I’ve rarely been accused of being ‘at a loss for words,’ except when it comes to small talk. Inane chit-chat serves a purpose, I understand, but I’d rather just hear the silence in between. Call me anti-social, aloof or just plain boring, but my shutting up leaves plenty of room for observing, which has made me a better writer. So be it.

Many things are better in black and white than spoken out loud. For one, they last longer. A message worthy of repetition should stay around for a while so it will spread and grow.

Literally.

In this case, the black and white is green as in growing vegetation. The artist, Anna Garforth, creates her messages with moss growing out of concrete walls or leaves constructed together on fences. She’s been called “urban land artist, guerrilla gardener and green graffiti extraordinaire.” All of them seem to fit fabulously.

“My interest in integrating my creative practice with urban ecology and sustainability has led me into a world of moss collecting, wild city foraging and hunting down all the undomesticated areas of our urban forest.”

The new eco-nomics moss art (images above) was commissioned by a magazine to introduce an article about “going green and being more economical.” Garforth often collaborates with other artists or organizations that share her desire to communicate creatively and affect change both environmentally and socially.

“I feel the best place for some of my creations is in the public eye. I aim for my work to spark intrigue and questioning as it melds into our transitory daily landscape. My work needs to make an immediate impact given its ephemeral nature. I don’t wish to preserve it, it lives, it dies, and new growth ensues.”

And then there are her leaves. This typography (image above) was also site specific and completely sustainable. Garforth used thorns and fallen leaves (image below) to construct the words RETHINK and THINK.

“This piece was located in front of two main resources we heavily depend upon, gas and water. The word communicates a need to rethink about what we consume and how we consume it.”

For another outdoor piece, Gartforth created the word CHANGE in leaf typography. And in yet another, she spelled Nourish with moss (image below).

Look up nourish in the diction…I mean, Google “nourish definition” and it reads: “To provide with the substances necessary for growth, health and good condition. From Latin nutrire, ‘feed, cherish’. To provide for, sustain, encourage, nurture, cultivate, strengthen, enrich.”

Nourish, indeed.

Images via artist’s website

My old college bud, Kenny Scharf, is arguably the original green artist – a brilliant guy from L.A. who began his career nabbing trash from the streets of Manhattan and embellishing old appliances with his phantasmagorical, Fifties-inspired, squiggly creatures and symbols.

Working alongside East Village graffiti muralists like Keith Haring and Jean Michel Basquiat, his uproariously spacey icons were quickly embraced by Andy Warhol and other enthusiasts with clout. He quickly rose to the ranks of artist superstar.

Scharf  conveyed his erumpent celeb status to me when I caught up with him back in 1984. I was covering festivals and parades during my first big break as a TV reporter in Central Pennsylvania.

“I’m really big now, Luanne,” he informed me. “I mean really big.”

Oh, yeah? Well, I just downed my 10th funnel cake at another Keystone country shindig, so there!

A few decades later, the prolific, globally-acclaimed pop star is still doing what he does best: painting, scavenging beaches for trash for his sculptures, performing at his recycled Brooklyn live-work space and enjoying the fanfare of a new retrospective book, Kenny Scharf by Rizzoli.

Oh, and another thing he’s still doing – riding his bike instead of driving whenever possible. It’s been his favorite mode of transport for the past 30 years. In fact, he was riding with cell in ear when I caught up with him, yet again, huffing only so slightly. Quite admirable for 51.

“I ride my bike everywhere,” he says. “I live in Brooklyn and ride over the bridge and back, sometimes twice a day. Why drive a few blocks when you can walk or ride?”

His biking is admirable not only for cutting fuel emissions, but also for keeping him as fit as the new crop of young artists who form his entourage in New York. They include Daniel Heidkamp, who encouraged Scharf to lend his magic to one of the many empty commercial storefronts hit by the recession.

Landlords have been luring in artists to keep up appearances in the darkened spaces with that edgy, gallery feel. According to the New York Times, the goal is to deter crime while attracting tenants who can afford the rent. Scharf agreed to be part of a group show in one of these pop-up galleries, finding it exciting to be part of the scene.

“I said I didn’t have work I could donate, but I could do something directly on the wall like a spray painting,” he told me. “I will do that pretty much anywhere. So I did my spray painting and there was a photographer and a reporter from the New York Times waiting for me there.”

The unexpected coverage boosted the opening of the show, entitled ‘Too Big to Fail: Big Paintings’.

“I went and it was nice, like a bunch of 20-something artists,” he says. “I liked the work and to be part of the youngsters [scene].”

I assured him he’s still a youngster, too. After all, I still sense a wide-eyed wonder in his current work that merges organic earth elements with sensual, knobby creatures in the perspective of a damaged Cable Guy way over-exposed to TV Land stimuli. The familiarity of his fantasies make us laugh as we drink in the irony and nostalgia.

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Today, the high-energy Scharf divides his time between homes in Brazil and NYC.

He enjoyed a recent show of his paintings (above) and sculptures at the Honor Fraser Gallery in Venice, Ca. At home in Brooklyn, he lives in a basement studio called the Cosmic Cavern A-Go-Go, which moonlights as a psychedelic nightclub for parties and performance art.

“I have been working with garbage and refuse for all these years, and the Cavern is made out of found objects from the street that I pull in and decorate,” he explains.

The Cavern attracts a following of young visionaries (like the space Cadette with Kenny, below) eager to talk trash with the painter and celebrate his lighthearted sensibilities.

“We have actual performances when the music stops playing,” Scharf tells me about the club. “People appear as art objects and they go all out. It’s about being inclusive and everyone being allowed to be a part of it.”

The lucky patrons who come unadulterated get a quick Scharfian make-over.

“I just paint their faces,” he says. “Then they sweat it off dancing.”

Guess we can’t really call that sustainable craft, but the artist himself is enduring longer than most of his peers, many of whom passed on years ago from AIDS (like Haring).

“I miss my dead friends very much, but I’m used to not having them around,” Scharf says.

Instead, he surrounds himself with their art (he used to trade his for theirs) and his golden memories, while forging ahead in a brave, new and green world. A world where the resourceful painter is as much at home in Orbit City as George Jetson.

“I’ve been an eco-artist for a long time,” he tells me. “Though I’m not some puritan. I use spray paint; I take airplanes; I make sculptures out of resin when I need to, but I’m very conscious of it.”

I believe you, Kenny. You are really big and you are really conscious. Anyway, it’s not easy to spray paint with vegetable dye and ride a bike to Brazil. But if you could, you would.

Main Image: New York Times

Image One: Kenny Scharf

Image Two: RizzoliUsa

Image Three: Honor Fraser Gallery

Images Three, Four, Five : Kenny Scharf