Steel Blue


Print available

  • Edition size: 70
  • 80.5 x 59 cm (31.7 x 23.2 Inches)
  • Paper White BFK Rives 270 g.
    Lithograph 6 colors printed with Marinoni machines and hand cutted
"It tooks me almost one year to find the right painting, which I wanted to use for my first Lithograph. Finally I chose this painting on paper because it's closest in size and material. I preferred not to take a large painting and scale it down to the size of the Lithography. For me the lines loose a lot of strength and energy when they are put out of proportion.
I very much enjoy working on paper for the sketchy feeling. Even though the main characteristic of it doesn't let me do any corrections, but it forces me to accept lines, which doesn't always make me happy at first sight. Regardless of it I pursue paper without any deeper preparation and pretty much go on it kamikaze style, that often leads to new results.

Working with Print Them All and Idem was a great experience. The old printing factory in Paris is a piece of art itself. I feel very comfortable there nonetheless because they're only printing lithographs of artists and no adds or business related stuff. On my first day, Alëxone Dizac was painting on a stone for his lithograph, in the machine was a litho by Vhils, another one by Bezt just got stacked up and C215's got numbered after he had just signed them. I fall immediately in love with these place and the old honorable printing locomotives. Watching them work made me feel good and it was honestly the first time that I really understood the craft and the difference between a lithograph and a silkscreen print."



In 1990, aged 11, Smash137 discovered spray cans, and has not left them since. Painting his signature with style and precision around the world, he soon became one of the leaders in the graffiti movement. The Museum of Fine Arts in his hometown Basel, Switzerland, recognized his talent almost immediately and invited him to show his work as early as 1997. By this time he had already exhibited in galleries and museums in Australia, North and South America and Europe.

By 2006 his work had evolved out of the street and into the studio where the walls became his canvas. Of his creative process he says, “It starts like a thunderstorm of impulsive colors around a calm, almost harmonic centerpiece, similar to the eye of a hurricane”. His trademark is to keep a balance between these explosive colors and vivid lines and his motivation is the quest for the perfect creation of calligraphy and abstraction to calm this storm.