The anonymous artist duo MonkeyBird creates large-scale paintings of black-and-white cross contour depictions of mythical animals accented in gold. Most MonkeyBird artworks incorporate a humanoid monkey and bird, which represent “the two faces of humankind, the monkey being the realist, and the bird being a dreamer,” according to Paris-based 5Art Gallery. Old-world details like classical architecture, timekeeping devices, and weight scales add to the timeless look of the pair’s paintings. MonkeyBird’s members bring training in graphic design, as well as object and industrial design to their artistic aesthetic, which can be seen in their clean, technique-driven stenciling.
Based in Bordeaux, France, MonkeyBird travels widely to create outdoor murals as well as indoor installations. They’ll be working in Moscow from October 2 to the 11th. Follow along with MonkeyBird’s newest projects on Instagram, and pick up a limited edition print in their online store. (via Hi-Fructose)
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Against the backdrop of Paris Fashion Week which introduced several collaborative projects between high fashion brands and big names from the art world (Dior partnered with KAWS and Takashi Murakami continued collaborating with Virgil Abloh, the new artistic director of Louis Vuitton’s menswear collection), the French capital was hit for the first time hit by the world’s most elusive street artist—Banksy.
Without previous announcement or warning, Parisians began to discover several new street pieces that quickly materialized in the urban/street art galaxy of the social media universe and were eventually confirmed on Banksy’s official Instagram account.
The first piece was found near the Porte de la Chapelle metro station, where Paris’ refugee centre “La Bulle,” was located until August 2017. A city within a city, it was home to a makeshift camp of some 2,700 refugees and was dismantled an estimated 35 times before 2,000 migrants were bussed to temporary shelters. This was done as part of Emmanuel Macron’s wish to remove the refugees “off the streets, out of the woods,” as stated during his campaign.
With this in mind, Banksy revisited his “Go Flock Yourself” piece from 2008, and created a new version as commentary on the current political situation in France and throughout Europe. Depicting a black girl painting a Victorian wallpaper pattern over a swastika, the artist is commenting on the way politicians are concealing wrongdoing and potentially fascist policies.
The second and third pieces appeared soon thereafter. One depicts a suited man luring a three-legged dog with a bone while hiding a saw behind his back, a metaphor for politicians tricking people with promises that often have a masked, devastating agenda. The other is Banksy’s take on the iconic painting “Napoleon Crossing the Alps” by Jacques-Louis David, a symbol of French power and influence. By covering the rider with his own cape, the artist is commenting on the current misguided way the government is leading the country, blinding people with propaganda and false promises.
The last three pieces introduce Bansky’s signature rats to their genesis—Parisian artist Blek Le Rat and his rat stencils were a great influence on the Bristol-born artist, or as he stated in one of his recent IG posts: “The birthplace of modern stencil art.” Placing them around the city in ways that interact with local graffiti and building facades, it may appear as though they’re having fun blowing things up. But in reality, they are a reminder of a volatile period of civil unrest that took place in May 1968 when the government temporarily ceased to function.
In one piece a rat is propelled by a popping champagne cork. Using this symbol of affluence as their vehicle to overtake obstacles, the rodents are once again Banksy’s metaphor for working class people making significant change when they join together and fight for similar cause.
Of particular note in this Banksy “invasion” was that some of the works were miraculously revised overnight, allowing the artist to highlight one of the biggest advantages of stencil technique–its ability to be applied quickly and precisely. With this in mind, a small rat prepared to blow up a Pompidou Center sign suddenly morphed into a much larger rat with bandanna covered face. It now wields a large X-Acto knife, a common symbol of stencil cutting.
Included here are many of the works that have since emerged in Paris, but you can see several more here.
Update: This article was updated on 6/28/18 to include new images and details.
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Elusive Spanish artist Pejac (previously) travels the world creating street interventions, often integrating natural elements into man-made structures through a combination of stenciling and trompe l’oeil painting. His most recent projects have brought him to New York City for the first time, where he has created two arboreal artworks in Bushwick and Chinatown.
Pejac formed Fossil, in Brooklyn’s Bushwick neighborhood, using a brick-sized stencil to spray paint carefully placed shadows on a brick wall. This illusion of bricks sinking back and surging forward creates a pixelated tree. Chinatown’s Inner Strength is fully hand-painted, depicting a cherry blossom branch growing out of a security gate and surrounding by flying swallows. Pejac, who often addresses humanity’s fraught relationship to the natural world, describes his newest artworks to Colossal:
Taking a sturdy structure and familiar urban element as a base, Fossil is proposing a hypothetical fatal future in which the only memory of nature is the fossilized appearance of a tree on a brick wall. Opposing the first work, Inner Strength is an empowering piece portraying another hypothetical future in which nature breaks the barriers imposed by the hand of man, recovering the lost ground along the way.
In addition to his outdoor work, Pejac occasionally creates editioned prints using a variety of techniques ranging from lithography to screenprinting. You can follow the artist’s travels on Instagram and Facebook. For those in New York, Fossil is located at 27 Scott Avenue in Brooklyn, and Inner Strength can be found at 2 Henry Street in Manhattan.
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Norwegian born artist Martin Whatson produces stencil art that lashes out at the mundane, interrupting grayscale scenes with explosions of vibrantly painted graffiti. The works often focus on a singular matte subject, one that is seemingly unaware of the bright words and marks that have surrounded their bleak environment. Whatson’s inspirations come from a variety of urban origins, interested in everything from decaying walls to the graffiti and posters that cover them.
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As he travels the world with spray cans in hand, Parisian street artist C215 (previously) depicts what he describes as “things and people that society aims at keeping hidden.” Homeless people, street kids, smokers, and refugees are all muses for his unique brand of intricate stencil work that reduce his subject’s faces into sinewy outlines. One of his favorite things to depict are the faces of friendly felines that peer out from walls or on the sides of trash bins, oddly perfect and regal despite their rugged urban surroundings. Collected here are some of our favorite cats from the last two years or so, but you can see more up-to-date works on both Flickr and Facebook.
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No matter how many times I stop to consider artworks by Parisian street artist C215 (previously) I’m left wondering just how he pulls it off. The texture, the color, the detail, all executed with stencils and spray paint on any available surface. C215 says that he frequently portrays “things and people that society aims at keeping hidden: homeless people, smokers, street kids, bench lovers for example,” though one of his favorite muses is his daughter Nina who has appeared in numerous portraits over the years. He also sneaks in references to pop culture, most notably one of the best tributes to Robin Williams I’ve seen yet.
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Editor's Picks: Craft
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