The Human Condition of Speak Cryptic
Farizwan Fajari, also known as Speak Cryptic, is a visual artist whose works span a variety of characters, narratives, and environments.
Working with installation, street art, and large-scale works, Speak Cryptic eloquently affixes a narrative between his characters and the common human condition. Conflating his interests of comics and public art, the visual illustrator’s black and white work references themes of music, underground grit, and the universal settings.
In his portraits, the faces are usually distorted — chins are often lost in the round flesh, the eyes appear fatigued, and the mouths are tight-lipped and withered. All of the faces appear to be similar, although they are vastly different.
Speak Cryptic’s style is smooth and edgy. The cohesive lines, bold lines, and dramatic characteristics make his works unique in a sea of visual artists. Furthermore, the characters belong together. Although they are successful enough to stand alone, they become a powerful force when viewed as a collection. They follow their rules, they wear their masks, and they squint, stare, and grimace, on the walls, paper, and canvas of Speak Cryptic's world.
I contacted the artist after viewing his immaculate oeuvre and discussed some questions regarding artistic influence, the creative process, and stylistic choice.
Okay, lets start with your professional name. Where did Speak Cryptic originate?
Speak Cryptic actually started as a street art campaign way back when I was in art school. I would make these little stickers and paste them up around inanimate objects pretty much everywhere. It’s basically just talking about this idea of self censorship. I got some attention because of that so Speak Cryptic kinda stuck.
Where do you gain your inspiration from?
I treat most of my works as visual diaries. All of my drawings are based on my observations of the human condition and my relationship with people.
Who are some artists that you look up to?
It changes from time to time but here are my constants: Jean Michel Basquiat, Aida Makoto, Ian Mackaye, Raymond Pettibon, Yoshitomo Nara, and Pieter Bruegel the Elder.
How has Singapore influenced your work?
A lot of what I do is based on my immediate environment so Singapore is a huge influence, in that regard.
Can you take us through a typical day in your studio? How do you prepare for creating a mural in comparison to creating a mural?
A lot of the murals I do are site specific, meaning how they are painted is based entirely on the orientation and then reacting to the space. Some walls have a lot of history, so I try to honour that, as well. So a lot of the planning is done on site and just imagining in my head what should go where. I try not to sketch the work on the wall because I think that would be kind of messy…I hate leaving pencil marks behind so I go all in and hope that everything works out.
I don’t really have a typical day, per se. I try to draw everyday and create something everyday and post it up on my Instagram, just to let people know that I’m still here. I try to do all the admin stuff on Tuesdays and Thursdays and the rest of the days just drawing. The weekends are spent with my family and friends.
Your palette is largely black and white. What is so interesting to you about a lack of color?
I paint and draw in black and white because I am partially colour blind. I can see the primary colours just fine, I just have trouble differentiating the different shades and tones. I like to see what everybody else is seeing and so I thought doing stuff in black and white would make sense.
Do you have anything in the works for 2016?
2016 is going to be a pretty exciting year. I have a couple of exhibitions lined up along with doing a couple of collaborative pieces with a couple of my friends, who are amazing artists themselves. It’s going to be good, for sure.
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