From the first time I saw his work, I have always liked the originality shown by Creamylines, and finding this piece on one of the columns under Brunel Way recently was a special surprise. There is a basic formula to many of Creamylines’ pieces that includes a sun with rays sitting over a landscape scene divided up by black lines.
Creamylines, Brunel Way, Bristol, February 2024
I am always reminded of stained-glass windows when I see these pieces, for obvious reasons, and there is a calm, tranquil quality to the work – you can almost hear the cries of seagulls in the air. Another aspect of this piece is the suggested faces that emerge through the piece, adding another layer of interest. A great column piece from Creamylines.
It is always great fun to come across the hapless Mr Underbite, looking as confused and ever so slightly miserable as usual. This is not the first time Mr Underbiter has appeared on this particular wall, which seems so very well suited to the proportions of the face.
Mr Underbite, Brunel Way, Bristol, February 2024
The letters MUB refer to the artist and the character’s name. I suspect that this was a quick one, as the underlying piece (by Ryder, from recollection) is still partially visible, and it is a simple two-tone affair. I very much hope that we het to see plenty more of this fine character work as things warm up in 2024.
Mr Underbite, Brunel Way, Bristol, February 2024
Just in case you miss the piece, a nearby slap (sticker) reminds us that Mr Underbite comes in many sizes and forms on our streets.
This is a great occasion. I have been trying to find out who this artist is for absolutely ages (I know I am not alone) and at last their name ‘j9449j’ appeared as a tag on an Instagram post a week or two back, and we are no longer in the dark. What this also means is that I can release a whole bunch of their work from my archives which has been itching to be posted.
j9449j, Brunel Way, Bristol, February 2024
j9449j has a very distinctive collage style with plenty of shapes, symbols and plants, bound together with clever use of colour ‘patches’. The work is original and quite unlike anything else we routinely see in Bristol. How nice it would be to actually meet j9449j and find out more about their art, style influences and so on. This is the first of many posts (retrospective and future) I hope.
Today is the first day of our skiing holiday, and it is going to be a bit of a challenge to write posts this week. Forgive me if they end up being a little brief. I have found a quiet moment before we have got going this morning to post this rather lovely piece of writing from Lewse.
Lewse, Brunel Way, Bristol, January 2023
There is no question about it, Lewse is utterly underrepresented in Natural Adventures. Her accomplished pieces, sometimes accompanied by characters, appear reasonably frequently, but a special feature of her work is its longevity, with many pieces lasting a year or more. This is a perfect example of her work, with a Pink Panther character and some beautifully filled letters, along with a superb blue patterned background. A fabulous piece of graffiti writing.
I am rather fond of Jevoissoul’s work. It doesn’t have the sharpness or precision of writers like Dibz or Smak, nor does it create extraordinary characters in the way that Sled One or 3Dom can, for example, but it has a charm and authenticity that underpins the vast spectrum of art and graffiti that we see in Bristol. On such solid foundations great things are built.
Jevoissoul, Brunel Way, Bristol, December 2023
Jevoissoul has painted two of his characters with ‘Popeye’ smiles. The fills and shading is basic and effective, creating some contrast and depth in its simplest form. No Jevoissoul piece is complete without the word ‘slow’ in attendance, although I don’t know why he writes it, nor why it is pointed at the character on the left. One for the next conversation I have with the artist.
Dibz, Shade One and Rusk, Brunel Way, Bristol, December 2023
This is one of the last pieces I photographed in 2023, and what a belter of a collaboration it is, bringing together the outstanding skills of Dibz, Shade One and Rusk. As always, the light under Brunel Way rarely allows photographs to do the street/grafitti art pieces justice, but I think that it is possible to see what a classy collaboration this one is.
Dibz, Brunel Way, Bristol, December 2023
On the left is some superb writing from Dibz, which is a tribute piece to a supporter of his work, ‘Marie’. What this piece of graffiti writing shows is that you can give Dibz any number or combination of letters, and he will be able to create something beautiful with them. The pink and black drop shadow against the gold letters works so very well.
Shade One, Brunel Way, Bristol, December 2023
Shade One’s work is really something special, and this portrait piece of a young person wearing a hoodie and baseball cap set against the moon and silhouetted buildings, is exceptional. The portrait is painted in greyscale, and although there is a lack of colour, it doesn’t matter one jot, because the shade and shadows provide perfect depth and texture. A very fine piece indeed.
Rusk, Brunel Way, Bristol, December 2023
On the right, Rusk, who is often found painting alongside Shade One, has created some gorgeous letters spelling RUSK, reflecting the gold and pink colours seen in Dibz’ piece. By using two tones of gold (bronze/brown) transitioning horizontally through the letters, it gives the illusion that the letters are a solid bar being tilted and catching the light in different ways. A tight and classy piece and collaboration.
Although Sako has only painted a handful of pieces in Bristol, they have not gone unnoticed. His colour selection alone gives his work away, often opting for a magenta character, with blues and greens augmenting his work.
Sako, Brunel Way, Bristol, November 2023
Originally from the Basque Country, it would seem that Sako has settled in Bristol for the last year or so. His mystical work seems to be centred around storytelling and mythology. In this piece, his female character appears to be bridging the space between the land and the sky. The urban landscape is represented with the blue circle, with a green mountain backdrop completing the scene. Although he painted this piece alone, Sako often paints alongside Zake and other PWA crew members. Great stuff, rather understated and modest. Time to hit a more prominent wall, I think.
As we approach Christmas and the end of the year, I expect my posts to get slightly shorter, possibly a little bit more reflective, and maybe even a little bit rushed. I suffer from ‘ground rush’ before breaking up for a holiday period, when a whole bunch of work needs to be tied up and out of the door in an ever-diminishing time slot. Alright, I get it, I am getting my excuses in early, and that is the way I roll.
Zake, Brunel Way, Bristol, November 2023
Zake has had an extraordinary 2023, where his work has not only been more frequent, but it has blossomed, and he is pushing all of his boundaries to develop his unique portrait style. I first became aware of his work through his column pieces under the M32 in May 2018, and they have been a regular feature ever since, as you can see in this updated gallery of his work. There is lots of depth created by light and shadow in this piece, and a fair amount of expression in those wild staring eyes.
For many years, and more acutely this year, there has been a massive focus on the issue of compensation overflows in the UK. These overflows are essentially permitted activities of pumping raw sewage from water treatment plants, when heavy rainfall makes the processing of large quantities of sewage almost impossible. Some (and I include myself in this) point the finger at underinvestment in the infrastructure of water treatment plants, rather favouring healthy annual handouts to investors and shareholders.
The problem existed before the privatisation of water companies, but has been exacerbated by privatisation and a growing population and demand on the existing infrastructure, that simply isn’t up to scratch. Much easier to lean on a polluting permitted activity than to spend money fixing the problem.
Privatisation of water has, in my view, been a disaster, making a few investors, chief executives and foreign companies very wealthy indeed, but leaving the necessary investment and impact on the environment way behind. The public have had enough and are demanding that something is done about the situation. National commentary and pieces of art, like this one from John D’oh reflect this public mood.
John D’oh, Brunel Way, Bristol, October 2023
In its minimalist way, this stencil by John D’oh distils the issue and makes it simple. ‘Shit doesn’t just happen (we have known about this problem for decades and done nothing about it), clean our rivers’. I have worked in the water/environmental sector my entire life, and John D’oh has nailed it. Clever placement too with the River Avon in the background. This is an understated and poignant protest piece. Bravo John D’oh.
Abbie Laura Smith, Brunel Way, Bristol, October 2023
Paste ups are a much underused street art form in Bristol, which is a real pity, they just don’t seem to gain any traction here at all, so I am really pleased to see that we have a new wheatpaster in our midst. I have found a handful of paste ups by Abbie Laura Smith lately, and her black and white social commentary pieces. Her work contains tidy artwork and punchy messages. To see what she has to say in this one, you need to get a closer look.
Abbie Laura Smith, Brunel Way, Bristol, October 2023
The portrait of a young woman, conceals the words (profanity warning) “Fuck you, I won’t do what you tell me” in the features of her face and in her hair. There is anger and attitude in the words, and sadness in the image. This is what public street art is all about, and I love it. I am constantly on the look out for more from Abbie Laura Smith.
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