Before beginning of this article, let’s make one thing clear: Rusto is a writer, but also a King, and it is no accident that this appellation is part of his name. An active writer since the early 1990s, he has achieved extraordinary international fame since the mid-2000s, thanks to his ability to reinterpret the New York style on the exteriors of Italian trains.
Start Festival Welcome to Pisa – Source:@kingrusto Instragram
The “king” is a concept that originated more than 50 years ago to define those who stood out for quality and quantity on the sides of the New York subways. Those who are in the know about graffiti know that a term like that has to be earned.
I meet Rusto (aka Alessandro Andreuccetti) in Bologna, Italy, at the Graffiti Bench Shop, the local spray paint store that is a gathering place for local (and non-local) writers. Rusto spends a lot of time there, along with Reks, owner of the store, a writer and a great friend of his. There’s always a nice atmosphere under the portico that wraps around the small “Bench” shop. It’s a crossroads of people from all over Italy, local writers, and tourists who drop by to learn about the local scene and get painting tips. Bologna, is a city that active in the world of writing. It’s a cultural center because it has always been a university city, fervent and full of young people who come here every year from all over Italy, making it a place active, exuberant and full of energy.
This is not the first time I have met Alessandro, and it is always pleasant to talk with him. His energy and positivity manages to put you at ease; so, we grab a beer and sit on a porch step because I want this not to be an interview but a conversation like many others. In every chat with him, eventually interesting anecdotes and crazy stories come out.
There are already several articles and interviews on the web talking about Rusto’s “story” and how he gained a name in both the national and non-national graffiti scene, but to talk about him and his journey up to his most recent new approach to the art world, it was essential to start with the very basics.
Around the age of 14, he took a trip to Paris with his mother, and while on the subway, his face glued to the window looking out, he was intrigued to see the many drawings on the walls. He was particularly struck by a Bart Simpson puppet; it was his mother then who first told him about these “murals.” As a good teenager undergoing rebellion, then, his interest in writing increased further when he realized that it was an illegal practice.
It was the mid-1990s, and when Rusto returned to his Viareggio (a small city in Tuscany), he started painting in this dump where there were giant Halls Of Fame and huge walls, in a context where graffiti was something to be kept hidden, where the figure of the writer was not as “cool” as it is now.
But in those years, Tuscany for a series of concauses, became an international epicenter for writing, thanks to the tourist attraction of Florence, the American embassy, which attracted a number of important names; thus Rusto made connections in this environment and joined S&D, a historic Florentine and international crew, of which Smart was undoubtedly the spearhead. Rusto was someone who studied a lot to always improve himself. He was careful about his letters and coloring and tried to make the best of what he saw and reinterpreted it. This drive put him in contact with big names from around the world as well, international crews such as MCI, from NYC conceived in the 90s by Duel, that included members of crews that were inspirational to him such as AOK-RIS-TFP or MTA, with names such as Os Gemeos.
He then had the privilege of forging significant relationships with internationally renowned artists Keo, for example, recognized in Rusto the ability to not just copy the New York style of the 1970s-1980s, but to rework it and make it his own. That was one of the most valuable compliments he has ever been paid.
King Rusto’s archive
“We had this mentality many years ago, when I still didn’t have a clear understanding of it. When you’re young, everything seems more utopian, you know? You thought you could change the world, maybe by dancing or writing on a train, hoping that would influence laws and social norms. You were sort of a dreamer. Then you grow up, of course, and you have to make compromises because, while keeping the illegal approach as a footprint, there are times when you have to compromise,”
Rusto has become increasingly popular nowadays, thanks in part to the advent of social media, and his evolution has been physiological. Over the years he has developed a more flexible perspective regarding the relationship between the art gallery world and the principles of writing:
“We had this mentality many years ago, when I still didn’t have a clear understanding of it. When you’re young, everything seems more utopian, you know? You thought you could change the world, maybe by dancing or writing on a train, hoping that would influence laws and social norms. You were sort of a dreamer. Then you grow up, of course, and you have to make compromises because, while keeping the illegal approach as a footprint, there are times when you have to compromise,” he answers me, when I ask him if for him selling his art was not a kind of turnabout to the world of “pure” writing.
“Some people think it’s not right, that it represents a kind of betrayal of the basic principles of writing. But if we look at the artists who were the forerunners of this culture, those who were the first, many of them ended up in big art galleries, they were appreciated by mainstream audiences. It’s kind of like music, where rappers in the ’90s didn’t dominate the charts, but today they are at the top. We were pioneers in this, we were frowned upon but now things have changed, everyone knows this culture society is reaching out to us.”
“But if we look at the artists who were the forerunners of this culture, those who were the first, many of them ended up in big art galleries, they were appreciated by mainstream audiences. It’s kind of like music, where rappers in the ’90s didn’t dominate the charts, but today they are at the top. We were pioneers in this, we were frowned upon but now things have changed, everyone knows this culture society is reaching out to us.”
Nothing figurative, no puppets or characters, no influence from “pop” culture or street culture, simply letters and colors, pure lettering on different kinds of media and materials, but an extreme fidelity to those letters that have always accompanied Rusto, from the first trains until today; this is what characterizes his works that, to this day, he also sells to important collectors.
What distinguishes Rusto from many others is his ability to reinterpret himself while still remaining true to what he has always done on the metal of so many trains, which is why he himself speaks to me of post-graffitism. Ever since he settled in Bologna, his path crossed with the talented individuals at Graffiti Bench Shop, forging strong bonds, particularly with Reks, the owner, and Orme. Rusto admits that without their unwavering support, he wouldn’t have achieved what he does today.
Among the crew, Orme, a skilled writer himself, displays a remarkable talent for wood carving. He intricately carves wooden sculptures that serve as Rusto’s canvas, complementing his work perfectly. Reks, on the other hand, not only excels as a writer and trusted advisor but also possesses a keen understanding of marketing. Leveraging the platform provided by the spray store, Reks aids Rusto in selling his artwork and maintaining strong customer relations.
Thanks to this teamwork, Rusto now sees a chance for personal growth on a professional level as well. Aside from multiple upcoming exhibitions, both in Italy and beyond, he has clear goals in mind, such as investing in new techniques to create his own works; without reavealing too much, it’s evident that Rusto is driven to take a significant leap forward, steadily cultivating personal and artistic development.
Rusto with one of his sculptures, photo by @mia_pulcini_
Source:@kingrusto instagram
This, however, is only the story of Rusto’s career, and a tiny part of what we talked about, between beers and laughter, sitting on the steps of the Bench.
Alessandro, regardless of the role he represents within the writing scene, is a person who demonstrates his aptitude in everyday life.
Despite the many difficulties and trials that life has subjected him to, his energy and positivity are contagious, and it is admirable how much his self-confidence leads him to always seek improvement anyway. Engaging in conversation with Alessandro reveals his profound dedication to his passion, his art, which serves as an unrelenting driving force. It is this unwavering commitment that, in my opinion, crowns him as a true King.
