with street art
Good Clean Fun: Dianna Wood Wields a Power Washer to Blast Birds, Butterflies, and Flowers onto Dirty Driveways
Since receiving a power washer for her birthday this fall, Dianna Wood has turned her driveway, and those of her lucky neighbors, into works of art. Similar to the reductive processes of printmaking and scratchboard art, Wood removes areas of her “canvas” to reveal lighter tones in the form of cardinals, dogwood blossoms, butterflies, and other delicate flora and fauna. On her blog, Wood explains that she deftly adjusts the distance and angle of the power washer nozzle in relation to the cement to create the nuanced illustrations. The hobbyist artist and lifelong creative has garnered widespread attention for her just-for-fun street art. Those interested in keeping up with future projects can follow Wood on Facebook. (via My Modern Met)
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Photographer Emily Paxton and artist Pam Glew of PaxtonGlew have curated an exhibition of tiny houses, stores, and train cars that is unlike your typical model village. Instead of pristine new buildings, each model is hand-painted with graffiti and colorful murals. Together the miniatures form a well-worn city from the collective imagination of over 40 urban contemporary artists from around the world.
Titled Urban Miniatures, the pop-up opened on November 23, 2019 as a part of the Artists Open Houses Christmas Festival in Brighton, England. The roster of artists tapped to contribute include train-writers, muralists, designers, and painters, most of whom typically work at a much larger scale. From an optical illusion mural painted on a mini hotel by Peeta (previously), to architectural jewelry by Tiny Scenic, the scale of each piece in the exhibition forces the viewer to look more closely and appreciate the details. That level of intimacy is not always possible when a piece is ten stories tall or speeding down a track.
For those able to visit Brighton, Urban Miniatures is scheduled to run through December 22, 2019. The curators are also offering miniature-themed workshops for those who visit the gallery space. Limited edition prints, models, and other art gifts are also available via their online store. For more information, follow @paxtonglew on Instagram.
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In celebration of Día de Muertos on November 1, Raymundo Medina built a massive skeleton that appears to be lurching out of the pavement on a street in Santa Cecilia Tláhuac, Mexico. Piles of crumbled concrete at the places where the skeleton is connected to the street create the illusion that it is bursting through the asphalt. Medina created the sculpture in the traditional aesthetic of the important Mexican holiday that celebrates deceased loved ones and ancestors. According to Mexican news site Miguel Ángel Luna, Medina is a member of the Jaén Cartonería collective and collaborates with Yaocalli Indians in his work. Built with papier-mâché and painted with starkly delineated black and white areas, the skeleton seems to be almost smiling; Día de Muertos is more celebratory than mournful. (via @losalananaya)
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California-based artist Spenser Little has spent the past 15 years creating sculptures by bending and cutting wire into figurative portraits and phrases. His lightweight pieces have been installed on lamp posts and other existing structures around the world and have also been exhibited in numerous gallery shows.
According to Little, a few of his sculptures combine multiple pieces and include moving parts, though most of his work is made using one continuous piece of wire. The artist bends the rigid material using a pair of needle-nose pliers until it fits the image of his subject or his imagination. The work ranges from playful figures that interact with their surroundings to pointed commentaries on an internet and tech-obsessed society. Collectors encounter the sculptures framed and presented in a gallery setting, while others wire portraits have been left behind for pedestrians and explorers to find deep in caves and high above the streets.
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The 19th Edition of Pioneering Street Art Festival NuArt Challenges Participants to Consider the Old and the New
For the 19th consecutive year, the quaint Norwegian town of Stavanger hosted another edition of the internationally known NuArt Festival. What started in 2001 as side programming at an electronic music festival has evolved into one of the most influential street art festivals worldwide. In addition to the production of public artworks, Nuart also includes a series of academic talks, debates, and movie premieres/screenings, all working towards greater definition and recognition of the street art movement. Its concurrent indoor exhibition also provides the artists an opportunity to create indoor works and installations without limitations or censoring, providing a unique blend of street art attitude showcased inside a gallery-like setting.
One of the works painted last week in Stavanger was the image of a girl taking a photo of a painting in a thick ornate frame. What seemed like an eye candy composition that creates a simple interaction of the character with an object on the wall is actually a harsh critique of the way the general public and the art world are dealing with the global refugee crisis. “On one side there is the passive position of the observer, on the other side, there is the position of the artist. Both acts as beholders of the critical situation,” the artist Jofre Oliveras (previously) stated about his poignant piece, titled Beholders. The artist further extended his critique of the art world with an indoor installation and live performance work presented in collaboration with the members of the 1UP CREW. As a way of protesting against the speculation of the art dealers based on the artist’s name, Oliveras painted a series of large works on canvas, which were then crossed over and destroyed by the notorious international graffiti crew.
Not far from this mural Argentine muralist Hyuro (previously) created her vision of the crisis and the way it is affecting the lives of individuals. Using hands as the universal symbol of individuality and closeness, Valencia-based artist depicted two hands interacting with a straight line between them. Symbolizing arbitrary manmade borders, the hands are both crossing over or being crossed over by the strict mark. Also talking about important social issues, Paul Harfleet introduced the concept of the ongoing Pansy Project, planting a single pansy flower on the location of homophobic abuse. Not being able to find the actual plants due to their seasonal nature, for the first time Harfleet painted these fragile flowers on multiple locations through the city and inside exhibition spaces.
Working around the festival’s theme “Brand new, you’re retro,” Julio Anaya Cabanding (previously) painted a series of smaller interventions which free a classic artwork by Norway’s Lars Hertervig in unexpected places. On the side of a staircase, at the end of a dark hallway, and finally, as part of the exhibition, his work is successfully merging the worlds of art history museums with street art.
This sensitive merging of two similar movements is an ongoing subject of the work by the Portuguese artist Nuno Viegas who painted a large mural showing a head masked with a shirt. Portraying the classic image of vandal graffiti writers with their makeshift disguise costume, the artist wanted to pay tribute to his graffiti past. “I see graffiti as the retro and street art the brand new,” the artist explained to Colossal. “But it is important that people realize the difference between both and don’t get them mixed up. Let’s respect graffiti and not try to appropriate it, let’s be proud of the “new” movement we are part of. We are writing history and it is important that we write it right and make sure we respect and do not distort what has been done before we got it to the game.”
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Graffiti artist Vile leaves his mark on the walls of occupied and abandoned buildings around Europe, using masterful techniques to create the illusion of depth in his painted interventions. The Portuguese artist has simulated letter-shaped gaps in crumbling bricks, galaxies pulsating behind concrete walls, and even entire imagined buildings. Vile, who lives in his hometown of Vila Franca de Xira, started writing graffiti at the age of 14, and studied cartooning and animation for films as well as drawing and illustration. Follow Vile’s illusory exploits on Instagram. (via Laughing Squid)
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French artists Ella & Pitr (previously) paint large murals of sleeping characters whose bodies are contoured into the confines of rooftops, geometrical lots, and building facades. Best viewed from above, the murals often feature stripes and the limited color palette of the French flag: red, white, and blue.
The artists often tackle politics and social issues with their murals with their murals—such as the global refugee crisis—but they also paint lighthearted, fun pieces. The recently completed mural atop the Paris Parc Expo features a sleeping grandmother next to six lanes of traffic. Wearing a red coat with blue and white stripes, the woman measures almost 270,000 square feet and took 8 days and several volunteers to complete. The artists have also spent 2019 adding giants to walls and roofs in Bulgaria, Croatia, Colombia, Norway, and in other countries around the world.
To see more of their travels and the large pieces they have left behind, follow Ella & Pitr on Instagram.
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Editor's Picks: Architecture
Highlights below. For the full collection click here.