This picture was taken a couple of weeks ago in one of the tunnels of The Bearpit, a spot favoured by Decay. His style is so utterly unique, always using the same black, white, grey and red colours, and his freestyle approach tends to have concentric rings of shapes spreading from the centre, although I think he works from the outside in.
This is a nice political piece, demanding a stop to Tory cuts and incorporating a visual prompt. Nice drips. There is room for filling in the blank here…one for the taggers?
I knew it existed and was determined to find it and, a little by accident, I did. This Hyacinth Macaw is instantly recognisable as an Aspire piece and it is absolutely magnificent. He just seems to get better and better.
The work, which was completed at the beginning of May, absolutely captures the macaw perfectly and brings it to life. The peculiar stoop that macaws exhibit fits the space so well. This is a clever and absolutely outstanding piece. What next I wonder.
Another splendid paste up by Copyright. I featured another of his posters last week from Dean Lane skate park, and as a pair they are quite brilliant. How much I would love to own them and have them hanging at home.
His work is technically superb and his subjects always beautiful. Better than that though is the location and framing of this wheatpaste. Copyright has put some thought into how it should look…a common trait with pasters. Since seeing these two wonderful works I have found two more sprayed walls by Copyright, so plenty to keep me busy. The backlog is ever growing.
Another great find, that I had seen on the Interweb, but tracked down recently on one of my walks. This is another acid house trippy piece by Laic217 similar to the one on Moon Street. In this case though the face is melting vertically rather than horizontally.
There is something about Laic217’s pieces that I really like. They are quite raw, but rather potent. They will stand out in a crowd, so there is something special there. I will be posting more of his work soon.
I am very pleased with these pictures. I caught a glimpse of ObjectØØØ at work last weekend on an Instagram movie made by Annikapixie in which she was showing off a new piece that she was working on…to follow. I recognised the spot and so went looking for the piece on a lunchtime walk. I found it.
ObjectØØØ has a very particular style that is quite unlike anything else I have seen in Bristol. It is very organic and combines a naturalist’s view with oddities and political thoughts. It is an acquired taste, but one I admire.
In addition ObjectØØØ has pasted a small sketch onto this piece and the close up shows that he has a very strong command of biological sciences. I can see the claw of a decapod, a scolex (from a parasitic tapeworm), dentition, wing structure, an animal cell, twigs and a climbing plant. I am interested in why he has left such a tiny sketch on his work. This stuff is quirky…and remember…’eat the rich’.
I have taken many photographs of this magnificent parrot since it was created at last year’s Upfest (2015), but somehow I just haven’t made time to put together a post. It is a difficult piece to photograph because of the white space on the wall and from the sky, which tends to bleach the picture out a bit.
The magnificent piece is by Luis Seven Martins, also known as L7M. He is another artist from Sao Paolo in Brazil (a hotbed of street art talent). Born in 1988, he has been working on street art from the age of 13. He specialises in drawing birds using a mix of spray paint and acrylics. This parrot is a beauty and one of the outstanding pieces of Upfest 2015. His Facebook page is here.
John D’oh is a very naughty political artist whose work I enjoy immensely, whether I agree with his assertions or not. Whenever I see his stuff I can’t help smiling at his cheeky nerve. I suspect it gets him into trouble occasionally, but I like the edge he brings to the Bristol street art scene. This time it is the turn of the Queen, a reference to the band of the same name and her position on Brexit as portrayed by some media outlets (in particular the Murdock News International Media group).
Not only is the content of his work noteworthy, but his execution using stencils and his profusion of work is impressive. I have a large backlog of his work, much of which is politically no longer contemporary, but nonetheless an indicator of political issues in 2010s Bristol.