Today we’d like to introduce you to Abraham Mong
Hi Abraham, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I grew up skateboarding at the Amazon Bowl in Eugene, Oregon, where all the taggers hung out. My parents noticed my interest in painting and encouraged me to go see the murals at the Kingdome by Jacob Lawrence and the Coit Tower by Diego Rivera.
At the Pacific Northwest College of Art, I studied printmaking. In my second year of classes, I went to Italy for a quarter and stayed for a year. I learned how to do gold leaf, drafting, al fresco, and art history there. I saw the Sistine Chapel ceiling by Michelangelo too. That was the major turning point of my artistic life. Being exposed to Italian art on a daily basis completely rewired my perspective.
In 2004, I met a group of kids underneath the University Bridge in Seattle, WA, that had received a public art grant to paint a mural with a totally free creative license. I asked them if I could paint one wall with them- I went on to paint 20+ other large-scale productions with those kids (the Matamuros). I loved riding the bus and looking at the walls on city streets. I loved riding my bike underneath underpasses and seeing who painted there. Community support was organic; one business would talk to another, or one neighbor would see what we did- and then they would ask us to paint. I loved the adventure of it, working with the weather, painting the cityscape where the audience was very open to public art.
After 4 years of painting murals, it was really hard to make money. The market became saturated with the next generation of artists. Instead of trying to compete with the overwhelming requests for free labor, I met an old-school NW sign painter who called me out. He said, “Using a rattle can will get you nowhere.” He told me to pick up a brush.
So, I went back to my love of words to practice lettering and developing my hand style. I’ve never been a fan of computer graphics or projected works. I was always influenced by the old-school sign painters, doing things like what you’d see at the deli, the unknown artist. I’m completely fascinated with traditional methods of art making.
The best artworks are a part of history. In urban environments, the landscapes are made of buildings, murals, business markings, and regional aesthetics. When I create signs for businesses in Austin, it’s therapeutic to make something and be appreciated for what you’re making. For some people, it’s just about money, but for others, money has almost no value.
My work amplifies small businesses and the local economy. Nine-out-of-ten of the signs I make are for regular people, fun entrepreneurs, dreaming about creating their vision. They’re not just talking about their business ideas- they’re making them happen.
We all face challenges, but looking back would you describe it as a relatively smooth road?
I’ve been very lucky to attract people who were willing to pay for my work. Life is a winding road, so I’ve relocated my business a handful of times, which had its own way of delaying progress. Overall, I’ve had to adjust to the market. I painted murals all throughout the first Bush recession. I’ve done lots of crappy labor jobs, but I’ve survived. I’ve always continued to make public & commercial art. I used to install signs standing on top of my van. Starting a business with zero money was how I learned, because everyday I had to earn it.
It took a lot of work to re-establish myself in 2020 as an authentic sign painter and sign artist. My approach to maintaining my artistry has changed and been challenged. I’ve taken risks with people, but I’m lucky that those paid off. Starting in COVID I started collaborating more with 2-neon artists, Scotty Closter & Gary Kemple to fabricate larger sign works. I doubled down on that market, and things took off.
Appreciate you sharing that. What else should we know about what you do?
I’m probably most known as a sign painter. I specialize in hand lettering and designing custom neon signs.
I’m most proud of my blade signs for the engineering, the electricity, the painting, the shape, and for creating a sculpture that lasts in its environment. Texas’ climate can be unforgiving- sometimes I have to paint in 110-degree weather under a tight deadline. Other times, I have to wait for a storm to pass before I can get my paint down.
I love driving around town and seeing my signs. I love sitting across the street from my work and staring at it for hours. I love supporting independent businesses, and I love free coffee.
I am proud of my collaborations with others. I enjoy working with the developers who are reinvigorating the Manor Road Business District. I have over 65 works in that district.
My hand-painting style sets me apart from others. I don’t use any tricks- it’s just the best that I can do. It’s authentic.
What would you say have been one of the most important lessons you’ve learned?
I have painted very beautiful things. I’ve seen them tagged on. I’ve seen buildings demolished. I’ve seen people put my work on postcards and sell the artwork that I made. I’ve also seen people take my designs and make them. And all of that doesn’t really matter because the act of making it is by far the most enjoyable thing. Being an artist, making art, keeps me feeling young.
Pricing:
- Pricing available via email.
Contact Info:
- Website: https://goldensparrowsignart.com
- Instagram: https://www.instagram.com/among_signwriting/
Image Credits
“The 14th” photo @ReallySmallMuseum_ATX by Juliet Whitsett
Pedroso’s Pizza by Krish Parekh, kp119236@gmail.com
Texas Partners Bank by Abraham Mong
Studio Portrait of Abraham by Charles Heppner
Zoe Tong Corner Mural photo by @DesignOverStory
Austin Shaker Mural photo by Kiki Litchfield
Piece of Mind Mural photo by unknown
Golden Goose photo by Mel Lozoya
Fresh Cosmetic Studio photo by Kenzie Perez
