PATRICK MCNEIL: That door
is like the jam, dude. PATRICK MILLER: Totally,
right? PATRICK MCNEIL: It’s so good. PATRICK MILLER: Yeah,
it’s fun. PATRICK MCNEIL: The door is– PATRICK MILLER: When the pink
goes in, it’s going to be really nice. PATRICK MCNEIL: We should have
almost brought those black tiles in there. The idea was to tile the
facade of a building. So we had to find a
building to tile. This one just seemed to suit the
project the best because of its size and its location. PATRICK MILLER: The influence
for the wall and other influences we’re seeing almost
the way graffiti builds up and the way it gets buffed in these
sort of geometric color field abstract-like paintings. And we’re sort of bringing
together all those elements from within our practice to
things that we see and are inspired by from advertising,
signage, color, street, New York. [MUSIC PLAYING] PATRICK MILLER: We started
FAILE in 1999. And it really started as a
collaboration of printmaking and soaked large format
monoprint silkscreens. And it just kind of evolved
from there. It’s something we had talked
about for a long time. I think even in high school and
before, we’d always talked about this idea of collaboration
and working like a band almost. PATRICK MCNEIL: When I first
moved to New York, it was like England times 10. It was just like saturated with
graffiti and street art and all these kinds
of crazy things. And I just started documenting
it in the beginning, and taking photos of it, and talking
to Pat about it, and was really inspired
by the art form. I was like, you’ve got to come
down here and check out what’s going on here on the street. It’s really interesting. PATRICK MILLER: I think we’ve
always been attracted to sort of one collaging appropriation,
found work, and ephemera from the last
hundred years. Seeing those things that are
lost in some random advert page from a magazine 50 years
ago and sort of tying a little piece of that back
into something that’s happening today. And then, multiplying
that by 20. PATRICK MCNEIL: A lot of our
prints we’ll print, and then there’s a lot of
hand painting. And there’s a lot of multiple
printing that takes place in it. And then from there, it’s like
you get your final print. Once you do on top and just kind
of finding things that you can’t get from a silkscreen,
like the brush stroke, getting those gestures
happening in it. So there’s a lot of hand
crafting over printing and things that happens in
our printing process. The more layering and the more
beat up it gets, it seems the better the print becomes. You can get prints to a certain
place where it’s just like, you work it and
you fight it and it just looks like crap. And you do that one more layer
and it changes everything. And you’re like, wow, this
one’s my favorite one. This one’s dope. PATRICK MILLER: Over the years,
it’s evolved not only the processes, but also the
materials that we’re using. Working on the street, you come
across a lot of wood and found bits and bobs. And it just sort of naturally
incorporates itself into the work. The abstraction that’s played
out in sort of starting with doing some of the rips and
abstracting in that way and layering up, really started to
lend itself to the blocks and the wood, and sort of this
idea of building up these layers and being able
to sort of move bits and pieces around. And you had this one little
block in there that you can focus in on and see. And it’s got its own little
meaning to it, but then you back up and see the
whole piece. PATRICK MCNEIL: With a canvas,
when you paint a canvas, you’re kind of stuck with where
you’re at on the piece. It’s a much more committed
process. With the blocks, there’s that
flexibility to put it together, deconstruct it, put
it back together with LEGO. PATRICK MILLER: In the ferry
wheel, this is really the simple idea– Native Americans came back
and retook the city that was once theirs. From there, it just really made
us look at things like, what do we pray for? Kind of creating a tactile
experience from the work and letting that come alive
a bit more. PATRICK MCNEIL: This is one of
the machines that was left from Deluxx Fluxx New York. PATRICK MILLER: We had a show
coming up and we had asked our good friend Bast to
be involved in it. And we all sat down in his
studio and just sort of started battering
around ideas. We got on arcades and we just
started thinking about like, wow, that would be really
amazing to take sort of this concept and see what would
happen if FAILE and Bast tackled it. PATRICK MCNEIL: It was probably
the funnest show. I loved hanging out in there. Normally it’s like you finish
a show and you’re done and you leave. And there was a retrospective
going on that night. And we went to the retrospective
and everybody’s sipping wine. And we’re like, let’s get the
hell out of here and head back to the arcade. PATRICK MILLER: There’s very few
times you do a show where people walk in and almost every
single person leaves with a huge smile
on their face. And they’re going to bring
a friend back. I was thinking this
we could snip off, this little duck tail. PATRICK MCNEIL: Sure. PATRICK MILLER: We both have
different strengths. We both have different interests
even, within the work, which is probably,
actually, one of the most successful things about it. Sort of the things I’m focused
on or thinking about and the things that Pat’s focused on
and thinking about aren’t always the same. And we can sort of bounce
that off each other. And then all of a sudden,
you get excited. It’s like, oh, I never
even thought of that. Then, all of a sudden– it just
kind of keeps reeling off each other. And two minds are better
than one, I guess. Go over there. [INAUDIBLE] 1986? The temple, it was sort of
shocking in the sense that we were the architects and
engineers and the artists and the designers for a lot
of things that we never normally do. And just, it was sort of
all in for two years. PATRICK MCNEIL: A lot of it
was a dialogue that we had with one of our colleagues in
Portugal, and getting back to this idea of like loss crafts. And when we saw the tiles and
there was like a thousand of these hand painted tiles and you
know every single one of them has been hand painted. There’s just a beauty, and
each one’s different. I think we got kind of wowed
by tiles in Portugal. PATRICK MILLER: It’s also sort
of about, how do you evolve street art a little bit? How do you give people this sort
of unexpected experience where they stumble upon
something and all of a sudden everything’s just turned enough
to really make you stop and take a longer look? All these little nods that, I
mean, when you sort of look at the world like a child again,
it sort of takes you to this other place. PATRICK MCNEIL: I wanted
to learn this so I could do my bathroom. I got a house with a tiny little
bathroom in it that I want to do. And I didn’t know how
to tile or cut tile. So now I know. PATRICK MILLER: I mean, the
temple is really its own concrete idea. But the idea was to keep using
elements from the temple in different ways– the tiles
being a big part of that. Doing it first in Brooklyn, in
our backyard, is a good spot. I think there are somewhere
around 9,000, 8,000 tiles. PATRICK MCNEIL: And then there’s
two type treatments. You got vanity and perfect. PATRICK MILLER: The other hand
painted tiles are just sort of inspired by Native American
designs and things we see on the street, other things
from our work. Some are just more traditional
designs. The FAILE 1986 tile really
comes from the spatial challenger We’ve used 1986 and
Challenger in our work for a long time now. The Challenger sort of made this
end of innocence impact on us as kids. So 1986 has really lived in our
work ever since then as something that you grow from,
you move beyond your failures to succeed and grow. PATRICK MCNEIL: Everything’s
kind of a lineage of process. I don’t think we would have been
at the tiles had we not done the puzzle boxes. Everything kind of connects
and flows to one another. PATRICK MILLER: And it
just all clicked. Everything just sort of
like came together. And I think it opened up a
lot of new possibilities. [MUSIC PLAYING]
I respect your opinion but I strongly disagree. Majority means nothing, Art is to everyone, what art is TO THEM. It has nothing to do with anybody else. There are no rules dictating what is and isnt art. It is whatever you want it to be. Therefore it is subjective. But whatever, I cant believe im even debating what "art" is on youtube… ahhh Im getting of this computer and going out to do something awesome today. have a good day man, Bye!
FUCK U ESH LORD U BRITISH FUCK TARD.
It reminds me alot of the tiled facades in Philly. I hope nobody decides to spray over their shit
Some of those ideas are not abstract at all, deconstruction and appropriation are techniques borrowed from postmodernism and the pioneer of collage and photomontage like Barbara Kruger, Sherie Levine ,Cindy Sherman, John Stezaker.
Banksy!
7:04 Scooba Horse, LOL WIN
nothing surprises me anymore on youtube
Man I would love to have a few of those tiles.
art is awesome
So many artists/brands blatantly steal from Kruger!
Thats the Beauty of it all. IT is All Art. Rip off or came from Imagination. Try hard or easy boner
FUCKING EYESORE
I hope they buy a nice house together.
Love the arcade machines and the abstract blocks
Sometimes i wish i can get a giant rose stained glass stencil and go to a heavily tagged area and just stencil the fuck outta it so the area looks like a ghetto catholic church.
The centerpiece would be a stencil of Luke the Evangelicist, patron saint of artists and painters.
Are you fuckin Webster? No one gives a shit about what you think art is
That arcade was dope as fuck.
I am inspired!
why the hate? Is not like theyre doing drugs and raping women, theyre doing drugs and making art, ha
art talk is my favorite vice segment!
fail at something, call it art…or be ironic and call yourself Faile
no thanks, I like to know when I'm being fucked.
BLU!
Its not reduced my man, its all perspective. REMEMBER.
Everything around you is aRt, what your sitting on, the comp infront of you. Its all ART. But I would say the bestt art is the one where you can sense and feell the PURE raw Passion. Not matter how shitty or attractive it looks. The fact that THIS PEICE of art work was a fucken small figment of someones mind
all that shit is sick idk who would disagree with that
those posters are pretty dope. i'd like a series of three right next to eachother for my wall.
It's funny how you follow a street artist(s) for years then you finally see what they look like. Legends!
i left captions on and at the end when the music was playing it thought the crash cymbal was speaking lol
Is the arcade really a arcade..the sceens dont actually look like games…
Fantastic
iamOTHER has already done an interview with Gats, and there are four parts /watch?v=e6I4i-_9JZ8 It's an awesome look into his thoughts and art. Check it out! Although I would like to see Swampy or Deuce7 or something along the lines of them.
vice interview SO-ME and edbanger records
Interesting.
feh
You're cool. I want to be like you.
That Shepard print in there is worth a pretty penny….
blew my mind
interesting video, but they have no idea how to tile.
work gives result
what the hell are you doing?? these "wankers" are creating something out of nothing. purest and most interesting way to make your life useful and worth something
Great!
.
watch?v=jYZKbRsm0ys
They already did.
Can I see what you've created?
Epicly later'd- Neckface
they already did. epicly latered neckface
they have
ha nigga you must be new to here
Who/what is neckface?
epicly laterd is from Vice? i know that episode with Neckface from epicly laterd.. but it belongs to vice magazine?
His art is terrible though
he's already been on epicly later'd lawl.
he does look like an alien
coolest art exhibits ever… truly inspiring!
oh ok
We did! /watch?v=jYZKbRsm0ys
lame egotistical trendy losers
nothing is cool
I see Bob Ross is experimenting with new mediums.
i didnt pick up on any egotism. but i agree with the rest.
okay maybe not losers…but definitely lame and trendy.
Wonderful. 🙂
Ive been doing tile for over 10 years…i would love to be involved in this kind of thing..
Wait until it gets spray painted on, get some layering like they said.
Nice. I like it.
These guys seem neat :3
I want my whole house to look like that amazing neon lit room with the foosball table.
Amazin !
What are they doing wrong? Not challenging your statement, just curious.
7:45 It's ovER 9000
I didn't know titleling was a title. A title is a title who cares. Don't judge a book by its cover
was this was really inspiring 🙂
let me get what there smoking…
Damn dope shit.
awesome. i like repetition
How I wish you could go here in the Philippines and make my restaurant a special place 😀 nice work
3:35 is boss looking
Love seeing screen printing used for art purposes!
Anyone who wants to learn how to screen print should check out our channel! There's over 900 videos teaching you how to screen print!
Fine art screen printing is alive and well. That is some very cool installation work. I loved doing things like that when I was in art school. How do you fund the Faile work? Come get some Catspit~! ☠
Nice to see you here, I'm well on the way to starting my own business that involves printing onto t-shirts and canvas. Thanks for all the great videos!
"sort of" overload. geez.
sort of sort of, sort of, i mean, sort of. it sort of is sort of
That arcade is fucking mind blowing. I can't believe even the games were art.
Brooklyn being beautified with timeless images of modern culture. Plus using all the different techniques stripping,and layering, using different materials as a canvas in sense really brings forth the creativity
Great work !
I love it, the more obscure the image the more interesting. There's a huge history of screen printed games, pin ball machines etc. I worked with a guy that printed the first Atari game consoles in San Jose,all screen printed.
Nice tiles
fucking art… looks like shit
I love neon art and I love retro gaming even more, so I really loved that arcade machine gallery they did.
VOXXROMANNA did the block painting back in 2010. peep game.
you mean inspired by other artist??
challenger crew of 8 1985 ? well 7 of them are still alive and well, as university professors and lawyers. iguess that's art ,,they ilususioned you. don't believe me just google it.
These dudes need to shave and shower.
Still not very clear what they actually do…
https://www.youtube.com/watch?v=Kc69hynkMhs
Their work is so cool but the way they dress is so bland. I would never know it was them doing it
Love this work. Perfectly reflects modern culture and society. Art at work- Doing it's job. Great work, guys!
sweet 🙂
BOB ROSS?!