The thing I love about Soker is that he is his own man. Quietly and without fanfare, he’ll just saunter down to Dean Lane and create something like this. No fuss, no bother, but just how good is it? If you ask me it is a brilliant , and he must be one of the best writers in the UK right now.
The salmon pink background is quite an unusual colour, and one I haven’t seen much of before. If nothing else, it helps the writing and black outline to it stand out. The three shades to the lettering fill are quite understated, but just to give the whole thing a bit of a spark, Soker has included five orange accents within the lettering. An outstanding piece and one I certainly wasn’t expecting to find.
Aaah, familiar stuff from Mr Draws and one that had been inadvertently omitted earlier in the year, which is surprising really, because it is so very good.
There is always something very cheery about his work that works for me. In this piece, the filler is absolutely beautiful, the two colour palettes above and below the yellow line are brilliantly complementary and the bubble effect imperious. I really love the simple idea and lovely execution of this one. Can’t believe it has taken almost a year to post it!
Although not her best work technically, I love this piece by Tasha Bee in Dean Lane, because of the incorporation of the budlia bush as the character’s hair. I love it when artists incorporate the surroundings of a piece into the work, and Tasha has done it beautifully here.
I think that this was done as a little extra while she participated in a recent collaboration with Soap and Stupid Stupid Meathole, posted a week or two back. A quick one with that touch of magic.
These three, Tasha Bee, Soap and Stupid Stupid Meathole, seem to be getting on famously at the moment. This is a fine collaboration in Dean Lane with all three painting typical trademark work.
On the left is a serene figure by Tasha Bee, whose work seems to go from strength to strength and gain in confidence. The hair on this one is breathtaking. In the middle and on the right of the work are faces by Soap looking rather cheerful.
Sandwiched between the two Soap contributions are two rather weird looking faces by Stupid Stupid Meathole. On first inspection of these pink delights, I hadn’t noticed the teeth, but once I had spotted them, I couldn’t keep my eyes off them.
All in all a thoroughly delightful and light-hearted December collaboration from three very busy artists.
You can’t hold him back. Mr Draws was planning to go and live in Germany at the end of the summer, but for whatever reason his plans fell through. His loss is surely Bristol’s gain as he continues to brighten up the place with his burners.
This one has a rather wintry feel about it, the colours and icy drips definitely feel a bit frosty. I love the way that Mr Draws just keeps on going – no matter what life throws at him, he just seems to pick himself up and carry on. It has been a while since I last chatted with him, which is a pity, because he is a really lovely bloke.
I think I suffer slightly from Laic217 withdrawal, which is only ever cured by seeing another of his pieces. Of all the amazing artists in Bristol, I probably get most satisfaction when I find a piece by Laic217. In no way does that diminish the other artists at all, it is just that I get a special buzz seeing his work. I suppose it is a bit like getting a special card in a set of ‘Match Attax’ cards – they’re all good, but you cherish the special one.
This is a fairly regular piece by Laic217, a skeleton character spraying and a nicely composed LAIC lettering. The piece was sprayed together with Cort, to the left and Ugar to the right. These three seem to enjoy spraying together, which is great for me as I like all of their work. I hope it is not too long before I get my next Laic217 fix.
I have only met Cort once, and that was about three weeks ago at the M32 roundabout – he was half way through a piece that I never saw completed, which is a pity (I have added it to the end of the post).
His work is truly unique, as each of his letters seems to take on characteristics distinct from those adjacent to it, so while there is a style here, there is no formula pattern of letter shapes etc. It is interesting to note (again from the added half-finished work) that he outlines the letters and then fills out the background, which even though I know that this is how things are done, I find counter-intuitive.
I am warming more and more with every piece I see from Cort, and I believe his work has come on a long way over the last three years or so.