Tag: Abstract

1261. Upfest 2017 (125)

Funnily enough, this is another piece that I don’t recall very well from the festival itself – there were so many works at Ashton Gate that it has been impossible to recollect them all. However, looking at the images on my computer, this one really stands out as a beautiful  and colourful piece.

Onga, Upfest, Bristol, July 2017
Onga, Upfest, Bristol, July 2017

To my shame, Onga hasn’t really crossed my radar before, despite having lived in Bristol for a few years, and contributing regularly to Upfest in the past. Maybe it is because he doesn’t spray on the walls I visit, I don’t know. I know from a biography I read that he enjoys festivals, and since I have only been to Upfest for the last two years and no other festivals at all, it might explain why our paths haven’t crossed before.

This is a fine piece that probably needs a little bit of scrutiny and unpicking as there is a story there somewhere.

1249. Moon Street (40)

This is the second of two pieces by Rezwonk in Moon Street and one which on first glance looks like a simple geometric pattern scrawled on a gate. Looking more closely, there is probably more to it.

Rezwonk, Moon Street, Bristol, October 2017
Rezwonk, Moon Street, Bristol, October 2017

The patterns are composed of five lines, always in the same order, a little bit like holding five biros in your hand and making patterns or letters  – the kind of things you did at school. Another layer of sophistication here is that the lines are contained within a circle although the circle isn’t outlined. I am not certain, but I wonder if the patterns are letters…if they are, I can’t work them out. My favourite touch though is the five bar gate at the bottom right, almost like a checklist that the five colours have all made it onto the piece. A lovely abstract piece.

Rezwonk, Moon Street, Bristol, July 2017
Rezwonk, Moon Street, Bristol, July 2017

 

1225. Stokes Croft, the Carriageworks (30)

The facade of the Carriageworks is living on borrowed time. The building has been in limbo for many years and is in a state of semi-dereliction. The owners appear to be waiting for the right offer to come in from potential developers before selling up. As a result, the bricked up archways have played host to some exceptional pieces of street art over the years, and has been a ‘go to’ location for locals and international artists alike.

Mr Klue, Stokes Croft, Bristol, December 2017
Mr Klue, Stokes Croft, Bristol, December 2017

The turnover of artwork has reduced dramatically as talk of redevelopment hots up but there has been a recent spate of work from local artists. One of those is the fabulous Mr Klue, whose abstract pieces I love and have featured countless times here before. He described this freestyle piece as a ‘quick ting’ on his Instagram account. I haven’t seen any street pieces by Mr Klue since Upfest, so this was a real pleasure to find and photograph. More please Mr K.

1218. Stucley Place, London (2)

I was lucky enough to pass by this wonderful abstract piece while it was being sprayed by Mr Jiver, a London artist who told me he had his roots in wildstyle writing and that there are echoes of that in his current abstract works.

Mr Jiver, Stucley Place, London, November 2017
Mr Jiver, Stucley Place, London, November 2017

The intention for this piece was that it was meant to be a collaboration, but there was a ‘no show’ from the other artist which accounts for the gaps that have been left.

Mr Jiver, Stucley Place, London, November 2017
Mr Jiver, Stucley Place, London, November 2017

I would guess that artwork like this is at risk of being criticised in the same way that art by Jackson Pollock has been criticised…that old chestnut ‘I could probably do that with my eyes shut’ kind of thing. The retort might be ‘well go ahead then’. Mr Jiver has created a thought out piece with deliberate colour selections, shapes and shading and I celebrate it.

Mr Jiver, Stucley Place, London, November 2017
Mr Jiver, Stucley Place, London, November 2017

I enjoy meeting artists when they are at work and trying to understand a little bit more about what motivates them. Insight certainly helps with interpretation. Mr Jiver – nice bloke, great work.

1199. Backfields Lane (3)

I think this is the largest Decay piece I have seen, and I like it. Going large suits his work in my view. When I first saw this wall, there was a large white van obscuring the bottom half, and I was rather fed up. But by the next time I visited, the car park was empty and I got a good unobstructed view.

Decay, Backfields Lane, Bristol, November 2017
Decay, Backfields Lane, Bristol, November 2017

Decay has taken to adding some philosophical text next to his pieces recently, and I think mit works quite well. Here he says ‘living in the days of  ill soul’ and I kind of get what he’s talking about.

Decay, Backfields Lane, Bristol, November 2017
Decay, Backfields Lane, Bristol, November 2017

He has worked hard to make it look like the piece is emerging from a hole in the wall and I think to a greater extent it works. On seeing a previous piece by the artist, my wife rather spoiled things by pointing out a phallic undertone…which I hadn’t noticed. Now when I see his pieces I kind of see it again, and especially in this piece. I am not sure if it is deliberate or accidental, but it is difficult to ignore once it has been pointed out. Sorry.

A great piece from Decay.

1181. Leonard Lane (13)

I love Leonard Lane. It is a strange thing I know, to love a narrow claustrophobic alleyway that smells a lot, but I can’t help myself. It was one of the first places I used to visit regularly to photograph street art and graffiti, and I return periodically soaking up its unique atmosphere.

Decay, Leonard Lane, Bristol, November 2017
Decay, Leonard Lane, Bristol, November 2017

It has been a long while since anything decent went up in Leonard Lane, and how fitting that it should come from Decay. I am still trying to understand the words that accompany this piece ‘my direction will not be controlled by my excuse’.

Decay, Leonard Lane, Bristol, November 2017
Decay, Leonard Lane, Bristol, November 2017

Reverting back to his normal reds, greys and blacks, Decay has really nailed this new addition to the Lane. It is also interesting how the piece has brought out the grille in the wall, which might otherwise have gone unnoticed. A lovely piece.

1166. Chalk Farm (3)

When I saw this piece in the Chalk Farm housing estate I instantly recognised the artist as Jerry Rugg or Bird0. He painted a fabulous piece for Upfest 2016, which is still there and looks like it will remain permanently.

Jerry Rugg, Chalk Farm, London, November 2017
Jerry Rugg, Chalk Farm, London, November 2017

Bird0 has a great skill for fusing abstract shapes and designs with wildlife forms to create these otherworldly creatures. His pieces are characterised by the use of bright vibrant colours, lots of oranges and yellows.

Jerry Rugg, Chalk Farm, London, November 2017
Jerry Rugg, Chalk Farm, London, November 2017

This is a spectacular piece, but I had limited access to it, and took the pictures through some railings. I couldn’t work out how to get the other side and I was unsure about whether I was permitted to be there in the first place. I will go beck again and get some better shots.

1142. The Bearpit (107)

The weather, and time of day can be a real pain in the backside when taking pictures of street art. I always feel I have to take pictures, even if the light conditions are a bit crap, just in case the piece I am photographing isn’t there the next time I pass by…a very real possibility in Bristol. I am saying all this as a bit of an elaborate excuse for a rather poor picture of a beautiful recent piece by Decay.

Decay, The Bearpit, Bristol, October 2017
Decay, The Bearpit, Bristol, October 2017

This Halloween piece is notable because it is one of those rare examples of Decay’s work that departs from his customary reds, greys and blacks. I really love this piece, and love the way he has ‘respectfully’ sprayed around the sign that says ‘exhibition in progress, please respect’. It made me smile. Something different and yet so familiar from Decay.

1100. Dean Lane skate park (85)

A familiar piece in a familiar place from a familiar artist. This is a beautiful abstract piece by Shab, sprayed in one of his favourite spots in Dean Lane skate park. I do like it when artists kind of ‘claim’ a spot, although it is not so good when they guard it jealously.

Shab, Dean Lane, Bristol, October 2017
Shab, Dean Lane, Bristol, October 2017

Always pleasing on the eye, Shab’s work holds a kind of mystery for the viewer, and a fascination too. Of course, the eye usually plays a part in his work, and adds some realism to this abstract world. Such subtle colours in the eye, set against the black and white surround.

Shab, Dean Lane, Bristol, October 2017
Shab, Dean Lane, Bristol, October 2017

I have always liked and probably always like the work of this highly respected Bristol master.

1003. The Bearpit (88)

Another old one from the archive dating back to January 2017. This is a really great semi-abstract piece from the hugely talented Mr Klue. In this piece he uses his favoured colour scheme of purples and blues and incorporates a vanishing point around which the whole work focuses.

Mr Klue, The Bearpit, Bristol, January 2017
Mr Klue, The Bearpit, Bristol, January 2017

I like his work very much, but haven’t seen too much of it on the streets lately – in fact the most recent piece I saw was the one he did for Upfest.

Mr Klue, The Bearpit, Bristol, January 2017
Mr Klue, The Bearpit, Bristol, January 2017

I look forward to more of his work on the streets of Bristol. I hope I don’t have to wait too long.