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Big Walls, No Ceilings

 A lot of artists see their art and create limits to what they can and can’t do. Some look at what they can do and only want to go bigger. There is no ceiling for them. Cova is one of those artists. Some would say he’s not satisfied with his art, but he would say he can always go bigger. From skateboarding to architecture to painting murals, Cova doesn’t stop striving for greatness.

Hector Covarrubias, known as Cova Street Art, is a Mexican artist who lives in San Jose. He grew up in Mexico, skateboarding and seeing the amazing art throughout his hometown. “I skated for 10 years professionally,” he says, showing off a young Cova skating the streets of Mexico. His grandfather showed him the art and graffiti around the city. One graffiti artist he was inspired by is a man from Guadalajara known as Peque_VRS. “I started to paint graffiti because of [him],” Cova explains. Cova saw what Peque could do with art, but before attempting to work on his own art professionally, Cova pursued a career in architecture. He saw it as a “safe” career because his mom thought a career in art would leave him broke. In his early twenties, though, Cova got an opportunity that helped him see how far he could really go.

“[My] first mural was for my cousin in Tracy,” Cova says. Cova is a multidisciplinary artist with a notable focus on muralism. “Everyone can paint. Not everyone can paint big walls,” he confidently proclaims. “Big walls are what I do. Smaller walls don’t do anything for me.” That statement may sound cocky to some people, but Cova says this with such humility that it’s inspiring. He takes pride in the immensity of doing big wall murals and holds dear the challenge and process. That’s why smaller walls are limiting to him.

“Big walls are what I do. Smaller walls don’t do anything for me.”

With over a decade of experience as an international artist, Cova has work that can be found in Mexico, Belgium, France, Amsterdam, Costa Rica, and New York. On his journey, he’s had opportunities to partner and collaborate on various mural projects for schools, universities, galleries, restaurants, and private residence commissions. In 2023, he was invited to be a part of Art Basel in Miami, Florida, where he and other global artists collaborated with aWall Mural Projects to paint murals at Citrus Grove Middle School. Recently, he completed work in Costa Rica and in the Bushwick neighborhood of Brooklyn, New York City. This was a return to New York, where he’d painted before. He explains with excitement, “I did a mural in Freeman Alley, and that’s a place where everyone goes and no one painted over it.” Even though he is internationally known, his goal is to take his talents to the biggest walls of the city he’s currently living in. “I’ve painted in Costa Rica, France, every place, but there’s no walls in San Jose, where I live. I want to paint on the biggest wall in San Jose,” he says with a passion.

Cova’s process is quick but professional and prepared. “I paint very fast,” he says, detailing his process. “When you’re cooking, you have all the ingredients. That’s how I paint—knowing the colors, dimensions, everything.” His art consists of similar color palettes and themes, but nothing ever starts or ends the same. “I never know where it’s going to end,” he says. While he works, he doesn’t treat his art as “precious,” since he knows it can always be done over and done again. He declares, “I’m not afraid to do my work over. A lot of artists are.” By embracing change through refinement, Cova keeps himself from putting any limits on his art. 

When Cova says that, he says it as an artist who, even though he is passionate about it, treats his art as a job. He works Monday to Friday, business-like hours during the day, and takes the weekends for himself and what he loves: his motorcycle and his wife. “My life is 60 percent art, 20 percent my bike, and 20 percent my wife,” he laughs. He loves to spend time with his wife and take random weekend trips across the states, exploring places like Seattle, South Dakota, and Texas on his motorcycle and with friends. Even in his other interests, nothing is limiting. His taste in music ranges decades and genres, his favorite movies are all over the spectrum, and when he rides his bike he sometimes just goes until he doesn’t feel like it anymore. Coincidentally, that’s also his approach to art.

“People recognize who is Cova,” he proclaims, and he’s not wrong. Cova aims to tell a story and evoke emotion with his art. He emphasizes Mexican mythology, traditions, and folklore through a mixture of modern and abstract art with a touch of surrealism. Using the elements of the earth and garnering inspiration from both Mexico and the United States, Cova’s style showcases a lot of color and detail. Whether he paints with watercolor, acrylic, or spray paint, you see the care and attention to detail. His previous work as an architect allowed him to develop his creative process and elevate his creative design.

Cova has said before that he doesn’t think he has yet done his greatest work—his magnum opus, some might say—but that doesn’t mean he is dissatisfied with what he has done. Art may be his job, but when he’s at work, art is his life. Nothing will ever stop him. There is no glass ceiling for someone like Cova. There is no gatekeeper. There is only the elevation and progression of his art, because it’s all he cares about at the end of the day. “If I don’t do art, I can’t do anything else,” he says. Judging by his past and current work, art is exactly what he will do. No place is too far, no wall too big. If anything, Cova wants the biggest walls you have, because it means he’s reaching for bigger and bigger things with no ceilings to stop him. 

covastreetart.com

Instagram: cova____

The history of graffiti art in the public consciousness owes its duplicity to the fact that the medium of choice is borrowed canvases from liminal spaces of urban geometry. After more than 60 years of urban graffiti, the art form still exists in a precarious space between acceptance and distaste. As the art form progressed over the years—from its origins with artists like NYC’s TAKI 183 tagging subways in the 1960s and 70s—graffiti innovators and legends were born. Almost anyone, regardless of their interest in art, will be familiar with the names Picasso, Monet, or Dalí. Graffiti artists, however, don’t hold the same place in society’s consciousness, despite the fact that pivotal figures from around the world—like Futura 2000, Cap, Skeme, and Cornbread—are essential to the evolution and development of graffiti as a true art form. One of our own homegrown legends goes by the name King157 and has been putting up his heart and soul on walls and trains for 40 years now. 

Decoto, a small town that was eventually absorbed by Union City and Fremont, was predominantly populated by Mexican Americans during World War II. By the 1970s, at the height of the Chicano Movement and as gentrification gripped Decoto neighborhoods, racial tensions gave way to riots. The community expressed their stance during this struggle through graffiti. At this moment in time and place, King was two years old, living with his family in the heart of the fray.


“I represent the old school, using the gift I was given to produce high quality professional graffiti art…and yes, that name will always be associated with the word ‘outlaw.’ ” 

King moved to San Jose before he was nine but often visited his family in Decoto on the weekends. One of his earliest memories of picking up a spray can was painting a Schwinn Lowrider bike when he was seven years old. He was constantly surrounded by letters, fonts, and the beauty of creating. He remembers the Old English cholo lettering tattooed on his tíos and his mom, Sally, drawing and writing beautiful poems. Sally and his Tía Sandra take credit for teaching him how to color, blend, and stay inside the lines. As King drove back and forth between Decoto and San Jose, the “cholo gangster letters” seen on highways 680 and 101 started to make an impression on him. 

By the 1980s, King157 was putting up his own pieces and burners. He is known for his clean, thin, and complex lines in his lettering, his use of vibrant colors, and his b-boy and b-girl characters that harken back to 1970s comic characters Puck and Cheech Wizard. King was inspired by everything from Teen Angels magazine, comic books, Saturday morning cartoons, and even the Yellow Pages. “Back then you didn’t have the internet,” he explains. “I rode my trusty Mongoose BMX all over Northside and Eastside San Jo, then took the bus to Bart to Oakland and San Francisco. I said to myself, ‘There have to be other crazy guys that love this shit as much as I do.’ So I would explore and document the art form called graffiti art with my 110 Kodak camera (thanks, ma!). This new graffiti movement was made up by kids…remember that part,” King says. He drew further inspiration from local artists, such as Mix 182, T.G.K. Crew, Nexus, and T.D.K. Crew.

King has been fine-tuning his style ever since then, while staying true to the origins of his style. “I tried all styles, experimented in the 1980s and all of the ’90s, but in the great year of Y2K 2000, I had to ask myself, ‘Why did I start writing in the first place?’ Simple answer: It was all about letters, and it will always be about letters. So I broke down my style to no connections, no loop-de-loops, no doodads, or arrows…just the funk, the essence of the letter.”

Though he has witnessed the evolution of graffiti over the past 40 years, King still believes it hasn’t found its proper respect as an art form among the general public. Muralists have benefited from the many attempts by communities to provide a space for the art form, but for King, graffiti is not graffiti if it’s officially sanctioned. That is the beauty of it—the disapproval of graffiti became part of the fabric of its history and identity. King relates, “I represent the old school, using the gift I was given to produce high-quality professional graffiti art…and yes, that name will always be associated with the word ‘outlaw.’ ” 

Graffiti work keeps you on the move, and King is no exception. He is still rocking his 1980s flavors, most recently at the famed 44th annual Graffiti Hall of Fame in Harlem, where he shared his work with top graffiti artists around the world. “You can say I’m living in a dream, another revolution in the circle of life. Rock on King157, the last of the Mohicans.”  

Follow KING157 at: 1984.yo

Check out King’s new mural in Downtown San Jose at South First Street and San Salvador, on the south side of The Studio Climbing.

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