I am Stephen. I live in Bristol, UK. I decided to shorten my profile...to this: Wildlife, haiku, travel, streetart, psychogeography and my family. Not necessarily in that order.
On the day that sees England play Wales in the football world cup, I find myself a little distracted. Before the tournament started, I was indifferent about England, and was rather more concerned that all the Arsenal players involved in the tournament come home unscathed and safe, but now I find myself caring. I’d like England to do well, despite their poor performance against the USA. As I say – distracted.
This is a fine piece from Acer at the entrance to the tunnel, painted in collaboration with Benjimagnetic (post to follow). Acer One has had an exceptional year on the streets, modifying and developing his style with outstanding results.
Acer One, St Werburghs, Bristol, November 2022
This piece, spelling out ACER 1, has all the components that he has been working on, such as the rainbow fill in his letters, the minimalist design of his letters, and the double drop shadows that serve to give depth and perspective. A real beauty, and a lovely touch to the right with a rainbow scale bar. A classy piece.
Tack Jucker, River Avon, Bristol November 2022Tack Jucker, Brunel Way, Bristol, August 2022Tack Jucker, M32 roundabout, Bristol, August 2022Tack Jucker, Brunel Way, Bristol, June 2022Tack Jucker, Cumberland Basin, Bristol, February 2022Tack Jucker, Sparke Evans Park, Bristol, January 2022Tack Jucker, Catherine Mead Street, Bristol, November 2021Tack Jucker, Cumberland basin, Bristol, October 2021Tack Jucker, Sparke Evans Park, Bristol, October 2021Tack Jucker, Brunel Way, Bristol, October 2021Tack Jucker, Sparke Evans Park, Bristol, October 2021
I was rather late to the party regarding Vozie, which is embarrassing at best, but better late than never. I might have to trawl through some archives to see if I have overlooked any of her pieces from before my ‘awakening’ at Upfest this year. What is clear is that Vozie is a massively talented and accomplished writer whose work is both beautiful and compelling.
Vozie, St Werburghs, Bristol, November 2022
This one in the tunnel, painted as part of Bnie’s birthday paint jam, is an absolute banger. Painted in the paint jam colours, the letters VOZIE are sensationally filled with fabulous transitions between the colours and delicious accent lines and patterns on the edges of the letters. Fast becoming a fave.
Visiting artists are always welcome in Bristol, as they bring fresh perspectives and often glorious artwork to the city. On his visit to Bristol in September this year, Qwynto left us with at least two, and I think a third piece. This one is on the far right-hand side of the Coach and Horses wall.
Qwynto, Coach and Horses, Bristol, November 2022
I believe Qwynto is based in London, but I have struggled to find out much more about the artist. There are some similarities with Kid Crayon’s style of portraits, perhaps more to do with the colourful approach. This is a fine portrait, which has managed to remain intact for a couple of months, which is pretty good going really.
Maesyhook, Cumberland Basin, Bristol, November 2022
I like surprises, especially ones that involve street art, and boy was this a surprise. Maesyhook is known for her Kawaii cute animal pieces, so this abstract piece in Cumberland Basin is a massive departure from what we expect to see. She has also signed it @m.a.e.s.y_ which is a bit of a change in her personal branding.
Maesyhook, Cumberland Basin, Bristol, November 2022
I think the piece was inspired by Autumn, or Otoño as she states on her Instagram, and by a friend who painted an abstract piece adjacent to this one. There is a sense of freedom in this piece that breaks away from the formality of a character or writing, and I guess it for the viewer to make of it what they will. I would certainly welcome more of this from Maesyhook, or more of her Kawaii work.
Some readers of this blog may not know that it is called Natural Adventures because it was started as a digitisation of a journal I kept during an adventure I had in the Falkland Islands in 1988 when I was a young man. I was a fisheries scientist working for the Falkland Islands Government, and at this point in the Journal had spent several weeks at sea on a Japanese squid jigger called the Koei Maru 30, and very much looking forward to some shore leave.
For context, it might be worth reading chapter 1, ‘An ill wind‘.
The full series of posts are in the ‘Falkland Journal, 1988′ category of the Natural Adventures blog, to be read in reverse order (from the bottom up).
Sunday 10 July 1988, Koei Maru 30
Today is full of promise. The sun is shining after a glorious sunrise which began with a deep blue-purple and a sliver of a crescent moon in a cloudless starry sky. The orange glows in the East then began and heralded this lovely crisp day.
Sunrise, South Atlantic, Koei Maru 30, July 1988
Another great bit of news is that I am to return to Port Stanley on the 14th, this coming Thursday. The Fishing Master also said that they would still be fishing when I returned from the UK and that they would have a party before returning to Japan, He is a real Jekyll and Hyde – I never quite know which mood I catch him in.
Today has fulfilled its promise, mainly in that it is nearly over. It has been sunny and clear, which lifts the depression which sets in during the gloom and overcast days. A few more Barry please. (an in joke with myself)
Now watching a Japanese war film – a little tactless I think, considering I’m English, but not to worry.
Japanese war film, doodle. Koei Maru 30, July 1988
Monday 11 July 1988. Koei Maru 30
Having looked forward so much to today’s radio session, I actually forgot it in my forgetfulness… eh?
I was instead having lots of fun in the factory deck. Abe is a great bloke – always poking fun, always playing the monkey. Very funny. I’m glad that people aged 28 or so can still be complete fools, it is refreshing.
Wrote possibly my last letter for a while to Mum and Ad. Talked about Abe and Mr Chiba.
Couldn’t get to sleep at all, I’m so excited about getting back to Port Stanley.
Tuesday 12 July 1988. Koei Mau 30
After three and a half hours sleep, I went to hold 4 and took loads of ‘crew at work’ piccies. I also took some photographs of one of the loveliest sunrises I’ve ever witnessed. The wispy clouds touched with pink. I wish it was a slide not a print!
Crew preparing baskets for the day’s fishing, Koei Maru 30, July 1988
Abe and Abe the Bosun, Koei Maru 30, July 1988
Crew on deck 4, Koei Maru 30, July 1988
Young crew member with squid-baited long-line baskets ready for deployment, Koei Maru 30, July 1988
Wrote a letter to D, telling her that I’m going completely bonkers. I am.
I am very tired, but have enjoyed today very much. The more I do this work, the more I enjoy it. Abe got me to top and tail and gut my hake today, which was a good compromise because it meant they readily gave them to me, and it also kept me busy.
I am mortified – I am devastated.
My final link with childhood – the bracelet I have worn every day since my A-levels has just broken – I feel torn and weak like Samson without hair. A great sadness for me. In tatters, I feel like crying but am too tired.
Bead bracelet broken, doodle, Koei Maru 30, July 1988
Actually, I don’t think I will ever sleep again. Or will I? 18:00hrs 12.7.88 – Bracelet RIP
At risk of repeating myself, I love seeing new Desi pieces, because with each one there is a subtle but definite improvement. Confidence brings with it the opportunity to push boundaries and have new ideas, and this is something that Desi has done very well.
Desi, M32 Cycle path, Bristol, November 2022
Although this looks like a quick one, the fills look a bit rushed, the borders and neat and the 3D drop shadow nicely done. Judging by the patchy fills, I wonder whether this was a bit of a ‘dregs’ piece, using up remnants of paint in used cans. Always great to see Desi’s work.
I would guess that I only manage to photograph about one in three of Mote’s pieces, which might give you an indication of how prolific he has been over the last few months. This piece under Brunel Way is a bit of a departure from his regular fare.
Mote, Brunel Way, Bristol, November 2022
The stylised face is not a monster, but a human portrait, although it has all the characteristics of Mote’s work. Strong lines, solid fills and fine details created with black lines. The danger of painting the familiar, as opposed to wacky monsters, is that the piece will immediately be compared to a human face, there is a benchmark that we all have and recognise, and it is easier to criticise. Stylised works like this one work well, because they are self-knowing that they are representative of a face, but not an actual face. Great experimentation from Mote.
Natural adventures 