Once again I am introducing an artist new to these pages…I don’t know how I’m going to keep up with only two posts a day. Some good work may never see the light of day. This fine abstract piece is by Bristol-based artist Run Z, and it is one of two that I hve spotted in Bristol. I have not been aware of his work before and I think he is reasonably new to the scene.
Run Z, The Bearpit, Bristol, May 2018
There aren’t too many abstract artists on the streets of Bristol, so Run Z is among the elite group that includes Mr Klue and Decay, both of whose work I admire. This piece uses complementary colours in organic swirls, creating an overall effect that is rather pleasing to the eye. If you look close up, it is all a bit raw, but step back and it makes sense. Nice to see something a bit different.
For the second week running I am stretching slightly the definition of doors, but in my view these do qualify.
Bristol has been a significant port in the development of European and world trade through the centuries and brought great wealth to the nation. As shipping traffic increased there were significant challanges to be faced, the most important of which was navigation and berthing in a port with the second largest tidal range in the world. At Avonmouth in the Severn Estuary the tidal range is 14m and in Bristol itself it is 12m.
This meant that the larger vessels navigating the river Avon would have to wait for spring tides, causing congestion. Additionally, any vessels in the harbour would be left high and dry every day, some would tilt and some would get stuck. What I’m trying to say is that although a significant trading centre, Bristol was not an easy place to sail to.
The solution was to dam off the city stretch of water, creating a ‘floating’ harbour and to divert the course of the tidal river around the city in what is called the New Cut. This all happened in the early 19th century and at the time was the largest civil engineering project of its type anywhere in the world. The impoundment allowed ships to tie up alongside the docks and keys without the hassle of rising or falling tides. Entry into the harbour was via one of two locks in what is known as the Cumberland Basin.
The doors (lock gates) are huge and very impressive, and although they don’t see much use these days (the port closed as a commercial venture in 1975) they are still operational.
The Beady eyed among you will notice Brunel’s Clifton Suspension Bridge spanning the Avon Gorge
Colliter’s Brook inlet into the New Cut, Bristol
More doors, this time managing the flow of one of Bristol’s brooks into the New Cut.
Bristol’s floating harbour and SS Great Britain
This is one part of the extensive (28.3 hectares) floating harbour which is now a major leisure attraction and waterside housing asset in Bristol. Another of Brunel’s astounding achievements, the SS Great Britain permanently rests here.
Maybe back to some rather more conventional doors next week.
Right up there with my favourite Bristol artists is 3Dom. This dream-like piece was created during the recent ASK paint jam at the M32 roundabout and is just so typical of his weird and wonderful creative mind.
3Dom, M32 roundabout, Bristol, May 2018
For those who know his work, there are several familiar themes going on here in this piece, including the purple striped trousers the character is wearing and the birdcage for a head. 3Dom often uses inanimate objects to create the face of his characters, bringing those inanimate objects to life and personality to the whole piece. I think a psychiatrist would probably have a field day with 3Dom’s work.
3Dom, M32 roundabout, Bristol, May 2018
I love the little details like the fly, the lock on the birdcage and especially the upwards drips on the bicycle. I love this piece to bits.
As so often happens in this game, I go in search of one thing and find something else. I had seen a post on Instagram of a beautiful new collaboration by Face 1st and Tasha Bee in Dean Lane, quite unusual, because it is not a spot that Face 1st regularly paints and their collaborations seem to be a bit of a new thing at the moment. When I got there, it had already been overpainted.
Elvs, Dean Lane, Bristol, May 2018
The good news is that the piece covering it is by Elvs, whose work is always of a brilliant standard. In this work he has chosen some dark and subtle colours to create his unique writing. You should be able to read the word ‘ELVS’ as well as some additional characters, in what looks like Japanese to me. I’m not sure what it says.
Elvs, Dean Lane, Bristol, May 2018
The tragedy of Dean Lane (but also the thing that makes it so special) is the transient nature of the work there – blink and you miss it. I was sorry not to see the PWA collaboration, but at least I was rewarded with this superb Elvs burner.
Since Aspire left Bristol for London, it is always such a pleasant surprise to see a new piece by him, because it is always just so unexpected. I guess when he was here, I just took it for granted that there would be a regular supply of amazing birds from this extraordinary artist – now, every single one is treasured as a very special and rare gift.
Aspire, Stokes Croft, Bristol, May 2018
This beautiful kingfisher is on one of the boards outside the Full Moon pub in Stokes Croft, and I think it might have been done as part of a special event held there, although, I have been away a lot recently and missed it. As always, Aspire never disappoints and the slightly blurred appearance of the bird and the background give a feel for natural movement which brings the piece alive. Still loving his trademark pixels. Stunning piece.
This is an interesting burner from Soak in the quiet derelict area sandwiched between the M32 and Stapleton Road. It was part of the cycle route, but it has been closed off while some development works are being carried out.
Soak, M32 cycle path, Bristol, May 2018
Soak’s piece uses a fun theme of exploding his name with fragments falling off in all directions. There is movement in the piece and he seems to have spent a little more tome on this than on some of his other burners. Overall I rather like it.
Well you might be tired of NEVERGIVEUP’s bunnies, but I am not tired of posting them, and there are several more in the pipeline, so watch out. This one is in Moon Street and you might notice it is in good company with an old Laic217 piece on the left and work from Deamze on the right. The one on the left has recently been replaced, but the one on the right has been there for an age and really needs refreshing.
NEVERGIVEUP, Moon Street, Bristol, May 2018
Given that he has done so many rabbits recently, I am left wondering if he will return to his monsters, or whether he’ll come up with something else. Whatever happens, his productivity and enthusiasm seems set to continue.
I think that this is my favourite Oner piece to date. He has taken a little more time, which is possible in the backwater of this spot, which receives so little traffic since the cycle path along here was closed about six months ago.
Oner, M32 cycle path, Bristol, May 2018
His letters are a little more elaborate and he has included a rather dashing octopus character on the right hand side. I think that a piece like this showcases the capabilities of an artist. It is all fine to spray quick burners, because it is fun, but take a little more time and special work emerges. I love the colours and optimism of this burner.
Natural adventures 