In the early 1980s Wojnarowicz had no real income. He scavenged materials like supermarket posters and trashcan lids as well as cheap printed materials available in his Lower East Side neighborhood. Incorporating them in his art, Wojnarowicz found radical possibilities in these discarded, forgotten artifacts and in the city itself. He embraced the abandoned piers on the Hudson River, particularly Pier 34 just off Canal Street, for the freedom they offered. He cruised for sex there, and he also wrote and made art on site. He appreciated their proximity to nature and the solitude he could find there.
Wojnarowicz began using stencils out of necessity. He was a member of the band, 3 Teens Kill 4, whose album, No Motive, can be played above. He produced posters for their shows, and to prevent their removal started making templates to spray-paint his designs on buildings, walls, and sidewalks. These images—the burning house, a falling man, a map outline of the continental United States, a dive-bombing aircraft, a dancing figure—became signature elements in his visual vocabulary, creating an iconography of crisis and vulnerability. Wojnarowicz frequently railed against what he called the “pre-invented world”: a world colonized and corporatized to such an extent that it seems to foreclose any alternatives. For him, using found objects, working at the abandoned piers for an audience of friends and strangers, and creating a language of his own were ways to shatter the illusion of the pre-invented world and make his own reality.
