Share this
Los Angeles based, French artist, Fuzi, embarked on his creative journey on the streets and subways before transitioning his canvas to human skin. Residing in the Parisian suburbs in the late 1980s, his initial passion for graffiti transcended beyond mere artistry; it became a way of life.
Internationally known as a living legend within the graffiti community, Fuzi has left a lasting mark. He has authored several books, including “Fuzi UV TPK – Flash Tattoo Collection No 1,” “Fuzi UV TPK – Flash Tattoo Collection No 2,” and “MA LIGNE,” showcasing his work on a global stage. Fuzi’s artistic reach extends to the realms of tattooing, with notable clients like Diplo, Scarlett Johansson, and Justice sporting his ink. He is the visionary behind the lifestyle brand IPBF (Ignorant People By Fuzi), collaborating with individuals and brands in roles such as art director, consultant, and illustrator.
In 2008, Fuzi translated his original art onto people’s skin, propelling him into the realm of renowned tattooists. His work has been featured in events and exhibitions worldwide, complemented by the publication of additional books. Beyond his artistic pursuits, he has cultivated the international lifestyle brand Ignorant People and engages in collaborations as an art director, consultant, and illustrator. Adding another dimension to his creative portfolio, Fuzi hosts a widely popular podcast with a global audience.
Hi Fuzi! Thank you for sitting down with me! First question that I always ask. How does a regular day look like for you in Los Angeles?
Same here! Thanks for inviting me. Unlike what might transpire in my art, when I’m not traveling, I have quite a boring routine, and I try to adhere to a strict discipline in my work. It can be summed up as waking up at 6 AM, having breakfast, checking my social networks, and reading the NY Times news. Then, I spend an hour on sports, call my daughter in France, and start working around 8 AM. The entire morning is dedicated to emails and projects that I need to handle on my computer. The afternoon is focused on creation in my studio (located in my house). I usually stop around 6 PM. The rest of the day is dedicated to reading and often watching a movie with my wife.
Let’s start from the very beginning. Growing up in Paris, what kind of kid were you? What did you enjoy doing, and how did you spend your time?
I arrived in the Parisian suburbs at the age of 14 to join my father. Before that, I followed my parents, and we moved around France frequently. I was an imaginative and somewhat introspective child, not really good at school, little bit of a dreamer. I enjoyed sports, particularly rugby, and drawing.
Alright, so at some point you start tagging on the streets and trains of Paris. How did you get introduced to the graffiti scene?
I discovered graffiti at the age of 14, as a train depot was 200 meters from my new home. I had a lot of free time and great freedom, so I hung out there. I first discovered the railway environment, the sounds of a depot, its atmosphere, and then the graffiti on the trains, and I started getting into it pretty hard.
Real quick… I read somewhere that you’ve been arrested over twenty times. At some point did you ever just say fuck it, let’s get it over with, once they put the cuffs on you? 😀
The arrests were more related to the graffiti lifestyle (shoplifting, beef, breaking in etc.). You can get used to it, but it led me to know and assume the consequences of my actions. It’s part of the game; it’s really like the concept of losses and profits in any business. If you get arrested 20 times and paint 2000 trains, you still come out ahead in the end.
After having made a name for yourself on the streets, you started transitioning into painting, sculpting, and publishing books, around the year 2000. What made you want to start doing more traditional and law abiding forms of art? And what was that transition like?
This transition occurred naturally when I started having responsibilities and other ambitions. Full-time vandal graffiti completely desocializes you. You live, eat, and breathe graffiti. Your life revolves around it, and all other realities fade away until they become foreign and incomprehensible. So, going to work a “real job” becomes almost impossible. It was just about survival, but I never saw it as a career. Who dreams of a career unloading trucks or working as a security guard? Then I discovered that my need for creation didn’t extinguish just because I slowed down my illegal activities. So, I experimented with that need, as a self-taught artist with my bomber mindset, in other disciplines. That’s why graffiti is a discipline that goes beyond just illegally writing your name on walls, as some might believe. It is a different outlook on life based on freedom, creativity, resourcefulness, rebellion and it influences all your decisions.
While we’re on the topic. It’s easy to spot a FUZI peace. What is It about that look that resonates so well with you? And what are you hoping to convey?
The goal of every artist is to be unique, and I achieved that very quickly, first through my graffiti simply by the sincerity of my work. I don’t cheat; I give who I am. I don’t follow trends; there is no pretense. In my lines, you find my experience, my irony, my sometimes arrogance, my humor, my madness, my violence… And people instinctively understand and, I think, appreciate that. I’m not trying to convey anything other than that. Being myself in my art. That’s why when I work on improving and evolving as an individual, my art changes and adapts as well. It’s an extension of myself.
Gotya! So around 2005, you add tattooing to your growing arsenal of creative mediums. How did you get introduced to that? And what was it about tattooing that intrigued you?
I entered the world of tattooing by kicking down the door, importing my graffiti writer mindset into the tattoo world. I imposed my style and attitude. Both were revolutionary, and it shook up the norms. I did it to test a new discipline, to create and have fun. It worked outside of any strategy on my part.
In one of your other interviews you mention that the “activities of regular tattoo parlours, and that industry, is super-boring”. Can you talk to me a little bit about that?I also read that you execute your tattoos in unusual places. Can you tell me a little bit about why that is?
I considered tattooing as a medium to express myself, not as a merchant trying to meet a demand and make a profit. I didn’t want to adapt to codes; I wanted to bring my own. So, I tattooed where I used to create (train depots, tunnels, rooftops, and forbidden places). I wanted to transcend the act that tattoo shops had made obsolete. I wanted to provide an unforgettable experience to the person offering me their skin, just as much as the unique design I proposed.
During your tattoo career, you have tattooed several world famous people, such as: Scarlet Johansson, Diplo, Kavinsky, and Justice. How did that come about? And what was those experiences like?
I’ve tattooed a lot of creatives around the world because these people have open minds to understand my approach. I’m grateful for that, but the experience of tattooing “stars” is the same as tattooing a young writer or anybody else. The same responsibility for me to give them a unique piece, and for them to be proud to wear it for the rest of their lives.
Can you walk me through your creative process of one of the above mentioned topics. From beginning, to end result?
My process is always the same, whether it’s graffiti, tattoos, cartoons, illustrations, painting, etc. We talked about my daily work routine, but I didn’t include the fact that my brain is constantly in creation mode. Everything I see and hear inspires me and fits into projects I have or will have. So my process starts there, with a nonstop saturation of ideas and reflections. When I translate it onto paper, a wall, or skin, it seems instinctive, easy, I work fast; ideas fall into place naturally, but it’s the result of long reflections and daily experimentation.
Alright, so at some point you decide to start your own clothing / lifestyle brand “IBPF (Ignorant People by Fuzi)”. What made you start your own brand? And what has some of the biggest obstacles been in the process?
I used my designs on T-shirts very early on. I discovered the silkscreen process, which fascinated me. I regularly release limited editions t shirt or prints on my site that sell out quickly, and I like having control over the entire process from creation to communication to distribution. As an artist, I am my own brand; every goodie, T-shirt, etc., is a part of me, so I am extremely vigilant that the products reflect a certain quality and values. It’s quite easy to produce today; the challenge is to endure.
While we’re on the subject. You’ve had collaborations with some huge brands, such as: Le Fix, adidas, Timberland, and Hélas, to name a few. Do you ever feel pressure to deliver when you’re working with such big brands?
Many brands regularly approach me, and I’m really grateful for that; it validates the journey. But I only agree to a few projects per year. Only those that make sense. First, because partnering with brands that have neither innovative ideas nor convey values different from mine would be an insult to my community and the people who have followed and supported me from the beginning. But mainly because I want to have fun. I want to challenge myself and bring something new each time. The goal of a collaboration is to elevate oneself and bring something to the process. If that’s not the case, I pass.
So with everything you’ve already got going for you, you start a podcast, in around 2020. What made you want to start a podcast?
The podcast was born during the COVID pandemic. My goal was to let the creatives I knew speak and get their opinions on life changes and also keep in touch with them. It quickly became something popular and a recurring event several times a month. I now have over 500K listens, a forum, a magazine, physical events. A close-knit community and genuine kindness have formed around this podcast, of which I am super proud. It has brought me a lot to spend long moments of discussions with diverse guests, such as Xavier de Rosnay from the Justice group, the artist André, but also a prisoner live from his cell, metro writers like Aper, Ses, or Vices, a Top Chef finalist, and more.
That’s so dope… so what motivates you?
To create, discover, share, surpass myself, and create again.
How would you describe a perfect day?
A day where I have accomplished or learned something.
Any future projects coming up?
I just came back from Warsaw, where I painted a mural in the vault of an old bank (from floor to ceiling) as part of the release of a new album by my rapper friends Pr08l3M; it was a lot of fun. I am working on the English release of my novel “Les princes du dernier wagon ” as well as the new issue (No. 5) of my magazine REVUE TAG. I am also working on a solo exhibition in Paris in May next year and various other projects. Check my website or my Insta account for more updates.
How do you deal with creative blocks?
I don’t know what that is. I’d have more of a struggle with the influx of ideas and what to do with them, haha.
Alright Fuzi. I always ask these two questions at the end of an interview. The first is. What’s your favorite movie(s) and why?
I love “The Deer Hunter” by Michael Cimino and the three “Pusher” films by Nicolas Winding Refn. ( big up to all my friends in Copenhagen.)
The second is. What song(s) are you currently listening to the most right now?
I listen to a multitude of podcasts but almost never music. ( I know I m weird ah ah )