Photos and interview by Stacie Joy
It's hard to concentrate on taking photos while rising several stories above the Bowery in a construction lift.
A swooping, rocking sensation comes as we climb; the wind picks up, and the people and traffic below get smaller and smaller. I have a mild fear of heights, so whenever an EVG assignment puts me in a lift, hanging from a harness or climbing ladders and parapets, there’s inevitably a little clenching involved.
This time, though, the view is worth it.
We’re alongside artist Owen Dippie as he works on his six-story portrait of Jean-Michel Basquiat at the corner of Great Jones Street and the Bowery — just steps from 57 Great Jones St., where Basquiat lived and worked during the final years of his life. (Dippie started the painting several weeks ago, as we first reported.)
The New Zealand-based artist conceived the mural as a self-funded tribute to Basquiat, whose work has influenced him since long before his first visit to New York in 2006. Dippie says that trip included a pilgrimage to 57 Great Jones St. — something he has repeated on every visit to the city since.
As Dippie works with spray paint high above the street, people stop below to watch. "Looks amazing!" gets shouted up more than once.Up in the lift with New Zealand-based street artist Owen Dippie, working on his 6-story Basquiat mural at the corner of Bowery and Great Jones https://t.co/d2lz6E8Zw1
— Stacie Joy (@Joy_of_photos) October 7, 2026
Back on solid ground, we talked with Dippie about how the project came together, choosing the image that now towers over the Bowery, Basquiat’s legacy, and the people who have stopped to share their memories of him.
We also asked whether Angelina Jolie, whose Atelier Jolie occupies Basquiat’s former home and studio, has weighed in — and why this mural may mark a turning point for Dippie himself.
How did this project come together and how did you secure the location (and the supplies) for this mural?
Since my first visit to New York in 2006, one of the first places I went to was 57 Great Jones St. I have since painted this city for two decades, and every visit starts the same way — with a quiet pilgrimage to Great Jones Street to pay my respects to an artist who unknowingly shaped my path.
In late 2024, I found myself outside number 57 again. I began to imagine something incredible: painting Jean-Michel larger than life on the 6-story wall at the corner of Great Jones and Bowery, right next to his former residence.
Two days later, I was in discussion with the building's occupants, Par Excellence. They believed in my vision but understood the scale and significance of what I was proposing. What followed was a long journey, countless emails, proposals, permits and navigating the complexities of city approvals and building preservation.
What image of Basquiat did you work from, and why did you choose that particular one?
I chose a photograph by Gianfranco Gorgoni taken in 1982, when Jean-Michel was 22. I grew up with a book with a similar image on the cover, which Gorgoni shot, that holds a sentimental place in my heart.
I reached out to his estate, now run by his daughter Maya and her partner Christopher; they were in full support of the project. It was very special to explore Gorgoni's archives and have their trust.
How do you translate a face onto a wall this large and still make it feel human rather than monumental?
I try to look beyond just translating an image; I take it very personally. I try to create something you really feel on an emotional level. All the details in the world cannot hide a piece that has no soul.
What has been the most difficult part of painting this particular mural?
Every piece has its difficulties both technically and artistically, but I'd say artistically [for this one] because Jean-Michel means so much to me; I have to do him justice.
I have enjoyed listening to many stories from people who knew Jean-Michel personally. Friends, art dealers, ex-girlfriends, people who still live in the neighborhood. He impacted so many people in his brief time on this earth.
Basquiat and the downtown art scene have been commercialized and mythologized extensively since his death. Did that affect your work?
I have always romanticized the New York 1980s, such a free time of pure energy and creativity. The many artists and movements that came from that period are a testament to that.
Have you heard from Angelina Jolie or anyone on her team?
I have seen her pull up a few times at number 57 while here, but I didn't want to be "that guy." I’m sure she gets harassed enough — lol!
I would like to have a conversation with her, though, as I respect that she has kept Jean-Michel's former studio a place of creativity.
You mentioned this being a self-funded project. How can people help support your work, and this piece in particular?
Yes, this project is entirely self-funded; that does seem pretty wild… but nobody has commissioned this. I just really wanted to do it... the fact that commercialism is not attached to this project makes it feel pure, something just for him.
To honor his memory, say thank you, and continue spreading his spirit.
-----
