I have always liked Hannah Adamaszek’s murals and have seen a fair few of them over the years in Bristol. Usually portraits of striking women in soft tones, her work is must unlike anything else we commonly see on the streets of Bristol.
It was a pity that this particular piece was tucked away on the wall of a beer garden under a rather grubby canopy that rather exaggerated its yellowness. Also Walls such as this are so difficult to look at and photograph, because of all the people sitting in front of them. This is a fine piece slightly impacted by circumstance. She’ll be back though I’m sureb with a better wall to paint.
Having only recently ‘discovered’ Lobe, it seems that I am finding her work all over the place (and still have some to find). This is a lovely sunny piece at the M32 roundabout, with a rather unfortunate bit of graffiti just above it ‘viagra’ – I sometimes wonder what gets into people’s minds when they scrawl something like that.
Once again Lobe hits us with bold colours and strong lines and shading which is very much her style. Placing the bright yellow piece on a spotty pink background works really well. Another fine piece from Lobe.
I knew where to look first when I emerged from the tube station in Camden Town, and on locating my first spot, I was rewarded with a small parking yard which had been pretty much resprayed since I was here a year ago. Unfortunately the gates were closed, which made photographing the side walls a little tricky, but this end wall, a gateway to an inner yard, was thankfully unobstructed and face on. The piece is of course by Stinkfish, who is also responsible for the most iconic piece in Stokes Croft, Bristol.
Stinkfish specialises in painting yellow portraits from photographs that he takes of people he meets, and adorns them with vibrant patterns of colour and light, creating a magical movement all around the piece. These characteristics make his work easy to identify.
His pieces are always great to look at and seem to ask many questions about who these characters are. I am not sure about the background, which looks like it is by another artist. In my view, the pieces fight for attention instead of complementing one another, so I would suggest that this was not a collaboration, but I am usually wrong about these things.
Once in a while, you feel that you might be witnessing something rather special, and so it is with the art of Tom Miller. I would be the first to concede that his surrealist style isn’t to everyone’s taste, but what he has to offer, both on canvass and on walls, is very different, refreshing, challenging, intelligent, busy and bright. I think and hope he will go a long way.
He was busy painting this new wall on New Year’s Eve and into New Year. Dedication to his craft.
I am not entirely sure what the piece is depicting, but it looks a little like Buddha with a whole load of things going on around him and a rather nice little hut ion his head for a hat. Miller’s pieces are always bursting with energy and weirdness. Lots of body parts and face parts adorn his subjects. There is meaning to all of this I’m sure, but it is probably deeply rooted in the artist’s sub-conscious.
A wonderful new landmark on the Bristol street art trail, slightly off the beaten track, but worth the walk.
It is not so long ago that I hadn’t come across Osch. Now it seems he is popping up in my blog rather regularly. This is another in his series of orange/yellow circles with a scene going on inside. This particular piece incorporates another of his trademark styles, which is to have an unfurling ribbon effect.
I like this piece for several reasons, but particularly for its location and subject that reflect the adjacent tourist shop.
I have been sitting on this piece for a long time. I think it is because there is something rather enigmatic about it, and I can’t think what I want to say. It is unmistakably by Sean Sepr, but somehow a little different from the custimary expression, both in the artwork and the subject.
I feel it is a sad piece – a robot holding a heart – there is a lot of symbolism here. Sepr again has used limited colours – yellow, white and black – which brings out the contrast and shadows.
For me it is a piece that I like, but it is difficult to love…if that makes sense.