It seems that street/graffiti artists tend to have peaks and troughs in their activity. I suppose that, like the rest of us, life, jobs, family and so on just get in the way a bit. I introduce this piece with this observation because Sled One, who was extremely productive last year, seems to be a little quieter. This may just be a false perception, and I am not seeing his stuff as much as I used to – I might be in the wrong place at the wrong time.
Sled One, St Werburghs Tunnel, Bristol, June 2017
This is of the usual high standard that Sled One attains, it appears, with such ease. This wildstyle writing is so very easy on the eye, like much of his work. I particularly like the ‘accent’ lines he uses to emphasise the letters or that wisp around the piece giving it a sense of animation. I will not tire of his outstanding work.
It has been a little while since I have seen a Sled One piece, but this one has been worth waiting for. A crocodile, or is it an alligator? with SLED written into the main part of the body.
Sled One, M32 roundabout Bristol, June 2017
There is a lot to like about this piece; the colours, the backdrop design, the writing and of course the reptile with its stylish purple glasses. This was my second attempt at photographing the work. The first time was on a very bright day, and there was a shadow cast across half of the wall…sometimes overcast days can be a blessing.
I was lucky enough to meet Ments at the Graffiti Nation exhibition opening evening at the Upfest shop in April. As with all other graffiti artists, he looked nothing like the image I had conjured up in my mind. It is interesting what assumptions we are capable of making before actually meeting a person.
Ments, M32 Roundabout, Bristol, June 2017
Ments came to Bristol but is originally from East Anglia, and if street art is your thing, it is probably an obvious move to make. This piece is of such a high quality and showcases the organic feel he gives to his work.
Ments, M32 Roundabout, Bristol, June 2017
This wildstyle writing is complex, but look carefully and you might be able to make out the letters MENTS. His work is so distinctive and seems to improve from piece to piece.
The temporary hoardings in Raleigh Road are something of a honey pot for several members of the ASK crew. Given that there is little, if any, tagging on this space, I wonder if it is a curated legal wall. I guess I ought to know really.
Soker, Raleigh Road, Bristol, May 2017
This is an amazing wispy and colourful piece by Soker, and slightly different from the work we are used to seeing from him. It is interesting that the board had been blacked out before the piece was sprayed, suggesting that this was part of an organised event.
I really like the work of Hire, especially as I now know what to look for in his work. His writing is really well disguised and has something medieval about it, swords clashing…or maybe that is just me. I suppose another interpretation would be Gothic.
Hire, Dean Lane, Bristol, May 2017
I think it is the detail and jagged shapes that I like about his work, and although technically good, there is something rather raw about it. Really great graffiti writing.
I haven’t seen much of Epok’s work of late, so it was great to see this trademark piece on the M32 roundabout back in April. His wildstyle writing is always perfectly executed, and the precision and geometry betrays the large amount of care that goes into his works.
Epok, M32 roundabout, Bristol, April 2017
He has made great use of accent colours and patterns in green and white, to make the black and brown lettering stand out. Another high quality piece from one of the best writers in town.
Now that I know what I am looking for, and recognise the signature I will be featuring more of Hire’s work as and when I come across it. He is the artist who sprays the large buck toothed bunnies, which appear from time to time.
Hire, Dean Lane, Bristol, April 2017
This is a wildstyle piece which, if you look carefully spells out HIRE, although it takes some convincing to be sure. This is a nice quick piece which all forms part of the rich mix you can find down at Dean Lane.
There are several street/graffiti artists in Bristol who never seem to stop, and ranking high amongst those is Deamze. This compressed piece is from a few weeks ago and takes the format of his wildstyle lettering and a character.
Deamze, Kings Square Avenue, Bristol, April 2017
I am guessing that the character is some kind of hog or pig – probably from a cartoon series that I never watched on TV.
Deamze, Kings Square Avenue, Bristol, April 2017
The colours in this work, especially the dayglow pink and green set on a purple background create an eye-catching piece for passers by. Deamze has occupied this spot for as long as I have been blogging, and probably sometime longer than that.
As Whysayit pieces go, this really is a first class one. Sprayed on what is probably the premium wall at Deaners, it oozes with confidence and colour. I think what really marks this out from his other work, is that he has taken a bit of time to prepare a backwash, and it definitely helps the writing to stand out.
Whysayit, Dean Lane, Bristol, April 2017
I liked this piece from the moment I saw it, and although it didn’t last long (nothing much does here) I’m glad I got to see it.
There are two artists in Bristol who are performing at the top of their game at the moment, Deamze and Voyder. Deamze consistantly turns out superb wildstyle pieces and absorbs styles and characters into his pieces with ease, but it is Voyder who, in my opinion, is hitting a new level with his work.
Deamze, Waterloo Place, Bristol, April 2017
This bright collaboration can be found on the wall at the back of the Sofa Project in Old Market. It is so, so good that it really does have to be seen in the flesh. There is a consistent thread of the colour scheme and a diagonal line through both pieces that cuts through the writing, and with which both artists have treated the line as a breaking point in the work – so thought out and skilful.
Deamze, Waterloo Place, Bristol, April 2017
I would like to focus a little – which is hard to do with two such immense pieces – on Voyder’s half of the collaboration, because I think this is the best piece I have seen from him, ever. The neon line zig-zagging through the Lichtenstein influenced brush strokes is masterful. Look at the shadows and the light that radiates from the neon. Just amazing.
Voyder, Waterloo Place, Bristol, April 2017
Voyder has mastered his technique, and I don’t quite know where he goes from here. He has just been getting better and better with every piece and I consider him to be the king of writing in Bristol right now. If you don’t agree, just get down and take a close look at this piece. The best collaborative piece of the year so far as far as I am concerned. Love it (just in case you hadn’t figured that yet).
