As I see it, Slim Pickings (TES) creates his pieces in two forms; a high-end version of his letters with immaculate fills and clean lines and considered colour schemes and his throw-up versions that are a little bit more ‘street’ if you get my meaning. This one falls ever so slightly more into the second category.
I have to say that I am not too keen on the salmon pink colour and I think the ‘stitch’ lines on the edge of the letters make the piece a little untidy in my opinion. I ought to add that I might be overthinking this and being slightly picky. I always welcome Slim Pickings’ letters in whatever shape or form they come in.
Yep, he’s back. This is just one of several new pieces by Slim Pickings (Tes) to appear over the last couple of weeks in Bristol. After a long quiet period, he has let loose again and there seem to be one or two adjustments to his ‘normal’ form of letters.
This one in the tunnel is slapped over another piece, almost like a sticker, in the fine tradition of throw ups, but this is a classy and beautifully finished type of throw up. Unfortunately the light in the tunnel kind of bleaches out any colours, so the piece looks a little bland. One of the variations that has crept in is the tightness in the curve of the S, an interesting development for those who study such things.
I think that this might be the first Slim Pickings (Tes) piece that I have posted since the easing of lock down restrictions, and what a nice one to be kicking off with. Some lovely colours and the customary care and attention that Slim Pickings always applies to his work.
The piece was part of a No Frills collaboration that was painted over the RBF Black Lives Matter collaboration before it, emphasising just how rapid the turnover here is right now. An aesthetically pleasing piece from a great writer.
Something a little different from Slim Pickings in May 2017 in which the artist is experimenting with a straight-line version of his ‘super tag’. The piece demonstrates the versatility of the artist, and is something of a rarity.
I must confess however that I am not wholly convinced by the success of the experiment, and while it is nice to see something different I feel that Slim Pickings just hasn’t quite carried it off with the same panache that he manages with his more usual curvy variant.
This is an older TES from Slim Pickings (TES) painted back in July 2018, before I had properly registered how many different versions of his ‘super-tag’ he had produced. I post his pieces rather sparingly, because to some they might seem a bit repetitive, but for others the joy is in scrutinising the subtle differences between the designs of each one and the use of different colours and fill patterns.
One thing that remains consistent with Slim Pickings is that his work is always immaculately presented. The lines are always clean and the fills solid without thin bits that you see on a lot of throw ups for example. The red and green work well and the yellow outline sets the piece off nicely.
There is no order or plan with which I am going through my archive (during lock down) I am simply skipping from monthly folder to folder, spotting something and thinking, ‘ah yes, this needs posting’. This exact process has happened several times with Slim Pickings (TES) and each time I put the moment back to be returned to another time. Well, enough is enough. Here is a rather lovely TES from March last year, that didn’t get posted first time round.
As I would always expect from Slim Pickings, this is a really tight and clean piece, painted in pillar box red set on a dull bronze background with some green gunge and drips for good measure. The white highlight lines are just enough to give the letters a 3D feel. Clever and consistent. Note to self… high time I did a gallery.
It is such an obvious thing to say, but I can’t stop myself… this is a two for the price of one wall from Slim Pickings (TES). It is not often that you get to see two pieces by the same artist side-by-side, especially painted around the same time. What is nice about these it that you can compare the subtle differences between the two designs, both of which are beautifully clean by the way.
I don’t know the derivation of his TES pieces, but I suspect they began as a tag and have evolved over time into these elaborate and aesthetically pleasing works. The one on the left has some excellent colour choices with a wavy separation and some nice drips on the T. Woz Yer = was here, possibly one of the oldest mottos used in graffiti.
On the right is a slightly older form of his TES with little accent marks to the bottom left and right of the letter sequence. There is a single solid fill, but in this one the whole thing is finished off with a red boundary line. Spotting the difference between the two is rather fun, perhaps he should do this more often.
This is just sublime. Although the form of Slim Pickings’ (TES) work is relatively simple and repeated, the way he sets about the colours, fills and attention to detail is masterful. In this piece I absolutely love the complementary colours of the fill and the bubbly shapes. As always the outline and shadow are clean and crisp.
The letters TES are set on a floaty cloud of green and red and the letters are adorned with some little light blue drippy bits and whight highlights. The whole thing is set off perfectly with a grey buffed wall, completely worth the effort if you ask me. Really nice piece.
Well, so long as Slim Pickings keeps churning out his magnificent TES pieces, I’ll continue to post them. As always his work is clean, sharp and he has some decent colour selections although I fear there might be just a little bit too much contrast between the letter colours and the green and yellow background.
I have a great many pieces by Slim Pickings in my archive and I’m just waiting for a lean period to publish them (the chance would be a fine thing). More to come in due course – maybe I feel a gallery coming on…