List of Graffiti Artists Who Smoke Weed

• Documentation is rare but significant – Unlike musicians or gallery artists, graffiti artists rarely publicly confirm cannabis use due to anonymity culture and legal concerns, making the documented cases particularly noteworthy
• The “Three Sisters” cultural framework – As NYC artist SUCH explains, “rap, bud, and graffiti” form interconnected countercultural pillars that emerged together from urban environments
• Strong international representation – From Tel Aviv’s Itay Nevet to Chilean-born Cekis working in NYC, the graffiti-cannabis connection spans global urban centers
• Both historical and contemporary figures documented – Jean-Michel Basquiat’s documented cannabis presence in 1970s counterculture is widely referenced, while modern artists like SUCH and Cekis openly discuss their current relationships with the plant
• Professional cannabis integration – Some graffiti artists like SUCH have built cannabis cultivation businesses alongside their art careers, winning competitive awards like the NY Growers Cup
• Creative process enhancement – Contemporary artists explicitly describe how cannabis affects their workflow, with Itay Nevet noting it “slows the moment enough to really see a wall before painting it”

The relationship between graffiti and cannabis runs deep—both emerged from counterculture movements, both faced criminalization, and both represent forms of freedom of expression that challenge mainstream norms. However, unlike other art forms, graffiti artists rarely publicly discuss their cannabis use due to the anonymous nature of their work and historical legal complications. As NYC graffiti artist SUCH puts it: “A lot of people that write graffiti smoke weed, and a lot of people that smoke weed get their creativity from that!” This cultural understanding exists underground, but explicit documentation remains scarce.

For those inspired by this intersection of art and cannabis culture, exploring cannabis strains that may enhance creativity or focus can be part of your own artistic journey.

Tel Aviv-based graffiti artist Itay Nevet, who works under the tag “Style,” represents the most explicitly documented contemporary case of a graffiti artist discussing cannabis use. In a December 18, 2025 profile in Honeysuckle Magazine, the writer reports that Nevet smokes every day.

• Geographic significance: Active in Tel Aviv’s street art scene for 15+ years
• Cannabis documentation: Explicitly confirmed daily use in 2025 Honeysuckle Magazine profile
• Creative integration: Quoted saying it “slows the moment enough to really see a wall before painting it”
• Legal status: Says he has a cannabis license in Israel: “I have a license. I’m good with it. I have good weed”
• Artistic approach: Uses graffiti to “work on my traumas”
• Community aspect: Describes cannabis as shared within Tel Aviv’s street art community

Nevet’s openness represents a shift toward transparency in regions where cannabis is legally accessible, allowing artists to discuss their relationship with the plant without fear of legal repercussions.

Working under the tag “SUCH,” this NYC graffiti artist has built a unique dual identity as both a prolific street artist and professional cannabis cultivator. His cannabis business “Buds and SUCH,” run with his wife Mindy, won 1st Place in the Haze category at the New York Growers Cup.

• Graffiti longevity: Active since 1990 (35+ years) with work spanning Italy, France, Amsterdam, Norway, England, Sweden, Denmark, Taiwan, Korea
• Cannabis involvement: He says he’s been involved with cannabis since 1999, co-running “Buds and SUCH” cultivation operation
• Competitive recognition: 1st Place Haze category, New York Growers Cup
• Cultural philosophy: Calls rap, bud, and graffiti “the Three Sisters” of urban counterculture
• Direct quote: “Growing weed and writing graffiti… They just go hand-in-hand”
• Work volume: Estimates he has created “several million individual pieces” over his career

SUCH represents the rare documented case of someone who has achieved professional-level recognition in both graffiti and cannabis cultivation, embodying the cultural connection between these two countercultural practices.

Chilean-born graffiti artist Cekis, now based in New York City, is considered one of the pioneers of the South American graffiti movement. In a May 2024 interview with LeafLink, he explicitly confirmed his long-term cannabis relationship: “I have been using cannabis for almost 30 years and I am a big supporter of it.”

• Historical significance: “Considered to be one of the pioneers of the South American graffiti movement”
• Cannabis duration: Nearly 30 years of documented use as of 2024
• Industry integration: Commissioned to create the official artwork for LeafLink List 2023
• Artistic approach: “I tried to represent the flower in a colorful stage, enhancing its density, intensity, and vibrancy”
• Creative philosophy: “I like to bring color to the world, that is why I started painting the streets”
• Consumer perspective: “I’m a consumer of marijuana and love all the good things it can do”

Cekis bridges geographic and cultural boundaries, representing how the graffiti-cannabis connection extends beyond North America to encompass global urban art movements.

Jean-Michel Basquiat began his artistic journey as a graffiti artist under the tag “SAMO” with friend Al Diaz in late 1970s New York City. Secondary accounts report that he ran away from home at 15 when his father caught him smoking cannabis in his room, though this biographical detail comes from sources that should be consulted directly for full context.

• Graffiti origins: Worked as “SAMO” from 1978-1980 before transitioning to neo-expressionist painting
• Cannabis context: Multiple sources reference his cannabis use during his formative graffiti years
• Cultural context: Part of 1980s downtown NYC scene where cannabis was prevalent among artists
• Artistic legacy: In Hollywood Africans (1983), Basquiat depicts himself with fellow graffiti artists Toxic and Rammellzee
• Market value: His Untitled (1982) sold for $110.5 million in 2017, setting the record for an American artist at auction—later surpassed by Andy Warhol’s Shot Sage Blue Marilyn at $195 million in 2022

Basquiat represents the historical foundation of the graffiti-cannabis connection, with his documented presence in cannabis-friendly counterculture during his formative graffiti years before his transition to gallery art.

New Jersey-based graffiti artist Leon Rainbow represents the modern professional intersection between street art and the legal cannabis industry. While personal cannabis use isn’t explicitly documented, his extensive commercial work for cannabis brands and dispensary operators demonstrates deep industry integration.

• Professional cannabis work: Created murals and commercial art for cannabis brands and dispensary operators including Simply Pure, Bridge City Collective, and Jersey Smooth
• Cultural navigation: Develops creative solutions to work within cannabis advertising restrictions
• Community focus: Known for “Increase the Peace” anti-violence mural projects
• Career longevity: Established graffiti artist with decades of experience
• Industry relationship: Works directly with cannabis businesses as a commercial artist

Rainbow exemplifies how contemporary graffiti artists can build professional relationships with the cannabis industry even when personal use remains private, contributing to the visual culture of legal cannabis spaces.

The cultural connection between graffiti, cannabis, and hip-hop forms what NYC artist SUCH calls the “Three Sisters” of urban counterculture. This framework explains why these three elements emerged together from similar social conditions and continue to influence each other. All three represent forms of expression that were initially criminalized, marginalized, and misunderstood by mainstream society, yet each developed sophisticated internal cultures and aesthetic principles.

As noted in cultural analysis, “graffiti and cannabis share more than just a rebellious spirit—they’re both rooted in the counterculture movements of the 20th century.” This shared foundation creates natural affinity between practitioners, even when explicit documentation remains limited due to the underground nature of both practices.

The scarcity of explicitly documented cases stems from several factors unique to graffiti culture:

• Anonymity requirements – Many graffiti artists work under pseudonyms specifically to avoid legal consequences
• Overlapping criminalization – Both graffiti and cannabis have faced legal prohibition, creating compounded risk for public disclosure
• Underground culture norms – Street art communities traditionally value privacy and discretion about personal practices
• Documentation bias – Historical figures like Basquiat are better documented because they transitioned to gallery contexts where interviews and biographies are common

This context explains why the list of explicitly documented graffiti artists who discuss cannabis is shorter than similar lists for other art forms, while the cultural connection remains strong and widely understood within the community.

The documented cases reveal a fascinating geographic and temporal diversity. From Basquiat’s 1970s NYC foundations to contemporary artists in Tel Aviv (Itay Nevet), New York (SUCH, Cekis, Leon Rainbow), and beyond, the graffiti-cannabis connection demonstrates global resonance. Modern artists benefit from increasing cannabis legalization, allowing more open discussion of their relationship with the plant.

For artists seeking to explore cannabis strains that might complement their creative process, Herb’s Strain Guides provide detailed information about different varieties and their potential effects on focus, creativity, and relaxation.