Really interesting conversation with Timothy Taylor in his office atop the Dominion Building in the heart of downtown Vancouver.
Tim’s office looks north to the mountains and east over the legendary DTES. The Cambie Hotel is directly below us and beyond it the new Woodwards complex, itself a living metaphor for much of the ills and successes of modern Vancouver.
The office walls are covered with art and photographs. There’s a Shepard Fairey print behind the door and a few pieces by Jerm IX – a crucial figure in the development of the book and an influence for the creation of Rabbit, the Blue Light Project’s central figure.
During the interview my laptop is balanced on a copy of Fairey’s classic book, Supply and Demand.
One of the tangents that Timothy and I discussed in this wide ranging interview is the notion of motivation and anonymity in the world of urban art.
One of the central challenges and the allure of much of the best street art is that it confounds us by its very presence.
We’re accustomed to being bombarded with visuals on buses, billboards, shop fronts, almost everywhere there’s a relentless consumer assault on our corneas.
But the best street art sells us nothing and offers no explanation for its existence.
That mystery is at the core of this book.
I hope that you enjoy our conversation.