Alex Arnell certainly provides something a little different with his alarming sketched characters, adding to the vast spectrum of artistic styles we get to enjoy on the streets of Bristol. This piece was one of several from a recent trip to Leonard Lane by the artist.
Alex Arnell, Leonard Lane, Bristol, October 2025
In this piece, the skeletal ghostly figure emerges from the existing artwork on the wall, and the flowers that were there have been incorporated into Alex Arnell’s character as eyes on a tilted head. I like it when artists incorporate the surroundings into their art. Clever work from the visitor.
Boo! This is another slightly unhinged character piece by Alex Arnell in Leonard Lane. This time he has gone for a door at the north end of the narrow lane, which door lovers among you might see again some time in the distant future as part of a street art Thursday Doors selection.
Alex Arnell, Leonard Lane, Bristol, October 2025
The ghoulish creation is actually a political commentary piece which says ‘no red swastikas here’ meaning (I think) that St George crosses that have been appropriated to represent nationalism and racism are not welcome here, and he is in my view right. There is more than simply the character to admire in this piece, he is set alongside a road with a car, headlights shining, advancing towards a mini roundabout. It is these white mini roundabouts that have been painted with red crosses through them in a wave of ‘patriotism’ that has been sweeping the country. Unfortunate and rather sad that our tolerant nation resorts to this kind of posturing. Great piece from Alex Arnell. It is interesting that at the other end of the tunnel, a beacon of tolerance adorns the column of a building opposite.
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.
Every once in a while, Alex Arnell makes a visit to Bristol, and when he does, he seems to gravitate towards Leonard Lane, an ancient narrow lane that used to be the boundary of the old city wall. Over the years it has been a favourite ‘safe spot’ for graffiti and street artists, although recently many of the walls have been buffed, perhaps in an effort to tidy up the lane.
Alex Arnell, Leonard Lane, Bristol, October 2025
Alex Arnell, whose characters are grotesque and nightmarish, has cleverly painted eight panes of glass on this window, with one screaming skeletal character in each. This is outstanding placement and use of an existing feature, although the owners of the window might argue with that. Alex Arnell’s scribbled style is pretty unique and negates the need for a signature. On this trip he left a few pieces, so watch this space for more.
The work of Alex Arnell, in my mind, verges on the grotesque… not his artwork, I hasten to add, but his subject material. Although he operates out of Brick Lane in London, he appears to have visited Bristol on a couple of occasions, and has left behind a gallery of characters in Leonard Lane.
Alex Arnell, Leonard Lane, Bristol, May 2024
Alex Arnell’s style is utterly unique and could be interpreted as scribbles that ‘anyone could do’. That may or may not be true, but the point here is that he does it, and he does it really well. I like deliberately naive artwork because there is an authenticity about it, and although a cultivated look, it is also honest and unpretentious – although there might be those that consider it grossly pretentious. The skeleton is rather scary, not because it is a skeleton, but because there is threat and alarm in his expression. Crazy stuff, but most welcome.
Alex Arnell, M32 roundabout, Bristol, October 2023
It is a funny thing, but when you have been observing and documenting street art as long as I have, you get to notice things that many others simply wouldn’t, and you can pretty much always spot talent and promise from the vast spectrum of artwork and graffiti appearing on our walls daily.
Alex Arnell, M32 roundabout, Bristol, October 2023
To Many, this piece by Alex Arnell wouldn’t elicit a second glance, but the child-like scribble is a deliberate style that challenges the status quo. One of the indications that this piece is by a capable artist is the shading on the character’s nose, giving it depth, something a child would not do. The grotesque and alarming face is surrounded with slogans and words, and there is even another head that mimics the central character. I couldn’t end this post without mentioning the butterflies that are associated with some of Alex Arnell’s work, and the little Banksy rat that has been given the Arnell treatment.
Alex Arnell, Leonard Lane, Bristtol, November 2023
Tell me that this isn’t scary or alarming, and I’ll buy you a beer should we ever meet. I think that Alex Arnell may have paid Bristol a swift visit in October or November this year, because I have come across a few of his highly distinctive scribble pieces recently, and I know that he is not a local artist.
Alex Arnell, Leonard Lane, Bristtol, November 2023
Although the piece is a child-like scribble, it is in fact far more sophisticated than that and the subject is highly unsettling. Lots of colour and layers combine to give us this angry/scary portrait – the stuff of nightmares. I am not sure what materials Alex Arnell uses for his work, but it would be interesting to see if he could scale it up and use spray paint to create the same effect. Interesting and distinctive.
Natural adventures 