Though Craig Costello’s name is nowhere to be found on the cover of his new Rizzoli book. The marks for which he’s most widely known are prominently displayed. Krink, which Costello founded, is front and center. Stamped in the cover with emphasis, a form and representation of his impact on the street-art culture and business – both through the tools and the art he’s created.
By combining his original graffiti tag – “KR” with the word ink, the main ingredient in his work, Krink was born. Even as Costello largely moved away from his “KR” tag in lieu of another, the aesthetic he created, which would become not only his personal signature, but a brand itself, with his brand and mark (long drips of ink) merging perfectly into any landscape. As it dripped from mailboxes, doors, walls and eventually off cars, sneakers and other collaborative brand expressions.
And what were those collaborative expressions? Well, they included projects with Bookmarc (a Marc Jacobs bookstore and outpost in NYC) Saint Laurent, Moncler, Colette, Nike, Coach, Absolut Vodka, Levi’s and BMW via the Mini Cooper brand – to name a few.
Though Craig still looks to push the envelope with his personal work, executing site-specific work in Tokyo, London and a solo exhibition in Copenhagen, and that was just all in the last year, there still remains a strong DNA between his personal work and his work on Krink collaborations – with there not being quite as clear of a separation between the two.
But does Krink need to be separate from Costello? Craig Costello and Krink have long stood for something bigger, something that until more recently hasn’t been in the mainstream. The idea that someone can come from any walk of life and be anything that they want to be and make a mark on this world. And Costello and Krink allows you to do that for about $15 bucks.
I’d take that cultural impact any day of the week.
Thank you Craig for continuing to be an inspiration to all the artists and visionaries out there.