I recently found out, from reading an interview with John D’oh, that he tends to create these single layer political stencils for places like The Bearpit, where their lifespan may at times be only a day or two. His more complex multi-layered work is reserved for walls where longevity is more likely…an utterly understandable position.
This piece is highly critical of Theresa May and the growing problem of homelessness and rough sleeping that is plaguing towns and cities across the UK. I really like the work he does and the way he uses his art to express political ideas. Much of his artwork tends to encourage ‘embellishment’ from passers by, and this one is no exception. The ‘cock and balls’ motif being put to good use.
John d’Oh has been very busy lately on the streets of Bristol, but this is the first time I have seen his work in Leonard Lane. Typical of his work, he takes a strong political line, and in this stencil he celebrates a Corbyn revolution.
This is beautifully worked, and of course I particularly like it because of its edge. There are many more pieces by John d’Oh that I have in my archive and I might have to start bunching them together, simply to be able to share them.
Object… has been busy in The Bearpit again, with a flurry of political pieces. This one cleverly uses the existing posters that were pasted to the wall as a colourful and contextual backdrop to his central piece.
This is a really good piece, creative and imaginative, and always with an edge that we expect from Object… . The character is imprisoned in a circle and encouraged with the words ‘push past their walls’.
There is a strong feeling of movement and momentum in this piece and it works really well for me, but it would, wouldn’t it?
You can be pretty sure that when Goin takes to the street, the work he produces will have an edge and political aspect. His piece for Upfest was no exception this year. He has created a large monochrome stencil of a traditional working-class paperboy holding up a newspaper with the words ‘Bullshit’s Tories’.
I believe that Goin is French and this might give us a clue to the slightly curious wording. It is obviously an anti-Tory slogan, but doesn’t quite read right. It matters not one jot though, because it is pretty overt either way, and the piece is really powerful.
I like Goin’s work a lot, but was very slack last year, and missed out on his main Upfest piece. It was slightly off the main drag, and by the time I went to photograph it, it had gone. Not this year.
I really enjoy the political edge that street art brings to us, and one artist more than any other in Bristol, challenges the status quo and presents us with philosophical and political thoughts. ObjectØØØ.
It is a while since I posted anything from the arches of the Carriageworks, but things have become busy there recently. This piece by ObjectØØØ is of an organic robotic creature and carries a stark warning:
‘As all these incredible new technologies come online, who benefits? The warmongers and profiteers. Maybe technology can save us, but not in the hands of self-serving elites…‘
This is ObjectØØØ in full flow and at his creative best. Full of rage, anger and passion. I love this piece. RESIST.
I love the passionate and political messages contained in the works of Object∅∅∅. In this piece, which sadly only lasted a few days, he seems to be having a swipe at those who eradicate or remove street art with their ‘anti-graff’ paint. I guess his target is Bristol City Council, although I can’t be sure.
I like the plastic bag containing ObjectØØØ’s spray cans – there is something really functional and worthy about keeping your paints in an old plastic bag – it is beautifully painted too.