Man on Wire: A Baltimore street artist takes his signature creations off the wall and into the air

If you've been around Station North lately, there's a good chance you've seen one of Reed Bmore's hanging wire pieces, such as a whimsical sculpture of a little boy reaching for a pair of sneakers hanging from a light post. Since graduating from MICA last semester with a degree in Environmental Design, Reed has been hanging these wire sculptures from light poles and stop lights throughout Station North, where his studio is located. But in the past few weeks, images of his sculptures have been passing around Baltimore's online community. Thanks to fellow street artist Nether, City Paper was able to track down Reed, who gave us a tour of the work in Station North but declined to reveal his real name. 

City Paper: Are you from Baltimore? Where did you come up?

Reed Bmore: Well, I'm from Annapolis originally, but I've lived in Baltimore for five years now for school. I have a studio in Station North and I'm always in that area. Just bopping around and kicking it at different places.  

CP: When you look around the street art scene in Baltimore, what do you see?  

RB: Walls  

CP: What made you take your work off the walls?  

RB: It's what the medium—wire—allowed. Also taking it off the walls gave the art a new layer.  

CP: Why wire? What made you choose that medium?  

RB: I've always been into wire. Growing up, it's always been a medium I've been attracted to. I just found a way to turn it into street art. It started from playing with wire ties in the produce section at my local grocery store and since then I've just developed my technique.  

CP: How do you choose your subjects and where they hang? Are the locations tied to the pieces? 

RB: Well I've done children for my wire sculptures because I feel like their youth brings a certain vitality. I try to look at the area in context of its surroundings, the history, and the community around the setting.

CP: Is your work created to blend in with the surroundings. Like that cherub sculpture you hung by the church in Station North. Do they have anything to do with the surroundings?  

RB: I try to generally relate back to the surroundings and the context to the area, or put them in places where the environment around them can be accentuated.  

CP: How have the communities you work in responded to your work?  

RB: Pretty well actually. No one's ever had the urge to stop what I'm doing. I think its because they don't see it coming. On some accounts, I've actually had people help me. Normal strangers.   

CP: How do you get up to places to hang? And is there a time of day when you hang the pieces?

RB: i used to do it at night and adopt of system of climbing the poles and sliding my pieces across the street. Now I find a place where I can get above the lights and hang them from this painters pole.  

CP: So people can wake up in the morning and see them?  

RB: It's mostly just for traffic reasons. It gets pretty busy and I've been nicked by a car before— [it] threw my wire piece into the center of North Ave.  

CP: Your style seems to hark back to the original graffiti bombers, working by night. Do you have any old schoolers you look up to/are inspired by?  

RB: Not really. It seems these days I do half and half of putting up at night and day. As to inspirations, I've never really looked at old school bombers, although I do love cope2's work and I hang around Nether Ways and Exxist a lot. They're the ones that pushed me to get my art out. But in terms of wire, I consider Arthur Ganson and [Alexander]Calder big inspirations.  

CP: Does your choice of medium reflect your environmental studies. Like, the wires have like zero environmental impact.  

RB: I've never really thought of that. But, like I said, I've carried my wire techniques for over a decade and into my college years.  

CP: Where and when was your first piece?  

RB: I did that wire piece of the girl and the water pump.  

CP: When was that?  

RB: Around the same time last year. It was a piece commenting on the commodity of water.  

CP: Is it still there?  

RB: It was sadly taken down  

CP: By the city or someone else?  

RB: Not sure, but thats when i started hanging the pieces higher. That piece was at ground level in Canton. It was right next to the Harris Creek water outlet, and, at the time, I was doing a water study about runoff and litter in the city.   

CP: Have any others been taken down?  

RB: Only from weather, but since then I've mad my clip designs sturdier.  

CP: If you could hang a piece anywhere in the city, where would that be? Like what's your ultimate spot?  

RB: Well, I haven't made my way down to the Inner Harbor. I'm probably going to hang a piece soon next to CB [Central Booking] in the future.  

CP: Is there a piece you're particularly proud of? Like one people should really see either for the message or the work?  

RB: Well I really appreciated working on the Boh Utz piece, I just felt it needed to happen.

CP: Why?  

RB: Well, with the [Smyth Jewelers] billboard being taken down to be replaced by the LED board there was a loss in the community. So I just wanted to make a piece to respond to the missing piece.   

Reed talks about his new piece:

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