Before becoming Boulder’s most notoriously anonymous street artist, SMiLE was an only child who was really close with his cat.

“I wouldn’t say that my cat was my best friend, but more like a sibling,” SMiLE said. “My parents both worked and were busy, so a lot of the time growing up, it was just me and my cat. I learned how to understand and read cats at a young age.”

And while the elusive street artist and Boulder native could have become a successful cat whisperer, SMiLE instead chose a life of secrecy, rebellion, beauty and activism — choosing to honor his feline friends by incorporating playful, whimsical depictions of cats into his street art.

These feline motifs are now a signature part of SMiLE’s work, often popping up in the most unexpected of places around Boulder — on the side of a USPS mail collection box, adorning a trash receptacle, or even perched on a pad-mounted electrical transformer. Through his art, SMiLE seeks to inspire the same sense of connection he felt while growing up, one small piece at a time, on Boulder’s blank walls and alleyways. To those who come across his pieces, being called SMiLE is as much of a soubriquet as it is a suggestion.

“Many of us feel a deep connection to cats, whether from growing up with them or having one as our first pet in our first apartment,” the artist said. “That bond runs deep, and I found myself naturally drawn to painting them. For those who pass by and see my work, it’s often more than just an image of an animal; it evokes memories, stirs fond feelings and brings warmth to their hearts. I realized that cats have a unique ability to connect us, and that’s what I hope to do with my art.”

But SMiLE doesn’t only specialize in whiskery cats and ethereal kittens. The artist’s work often depicts iconic figures of rebellion and counterculture, such as Italian anarchist Errico Malatesta, Kurt Cobain, Billy the Kid and Malcolm X — each portrait a nod to individuals who, in their own way, challenged the status quo, fought for freedom, or lived life on their terms.

SMiLE endeavors to do the same.

Armed with a meticulously handcrafted and hand-cut stencil, several cans of spray paint, and an inconspicuous get-up, SMiLE sneaks into the night to impress his vibrant creations onto the more mundane parts of Boulder. While his art is technically considered vandalism as defined by the city of Boulder’s Municipal code, SMiLE isn’t some rogue ruffian. Each work of art is placed in a location that is carefully chosen with deep consideration.

“I want to be respectful of people’s property,” SMiLE said. “I’m not just going to go hit up any brick wall. If someone has left a graffiti tag on the wall, and that tag has been there for a year, I feel like that’s a neglected spot that doesn’t necessarily look good — it’s not going to make people happy when they walk by.”

While some might be inclined to look at SMiLE’s art as defacement, one could argue that the artist is doing the City of Boulder a favor by covering up otherwise unsightly urban utility fixtures.

“I tend to gravitate more towards electrical boxes and trash cans and beaten-up walls — things that are already ugly,” the artist said.

SMiLE’s work contributes to a wider conversation across the country — street art can be both vandalism and legitimate art, depending upon who you ask. While creating art on public walls may technically be considered breaking the law, it is also a powerful form of cultural expression that challenges the boundaries of public and private space, often sparking dialogue about art and ownership.

Despite his roots in street art and the covert nature of his work, SMiLE’s creations have evolved into something much bigger, resonating deeply with the Boulder community. What started as spontaneous expressions on neglected urban canvases has now grown into a celebrated body of work, recognized for its ability to spark joy and connection.Opening this weekend, the NoBo Art District is honoring SMiLE with “A Golden Thread,” an exhibition highlighting the artist’s exploration of the invisible bonds that tie people together through shared experiences. The exhibition is on display at the Bus Stop Gallery, 4895 Broadway, Boulder, opening with a reception at 6 p.m. Friday. The show runs through Sept. 29.

Nod Norkus, gallery manager of the Bus Stop Gallery, reflected on the first time he encountered SMiLE’s art.

“When I was introduced to SMiLE, there wasn’t any street art in Boulder,” Norkus said. “Every once in a while, you’d see a tag or a commissioned mural. But every once in a while, you’d see these images throughout town that were immensely beautiful.

“It was so cool, because back then, you didn’t know what the response from the city would be on the art. So you had this artist who was risking fines or jail time to put their art into the world.”

In August of 2022, SMiLE showcased his artwork in an exhibit “Evoke the Streets” at the Phil Lewis gallery on Pearl Street. SMiLE rolled in a collection of original paintings on found objects and reclaimed materials — and 98% of his pieces sold out in the first 30 minutes, Boulder visionary artist Phil Lewis said on his website. The rare show gave fans a unique opportunity to snag an original SMiLE. If they were fast enough.

“I’ve admired Smile’s work around Boulder for the last few years,” Lewis said on his blog. “This is an extremely rare opportunity to acquire a piece from one of Boulder’s true gems.”

And now SMiLE is headed back to the gallery.

“It astounded me that someone with this caliber of talent wouldn’t want to show their work in a gallery where they could get recognition and money. But that’s part of what makes SMiLE so fascinating,” Norkus said.

As street art is a fleeting medium — always at risk of being covered up, altered, or damaged — Norkus echoed Lewis’ sentiments that this exhibit is a rare opportunity for Boulderites to get their hands on a SMiLE piece for their permanent collections. Plus visitors will see some never-before-seen artworks by the artist.

“I feel incredibly honored that SMiLE chose our gallery of all of the other galleries in town to exhibit in,” Norkus said. “His art is probably the most widely recognized in Boulder, and we’re so excited to bring his work from the streets into our space.”

According to Norkus, SMiLE’s decision to exhibit at the NoBo Art District may be influenced by the gallery’s alignment with his values and the work of its executive director, Leah Brenner Clack. In addition to her role at NoBo, Clack is the founder of Street Wise Arts, a nonprofit organization dedicated to creating mural projects, community events and youth education programs that enhance urban environments while promoting diversity and activism.

“[Clack] is doing a lot for the community,” Norkus said. “(She’s) making street art a more accessible, and less taboo, medium. SMiLE is doing that, too.”

Ahead of “A Golden Thread,” we caught up with SMiLE to talk about his art, his anonymity and the delicate balance between rebellion and respect.

Q >> The concept of an “invisible golden thread” is central to this exhibit. How did this idea come to you, and how does it manifest in your art?

A >> When I was a kid I was into the Odyssey, Achilles and the Iliad and was kind of a nerd for that. A big part of what intrigued me about that was the theory of the golden thread — this concept that is centered around an invisible link that guides us morally throughout our own lives, but also connects us as individuals to other people in our community.

I like the idea that art can be so prevalent in our community, but it doesn’t always have to be about the person behind the art — people can imagine me as this tall woman, or this short man, but it really doesn’t matter. It’s not about the artist; It’s about the art and how it connects us to one another.

Q >> How do you bring the essence of your street art into a gallery setting? Do you approach it differently when creating pieces for an exhibit?

A >> To stay as close to my street work as possible, I tried to find pieces that have character — like old rusty signs from a gas station that has been shut down for a decade, or pieces of wood that I found lying about in New Mexico — to paint on, so that my art would have a street feel, even though they’ll be in a gallery. I wanted it to feel kind of like I plucked a slice of the street and made it into a portable piece of art.

Q >> Since you prefer to remain anonymous, I imagine you won’t be physically present at the gallery for the exhibit or the receptions. How do you feel about not being there to witness people’s reactions to your work in person?

A >> I won’t be there officially, but I tend to hang out in the area. I’ll find a place close to the gallery, under a tree, or at nighttime, or walk across the street casually so that I can get a glimpse of what’s going on without getting too close. I always have my friends there, too, to report back to me on how the show is going. So I still get to see how people react, in a way.

Q >> Do you have other, more direct ways of connecting with or gauging the public’s response to your art?

A >> Initially, before I had an Instagram account, I would go do some art and then

come back in the morning and see people standing around it, looking at it. So I’d kind of blend into the crowd and just listen to what people were saying — there would be elderly people looking at it, and middle schoolers taking photos with it, and so that’s how I got a lot of my feedback.

When I started my Instagram, I just got bombarded with comments and likes and messages from people who enjoy my work. Social media makes it pretty easy to remain anonymous, but still have a direct line into people’s insight.

Q >> How do you see your work fitting into the broader conversation about art in public spaces?

A >> When I was in middle school, I was a bit of a trickster — so much so that I played Loki in the school play. It felt like a natural progression to go from being a mischievous kid to sneaking around the streets and embracing anonymity as a street artist. That aspect of street art — working in the shadows — came easily to me. I appreciate murals and gallery art; they’re beautiful, but there’s a certain redundancy to them. Whether I’m in Istanbul or Yemen, it’s often the same — a proliferation of art galleries and murals.

What excites me about street art is that it’s something entirely different. There’s an unspoken energy in the few artists who take their skill to the streets — not to tag or create massive letters, but to share something meaningful with the public. They aren’t getting paid, and it’s not always sanctioned, but that’s what makes it fresh and raw.

There’s a mystery to it. When people encounter intricate street art, they wonder: Who did this? Were they running from the cops? Did they have permission? Will they get in trouble? I love that mystery. It’s not a well-trodden path, and that element of freedom and mischief is what draws me in.

Yes, there’s some rule-breaking involved, but it’s done in a way that invites people to step outside the norm. In a world filled with restrictions and red tape, it feels liberating to create art that exists just outside that paradigm, offering a sense of rebellion and empowerment.

Q >> The images you create invite viewers to pause and engage with their surroundings in new ways. What kind of experiences or reflections do you hope to inspire in those who encounter your art?

A >> We’re all sort of caught up in our minds — when we go park in the parking garage downtown, or walk to a cafe to meet a friend, or go to the Boulder Book Store to grab a book, we’re all just sort of caught up in our own thing. I wanted to create something that surprises people and pulls them out of the routine of life. I want people to be inspired or curious by my work, because that’s a good spot for any of us to be. When we’re truly present in the moment, we’re better versions of ourselves — we speak from the heart, we act with intention, and we treat each other with more kindness.

Follow SMiLE (the Midnight Ninja) on Instagram @smileboulder. Learn more about the exhibit at noboartdistrict.org.