Alex Arnell certainly provides something a little different with his alarming sketched characters, adding to the vast spectrum of artistic styles we get to enjoy on the streets of Bristol. This piece was one of several from a recent trip to Leonard Lane by the artist.
Alex Arnell, Leonard Lane, Bristol, October 2025
In this piece, the skeletal ghostly figure emerges from the existing artwork on the wall, and the flowers that were there have been incorporated into Alex Arnell’s character as eyes on a tilted head. I like it when artists incorporate the surroundings into their art. Clever work from the visitor.
Boo! This is another slightly unhinged character piece by Alex Arnell in Leonard Lane. This time he has gone for a door at the north end of the narrow lane, which door lovers among you might see again some time in the distant future as part of a street art Thursday Doors selection.
Alex Arnell, Leonard Lane, Bristol, October 2025
The ghoulish creation is actually a political commentary piece which says ‘no red swastikas here’ meaning (I think) that St George crosses that have been appropriated to represent nationalism and racism are not welcome here, and he is in my view right. There is more than simply the character to admire in this piece, he is set alongside a road with a car, headlights shining, advancing towards a mini roundabout. It is these white mini roundabouts that have been painted with red crosses through them in a wave of ‘patriotism’ that has been sweeping the country. Unfortunate and rather sad that our tolerant nation resorts to this kind of posturing. Great piece from Alex Arnell. It is interesting that at the other end of the tunnel, a beacon of tolerance adorns the column of a building opposite.
On his visits to Bristol, Alex Arnell has definitely made Leonard Lane his home. All the nooks and crannies in this dark, narrow lane lend themselves perfectly to his nightmarish characters.
Alex Arnell, Leonard Lane, Bristol, October 2025
At first glance, this naive style of art might be considered by some to be the sort of thing that anyone could do. This viewpoint would be a mistake though, as Alex Arnell has developed a very distinct style that he replicates through his studio and street work, and as a classically trained artist this style is anything but child’s play. This particular piece, like so much of his work, combines humour with horror, colour with darkness. It is both challenging and arresting.
The following biography is an extract from his website:
As much as I don’t like talking about my art, I feel there maybe some confusion about the breadth and chaotic nature of my practice, so here I feel it necessary to attempt to explain.
Increasingly since moving to London in 2009, influenced by the abundance of street art all around me, I have found myself making art in outdoor spaces. Alongside this, I have also continued my studio practice – usually painting and often with galleries/ indoor spaces in mind-but the boundaries blur. Audience response is also crucial to my development. I want to make art that the public will engage with/find interesting. On the street/ in outside spaces, where there are people around, there might become a performance aspect to my art making, or it might become interactive.
For a few years now, I have worked part-time in a primary school making art with children, so this has had a huge influence on my work.
As for the diversity and varied choice of subjects/handling, I want to make art that is not contrived or elitist, so I try to trust and follow my instincts with regard to ideas/media choice. Once I am involved in making, the work usually becomes process lead and my mood at the time will dictate how the artwork is resolved.
My art is usually signed ‘Alex Arnell’ or tagged ‘Sell Out’. ‘Sell Out’ is simply a tag for my outdoor work, when sometimes I might give away work for free, blu tack it to a wall or make it in a medium that can rub off (like chalk). The words ‘Sell Out’ have become synonymous with the world of Graffiti/street art (an insult thrown at artists who have used the streets as a platform to make money from their art) seemed somehow humorously appropriate.
Every once in a while, Alex Arnell makes a visit to Bristol, and when he does, he seems to gravitate towards Leonard Lane, an ancient narrow lane that used to be the boundary of the old city wall. Over the years it has been a favourite ‘safe spot’ for graffiti and street artists, although recently many of the walls have been buffed, perhaps in an effort to tidy up the lane.
Alex Arnell, Leonard Lane, Bristol, October 2025
Alex Arnell, whose characters are grotesque and nightmarish, has cleverly painted eight panes of glass on this window, with one screaming skeletal character in each. This is outstanding placement and use of an existing feature, although the owners of the window might argue with that. Alex Arnell’s scribbled style is pretty unique and negates the need for a signature. On this trip he left a few pieces, so watch this space for more.
In spite of it being one of my favourite spots, I still haven’t marked up the half-century of posts from Leonard Lane, but not far off now. Risky is a writer who I have been aware of for a few years and although I haven’t yet posted any of his pieces, I have been meaning to forever.
Risky, Leonard Lane, Bristol, June 2024
This by far the most impressive piece from Risky that I have seen so far, and I have to say that I really love it, and it is a perfect piece of graffiti writing for the location. Each of the letters RISKY are afforded a completely unique colour/pattern regime, and the whole thing comes across as an energetic and happy piece. Perhaps it is not the tidiest piece ever, but I don’t think that matters at all. Look out for more from Risky, now that I have started the ball rolling.
He gets absolutely everywhere, does Grimes, and what a delightful thing that is. He has even made it into the narrow Leonard Lane with this fine chrome piece. You might spot some double yellow lines, that could possibly be the most useless yellow lines in the country, given that it is a dead end, incredibly narrow and if a driver was stupid enough to drive into the lane, they might never get back out again.
Grimes, Leonard Lane, Bristol, July 2024
Even when he paints in a single colour, Grimes manages to generate great energy from the form of his letters and in this case some orange ‘flame’ decorations around the perimeter. The letters spell out GRIME and are beautifully finished with a decent 3D drop shadow border. Still more to come from this relative newcomer to Bristol.
It is rather pleasing to be posting another stencil piece, there have been a rash of them lately, and especially one from John D’oh, who has been a little quiet over the last six months or so. This is one of a couple of pieces by the artist currently in Leonard Lane.
John D’oh, Leonard Lane, Bristol, June 2024
This philosophy, I am not sure if it is a quote (Update: it is a quote from the brilliant Chrisopher Walken) or a wisdom from John D’oh himself, is perhaps a message of our times and our collective obsession with consumption, upgrade and appearance. It reads:
“If you knew how quickly people forget the dead, you would stop living to impress people”.
I think that this is aimed at people with outer-directed values, a segment of our society that has ballooned since Thatcher came to power. The statement is accompanied by a skeleton character holding a spray can. Great work from John D’oh.
My sister and brother-in-law had a wonderful West Highland white terrier, or Westie as they are commonly known, called Jessie, who died a little over a year ago at a ripe old age. She was very sweet, and although I didn’t much like dogs when they first got her, I did warm to her over the years. When I saw this beautiful little stencil at the entrance of Leonard Lane by Man-X, my mind immediately turned to Jessie.
Man-X, Leonard Lane, Bristol, June 2024
I believe that Man-X AKA Alix Lemetayer is a French stencil artist, but I can find little more information about him. This is a lovely stencil, so full of personality, and captures the animal perfectly. I believe that he may have placed another stencil in the Lane during his visit to Bristol, which I think I missed when I found this Westie, so I rather need to go back. Dogs and stencils, what’s not to love?
The work of Alex Arnell, in my mind, verges on the grotesque… not his artwork, I hasten to add, but his subject material. Although he operates out of Brick Lane in London, he appears to have visited Bristol on a couple of occasions, and has left behind a gallery of characters in Leonard Lane.
Alex Arnell, Leonard Lane, Bristol, May 2024
Alex Arnell’s style is utterly unique and could be interpreted as scribbles that ‘anyone could do’. That may or may not be true, but the point here is that he does it, and he does it really well. I like deliberately naive artwork because there is an authenticity about it, and although a cultivated look, it is also honest and unpretentious – although there might be those that consider it grossly pretentious. The skeleton is rather scary, not because it is a skeleton, but because there is threat and alarm in his expression. Crazy stuff, but most welcome.
Klashwhensober, M32 roundabout, Bristol, November 2023
When you see the word ‘various’ for the location in the title of this blog post, you can be pretty certain that it will be a post of Klashwhensober’s work. I feel that the only way I can do him justice is to do a round up of his left-overs each month, such is his high productivity rate. Here are some pieces from November.
Klashwhensober, M32 roundabout, Bristol, November 2023
All the pieces spell out SOBER, but you can see simply from first inspection that some are more thought out than others and that the execution can be a little variable, probably reflecting Klashwhensober’s attitude and approach with each piece. Klashwhensober’s general development is steady, but it is not linear… meandering improvement might be a better description.
Klashwhensober, Hepburn Road, Bristol, November 2023
This blue piece is nice enough to look at, and it is clear that it was painted quickly. The paint is thinly spread, which might indicate that it is a bit of a ‘dregs’ piece.
Klashwhensober, Leonard Lane, Bristol, November 2023
Rounding off the quartet of pieces from November is this chrome piece, which is arguably the best of the bunch, painted down in Leonard Lane. There is more of a sharp feel to this one, with some nice little details and ‘dents’ in the lettering. Have no fear, there is still plenty more to come from Klashwhensober.
Natural adventures 