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I met Bisco Smith (a.k.a. Brad) several years ago after having first been enamored with his visual art as a designer for one of my favorite music labels growing up, Definitive Jux, after my friend put me onto his work. I also admired the aerosol art that he adorned New York City walls with, his thoughtful lyricism as an emcee, his passion as a youth art educator. After just relocating to LA this past summer, Bisco, along with his creative partner (and girlfriend)--cinematographer and photographer Jasmine Hemery--banded together with a few other talented friends to bring their love of hip-hop and youth development to Israel as a vehicle to unify Israeli and Arab Israeli youth. There they used their hip-hop sensibility to teach mural painting, song-writing, and dance. In this joint interview with Bisc and Jasmine, we give you a glimpse into how their fleeting idea became a transcontinental art program, and how this Jack and Jacqueline-of-all-trades pair continuously push each other to the next level.
As U.S.-based multimedia artists, how did you develop an arts enrichment program in Israel?
Bisc:I work with an organization called Arts By the People. They're based out of New Jersey, and I got involved with them via my friend Gus doing street art workshops. Gus connected me to this guy Paul who's got a lot of friends in Israel. We were driving around one day and we were just like, “It would be crazy to run this workshop in Israel,” and two weeks later Gus, Paul and I put together a PDF to get money--just breaking down what we wanted to do--and boom! He got us funding in a week. Okay, maybe not a week. It took a few steps, but he reached out to one person, who reached out to another person, and maybe a few steps later, we got funding and we got a place to go to. It was a very fast process.
We then connected with Project Harmony, a program who works with a great organization in Israel called Hand In Hand. The umbrella that we went to Israel under is Hand In Hand, and inside of it was Arts By The People and Project Harmony. The airfare was privately funded for, and the accommodations were privately funded. We raised money for the materials, which were all donated by friends and family in a really quick matter of time. Between Hand-In-Hand, Arts By The People, and Project Harmony, and donors and friends and family, a lot of people got together to make it work. I went to do the street art workshop. Jasmine came to document everything, Gus planned to do hip-hop song writing, and our friend Renee Floresca came to teach dance.
How many kids did you work with?
Bisc: We worked with about 50-60 youth. It fluctuated especially because Ramadan started around then. It was an English language summer camp that is run out of Hand In Hand, which is an English language school, so they teach in each classroom--they have one teacher who teaches Hebrew, and one teacher that speaks Arabic in each classroom. They use English as the common thread. It’s a mix of Jewish and Arab kids. Some from Palestine and some from Jerusalem. It’s very progressive and political. There are a few of those schools in Israel.
How does religion play a role in the day-to-day life of the Israeli youth that you worked with?
Bisc: In Israel, things are segregated by religion. I don’t know too much about the experiences of Christian and Muslim Arabs, vs. Jews, but pretty much, everyone is separated because religion is the key factor out there. Younger generations and more progressive people are changing stuff. Most of the parents of the kids that we worked with are artists or creative people. They function in not your everyday world.
As Americans, did the actual experience of being there change your initial view of that region of the world?
Jasmine: I feel like our experience was only formed through our actual journey out there. Initially, we went to Palestine, but we also saw The Holocaust Museum in Israel, and so understanding both perspectives changed what we thought. I think we ended the trip realizing that it's just such a complex situation beyond what we thought we knew. Both sides have views that are relatable. I left feeling much more empathetic to both sides. I think being in The States you have such a skewed perception that leans towards one end.
Bisc:Going there, we went for art. We didn’t go for politics, we didn’t go for religion. Everyone goes to Israel for religion and politics. People don’t really go there for art, so our political knowledge was only what we hear on the internet and it was very skewed. I wasn’t scared by that. I was more focused on the kids than I was about the political climate.
Was working with the youth there challenging because of language or cultural barriers?
Bisc:I don’t think so. The kids we worked with were very educated. I initially thought that we were going to go to a more underserved area. I think it was actually pretty privileged--not super rich and balling out--but the kids, even to be in a program like that you have to have a family that is doing pretty okay out there.
The kids just loved what we were doing. After the first day, we had their full attention, they were excited about it. I’d say, the age for me was the toughest part. We worked with some kids that were as young as nine, and I’m used to working with kids who are older than that. It was harder to do what I normally do--and I had to on the spot change my approach--but only because of their age, not because they were Israeli or Palestinian.
Jasmine:One of the things that struck us the most was that they had all of the same kid mannerisms as anywhere. Kids are kids no matter where they are from, but sometimes we did experience a language barrier.
Watch Words to the World: The Making of a Mural,a short documentary about the Israel youth project:
How did the Israel project fit into the natural scope of your work?
Jasmine: I feel that this fits into the evolution of our careers that will include more philanthropic causes, including service as part of our common work.
Bisc: I think it’s important to work with young people. I’ve been doing that for a long time. I have definitely been fortunate enough to give back through my work, and I’m sure that’s not going to stop, but I really want to work with all ages sharing these skills and crafts.
I believe that hip-hop is great at breaking boundaries and uniting different ages and cultures, and bring them under one umbrella. Who knows?--Those kids could form an Arab-Jewish collaborative rap group, or slowly make their way to create change through the continuation of hip-hop--which is about unification.
To flip the script and talk about your working relationship, what other major work have you two collaborated on?
Bisc:Jasmine hasbeen working on these shorts, and she’s been letting me help her assist direct, and do a lot of different stuff on that. I started working with her on her films, and I would score her movies. Then we did a project where it was my music, and she shot me a music video. This is the first time that we’ve travelled overseas and created a documentary piece. Definitely it’s just the first one. We’re both kind of hyped on doing more of it, and it’s a great opportunity for dope co-created projects. We’ve been doing that since day one.
How do you guys keep inspired and sustain your rhythm for creating, individually or in a partnership?
Jasmine: I think as an artist, you are inspired daily. It can be something as simple as someone crossing the street, that you just want to explore and dig deeper, whether it's in film or writing, or painting. I think my rhythm is just everyday life, allowing myself to be inspired to make something. And this guy here is super creative and multi-talented, so naturally in conversation, we’ll be listening to the same thing, and talking about it, and then we create something.
Bisc:We think on the same wavelength. I mean, we’ll both look at the same thing and say “that’s dope." For me, because I always work alone, we’ve had some struggles with Jasmine giving me real criticism and feedback, but it’s a lot of growing and a lot of learning. It’s working in a way that it’s only going to be iller. I think we push each other. I think that where I fall short, she steps in and makes it better. I think we really do fill in the space for each other where we aren’t as strong. It’s done very effortlessly. Say I’m writing something for a client--I’m not the best writer--I ask her, and she will change my perspective and make me better. Boom!
Jasmine: And I’m not the best talker [laughs].
Bisc:You’ll see that I like talking a lot, so I’ll talk for her. It works like that. It’s something creative where we both do for each other. Like when we are directing partners in film; I talk for her, I don’t mind talking where I’m telling people what to do or where to fall on set, and she’s the eye, and together we create a really good overall holistic and creative person. One more thing to add to are both of our goals. Right now I don’t have an ultimate goal, or there's absence of an overall goal. That’s something that I am struggling with in the present--not struggling with--but I think creatively, it’s something that I have to work towards because I have to see it in order to get there. She’s been helping me a lot with visualizing that imagery.
Did Israel fulfill any long standing goals that you had for your careers?
Jasmine: In terms of traveling, I’ve always traveled and brought a camera and took to photographs, but now that I’m studying film, it was an opportunity to evolve my skills and try to do film, creating what is going to be a miniature documentary. I was trying to capture moments. It’s very different than just taking a photo. You’re capturing an elongated period of time. It was a really interesting experience.
Bisc: For me, I can’t specifically answer that. I don’t know. It’s weird for me to say it, but I don’t really know what I’m doing. I don’t really have a "thing." I just kind of take the art as it comes, and this just came to me. I just feel like I was fortunate to get the opportunity and I mean--I paint walls, and I come from that world for more than half of my life. I’ve been involved in that culture for a long time. It’s definitely a continuation of what I come from--the root to my art and creativity. It was also a continuation of being Jewish and coming from that as a whole. Looking forward, I have no idea what it will lead me to. I’m going to quote Steve Jobs and say, "you can’t connect the dots going forward." Right now, I just don’t know.
On the surface it looks like you guys are living the dream. In your day-to-day reality, are there ever times where being in a creative profession is exhausting or unproductive?
Jasmine: I definitely have creative blocks. For me, I have to force myself to sit there and work through it. Editing for me is really hard. I kind of have to just sit there and force myself to do it. It makes it easier to think in terms of projects. I try to do one project at a time.
Bisc: I don’t know man, for me, I just work. Somedays like today I didn’t do shit. I sat at this desk all day and I organized files. I did bullshit all day. Because I’m in a creative block right now…I don’t know, I guess it comes and goes, at the end I just have faith that everything comes my way, and I’ll make art and I’ll make money. There’s a lot of shit that I want to do. If I write it all out, like I did recently, it becomes overwhelming. I mean, our day-to-day, it’s pretty normal. We don’t stay up until the morning doing art and smoking weed and shit. I feel like I’m getting old, and I’m trying to be healthy. I’m just going to the gym and trying to eat well. It’s a balance between professionalism and artistry, business and personal, love and relationships, and regular life stuff too...
Interview by Boyuan Gao
Photography and video by Jasmine Hemery
Check out Bisco's creative agency Daylight Curfew Creative, a creative agency that specializes in design, apparel, identity, instillation, web, video, and audio.