I’m no expert, but it seems that most graffiti tag names tend to be single syllable: POAS, CUBE, OBEY, GUNZ, HACK and so on. I thought that this one was BLUE until I met him and discovered it was BLUF. Go figure.
It’s a crowded market though and, inevitably, even the most creative taggers run out of single-syllable names. I’ve seen a lot more of the likes of this:
One constant amongst all this flux and turmoil is our old mucker H-Foot.
There are a lot of small things that, collectively, make H-Foot different to other taggers. Choice of medium (pen rather than can) is the most obvious. At one level this could imply a lack of the kind of commitment shown by the old school roll-up artists who had to steal wheelie bins and haul them – loaded with 20 litre paint tins, trays, rollers and poles – around the drains, building sites and railway lines of the city. Even the aerosol kids are making a significant commitment in terms of the amount of time they have to spend on site, and there’s always the issue of being caught with a green bag full of rattling cans.
H-Foot not only prefers the quick in-and-out of the fat pen, s/he has even used stickers for über-fast stick-ups.
It’s not just the medium that’s different; there’s a difference in H-Foot’s intent too. Sure, the “I was here” impulse is similar (why else the stickers?) but there’s also a sly humour that sets H-Foot’s work apart.
Show some respect, kids!
H-Foot’s confidence as a social commentator appears to be growing. The emergence of this kind of public satire is the critical departure point for the artist from the “Notice me!” culture of much street art.
In the white noise that characterises much of the painted adornment of our built environment (Did I really just write that?), H-Foot stands out as a constant for humour and inventiveness.
Keep hoppin’, H-Foot!