One of the most influential figures in graffiti and art, New York City’s Futura 2000 emerged from the subway movement of the 1970s to reinvent what graffiti could be. In 1980, he painted Break, the iconic whole car that highlighted his abstract, forward-thinking approach.
Futura’s work began to travel internationally when he joined British punk band The Clash on tour, painting live backdrops during performances. This crossover marked a turning point, introducing graffiti to global audiences and galleries, where he exhibited alongside Keith Haring and Jean-Michel Basquiat, becoming one of the first writers to gain institutional recognition.
Full segment featured in Issue 13 of Living Proof Magazine
Growing up in New York in the 60s and 70s, what parts of the city shaped you the most?
The WORLD’S FAIR in 1964 / 65 was the major event in my childhood that would plant the seeds for a future I did not know existed. Learning about all those countries, all those languages, the cultures, the communities, the geography, mind blown. I grew up in MANHATTAN on 103rd and BROADWAY and I honestly believed at the age of 10 that the neighborhood and the city itself was this gigantic fun house. It was definitely daunting and dangerous, but I was not afraid. My constant explorations throughout the borough was how I spent my weekends. From my apartment, HOME PLATE, to the SOUTH FERRY and back. Cue the reconnaissance missions. Within 10 years, I would be in the military, doing the same thing for my government.
Do you remember the moment graffiti first clicked for you?
I came up with the name FUTURA 2000 in 1970, but it was after I graduated High School in 1972 that I really started writing within the subway system. In 1973, my best friend and I went into the ONE TUNNEL and attempted to paint our first actual pieces. That did not go very well. Chapter one.
What did the trains represent to you back then?
The subway trains were literally the vehicle of our self expression. They were not static and could move your work and your tag throughout the city. WHOLE CARS were running around the boroughs like wild animals in the jungle.
How did the name FUTURA 2000 come to be?
FUTURA 2000 is a combination of FUTURA like the car from FORD, like the sewing machine from SINGER, and the typeface from RENNER. 2000 was taken from 2001 A SPACE ODYSSEY and represented a year I did not think I would live to see. Looks like I was wrong about that, and I am very happy about it.
When you first entered the gallery world, did you feel welcomed?
I was lost. I went from someone widely respected underground to someone who was a complete nobody. Enter HARING, BASQUIAT, SCHARF, QUIÑONES, CRASH, DAZE, ZEPHYR, RAMELLEZEE and that entire wave of creativity. Some kids lit a few matches and a volcano erupted.
You worked with The Clash. What made that collaboration meaningful?
Friendships before funds. That CLASH moment is a mega chapter in my book, perhaps the highlight of my personal journey before the birth of my children. I love those blokes and will always be grateful.
You were designing clothing decades before it became standard. What drew you to apparel?
It was a dream come true. The power of visual branding. Directing a design company and creating identity and vision for a band, a group, an event. Tee shirts, caps, hoodies. Thank you STÜSSY for providing proper architecture and framework.
You later worked on a project connected to the TOUR DE FRANCE. How did cycling become part of your life?
I have always been into cycling. My father loved the sport and we followed the GRAND TOURS when I was a kid. I never imagined I would one day work on a major project at the TOUR DE FRANCE. Merci beaucoup, NIKE.
What is your philosophy on longevity?
Must be the DNA. I am extremely grateful for the outcome. I want to live to be 100. Look at my idol, SIR DAVID ATTENBOROUGH, the undisputed GOAT.
When people look back on FUTURA 2000 in 50 years, what do you hope they understand?
I do not worry about public opinion. I control what I can, which is my personal output. I focus on the work. I hope to constantly improve on that. RESPECT.
Read the full interview in Living Proof Magazine Issue 13, available on the Living Proof Patreon and Online Shop.
Photography by Sue Kwon
