Not far from Brunel Way bridge along the river is a little brick wall ruin, which includes two sides of what was once a little utility building of some sort. It is curious that it was never demolished completely. The wall is a bit of a favourite with taggers, but occasionally it gets a little make over, like this one from Sirens.
I get it that Sirens is not everyone’s cup of tea, but I happen to really like his work, bringing a little window of hope and light into our lives. His framed works (a feature I really like) often incorporate large horizons and a meeting of the urban/industrial with rural landscapes, in this example, the intrusion is of wind generators. There is a good balance to the piece and Sirens loves working in corners to add an anamorphic touch. I really like this piece.
After a reasonably quiet winter, Sirens is out and about again which is good to see. I managed to catch up with him just as he was finishing off this piece and he seems to be enjoying himself having been through a fairly dynamic period recently.
I asked why he had chosen this spot for his SIRENS writing, because it had been the site of an interesting Tom Miller piece that had not been there long, and he said it was because it had been covered with a throw up (a rough and ready quick piece of writing) and so he painted over that. It’s a jungle out there. I have noticed that Sirens’ work often looks rather different from most pieces you see and this is down to the absence of hard outlines and his work is closer to fine art than street art. Looking forward to seeing more over the coming months.
I first met Sirens a few years ago in The Bearpit when he was contributing to a paint jam, I think organised by Georgie. I have had a soft spot for his work ever since. His scenes are most unconventional and unlike anything else you see in the city. Often his work contains strong horizons and vanishing points and that interface between humanity and nature.
I also know that Sirens enjoys the chalenge of painting in corners, a form of anamorphic art that needs to be viewed from a certain angle in order to make sense. This naive style is instantly recognisable and although not technically up there with some of the Bristol masters, it is original and in a way aesthetically pleasing. I haven’t seen any of his work for ages so it was great to find this one at the tunnel.
Sirens has this great way of combining the natural world with hard-edged urban landscapes. The result is the creation of beautiful pieces, often full of colour and strangely optimistic. Often, these kinds of urban landscapes can be dull depressing affairs, but Sirens brings out the best from these imagined environments.
In this piece the eye is drawn past a crimson sky to a crane (Sirens loves cranes – or so he says on his Instagram). On the cab of the crane is a reference to Team Robbo, which would appear to be a tribute to a friend. His Instagram feed says “you might be gone but your work will live on with us it touched, we miss you king Robbo”.
I am always struck by the work of Sirens. He seems to create stark images in which he contrasts the beauty of the world with utilitarianism. Rural versus urban. Or at least this is how his pieces come across to me.
In this one he gives us a gorgeous sunrise appearing over Aylesbury estate, where, reading from his Instagram feed, it would appear Sirens comes from. I keep bumping into Sirens when I go for my lunchtime walks. We always stop for a quick catch up, and every time it is a pleasure. He is unconventional in his approach to street art, and his work is all the better for it. I Love this piece.
I think that Sirens must have been squatting uncomfortably on the ground for a while during the creation of this calming piece in North Street. It is tucked in amongst scaffolding and a small alcove, often used by graffiti artists and taggers. The space smells…well what should I say? a bit like a WC, and I guess that plenty of pub goers relieve themselves here after an evening out.
How fabulous then to see this uplifting piece so typical of Sirens. Silhouetted houses and rooftops with a magnificent setting sun; an inspirational piece so full of hope. I know that Sirens likes to surprise people with his choice of location and he has excelled with this one. I imagine many will walk past it none the wiser, but those who look around will see it and benefit from the joy it brings. Nice one Sirens!
Sirens is getting rather busy all over Bristol at the moment, and here is a recent piece that he produced in my favourite Bristol backwater, Leonard Lane. What to make of this piece?
What Sirens has done here is create a green space in a sea of messy graffiti. I believe it is metaphorical as well as physical and therefore has a double impact. Even more unexpected is that this is, so he says on his Instagram account, a six layered stencil and took a long time to do.
The abstract nature of this work is at complete odds with the chaos that surrounds it. A small green window of tranquility. It has an impressive impact on those that venture down this ancient lane.
Sirens is an artist that I have only recently come across, and I have to say that on both occasions I have met him, I really enjoyed our conversations and what he has to say about his art.
His work is on the fine art side of the spectrum, and it is possible to see that there might be numerous influences in his work. This piece, again of an industrial environment is in one of the tunnels of The Bearpit, and offers both a depressing scene, and also an uplifting one in the single work. I like his style, and believe he is still developing, so I await further appearances and opportunities to chat.
The ‘paint Jam’ organised on 8 April coincided with a beautiful and sunny Spring day. Unfortunately, there were not as many artists as one might have hoped for, but it was all a bit last-minute, so any turn out was good.
I came across an artist I had not met before, but whose work has recently been creeping onto my radar…Sirens. I stopped and chatted for a while with this really interesting artist, who likes to grab people’s attention in places where they least expect it. He has been working with painting on plastic sheeting suspended between trees in local woodlands, drawing attention to his ideas in unusual places.
Much of his work contains an environmental theme and messages, contrasting beauty with urban landscapes. This piece ‘head for hope’ reminds me a little of the scene in the Terry Gilliam film ‘Brazil’ where the car drives along a road with high walls, beyond which is beautiful countryside. Look out for more from Sirens here.