Doors 107 – even more archive street/graffiti art doors.
You know the drill. Even though I have been out and about a bit and have photographed quite a few doors lately, I haven’t yet had time to upload them on to my PC – so until such time as I get myself a little bit more organised, you might have top make do with yet another seelection of doors from my street art archive.
I am pleased to note that readers apppear to have enjoyed these galleries when I have posted them, which gives me the courage to continue with them when I need to.
These ones were photographed from September 2015 through to December 2016.
The pictures above and below are the same wall painted for two different Upfest events.
So that just about wraps it up for another week, I hope you have enjoyed these doors. I hope I can back to some more contemporary photographs next week, we’ll just have to see how that goes.
If you have made it this far, you probably like doors and you really ought to take a look at the Norm 2.0 blog – the originator of Thursday Doors where there are links to yet more doors in the comments section at the end.
I don’t quite remember exactly the name of the road that this stunning Feoflip piece is in, but it is in Bedminster off East Street I think. Just one of the amazing legacy of works left behind by the artist during and after Upfest 2016. I like everything about this artist – his style and soft colour choices, his attention to finding the right spot and his adventurous spirit.
This Picassoesque face in grey shades on the mustard yellow background works perfectly on the red brick wall. Feoflip seems to have developed a technique that generates splatty thin lines that create the detail in his work and give it a really interesting texture. Unlike any other artist I have seen, Feoflip’s unique style works really well for me. I do hope he returns to Bristol before too long.
I think that my favourite festival artist at Upfest 2016 was this gentleman, Feoflip. I managed to catch him working on his ‘official’ piece although never saw it completed, which is a real pity and possibly the reason I never posted this before.
The reason I liked him so much was probably down to the unofficial ‘extras’ that he painted during his stay all over the city. The style is so different from anything we are used to seeing and he truly entered into the spirit of the Bristol street art scene. I would love to see him return and bless us with more of his outstanding work. Some of the pieces he painted are shown below:
Another throwback to Upfest 2016 and this lovely Minion piece by The Agent. Not only is The Agent a street artist and regular at Upfest, but he is also a central part of the ‘on the ground’ logistics team for the event and can be seen pretty much everywhere at the festival checking things are going smoothly.
Known for his Minion pieces (from the film Despicable Me), he is also the father of another prominent Bristol street artist. This piece typifies his strong links with the festival and screams out fun. A nice piece.
Like many of these archive posts from Upfests passim, it is hard to understand why I haven’t posted this one from SkyHigh and Roo before. I can only think that it is because I never got a clean shot of the finished collaboration.
These two London-based artists collaborate often, and where you find a SkyHigh piece, there is usually a Roo piece nearby. I took these pictures just as Roo (who previously I have assigned a male gender – dammit) was putting the finishing touches to her work. I suspect the lower right hand quadrant is not quite finished in these pictures.
The SkyHigh half of the collaboration spells out SKY in his characteristic variety of block letters, each different from the next, and the colours used here are incredibly bright and cheerful. This is first class graffiti writing.
Roo has painted what I think is a dog, but looks a lot like a moose without antlers to me. The mischievous character has been spraying the letters Roo in magenta paint on the wall behind – a nice idea executed really well. This is a fine collaboration and I can only apologise for not sharing it before. (lots more apologies to come as I continue to scour the archives).
Somehow, since the lock down I have a lot less free time than I had before, which feels rather counter-intuitive. I am still working full time, only at home and mostly on Covid-19 communications. The kids are at home all the time and there is no respite from looking after them 24/7. The dog still needs walks. My wife too is working full time at home and occupies the study to work, which is where our main computer resides, and all my associated street art files etc.
The upshot is that I am writing these posts in the few minutes I can when my wife takes a shower in the morning. I am on leave next week, and might be able to write a whole bunch of posts to get a little bit ahead. I don’t like flying by the seat of my pants.
This is a stunning piece from the perfectionist Rusk on the RAW wall at Upfest 2016. I consider this to be an outstanding piece of writing and somehow Rusk, using highlights, has managed to create a metallic effect, so the whole thing looks like the side of a car or something like that. I can’t understand why I’ve not posted this before. Worth the wait.
The Coronavirus pandemic and subsequent UK lock down has unsurprisingly seen a dramatic decrease in new street work. This, while disappointing especially given the spell of gorgeous weather we have been having, is not all bad news, as it is giving me the opportunity to unearth some not-seen-before on Natural Adventures pieces from the archives. Starting with this spray can bin stencil from John D’oh at Upfest 2016.
The organisers of Upfest had provided these drums for artists to dispose of their spray cans in an orderly fashion, and in true Upfest style, selected a few artists to decorate the bins, This one by John D’oh. I have to say I am not entirely sure who the people on the bin are, but I love the stencils in any case. In Bristolian he has written ‘John D’oh’s bin yer’, which tickled me. More Upfest 2016 work to come.
One of the most stunning collaborations of Upfest 2018 was this magnificent piece by Nuno Viegas and Tymon De Laat on the side of the Coopers Arms, where the polar bear piece by Andrew Burns Colwill was painted the year before.
This piece was painted in two halves separated by a horizontal strip, a feature of the wall which was put to good use by the artists. The bottom half which features the gloved hand of the character tossing a spray can fat cap is by Nuno Viegas. The detail in the latex glove with paint on it is simply breathtaking.
The top half of the collaboration is by Tymon De Laat and presents us with one of his superb trademark portraits, where the face is divided up into different shaded areas in a symmetrical pattern almost as if the subject is wearing face paint. This is such a strong design idea and makes his work istantly recognisable.
This was truly one of the best pieces of the whole festival, and if you don’t believe me go down and take a look while you still have a chance and check out the detail.
Dibz is a Bristol graffiti writer whose work is always first class and beautifully tight. It is unusual to see his writing outside the confines of Dean Lane skate park, but at Upfest 2018 he ventured a little further afield and sprayed the side of the mock railway carriage with one of his beguiling pieces.
Dibz tends to keep quite a low profile with his work, which is often unannounced, and hey presto he works his magic. This upfest piece, by his high standards, I would say is not his best work and I suspect it might have been somewhat comprimised by the changeable weather experienced during the festival. It is however a great piece.
Emily Joy Rich is a Bristol-based graphic designer and lettering artist. For anyone interested in letters and typeface art, I strongly recommend a quick squiz at her Instagram feed @emilyjoyrich – you will be in for a treat.
This Upfest 2018 piece is a good example of her typeface skills and she has combined them with an uplifting design and some cloudy kind of things. All that was really needed to set this piece off perfectly was a nice sunny day, but these were in short supply during the 2018 festival.