Of course, having only first met Wes a month or two back, I haven’t quite worked since been finding his pieces everywhere, both old and new. This one is tucked away on the swimming pool wall behind a hedge and railing.
Wes, Dean Lane, Bristol, April 2026
This is a very bold piece heavily filled with black paint and incorporating flashes of red and yellow. It is quite unusual to see work quite so heavily dominated with black paint, but Wes gets away with it here by including a white drop shadow and contrasting blue/turquoise backdrop. Interesting piece from Wes.
It was so predictable that in the days after first meeting Wes up at Greenbank, I would start to see his work all over the place, and that is exactly what happened. I can’t believe I had this blind spot, but it happens from time to time. I will, however be seeking to make amends from this point in time, and include his pieces when I can.
Wes, Dean Lane, Bristol, March 2026
You might think that having fewer letters makes things simple, but by design, the letters will be bigger, and so fills need to be more considered. While there is a lot of ‘white space’ in these letters from Wes, he has managed to add in enough decoration to keep things interesting. The letters with a tiny overlap appear to float over a greeny-blue base. Watch out for a lot more from Wes.
This humorous piece by Nina Raines is making a point, and it is a point perfectly illustrated and reaches the heart of cynical advertising and profiteering, which we see every single day of our lives but don’t necessarily notice.
Nina Raines, Dean Lane, Bristol, March 2026
Two bottles of shower gel/shampoo stand side by side, one for him, and one for her.
For him: £1.99, man up, 17-in-one, scent – man blue.
For her: £6.99, smile! age gracefully (e.g. don’t age), with smile-more serum, special weight loss and boob increase formula, femme lady, be sexy and be the boss – don’t be bossy, extra virgin oil – don’t be a prude though, use before our other 15 products, promotes luxurious growth, unpaid domestic work 60% more, 12.8% gender pay-gap, scent – botanical inequality.
Nina Raines, Dean Lane, Bristol, March 2026
So there you have it, an articulate and powerful illustration of how we treat different genders as a society, and that there is plenty of headroom to make things better for all. Excellent and heartfelt work from Nina Raines.
The return of Asre at the back end of last year has been most welcome, and his tidy writing has been featured several times on this blog. This comic-style lettering behind the railings on the swimming pool wall is an absolute gem.
Asre, Dean Lane, Bristol, February 2026
What I am enjoying about Asre’s work is the precision and attention to finishing. All the fills are strong and solid, the shadows and borders cleanly presented – even the blue splash is carefully worked. Asre strikes me as being an artist who takes pride in the appearance of his work, as much as he seems to enjoy creating it. I love the subtle yellow fill spots in his letters.
The lifecycle of a wall is often fascinating, and under this piece by Weas(el) is a little bit of recent history that can be made out, because artists have painted over one another without buffing the wall. The sequence, over about 10 days or so was a beauty by Werm, then a piece from Seed, followed by another piece that I never saw and finally this one from Weas – I’ll show the others at the end of this post.
Weas, Dean Lane, Bristol, March 2026
Weas’ work can be found literally all over Bristol – one of his tags has even made it onto a utility box very near my house. Although his ‘mega-tags’ are fun, he actually is, in my view, a much better artist when he turns his attention to his graffiti writing. His letter fills always give the impression that he is a man in a hurry, or that he likes his paint to go a long way. His letter style is quite easy on the eye, and of course combines the writing with the mega-tag I mentioned earlier. Weas certainly likes to make his mark.
Werm, Dean Lane, Bristol, February 2026Seed, Dean Lane, Bristol, February 2026Weas, Dean Lane, Bristol, March 2026
I was tipped-off by Jee See that he had painted this piece in Dean Lane, and a couple of days later he was painting on the roundabout, unfortunately I arrived at that one literally minutes too late, as someone was painting over his piece there. At least I got to this one in time.
Jee See, Dean Lane, Bristol, February 2026
I have enjoyed Jee See’s work for years now, having first met him a long time ago under the M32, while he was painting a column there. His SEISMIC pieces have become a signature design, in which he folds his letters on top of one another and makes them stand out with deep drop shadows. This one is painted in rather downbeat greys and blacks, but manages to command this end of the wall. Great to see Jee See out and about.
I enjoy observing new artists who try to break out onto the scene, and after all, all graffiti/street artists have to start somewhere. As they progress, they will make mistakes, both in their art, and equally importantly regarding etiquette. Even I fall foul of this from time to time – there are codes and principles, even if there are ‘no rules’. On this occasion, Seed painted his large letters recently, over a beauty by Werm. Generally speaking you shouldn’t paint over something that you are not equal to or better than, and Seed isn’t yet at Werm’s level. The logical consequence is that you end up with only high-end pieces on all walls, and that is where taggers and bombers come in, freeing up walls to be painted again.
Seed, Dean Lane, Bristol, February 2026
Seed is learning gradually, and improves from piece to piece, but his work is still rather crude. His letters here are large and square, and his 3D drop shadow missing on the bottom of them. He is experimenting with some plasma lines to break up the large swathes of pink. He has also included a little cartoon-style character, completing the combination piece. Keep practicing and perhaps stick to practice walls for the time being.
What a superb piece from Werm in the Deaner. The symmetry created from the letters WERM is excellent, and something Werm plays with a lot in his work. This might be the tightest one yet. The brownish fill is in two tones and is best described as a chocolate mousse look – regulars will know that I am not fond of brown, but I’ll let it go in this instance.
Werm, Dean Lane, Bristol, February 2026
The deep drop shadow veering to the left provides depth and the light blue background plenty of contrast, bit devices lifting the letters nicely. The red border creates a nice boundary between the letters and background, and I like the ‘cloud’ detail in the blue background. This is an interesting piece that deserves a while to enjoy it.
Two artists that have had a great and productive year are Asre and Zinso, and I guess that their friendship/collaboration has in part helped each to keep at it. This is a nice, gentle piece by Asre in one of his favoured spots in Dean Lane.
Asre, Dean Lane, Bristol, February 2026
The large letters are forgiving in form and filled with a subtle combination of lilac and soft pink ‘bubbles’. Two further things come to the aid of the letters, the black drop shadow and the vibrant green providing contrast. An uplifting piece from Asre.
There was a time when finding a Trafficity piece was something of a rarity, but it feels like he has ever so slightly turned up the dial over the last couple of years and is in a good rhythm. Trafficity’s work is quite remarkable in that he sticks to his intricate design piece after piece, with only colour changes and minor decorations. His consistency is his trademark.
Trafficity, Dean Lane, Bristol, February 2026
Like Cort (see previous post), Trafficity belongs to the PAD crew, which is mainly composed of Polish artists. Bristol is full of these little communities of artists, sometimes defined by nationality, sometimes by gender, sometimes by friendship or sometimes a combination of all of these. The letters spell ZIOS, which is reasonably easy to see once you know. It is always good to find pieces by Trafficity.