Pekoe has had a little bit of a quiet period, after a year in which she has created so many of her fabulous portraits. The pause is over, and she is hitting walls once again with customary frequency.
This quick one up at Purdown Battery is eye-catching in its lovely white and purple colour scheme. The reference ‘I love you to the moon and back’ links to a children’s bedtime book called ‘Guess how much I love you’ by Sam Mc Bratney and illustrated by Anita Jerram. This was one of my daughter’s favourite books, and mine too, come to think about it. A lovely piece with some lovely sentiments.
Hurrah, hurrah, hurrah! It has been such a long time since I have seen a street piece from Kid Crayon, although he has been doing a lot of studio and digital work over the last few months, it is refreshing to see something big and bold. In this collaboration, Kid Crayon has teamed up with Nightwayss, who conversely doesn’t seem to have stopped hitting walls this year, he is a machine.
To the left of this ‘Finger Trap’ piece, Kid Crayon has painted a brilliant character (is it a self-portrait?) poking his finger into the trap while tipping his red baseball cap. The character is brilliant and so uniquely Kid Crayon.
To the right and making up the other half of the collaboration, joined with the central trap, is an unusual piece by Nightwayss. I love this recent experimental style from Nightwayss that seems to be exploring the fragmentation and interruption of a portrait and other elements, such as a parrot in this case. The fine artist in Nightwayss is coming to the fore in exploring new ideas and forms. Pity about the tag, but hey, you snooze, you lose!
Kosc really is an extraordinary talent, especially as, under a different name, he is a graffiti writer with an utterly different style. Pieces like this are serious business for Kosc who is fine-tuning his skills for these photorealistic portraits and writing.
Picton Lane is a wonderful Bristol backstreet in Montpelier that plays host to some classic pieces, of which this is one. I remember seeing it as a work in progress a long time ago, but didn’t get back until quite recently to enjoy it as a finished piece. I am full of admiration for the piece. It is so good, and I am not sure that I would be doing it justice by waffling on like I usually do, and I am doing right now.
Kosc has reached a new level this year, and it is difficult to know how much higher he can take it. I wonder whether he should do a street art festival circuit to get better known outside Bristol, but that takes a lot of commitment. This black and white face is just awesome.
The tiniest tinge of colour is provided by the magpie’s tail, but it is enough to lift the whole piece just that little bit more. It is Kosc’s attention to detail that makes this piece sing. An absolute beauty.
I have had these pictures lurking in my archive for a little while, and at last find a moment to bring them to you. The column piece (they can be a real pain in the backside to photograph) is by Mudra, and is characteristically rather fun.
Mudra has painted all the way around the column and on one half is a portrait of a white-haired gentleman compete with moustache (of course) and a little speech bubble with Mudra’s @ signature.
On the other half of the column is a hand holding what looks like a match or a candle, but it might be something altogether different. Mudra has a very strong, chunky style which hits you hard and is difficult to ignore. Head-turning stuff.
At the western end of the floating harbour on the north bank is a pub called the Pump House, a place I have walked past a hundred times but never been in, which probably reflects the fact that I am not much of a pub person, not because I don’t like pubs, but because I have got out of the habit, probably since having children.
Inkie painted this fabulous commission around the same time as he painted his ‘I can’t get you out of my head’ piece for Upfest 75×75. You often see this with Inkie, that when he is in town, he will paint several walls over a few days, before returning to London.
This wall is an absolute gift for Inkie who is known for both his ‘signwriting’ skills and his stylised portraits of women with stunning hair. This whole piece is embellished with some beautiful patterns and flowers and is a ‘must see’ wall for anyone walking the Harbourside circuit. Good on the Pump House for tapping into and supporting Bristol’s fine tradition of celebrating street art and street artists.
This magnificent collaboration was one of the earlier ones to be completed for Upfest’s 75 walls in 75 days summer event, and these pictures have languished in my archives since June. The collaboration is by Koeone and Paul Monsters and plays magnificently to each of their strengths.
The beautiful portrait in greyscale is by Koeone and is painted with such care and attention to tones and shading, which brings an incredible calmness and grace to the piece. The hand is amazing, and perfectly in proportion.
The overall piece is very typical of a Koeone production, where the hair is separated from the face, being decorated with a highly colourful design or pattern, in this case perfectly painted by Paul Monsters.
Paul’s geometric design in greens, blues, purples, browns and oranges lends itself perfectly to a collaboration with Koeone. I think that these two should get together again, because the complementary styles have created something very special here. A lovely collaboration.
I have a lot of attachment to this wonderful piece by Jelly, her second at this spot this year, because of the conversations we shared before she visited Bristol. There is something comforting and confidence-building when an artist makes contact with me to talk about meeting up during a painting visit. I must say that I was touched that Jelly made contact before her recent trip, and I only wish that I had been able to catch up with her while she was painting this piece, but unfortunately I had a full-on work day and wasn’t able to escape.
Jelly has painted another of her beautiful portrait pieces, complete with her trademark exaggerated eyelashes on this high-turnover wall in Cumberland Basin. The piece, presumably entitled ‘open your eye’, is a portrait of a woman with a third eye, a common theme in street art, and suggests using perception beyond ordinary sight.
The shading on the face and hand with red tints helps to provide a deep perspective, and the eyes and nose are particularly beautifully painted. I love the Henna tattoo on the back of the hand and fingers, and the jewellery too is a lovely detail that lifts the piece way above the ordinary.
Another nice touch are the little white streaks of light on the woman’s hair that allude to the strands of hair so effectively. This is a lovely piece from a lovely artist who is thoughtful and inclusive. I do so hope that next time she is in Bristol I will be able to accompany her, at least for a little while, as she creates another of her fabulous portraits.
While the quality of this extraordinary portrait piece by Rosalita (who has changed her Instagram from Rosalita to Rozalita) is unquestionable, the woman’s face disturbs me a little. The exaggerated features have a clown-like quality, and clowns are scary at the best of times.
Rosalita has associations with a travelling lifestyle and the circus or performance arts seems to have a profound impact on her paintings, most of which encompass a carnival theme. There are so many good things about the artwork in this piece, but it is the impact it has on me as a viewer that I value the most. I find it completely compelling.
Words cannot really describe how wonderful this enormous mural makes me feel. Hazard, or Harriet Wood to give you her proper name, has produced a landmark piece that launches her onto the world-class stage. It is not only the scale of the piece, but its stature that is so special. Somehow Hazard has found a new level and it is all very exciting.
Wilder Street in St Paul’s has been at the heart of the Bristol street/graffiti art scene for many years, although recently, the amount of gentrification of the area has slowed things somewhat. This piece bucks that trend and makes a positive statement for beautiful public art in the area.
The piece was supported by The Arts Council through its Developing your Creative Practice (DYPC) fund, and thank goodness for initiatives like this one that bring so much joy to so many people while supporting the work of our most creative people.
Hazard, in going big, has not compromised on her ability to compose a piece fit for a particular space, and this colourful portrait, almost cubist in its presentation, has been worked perfectly into the fabric of the 20m high facade. With the magnificent colours bleeding off to the right, Hazard has created a shadow portrait just to the right of the main portrait adding emphasis and interest.
There have been so many extraordinary murals painted in Bristol this year, and the bar has been set very high. I feel however that Hazard, with this piece, has surpassed any other I have seen. I genuinely hope that this piece will launch Hazard onto the international stage that she clearly deserves. My favourite of the year so far.
It feels like I took this photograph an age ago, and in fact it was painted at the back end of July and photographed in early August. Where has this year gone? My life seems to have been travelling at light speed this year… probably a feature of getting older and trying to squeeze more into less time.
This wonderful piece by MoS was painted during Eman’s birthday paint jam at which so many good pieces were painted. It was an inspirational day.
I believe that MoS typically paints hands or portraits, so this ‘weird’ (his own words) piece is rather unusual even for the artist. I’m not entirely sure what it all means, but it is certainly very striking and the light tan glow around the piece gives it an interesting aura. Nice work from yet another new artist to Natural Adventures.