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    The man behind EaD0

    Graffiti arts: In Houston, it's more than a punk with a spray can

    Joseph Campana
    Apr 26, 2010 | 8:29 am
    • Graffiti art is much more intricate than you might imagine.
    • "American Women" is currently running at Aerosol Warfare Gallery.
    • Graffiti workshop with GONZO247 at Spacetaker. GONZO247 is the man who createdEaDo.
      Photo by Jeremy Keas

    If you think graffiti is vandalism but not art, Aerosol Warfare Gallery and CKC StArt Street and Urban Arts just might change your mind. If you're an artist trying to make the transition, as their websites put it, from train boxcars to art galleries, these East Downtown institutions just might be your new home.

    If you haven't made your way over to EaDo, now might be a good time to start. Aerosol Warfare kicked off its newest quarterly show, "American Woman," with an opening reception over the weekend, raising awareness of domestic violence and funds for Houston Area Women's Center. The "American Woman" show runs through May 24.

    Curated by Dirk Strangely, the show features eight artists from Houston and beyond, including Strangely and Aerosol Warfare founder GONZO247, all creating work as "an ode to American women" and in response to the horror of domestic violence. "It's still too easy to sweep under the rug," GONZO247 remarks.

    Founded in 2004, Aerosol Warfare Gallery can take credit not only as the only full-time graffiti arts gallery in town but for mentoring local graffiti artists, creating an art-friendly space for Houston's youth, and bringing Shepard Fairey and other nationally known graffiti artists to town. "We like to be the springboard," GONZO247 says. "We're hoping to be the catalyst."

    This often has meant financially supporting the for-profit gallery himself. When I asked about the gallery's funding, GONZO247 pulled out an empty pocket and smiled.

    But being a community leader and catalyst also means allowing graffiti artists loose in the gallery to create their special brand of controlled chaos. Having recently pulled down some walls to make more display space, GONZO247 smiled again.

    "I'm a destructive kind of guy," he says. "And if people know what to expect, we're not doing our job." Destructive but creative too: GONZO247 takes credit for naming EaDo.

    "New York has SoHo," he says, "so when we moved into this area we said, 'Let's call it EaDo.' " The East Downtown Management District came later and agreed. EaDo stuck.

    GONZO247 works closely with Carolyn Casey, founder of CKC StArt. Casey started the group to promote street and urban arts as positive and creative forces in Houston's development.

    Casey works hard to help people distinguish art from vandalism. Her organization maintains a library at Aerosol Warfare, sponsors graffiti and mural classes, provides educational outreach to local elementary, secondary and post-secondary students, and hosts METAPHOR, a monthly poetry slam and spoken word night for Houston youth.

    "American Woman" is a series of love songs to women — mothers, sisters and lovers. All the artists involved are men, which represents larger trends in an art form that began on the streets. "It's an extreme sport," GONZO247 says of graffiti. "You've got to climb over fences and jump off of buildings."

    Like other extreme sports, women's participation has lagged but is growing as evident in the art book Graffiti Women, edited by GONZO247's colleague and friend Nicholas Ganz. As with the pioneers of other extreme sports, "these women rock," Casey says.

    Keep an eye out for a Graffiti Gala in October too. You might even see more of GONZO247's art. Having let his own career take a back seat to developing the gallery, "it's time to get back to work."

    But for GONZO247, community development and mentorship are long traditions stretching back to graffiti arts' origins in the street.

    "Some old school cat teaches you the ropes and the art lives on," he says. It's very Karate Kid. Paint the fence — literally!"

    unspecified
    news/entertainment

    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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