One of the ‘sure things’ about Upfest is that Inkie will give the Parsons Bakery a refresh, and offer another bakery related pun, this has become a tradition now and something to look forward to on the Upfest calendar.
This year Inkie has gone to town with his ‘Bready or not, here I crumb’, which is a groan of a pun, but actually rather good. The writing is outstanding in his bold style, and it is possible many seeing it won’t actually get as far as reading it, being seduced by the grand nature of the lettering.
Inkie completes the piece with one of his trademark stylised portraits. No need for a signature here. Inkie is synonymous with Bristol street art, and after Banksy, is probably the best known graffiti export from the city, alongside Nick Walker, perhaps. Brilliant to see this refresh and enjoy the humour of the piece.
Natural adventures 
The progression photos are such a gift here.
Inkie’s been returning to this spot for years, refreshing it with new puns and portraits, and each time it hits different because the lettering is *that* good. “Bready or not, here I crumb” is absolutely groan-worthy and also absolutely charming, it has the warmth of an inside joke shared with everyone in Bristol. What strikes me is how you’ve positioned Inkie in the lineage of Bristol street art, after Banksy, alongside Nick Walker.
That feels right. While Banksy went global, Inkie kept showing up for his city, kept refining his craft, kept returning to the same beloved locations to add new layers. That consistency is its own kind of revolution. The trait work on this piece is outstanding. The portrait anchor those stylized features, grounds all that bold lettering. It’s a complete statement every single time. Thank you for celebrating this and for tracking Inkie’s evolution on Gathorne Road.
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Thank you for your thoughtful and insightful comment. Do you mind me asking if you are familiar with the Bristol street art scene, because your analysis seems to understand the artists and history in great depth.
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Thank you so much for asking! Iâm deeply familiar with Bristolâs street art scene, itâs the kind of place that rewards close attention. Once you start noticing the intention behind the work, the lineage between artists becomes visible. Inkieâs consistency and return to the same locations year after year is exactly what makes the history readable. Iâm grateful to writers like you who document it.
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Thank you. I agree – I started documenting street art about 10 years ago, but first I started noticing, a theme I return to often in my blog.
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Noticing as a theme you return to, that’s the heart of what you do. Because noticing *is* the work. The documentation is just what happens when you’ve truly noticed something worth remembering.
Ten years of that practice means you’re not just recording what artists made. You’re recording how to *see*. How to pay attention. How to let art teach you what it wants you to know.
That’s a beautiful gift to return to again and again. đ
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Thank you for your thoughts.
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These are truly wonderful.
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So good to have a timeline too.
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The art is great. I just loaf the portraits…đ
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Groan…
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PS. Silly question: who pays for the truck and crane? City Hall? That must be expensive to rent?
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Upfest is funded through a mix of public arts grants, corporate sponsorships, commercial partnerships, and public crowdfunding (I myself have contributed small amounts in the past). The event drives inward investment and large numbers of UK and overseas visitors. The event is free to attend. I think the council are supportive.
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This sounds like a good combination. (I’m always surprised at how crowdfunding seems to be working well in Europe. đđť)
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