Have you seen those stickers and stencils of Ongo Gablogian, the over-the-top “art critic” played by Danny DeVito’s Frank Reynolds in that one episode of It’s Always Sunny In Philadelphia? If you’ve been out on the streets of Milwaukee and/or San Francisco in the past few years, your answer is likely “yes.”
The Ongo figures are the creation of a Milwaukee-born street artist who now lives in San Francisco. At the 2024 Milwaukee Film Festival, Milwaukee filmmaker Ryan Nels Pontillo debuted a short film about the Ongo artist, ONGOSF: Derivative Bullshit. It follows the artist around Milwaukee as he covertly places his Ongo art in places both likely and unlikely, easy to access and tricky to get to.
Thanks you Pontillo, you can now watch the film on Milwaukee Record. Here it is, followed by full credits and an article by Pontillo that gives more background on the artist.
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Produced, Directed, and Edited by:
Ryan Nels Pontillo
Docuscript by:
Ryan Nels Pontillo, Rob Starzec
Produced by:
Peter Borowski, Everett Coleman, Rob Starzec
Segment Producer:
Alex Tatterson
Marketing Producer:
Christina Herbst
Cinematography by:
Peter Borowski, Ryan Nels Pontillo
Colorist:
Ryan Nels Pontillo
Sound:
Everett Coleman
Music:
Peter Gauthier
Drumset Performance:
R.J. Ziebarth
Stills:
Ongosf (Digital), Kevin Vieau (Digital), Ryan Nels Pontillo (35mm), Bobbie Knopp (Marketing)
Photo: Kevin Vieau
By Ryan Nels Pontillo
A citywide lockdown in San Francisco gave one tech worker the push to start an artistic journey. Ongo creates vibrant pieces resembling a beloved character from It’s Always Sunny In Philadelphia, Frank Reynolds. But there’s more to his work than a reverence for the Danny DeVito character.
Originally hailing from Milwaukee, Ongo moved to San Francisco with his girlfriend in 2016. The excitement of a new city, however, faded. The relationship ended just before the COVID-19 pandemic hit, leaving him isolated and unemployed.
“It was the first night of lockdown, March 17, 2020. Everyone was staying inside, only going out for essential things. So, and then I was like, ‘Okay, people are going to be looking for some stimulation,’” he explained.
Initially, Ongo conceived the idea of COVID Kiss, a piece reminiscent of V-J Day In Times Square. However, it didn’t resonate with him.
“It didn’t feel personal,” he added. “The first time I painted Ongo with the stencils, everything aligned perfectly, and I thought, yeah, this is it. There are certain color combinations that can hypnotize you—the way they interact, creating depth and space.”
When discussing his choice of inspiration, Ongo shared, “DeVito is kind of just a weird person, and I guess I like him. But it was more about the Ongo character and what it represented in the It’s Always Sunny In Philadelphia episode. It’s all about what is art, who gets to decide, and why this is art and that is vandalism.”
As Ongo roamed the city during lockdown, he saw the boarded-up storefronts as a canvas.
“Businesses were boarded up with plywood, making them feel like free game,” he recounted.
He began experimenting with different variations of his characters.
“I had all the time in the world because everything was still. I started with just a head, no face tattoo, but over time, I wanted the figure to take up more space,” Ongo said.
Reflecting on his design choices, he added, “I was thinking about what inspires nostalgia in terms of body shape, and that’s when I settled on the LEGO feature.”
While he timed himself during each creation, Ongo never appeared rushed or anxious.
As he led the way to a concealed spot on a bridge, he explained, “The more I do this, the more I realize people really aren’t looking.”
As he prepared to remove a bus stop advertisement on Brady Street, a popular Milwaukee area filled with small businesses, he casually said, “I have a tool socket wrench to take the bolts out,” showcasing his resourcefulness.
An onlooker, intrigued by his actions, commented, “I was surprised by how people looked down at him but didn’t really pay attention to what he was doing. We see so many advertisements every day that we start to overlook them. When something pops up on top of them, it catches our eye, and I don’t think it’s a bad thing.”
However, Ongo holds a different view.
“It’s definitely property damage of some sort,” he admitted, contemplating the implications of his actions. “But if a mom-and-pop shop was running an ad, I’d probably avoid it because they likely used their entire marketing budget for the year on that ad. Other than that, I don’t feel bad. Advertisements just take up public space.”
As he kept working on Ongos since the pandemic, it never felt too repetitive.
“What keeps it playful and fun for me is really the color theory. It can get repetitive, but I don’t get sick of it,” he said.
Ongo eventually noticed a change in his audience.
“I’ve gained enough street cred or legitimacy to sell art legally,” he said. “You’ve got to spend money to make money. You have to engage in activities that aren’t really legal to get the ball rolling. Once it’s rolling, it keeps gaining more legitimacy.”
He noted that there isn’t much graffiti in Milwaukee, which diminishes its value compared to cities like San Francisco. Since the pandemic, Ongo has started to feel more like a San Franciscan.
“For me, and I know others feel the same, every time I ride past something I’ve painted and recognize it, it’s like a hit of dopamine,” he said. “The world is confusing and unfamiliar, but seeing something familiar makes you feel at home, like you’re not alone.”
Photo: Kevin Vieau
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