Rowdy, Ryder, Taboo, Sage and Solar, Coronation Road, Bristol, January 2025
I photographed this building way back in January, but never got round to posting it. I am doing so now, because there was a large fire at the site, a former metalworks, in early October. The building ceased to be in use in 2020, and became an obvious opportunity for graffiti, and several writers from around the city duly obliged. I don’t believe that this was any kind of overall collaboration, more an accumulation of pieces over time from Rowdy, Ryder, Taboo, Sage, Solar, and one other.
Rowdy, Ryder, Taboo, Sage and Solar, Coronation Road, Bristol, January 2025
The top row (the former canteen of the building and most severely fire-damaged part – arson, by the way) is a combination collaboration from Ryder and Rowdy, both of whom are significant players on the graffiti scene in Bristol. Taboo’s dominant epic piece takes up the whole of the middle floor, and some smaller pieces from Sage, Solar (PLB) and Phase (?) occupy the ground floor. This is more of an interesting mosaic than anything else really – iconic in its own way, but now alas, ashes.
I simply cannot fathom why it has taken me so long to post this outstanding piece by Kid Krishna in Stokes Croft, painted alongside ESKA and Hemper. It has been around since April this year, and I photographed it shortly after it was painted. These pictures are more recent, and the piece is still in great condition, looking very fresh.
Kid Krishna, Stokes Croft, Bristol, October 2025
The combination piece combines his CRIE letters to the right with a group of surreal cartoon-style characters, showcasing Kid Krishna’s extraordinary talent. There is a lot of colour and movement in the piece, especially the three characters on the left who appear to be having an animated conversation.
Kid Krishna, Stokes Croft, Bristol, October 2025
Kid Krishna is something of an enigma. He is incredibly modest about his work, has unquestionable talent, paints high-end pieces and scruffy mega-tags. I think that the overriding sense I get from him and his work is the sheer love of art and creativity. Imagination and creativity are things he has in abundance, as you can see from this awesome piece.
Scrapyardspec, St Werburghs, Bristol, October 2025
In the main, Scrapyardspec tends to paint his work in ‘cheeky’ spots that others might avoid, or simply not consider worth painting. His adaptable character lends itself very well to filling spaces in landscape or portrait orientation, again something that graffiti writers for example often struggle with.
Scrapyardspec, St Werburghs, Bristol, October 2025
This piece is at the entrance of the tunnel and makes use of a textured wall that has plenty of plant growth spilling over it. Scrapyardspec’s goofy character, reverts to its more basic form – no limbs or hair here – and reminds us of his iconic and unique design. I have lots more pieces by the artist and might have to do mini gallery at some point just to catch up.
Doors 331 – Doors of the Saadian Tombs, Marrakesh, Morocco, January 2025 (Part XI).
On arrival at our Riad Hotel in the Medina, the staff were very keen to point out all the ‘must visit’ places which we could visit during our stay. The closest, perhaps a ten-minute walk, was the Saadian Tombs.
My apologies to you all, but I have resorted to the Interweb to provide a short description of the Saadian Tombs:
The Saadian Tombs are one of the city’s most remarkable historical monuments, reflecting the grandeur of the Saadian dynasty that ruled from 1549 to 1659. Hidden for centuries and rediscovered in 1917, the tombs were built by Sultan Ahmad al-Mansur to house members of the royal family and his successors. The complex is renowned for its exquisite Islamic architecture, blending Andalusian and Moroccan styles.
Its chambers are adorned with intricate stucco work, colourful zellij tile mosaics, finely carved cedar wood ceilings, and marble columns imported from Italy. The most famous section, the Hall of the Twelve Columns, features the sultan’s own tomb surrounded by others, symbolizing both royal power and the Saadian dynasty’s devotion to artistry and craftsmanship. Today, the tombs stand as a beautifully preserved testament to Morocco’s rich architectural and cultural heritage.
The rooms of the tombs were not accessible and many of the photographs were taken standing at the entrances, leaning into the rooms. It is definitely a fascinating site and worth putting on your itinerary if you happen to be visiting Marrakesh. I hope you enjoy the doors and architecture:
External wall of the Saadian Tombs showing earthquake damage, Marrakesh, Morocco, January 2025Garden of the Saadian Tombs, Marrakesh, Morocco, January 2025Gated and tiled entrance to a room of the Saadian Tombs, Marrakesh, Morocco, January 2025Small ornate niche, the Saadian Tombs, Marrakesh, Morocco, January 2025View through an archway towards the tombs of Muhammad al-Shaykh and Lalla Mas’uda showing elaborate tiles and plaster work, the Saadian Tombs, Marrakesh, Morocco, January 2025The Chamber of the Twelve Columns, the mausoleum of Sultan Ahmad al-Mansur, the Saadian Tombs, Marrakesh, Morocco, January 2025Garden of the Saadian Tombs, Marrakesh, Morocco, January 2025Detail of the extraordinary craftsmanship in the Saadian Tombs, Marrakesh, Morocco, January 2025The ceilings over the Chamber of the Mihrab, the Saadian Tombs, Marrakesh, Morocco, January 2025Doorway of the Chamber of the Mihrab, the Saadian Tombs, Marrakesh, Morocco, January 2025External door and doorway into the Chamber of the Mihrab, the Saadian Tombs, Marrakesh, Morocco, January 2025
There was a rather nice ambience in the Saadian Tombs, and as it was early in the year, there weren’t too many tourists and not much queuing at all. Next time I’ll share some more of the bustling streets and souks. Have a great weekend.
If you have made it this far, you probably like doors, and you really ought to take a look at the No Facilities blog by Dan Anton who has taken over the hosting of Thursday Doors from Norm 2.0 blog. Links to more doorscursions can be found in the comments section of Dan Anton’s weekly Thursday Doors post.
Sled One, Oust and Stivs Brunel Way, Bristol, October 2025
I came across this outstanding collaboration, intending to photograph its predecessor by Dibz and Fade who I had watched painting their collaboration, but as I have said, you snooze, you lose in this game and when I returned it had been painted over by this masterpiece. I think that this is probably my favourite collaboration of the year so far, oozing with talent.
Sled One, Brunel Way, Bristol, October 2025
To the left, Sled One has painted one of his magnificent cartoon-style creations, heavily loaded with political commentary. The piece is reflecting the rather unsettling rise of the appropriation of the St George Cross to represent anti-immigration (and for some, racist) sentiments, purporting to be patriotism. This is another division stoked up by the right wing parties, Reform and the Conservatives, as a wedge issue from which they expect to benefit.
Anti-immigration and racist sentiments are not particularly well-supported in Bristol, and Sled One has illustrated a large shoe squashing a gammon (“gammon” is a derogatory slang term for middle-aged, often ruddy-faced, white men who are perceived as being nationalistic, anti-immigrant, and particularly supportive of Brexit) attempting to paint a St George cross on the sole of the shoe. He is being squished. If only it was that simple to moderate this rise in anti-foreigner narrative masquerading as patriotism.
Oust, Brunel Way, Bristol, October 2025
The middle section of this triptych is a superbly colourful piece of graffiti writing by Oust, spelling out OUSTER. Beautiful letters, beautiful fill colours, some nice flame bursts and bubbly background. A first-class piece of writing.
Stivs, Brunel Way, Bristol, October 2025
On the right is an outstanding cartoon portrait piece by Stivs, which I think is one of his best, and that is a high bar indeed. The stylised portrait draws on the Japanese anime genre and has so much movement and attitude about it. The piece is beautifully executed and looks like it could be a still from a film.
Stivs, Brunel Way, Bristol, October 2025
As I said before, an outstanding collaboration. Bravo! Sled One, Oust and Stivs.
As if I didn’t have enough complimentary words for Hypo in my last post of his work, I guess I’ll be heaping on some more here, simply because his efforts at the moment are at such a high level. Hypo also seems to be at the heart of the Bristol street art scene currently, and last weekend was heavily involved in a 50th birthday celebration paint jam here in the tunnel for Minto.
Hypo, St Werburghs, Bristol, October 2025
This piece, in wonderful flame colours, mirrors some of his other recent pieces, including the letter shapes and the decorative spheres. There is so much to like about this piece as his constant development continues.
Wilko and Boxi, Cheltenham Road, Bristol, October 2025
Wilko (Sgt Wilko) who hails from Birmingham has recently been rather busy in Bristol pasting up his designs all over the city, particularly in the Bedminster area, in advance of an exhibition of his work at That Art Gallery at the top of Christmas Steps from 18-23 November, with fellow wheatpaster Boxi. While I have seen Wilko’s work before (the first, middle and last pieces on this shopfront in Cheltenham Road) This is the first time, I think, that I have seen anything by Boxi (second and fourth pieces).
Wilko and Boxi, Cheltenham Road, Bristol, October 2025
Both artists appear to take some inspiration from African art, and other influences such as cubism. There is a lot more to wheatpastes than simply sticking up posters. There is the original composition, the cut-out and equally importantly the positioning of the pieces, both in terms of the location and arrangement. Wilko and Boxi have set up a nice little gallery in this instance. Their wheatpasting is not to everyone’s taste, and they have caused a bit of a stir in East Street, where some of the shop owners whose shops have been targeted are less than happy. The ‘edge’ of street art.
On his visits to Bristol, Alex Arnell has definitely made Leonard Lane his home. All the nooks and crannies in this dark, narrow lane lend themselves perfectly to his nightmarish characters.
Alex Arnell, Leonard Lane, Bristol, October 2025
At first glance, this naive style of art might be considered by some to be the sort of thing that anyone could do. This viewpoint would be a mistake though, as Alex Arnell has developed a very distinct style that he replicates through his studio and street work, and as a classically trained artist this style is anything but child’s play. This particular piece, like so much of his work, combines humour with horror, colour with darkness. It is both challenging and arresting.
The following biography is an extract from his website:
As much as I don’t like talking about my art, I feel there maybe some confusion about the breadth and chaotic nature of my practice, so here I feel it necessary to attempt to explain.
Increasingly since moving to London in 2009, influenced by the abundance of street art all around me, I have found myself making art in outdoor spaces. Alongside this, I have also continued my studio practice – usually painting and often with galleries/ indoor spaces in mind-but the boundaries blur. Audience response is also crucial to my development. I want to make art that the public will engage with/find interesting. On the street/ in outside spaces, where there are people around, there might become a performance aspect to my art making, or it might become interactive.
For a few years now, I have worked part-time in a primary school making art with children, so this has had a huge influence on my work.
As for the diversity and varied choice of subjects/handling, I want to make art that is not contrived or elitist, so I try to trust and follow my instincts with regard to ideas/media choice. Once I am involved in making, the work usually becomes process lead and my mood at the time will dictate how the artwork is resolved.
My art is usually signed ‘Alex Arnell’ or tagged ‘Sell Out’. ‘Sell Out’ is simply a tag for my outdoor work, when sometimes I might give away work for free, blu tack it to a wall or make it in a medium that can rub off (like chalk). The words ‘Sell Out’ have become synonymous with the world of Graffiti/street art (an insult thrown at artists who have used the streets as a platform to make money from their art) seemed somehow humorously appropriate.
Natural adventures 