For those who don’t know what Funkill Collaboration is, can you tell us who you are and why it got started?

We are a group of artists with roots in graffiti culture. Me and Bfor had been working together in the same crew for several years. We wanted to see if there was any potential for our artwork on a professional level. So we started Funkill. Unlike painting walls illegally, which stand the chance of getting buffed or gone over by other artists, Funkill provided a catalyst for us to get our work into stores, restaurants, private residences, and galleries. And I’m not just talking about canvasses, we still apply our art directly to the walls in these cases. We have a unique style, we stand out, and people are taking notice.

Can you describe your roles within Funkill Collaboration?

We both bring different styles. I myself, more towards the realism. Bfor likes to do lots of cartoons. Sometimes we work on projects together where the two styles have to go, so we both make adjustments. Other times, we can mix our totally different styles together, and it creates a unique style all on its own.

Like with any artist, our styles and techniques evolve over time. Since working in collaboration, we’ve both had to deal with two separate evolutions; our own individual style, and the one we create together.

Would you describe yourself as a graffiti artist, an artist, or an illustrator? Or, is there another description that you prefer?

I just do my thing and leave it to other people to place it on the grid as they wish. I definitely see myself, in the future, as a fine artist. I use to call myself a graffiti artist, but that’s just one style that I practice. I go home and do portraits, and I’d like to start getting recognized as an artist rather than a graffiti artist.

Can you tell us who Funkill’s influences are?

Oh definitely. If you’re talking about the black and white style that we do, I would have to mention Tim Barnard as a figure that we look up to. He’s another Canadian artist. We worked with him on several projects, as well as other artists, in black and white. In terms of graffiti, I could look up to lots of artists. There are too many to name. I mean, Montréal is so full of graffiti artists on many different levels. You know, like the bombers, the piecers. There’re way too many to name. Toronto too. I lived in Toronto for a year and hooked up with some pretty cool cats there—graffiti artists and break dancers. Your scene is pretty full, I mean, there are too many people to name.

In terms of fine artists; I’m definitely looking up to Omen from Montréal. He’s also a graffiti artist. He’s got a good thing going on maintaining his rep on the streets, but he’s also got a good reputation with the galleries and the collectors. He’s broken past the boundaries of graffiti art that’s known on the gallery level now. I guess that’s how I aspire to be thought of. Creatively, we are inspired by many things. Cartoons, poster art, tattoo art, typography. Our graffiti styles influence our canvas work, and vise versa. Like with any artist, our styles and techniques evolve over time. Since working in collaboration, we’ve both had to deal with two separate evolutions; our own individual style, and the one we create together.

When I look at Funkill’s work, you two have put together some amazing collages. For example, your work for NEON Ottawa and NEON Toronto. Can you take us through that process?

It’s quite simple, actually. Just throw a bunch of random images together, overlapping; make a few jokes, throw in some funky words, and it just builds on itself. When we do that style for clients, we suggest that they give us a list of images they would like to see. We use that list to build their custom piece.

Do you ever butt heads on the creative direction of a project? If so, how do you come to a compromise?

We probably butt heads on every project. There’s no project that goes smoothly. You’re working with two really prolific artists, you know, and we both have a different direction that we want to go in. Eventually, though, it works itself out. We’re really good friends and we’ve been working together not only professionally, but writing graffiti on the streets and in the yards together. At this point, we’re use to it. Our arguments come and go, but our work stays strong.

Do you get a lot of creative freedom when you’re working on a project?

When working for someone else, it’s really difficult to maintain creative control. A lot of people have an image of what they would like to see, and they’re just looking for someone to make it happen, rather than looking to hear what the artist has to say and take him on their word what’s new and innovative, or what people want to see. I find that a lot of people don’t appreciate the creativity. They just see that this person is able to form an image on a piece of paper from their brain, but I’ll get them to do what I want. I’m looking for people to want my message and what I have to offer.

Funkill has done some amazing mural work. What else are you known for?

Obviously graffiti, murals, interior/exterior, we do a lot of canvas that we put up in shows or just sell on a personal basis with people that we find online or word of mouth. We do clothing and clothing accessories, lots of shoes, hats, and bags. Still looking for a good t-shirt hook-up. You know, we discussed it with a lot of people, but we have yet to find that perfect partner to develop a relationship on that front. We’ll do pretty much anything. We’re looking for a challenge.

What type of projects do you enjoy working on?

Large scale projects. We like to work with paint, with the cans. We like to do environment, like a restaurant, to create the ambiance. Anything where we’re giving the overall look of an establishment. That’s what I prefer to do. There’s no greater honour than having someone tell you, “Here, create the image of my store.” When people come in and they get a feeling from your artwork, it’s a good feeling. Also, I like to do canvases for people’s homes. You know, breaking through that boundary and getting in someone’s home. It’s also a good feeling. Hopefully someday that painting will be back in circulation and in someone else’s home, or in another venue.

Can you tell us what Funkill Collaboration is currently up to?

Funkill Collaboration is constantly looking for shows to show our canvas work. We’re trying to get more serious with that. Like I said, we’re looking for an outlet for t-shirts to start producing clothing. We also want to start merchandising. We want to tap into new ideas and new markets.

In closing, where do you think Funkill Collaboration will be in five years from now.

It’s hard to say, really. There’s talk of letting more people in. Already we recruited a third member, but we have yet to do a project with him. It’s hard to say. Bfor and I are so prolific on our own, it’s possible we can both go off in our own direction, or the group could grow larger and take on a whole new mentality. Either way, whatever we do will be innovative and original.

To learn more about Funkill Collaboration, please visit their Facebook and Flickr pages.