After a slow start in the spring, Dibz and Fade have run off an impressive catalogue of collaborations this summer of which this one on the side of the newish skate ramp at Dave Side is a great example.
Fade, Brunel Way, Bristol, July 2026
The hot colours used in the writing are perhaps designed to conjour up the warm Mexican environment to link up with the Speedy Gonzales character Slowpoke Rodriguez. I imagine both artists had a hand in painting the character which is a brilliantly faithful representation. Some great flat lettering from Fade on the left, which is mirrored on the right by Dibz.
Dibz, Brunel Way, Bristol, July 2026
I have exhausted superlatives desribing Dibz’ and Fade’s work this year, and perhaps it is just better for me to let their wildstyle writing do the talking for me. And still they keep turning out more and more pieces – I struggle to keep up.
Shade One, Fade, Dibz and Sikoh, Cumberland Basin, Bristol, June 2026
This is a fabulous production collaboration painted back in June this year by Shade One, Fade, Dibz and Sikoh. It is a difficult wall to photograph in its entirety at the best of times, because of the light incursion creating reflections at different times of the day. These four really are the crème de la crème of their field.
Shade One, Cumberland Basin, Bristol, June 2026
Starting at the left, Shade One has painted an incredible cartoon realism portrait of a futuristic woman wearing pink-tinted glasses with gold rims. I’m not quite sure what the apparatus on her head is all about, but it is imaginative and creative. The pink surround creates a grerat hard defined edge to the portrait.
Fade, Cumberland Basin, Bristol, June 2026
Next up is some graffiti writing from Fade which I think reads SMOOTER and is likely dedicated to a friend. There is little more I can write about Fade and his work that I haven’t already written many times before. Precise and perfectly presented like the adjacent piece by Dibz.
Dibz, Cumberland Basin, Bristol, June 2026
The third piece in this production is by Dibz and mirrors the writing by Fade in terms of colours and to a point style. I cannot for the life of me decypher the letters, but that is wildstyle writing for you, it is intended to be disguised.
Sikoh, Cumberland Basin, Bristol, June 2026
Moving on finally to Sikoh, one of the most talented artists around, in my view. He has overlaid his piece on top of Dibz’ writing, bringing it forward and lifting it from the wall. The colours match Shade One’s bringing about a symmetry to the whole collaboration. Here a tortured skull, part human part machine appears to be yelling out, whether in pain or rage it is difficult to know. So full of movement expression and perfectlky painted. What a collaboration!
This may be the most dynamic and sophisticated piece that I have seen by Butch to date, painted as part of a PLB paint jam underneath Brunel way. The first notable thing about the piece is that it is full of colour, and he has combined his letters with an animated character on the left.
Butch, Brunel Way, Bristol, July 2026
Butch nearly always overlaps his letters so that the letter to the left sits over the letter to the right. This layout distinguishes his work from other writers. Each of the letters is decorated independently, although the ‘U’, ‘C’ and half of the ‘H’ share a grey and white colour scheme. The character is a running pencil, with a big mouth. What he is running from I have no idea. All in all an entertaining combination piece.
Mr Draws is an artist with a conscience and once in a while his activist streak comes out, in particular when it comes to cows, their welfare and, I guess, the eating of them. One doesn’t need to be a vegan or vegetarian to support his views, especially around the custodianship of livestock.
Mr Draws, Brunel Way, Bristol, July 2026
In this stark piece, Mr Draws has painted the word ‘Humane?’ with a cow hide pattern (although with spots like that it is most likely a dairy cow), and a bleeding cut sliced through the letters. The message is loud and clear, and I applaud Mr Draws for bringing animal rights/welfare issues to our walls. Protest and activism is one of the vibrant strands of graffiti and street art and pretty much always has been.
Sled One and Oust, Brunel Way, Bristol, April 2026
I was very happy to catch up with Sled One as he was finishing off his snail, way back in April – a piece that nearly slipped through the net. Happy, because I hadn’t seen him for a long while, which was perhaps not too surprising because he told me that he was a bit of a ‘fair weather’ artist with regard to his street work. Here he teamed up with Oust, amongst others is an outstanding collaborative wall under Brunel Way.
Sled One, Brunel Way, Bristol, April 2026
The Snail is so full of character and a multitude of charming details – his face with those eyes on stalks is a picture. Three cheeky ladybirds are hitching a ride on the snail’s back and his shell is a clever representation of planet Earth. The snail is sliding his way through the grass.
Oust, Brunel Way, Bristol, April 2026
Next to the snail set in a grassy landscape is a wonderful piece of graffiti writing from Oust. The letters and drop shadow pick up on and reflect the colours used in Sled One’s adjacent snail. The wildstyle writing is beautifully presented with organically blended colours in the letters, with some spots, and a blue background with further spot decorations. This is a superb pairing from the overall collaboration.
There are no two ways about it, Sepr has to be one of the greatest creators of graffiti characters around. It is not only his perfect execution that draws the eye, but his creative concepts that make his work so compelling… his ability to tell stories through his artwork. Stories that the viewer can make up, depending on how they interpret what they are looking at.
Sepr, Brunel Way, Bristol, April 2026
In this piece, we have a three-toed sloth dressed in a smart suit, holding a briefcase with the letters ASK embossed on it, and holding a mobile telephone with the word ‘Yoooooo!’ in a speech bubble. For me this is a throwback to the late 1980s/early 90s where such work executives paraded around as if they were the most important people ever. We all knew they were jumped-up self-important twits, many of whom ended up running the country in one form or another. Generally speaking sloths in a suit.
Creamylines has been working on an array of community art projects in recent months which has taken up a fair amount of his time, and, as a result he hasn’t been painting walls all that frequently. This piece under Brunel Way has bucked that recent trend.
Creamylines, Brunel Way, Bristol, June 2026
This time his column landscape has more of a nighttime feel to it, even though there is a large sun at the top of the piece. Perhaps it is sunset. Water, fields and an urban scene all contribute to this overall English landscape, and in such a small area of wall too. He certainly crams it all in. Another winning piece from Creamylines.
Having been quite quiet over the winter months, Dirtygypo has had a recent pulse of activity, painting in several of the spots around the city. This piece was painted next to one by Biers which I posted yesterday.
Dirtygypo, Brunel Way, Bristol, June 2026
As ever, I struggle to read Dirtygypo’s letters – I have managed it once or twice – but in the main he outfoxes me (it is possible it reads DIRTY). Characteristic of his work is the skull-like first letter and the lightening bolts that separate letters in his writing. The whole thing hangs together nicely, and I rather like his lettering style. More to come.
Since Biers introduced his Rabies letters he has been quite busy about the place, having spent a period in the doldrums feeling a little uninspired. This piece under Brunel Way is presented in softer, more gentle colours than its starker predecessors.
Biers, Brunel Way, Bristol, June 2026
I have never thought about it much, but Biers’ lettering is verging on anti-style, although he tends to stick to a strict convention all of his own from piece to piece. The letters are filled in two tones of orange and cream with reversed out spots, all so characteristically Biers.
Logoe has painted a fair bit in Bristol this year, and as writing goes, this is one of his more conservative pieces without frills and decorations, just a straightforward example of script writing that he excels at.
Logoe, Brunel Way, Bristol, May 2026
The ‘wall’ in this case is actually a piece of canvas fabric that has been stretched between some fence posts, quite why I don’t know, in fact I’m not too sure what that bit of fence is doing in the first place, stuck under the flyover. Most of the pieces painted here tend to be fairly modest, perhaps it isn’t particularly inspirational. More to follow from Logoe.
Natural adventures 