It’s a sort of feeling of emptying yourself, when you’ve done a whole line or when you do a lot of tags, or doing really a nice piece on a place, and you’ve done all the work and you finished it, it’s this feeling of ‘I made this account’ or something - Edge

They are people I know since I was 12. So.. it’s just normal friendship and it happened to be that graffiti is also there. That’s something that we just do, it’s not something we speak about the all time - Edge

I have some things that I don’t tag. Like private houses and monuments. I also don’t think it fits very well some how. Especially in the centre with these old houses. It doesn’t look good in these 16t h century houses . I think there is a quite clear graffiti aesthetic almost. It sorts of fits in certain places and not in others - Edge

I think that certain things go together. If you look at the buildings for example, there are some paintings . It’s a bit messy, some stickers. I kind of like this dirty. There is a soul. It shows that people live there - Edge

THESIS ABOUT EUROPEAN GRAFFITI WRITERS WITH RENOK, HERO, PHILO, RAW, EDGE, LUTHER, HIROCK, MIRICS, MARS, TWICE, GEAR, SOME, REVS AND ASO.

Some trains are kind of worth more. When writers meet they talk about different trains and different train yards where they’ve been. When you meet a new writer, you always have some places or trains to identify with and talk around. Local trains are generally more worth painting. For example the old Dutch banana train (the yellow one floor train called ‘doggie’), the Spanish ‘mirror trains’, Berlin’s yellow subway, Southern Sweden’s purple trains or Danish’s old red S-train. People used to go to Copenhagen just to paint that one. [Aso – 26, Stockholm]

Master Thesis :
Behind the tag : A journey with the graffiti writers of European walls (Pdf file)
Author : Silvia Pietrosanti
MSc European Communication Studies
Graduate School of Communication
Amsterdam, June 2010
Source : UvA Scripties Online