This is quite an unusual hoarding in the centre of Bristol for a couple of reasons. First, I’m not sure what it is protecting, it certainly doesn’t look like anything is being redeveloped. Second, it seems that graffiti writers from ASK are tolerated. Perhaps it is a curated wall, I don’t know.
The middle piece of this ASK collaboration is by the brilliant Voyder, and is one that incorporates his clever brush stroke effect. He really is the master of playing with his audience and introducing stunning ideas and effects. Quite an old piece, but I’ve not had my camera when walking past it before.
One of the things I love most about seeing street art in other cities is when I see a piece by an I am familiar with – it gives me that warm glow of conceit, and so it was when I saw this lovely burner by Bristol’s Voyder.
The last piece I saw by Voyder was at Upfest back in July, so to find this one in Shoreditch was definitely a special moment. This is such a clever piece, I cannot really do it justice in any explanation, but I will try. Everything you see is utterly deliberate – the blurring of the letters and the drips and splashes, what makes this extra special is how Voyder has created this with extreme skill in blending the colours through the piece and making the whole thing look a bit amateurish. To the trained eye, this is utterly brilliant, to others it might just look a bit rubbish.
Adjacent to the Sofa Project back yard is another yard that is a bit of a street art goldmine. First up from this little backwater is this gorgeous piece by Voyder, characteristically sharp and of very high quality.
With a vanishing point somewhere behind the lettering this piece stands out from the wall and the flash across the middle gives the impression of a reflective band of sunlight as if the piece is being tilted side to side. Now sunlight…that would make a refreshing change. Beautiful piece of writing as always.
There is one artist in Bristol whose work manages to attain higher levels each and every time I see it. It is of course Voyder who I have raved about many times in this blog before. At Upfest 2018 he really pulled out all the stops and painted this outstanding piece. Is there no end to his talent?
This new wall for Upfest was in my view an unquestionable success and gave some bigger ‘permanent’ space for artists who can go big. The cars in the picture above give you a feeling for how big these pieces are.
Voyder is probably best known for writing his name in a variety of styles, but always utterly recognisable as his work, which reminds me I must do a gallery of his work when I have a bit of spare time.
It is difficult to get across how good this piece is, both technically and in its clever subject material. I would take a long shot and guess that this is a self-portrait composed of three main elements: his faceless upper torso; a brown brush stroke of paint across his face; his familiar signature. This makes for at least three very different textures to the piece, each of which would be able to exist alone.
The hands are beautifully worked and full of expression – I have not seen much of this kind of work from Voyder before although I know he has painted portraits before. The brown brush stroke is something he has been playing with for the last couple of years and appears in many of his pieces these days. I am told that the fill in the Voyder signature is a backdrop to a design screen. To cap the whole thing off nicely we have one of his trademark neon lines running through his name. A heavenly piece from this master of Bristol street art.
I haven’t seen a new Voyder piece for ages, so was very excited when I knew this one had been painted at the M32 roundabout. Unfortunately this is one of the spots that is obscured by the sun and shade effect from the adjacent trees. Now I love trees as much as the next man, but not when they do this to sensational graffiti art works like this one.
Even with the variable light conditions on this piece it is possible to see the sheer excellence of this top writers talent. Once again we see a return of his neon squiggle that he draws so perfectly and balances off the whole piece of writing. I have run out of superlatives to describe just how good this guy is – perhaps it is just better to look and marvel.
It is all too easy to become a bit blasé about Voyder’s incredible writing as everything he does is of such a high standard and in a class of its own. One expects perfection and usually that is what he gives. This piece, in one of his favourite haunts is so crisp and clean and beautifully set off by the neon green flash.
Unfortunately, the true colours of the piece haven’t really come across very well as I took the pictures on a bright day, but the wall was in the shade. Nonetheless the quality of the piece shines through.
I really like the clever way he seems to be able to lift the neon squiggle from the writing by giving it a shadow that drops below the lettering, giving it a stunning 3D effect. Do I like this piece? Do you need to ask?
In a little pedestrian tunnel, under the M32 motorway are a couple of really great walls. Great for spraying that is…less great for photographing. This is yet another wonderful collaboration piece from Deamze and Voyder, who always seem to work with Deamze on the left and Voyder on the right. I don’t know if this is a deliberate or subconscious thing, but it is pretty much always the case.
What is particularly captivating about these pieces is the white subject on a pillarbox red background. Deamze has worked a particularly nice bit of wildstyle writing with an interesting cartoon character who looks a little like Captain Klutz from MAD magazine, but isn’t.
Someone out there probably knows who it is. I love the angular style of this piece and the limited colour range. It is a fine piece.
It is becoming very difficult to describe Voyder’s work these days, as I feel he has hit such a high level, and that veach work pushes boundaries and demonstrates his command of his craft.
This is such a beautifully constructed piece and resembles a paper cut out. It is such a pity the photograph just doesn’t do it justice. That red just sets the piece off perfectly.