Artist’s Biography
Manhattan based mural and studio artist Tony “Rubin” Sjöman (b.1975) has painted all over the world and his works have been shown in galleries throughout the US and Europe.
Sjöman’s roots are in Finland and Sweden and he draws inspiration from his Scandinavian heritage for his complex abstract geometrical murals and studio works. Sjöman has become a staple of the art scene of New York City and beyond. His murals can be seen in a wide variety of spots in and around the city:
on churches, in hotels and high-end boutiques, in luxury high-rises throughout Manhattan and on the 69th floor of WTC 4. Sjöman’s studio works are based on canvases, prints and installations and he is no stranger to painting on metal and wood. Rubin’s studio works have been on display at Scope New York, Scope Miami and Art Miami during Art Basel, as well as in galleries throughout New York City, Miami and Los Angeles.
Sjöman’s art has been featured in NBC News, New York Post, NY1 News, Vice Magazine, Time Out New York among other media outlets. His works have also been featured in catalogues for design brands, such as Design Within Reach and paired with auction art at Sotheby’s. Sjöman has collaborated with several major mainstream brands, such as American Express, Marriott Hotels, Heineken, Shake Shack, Rag and Bone and GAP and his murals have been featured in prime time television shows, such as “Girls” on HBO.
The artist has worked with several leading US real estate developers, who have been looking to enhance their commercial appeal through art. Sjöman painted the largest mural to date right next to the capitol in Washington DC for Related Company’s luxury high rise development and he is currently working with an array of real estate developers, architects and designers in New York City. Sjöman is also the subject of the art book “Rubin: New York / Scandinavia” – a much talked about and comprehensive coffee table book featuring the artist’s work.
Bio source: https://www.rubin415.com/bio
Interview
Artist: Tony Sjöman
By Carol Real
You’re Finnish and grew up in Sweden. Why did you decide to move to NYC?
I’ve always been drawn to New York. At nine years old, I started painting graffiti in the public housing project where I grew up. I always wanted to visit the birthplace of graffiti. My then girlfriend now wife, who is a journalist, was also obsessed about New York and we first visited the city together in the 1990s. She got a journalist visa to work in the U.S. about fifteen years ago and that’s when we started our transition to move here. I never dreamt of being able to support my family and myself as an artist. However, New York City is the best place on earth for people who are willing to hustle hard. Here we are, fifteen years later, with two kids!
What led you to pursue an artistic path?
I was just a kid when I started painting on the streets so art has always been a natural part of who I am. Growing up in a blue-collar public housing environment, a career as an artist wasn’t in the stars for me. I spent years trying to fit in to the circumstances that were my everyday reality, but there was always that glitch in the Matrix, where I felt that I was at the wrong place, at the wrong time and doing the wrong things. After moving to New York City, I knew that this was it. The city gave me the tools and confidence to pursue art professionally.
How did your geometric style emerge?
It’s been a gradual process. The housing project that I grew up in was surrounded by concrete Brutalist architecture. As a kid I hated it, but as I got older I started to understand how much it has inspired me on a subconscious level. I started experimenting with abstract geometric graffiti in my early teens and there are elements in my current work that originate from my teen years. After moving to NYC, I started deconstructing my work and removing elements—mostly colors and shapes that didn’t sit right with me. The deconstruction process led me to finding my true expression.
What is the creative process that leads you to juxtapose shape and color?
The creative process starts with a thought that I’m trying to visualize and then transfer to paper with a pencil. I make multiple rough sketches quickly. There are no colors, only pencil on paper. After that, I pick the sketches that feel right and refine them until they feel done. I find it easy to overdo things. In the early stages, I like to work more detailed than necessary. I do this on purpose and then kill off some darling elements. After that I move on to the color palette. I usually have the colors visualized in my mind. I used to improvise with the colors while painting both in the studio and with my mural work, but I’ve gradually moved towards doing finished renderings on the computer. It’s nice to not have to mentally drain yourself during the painting process with finding the right place for each color. It allows me to fully focus on the painting itself, which is nice, especially with the murals that are hard labor.
Where do you feel most comfortable, in your studio painting canvas or in the streets painting murals?
I’d say both. They both have their pros and cons. I’ve painted murals for such a long time that it’s basically part of my DNA by now, but the logistics of mural painting can sometimes drain some of the fun out of it. I find that fun and relaxation while painting in my studio.
Who is your favorite musician or band? Do they inspire your own art?
I could write a book about all my favorite bands and musicians. Deux is one of them. They were a French duo that made electronic music in the early 80s. I also love Kraftwerk and Nina Simone. Music plays a huge role in my painting. I have a background in music as a classically trained guitar player. I sort of think like a musician when I paint, considering things like composition, rhythm, and flow. Many of my paintings titles are inspired by song lyrics.
What is your studio like and what are the most indispensible items in your practice?
It’s important for me to feel comfortable in my studio. I like to pay attention to little things that make a big difference, such as ergonomics and having everything I need within a comfortable reach. I always listen to music in the studio and having a good speaker is important. I like planning ahead and making sure that I have all the materials I need ahead of time. My non-negotiable studio necessities are good light, total privacy, good music, and a Nespresso machine. I use a limited palette when it comes to colors and don’t have a huge stock of materials. As long as I have Burnt Umber, Ultramarine Blue, Yellow Ochre, Alizarin Crimson, Titanium White and my accent copper paint, I’m fine.
What are you working on at the moment?
I just finished a mural commission for Starbucks at the new LaGuardia Airport and a commercial mural for Brookfield Properties in downtown Manhattan. Now I’m back in my studio where I just finished a print commission for the Nordic Council in Scandinavia. They recently celebrated their 70th anniversary and commissioned me to produce a print to mark the occasion.
Looking to the future, can you share some news about your upcoming exhibit in Highline Nine?
It is a solo show with Sugarlift Gallery at Highline Nine in Chelsea. This will be my first solo exhibition showing large oil paintings. I’m currently working on fourteen large paintings, and I will hopefully work on some sculptures this spring that will also be part of the show.
Favorite quote…
My American side likes a quote by Eckhart Tolle: “The only thing that is ultimately real about your journey is the step you are taking at this moment. That is all there ever is.” My Nordic side likes Charles Bukowski’s quote: “We are all going to die. All of us. What a circus!”
