Honolulu Weekly about old school living in Hawaii, his new book and the past, present and future of graffiti culture, island style.

Where did the idea for your book, Aych Kay, come from?

Childhood drawings, ’80s black book art from the Frank Fasi era. Crazy pen drawings that would take me weeks, drawing for hours every day when I used to live in Nevada and I didn’t talk to anyone, whole car freight trains, acrylic canvases, over 50 skateboards designs, wheels, T-shirts, sketches. There’s a lot of stuff in there.

Have you ever seen your old pieces around the island?

I haven’t actually seen them, but sometimes I see flicks of some pieces, and I’m dumbfounded that they are still there. Yeah, it does make me say, “damn.” It’s a feeling like after you ate a good meal. It’s an honor.

Many see graffiti as simple criminal defacement of others’ property. How would you break it down?

It’s one of the last urban adventures that frees the spirit–until you get busted. Graffiti is a beast that self exploded from the art world, much like rock ’n‘ roll. Hated and unaccepted at first, it has slowly become a part of our society and in the art world. It’s amazing how many graff writers are doing shows, how good the new generation of writers are. It’s drifting more towards art and skill. You definitely need to have artistic talent to become a graffiti artist now.

How is graffiti changing?

Everything changes and progresses over time, somewhere someone is taking graffiti to the next level. Graffiti seems to be having the same problems as skating and hip-hop. Everyone is going for the icing on the cake ’cause that’s what looks pretty. They miss true content. Skaters are trying to fakey 360 flip before they know how to roll faster than a jog. Hip-hop artists have access to amazing beat machines and sound samples that makes everything sound great, but they talk about their cars, bitches and grills, that most of them don’t have or struggle to keep anyway. Graffiti artists are currently trying to make everything look 3D and real, but the actual letter form and characters don’t have that life…the “flav.” It’s like a lot of them are missing a basic foundation.

What are some of the unwritten rules in the graffiti world in terms of respect for others’ work, etc.?

Throw-ups are allowed over tags. Pieces are allowed over throw-ups. Productions are allowed over pieces. Basically, if you can improve the wall, or do something better, you’re allowed to go over someone. But that is so subjective that it causes beef time and time again. Egos in the graf game are extraordinary. People can’t handle getting gone-over. Their piece is their name, so it becomes a representation of themselves.

In what ways has graffiti gotten worse over the years, and how does it continue to thrive?

All the English words have been taken, so now everyone’s name is mad gibberish. It’s confusing who the f*** is who, and how you pronounce what people write. There seems to be more idiots and less respect in the game, but that is natural as it grows. Graffiti is a huge cycle. Kids tag, come up and slowly phase out of the streets. They get more into piecing and murals. Then they usually float towards doing canvases. New kids come up and begin the cycle again. As writers mature, a lot of them leave tagging and bombing behind. You really see it in L.A. Every year there are new bombers, as the ones you used to see often fade away. One thing for certain is that graffiti is a permanent fixture in our society, and it is intimately a part of art history.

[It] seems like a lot more traditional artists are trying to use graffiti style. They disguise themselves as “street artists” so that they can use the style and the rebellious spirit, and in turn, if they are not labeled as “graffiti artists,” then they do not have to deal with its negative connotations and views. People are trying to separate themselves from being labeled as a graffiti artist, but they use graffiti style and techniques.

What are some of your favorite places to skate, eat or just kick it in the 808?

When I go home, I’ll make sure I get a good plate lunch (Side Street, HK’s), maybe go to Longs and browse the Hawaii snack isle. I’ll go to some of my friends’ houses, and eventually end up in some ditch skating or painting. Or I’ll take a hike, hang out at the beach, or drive around the island, and stop by the cliffs near Sandy’s or beach by Makapuu, somewhere where I can kick it by myself. I like to immerse myself in things that are “Hawaii.” It reminds me of my youth.

As far as skating, I’ve always loved Wallos and don’t understand why more locals don’t skate there more often. I guess the skate game is different now. Maybe it’s that stupid little dog that barks the entire time you’re there. I guess no one wants to play in a rough ditch with cracks and rocks.

I like to hit up the skate park in the morning when no one is there. I don’t like to skate when there are a lot of people around because I skate like a wet noodle. It’s my physical release, however, and I love skating and being around it. I expect my board to be with me for the rest of my life.

Tats Cru on the Block feat Katch 1

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