Steve and Jaime from BSA are proud to be repping Berlin’s Urban Nation Museum next month in Los Angeles in the company of the great German artist duo Layer Cake for the 4th iteration of their collaborative art project.
Please join us with artists Shepard Fairey and Chaz Bojórquez as we welcome Layer Cake to Shepards’ Subliminal Projects!
See the full Press Release below and if you are in LA on the 16th, we can’t wait to meet you. It will be a fantastic show and a very special night..
Punk Rock Politics, an Arctic fox, a Circumpolar Biome…
New York, a city that never sleeps, truly comes alive in the summer with an influx of international street artists and graffiti writers adorning its walls with fresh ideas and paint. Among them, Vegan Flava, a Swedish artist of global repute, seized his inaugural trip to unveil his unique approach—a synthesis of activism, urban aesthetics, and environmental consciousness. Over the past three decades, his artistic journey has been a contemplative exploration of art’s societal role, driven by his unwavering commitment to illuminate both local and global environmental and social issues. Woven through the fabric of hardcore punk music, veganism, environmentalism, graffiti, and urban art, Vegan Flava’s oeuvre emerges as a profound dialogue on societal complexities, hoping to stimulate your contemplation as well.
Vegan Flava’s artistic themes crystallize with clarity. He perceives his art as a mirror reflecting society’s nuances. He advocates for a shift in environmental awareness—a transformation that goes beyond human-centric perspectives to embrace a broader ecological responsibility. With an astute focus on the interconnectedness of all life forms, he delves into the intricate relationships between species and ecosystems. During a sweltering summer sojourn to New York, we had the privilege to engage with Vegan Flava, learning about his perspective on the natural world’s interwoven tapestry, our place within it, and the reverberating impact of even a solitary species’ disappearance.
BSA: Tell us a little about yourself, where you live, how long you have been an artist on the streets, other information you would like to share.
VF: I live in Stockholm between Lake Mälaren and the Baltic Sea. I’ve been an artist ever since I could hold a pencil. I discovered graffiti when I was 11 years old in 1989. I sprayed my first wall two years later. I painted graffiti during the 90’s, which evolved into urban art after the millennia. I’ve attended several art schools and graduated with a Master’s in fine art in 2005.
BSA: How did you conceive of being Vegan Flava, and what does it mean to you to adopt this moniker?
VF: It’s something that’s been interesting to explore. My alias Vegan Flava, has been a long-time art project where I’ve looked into how art can reflect society and influence it through urban art. I took this alias 25 years ago, and I was confronting the human-centric world with it.
I’ve noticed along the way that my alias sometimes affects people’s ability to appreciate my art. Art is a wide and open space for complex ideas, and what I’ve experienced is that my alias can be a narrow door that tends to close instead of opening into the broad thoughts, ideas, and topics my art explores. At the moment, I’m considering how my work would be affected if I start using my real name moving forward.
In the early 90s, the day after being at my first hardcore punk concert in the neighboring town of Vänersborg, Sweden, my friends and I formed our city’s first hardcore band. Beginning in 1993, I was active in the hardcore punk music movement, which brought my attention to many social issues. There were songs about how animals were treated in the meat and dairy industry, and at the merch tables at the concerts, info was spread through zines, pamphlets, and books.
The songs questioned human dominance, but it wasn’t until 1998 that I switched to a plant-based diet, and I started to write ‘Vegan’ in my graffiti. Later, I added the word ‘Flava’ to my street alias. In the hardcore scene, I learned that music and art can be used to reflect, change, and build society and not merely be experienced for pleasure. I was greatly affected by the visual language on all printed matter, such as concert posters, band t-shirts, CD covers, and booklets. Parallel to this, I was deeply into skateboarding and graffiti, which all had connections and were different forms of youth-oriented DIY culture with strong visual aesthetics.
BSA: Your earlier work often featured skeletal remains and dark imagery. Has that changed for you, and if so, how?
VF: Yes, I moved on from it a few years ago. I’ve been working on topics from nature around my hometown, animals, and flowers from the Swedish Arctic. A few years ago, I became interested in how much Swedes know about how the climate crisis affects Sweden. So, I focused even more on exploring local topics.
The Baltic harbor’s porpoise is critically endangered and is the only whale species living in the Baltic Sea. I’ve painted it in several artworks as a symbol for the critical state of the Baltic Sea, which has the largest dead sea floor area on the planet.
In February this year, my solo exhibition had the title Tears Of The Cryosphere and explored the many effects of the loss of water in frozen form. The cryosphere is basically the planet’s cooling system and is deeply part of Swedish identity. I’ve done several land-art pieces on snow-covered frozen lakes with large poems and motifs of endangered animals.
In paste-ups primarily in European cities, but now also in New York, and in murals and studio work, I’m looking into the movements of nature. As the climate warms, plants and animals in the biosphere must adapt to the new environmental conditions – or emigrate if they can. This is also the reality for many humans.
BSA: Is this the first time you have painted in New York? Can you describe what the experience was like for you?
VF: Yes, and I enjoyed every moment of it. It’s been a long-time dream to travel to the US, and I finally made it. My main goal was, of course, to paint a mural, and thanks to East Village Walls, I got the opportunity to paint a small mural in Manhattan. I was happy to meet people from the community and the many photographers who came by my wall and artists and curators from the NY urban art scene during my stay. The city’s art ecosystem was hard to enter, but I really loved New York, and I’m hoping to get an opportunity to go back soon.
BSA: Can you speak about the arctic fox in this image and its connection to Finnish or Swedish culture and ecology?
VF: The mural’s title is ”Rooted above the taiga,” and it depicts an arctic fox that lives far north above the tree line in the arctic tundra. Taiga is a circumpolar biome, an enormous pine and fir forest belt stretching through Russia, Alaska, Canada, Norway, Sweden, and Finland.
Due to the warming climate, the nature of the tundra is changing and decreasing. I’m painting the Arctic fox as a representative of this biome. It is not a threatened species in North America, but it was hunted to extinction in Finland, and in Sweden, it is listed as critically endangered.
In Sweden, the winter season is shorter, and it often rains in places where it used to snow. Winter trails that used to cross through frozen lakes can now be too weak. It changes the living circumstances of animals, plants, and humans. I’m concerned about the effects of the changing cryosphere, with melting permafrost and glaciers and the decreasing lake and sea ice.
In my art, I’m exploring topics and raising questions about species loss and changing planetary systems. Many species risk extinction before we even get to know them, such as the unique Baltic Harbour porpoise. I often face the question of what happens when some species disappear. Is it really a problem? What benefits do we lose when they are extinct? A species is often linked to several other species, so losing one affects others. We might not see what is already evident for other species. If the entire biomes of the tundra, the taiga, and the cryosphere could ask us, what is your reason for being? How would you answer that question?
BSA: Artists have myriad roles in society. How do you see your role as an artist who works on the street and whose paintings remain there long after you have finished?
VF: I’m interested in creating my art in dialog with the surroundings and in places that are not always necessarily designated spaces for art. Places where art can be intertwined with daily life and can be discovered in a spontaneous way. The art experience becomes a natural and simple part of the day instead of an active, planned, and conscious choice for a few. I also see public art as a language that expresses something non-commercial and can be a parallel dialog about something else. During my whole life, art of all sorts has challenged and inspired me to evolve as a person, and that’s what I hope my art can be a part of for others.
In Ukraine, Russia has bombed theaters and art schools and ruined public art and artworks. The Kyiv Soloists string ensemble was in Italy when their nation was invaded, and they decided to stay on tour to let the world hear Ukrainian music. Art collectives in Kyiv started producing bulletproof vests in their workshops, and Ukrainian poets and artists were voices of their culture in news channels worldwide. What this clearly shows is that art is producing identity; it is a home.
Here’s our weekly interview with the street, this week featuring: De Grupo, JPS, The Postman, Savior El Mundo, DrscØ, Hektad, Buttsup, MCA, Fumeroism, Ottograph, and Lysefjorden.
Dourone, the dynamic artistic partnership of Fabio Lopez Gonzalo and Élodie Arshak, presents “The World of Tomorrow” on the Ivory Coast.
DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)
Originating from Madrid, Spain, Fabio Lopez Gonzalo, known as Dourone, began his journey in the late 90s, deeply rooted in the urban art scene. His interests span film, television, advertising, and fashion photography.
In 2012, Fabio joined forces with Élodie Arshak, leading to a formidable international muralist duo. Their evocative works adorn walls in 21 countries and 64 cities, totaling an impressive 104 large-scale murals. Their creations now appear in galleries and on walls in cities such as Madrid, Barcelona, Paris, Los Angeles, and Dubai.
DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)
Dourone’s art seamlessly blends sentiment and thought, drawing inspiration from the term “Sentipensante” coined by Puerto Rican educator and philosopher Gloria E. Anzaldúa. The term marries two Spanish words: “sentir,” meaning “to feel,” and “pensante,” meaning “thinking” or “thoughtful.” When viewed holistically, their imagery unfolds as a visual narrative that interprets humanity’s adaptation to an ever-changing world.
“The World of Tomorrow” now emerges on the Pyramid of Abidjan, an iconic architectural marvel of brutalist design in the Ivory Coast. Soaring to an impressive height of 64 meters, this mural, is brought to life with 63 hues using only brushes, materialized over a span of 10 days. The vibrant portrayal of a young girl embodies the essence of an ever-evolving Africa, where the present and future coalesce, exuding strength and determination.
DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)DOURONE. “The World Of Tomorrow”. Pyramid of Abidjan. Ivory Coast. (photo courtesy of DourOne)
Having delved into the very heart of the beast, one might gain insight into the monster’s psyche—such is the impression conveyed by street artist SEBS.
For a decade or so, SEBS has adorned abandoned lots and decaying edifices, primarily across his native Portugal, with these paradoxically new/retro “ads.” Nestled within each product lies an astute critique of the advertising industry’s unflinching resolve to peddle wares indiscriminately, often disregarding their impact on individuals. The artist portrays a landscape where the allure of fresh terminology and technological novelty becomes, in the industry’s eyes, justification enough to champion and endorse anything, irrespective of its potential consequences.
“Are we just guinea pigs?” SEBS asks us in a recent email. At what point do these outlandish goods and services cross over into actual ones, and will we still find them outlandish?
The street artist SEBS softens the blow in a low-key, handmade way that comforts and reveals. He slices through glitzy promises and hollow catchphrases, revealing a relentless pursuit of profit that may cast aside ethical considerations. With a brush dipped in irony, he paints the industry’s audacious willingness to market anything, regardless of its impact on individuals and society. The advertising machine, he suggests, is all too eager to latch onto the latest buzzwords and technological novelties, treating them as a panacea that justifies the promotion of any idea or product.
“We live in the new age of technology. Technology is already part of our daily life,” he says.
“Tech kings selling us dreams with secrets behind the magic. We, the people, are impressed by the illusions of a world in constant adaptation.”
SEBS describes these new installations that he says are united by the technology theme. “One is about implanting chips in the skull, and the other is about how we can all become talented ‘singers’ through artificial intelligence,” he says
Back in dirty old Brooklyn from squeaky clean Norway, nothing has changed, and everything has changed. The Pokémon GO Fest is bringing 70,000 players to Randalls Island and elsewhere in the city, city government is banning TikTok from all official devices, and stabbings are up by 26% so Stay on your A-game out there people. The city is still beckoning you to Summer Streets, and we do too because wherever you go in New York, there is always a show, and sometimes you are it.
We lead the images this week with street artist Nimi’s poetic interpretation in Stavanger of Norway’s famous cliff Preikestolen, or Pulpit Rock. There are not sufficient words to describe certain examples of natural beauty, so it is more fitting that a street artist address it – in this case possibly creating a parallel between its scale and the depth of love the artist has for his family. According to online accounts, the subject is his daughter Sophia.
Here’s our weekly interview with the street, this week featuring: Praxis VGZ, BK Foxx, Snik, Calicho Art, Sonny Sundancer, Nite Owl, NIMI, Pinky, Heal Hop, and Silvia Marcon.
This harmonious collaboration blossomed from the creative synergy between two Italian artists, each wielding a distinctive technique. Despite their divergent artistic styles, common passions wove them together, affording them to seamlessly create a mural here in Vigone, Italy. Having featured them both within the pages of BSA, we have consistently been captivated by their concepts and their execution.
Fabio Petani & Mr. Fijodor. The Buck Moon – Super Luna del Cervo. Vigone, Italy. (photo courtesy of the artists)
Their new mural, entitled “The Buck Moon – Super Luna del Cervo,” is a tribute to the Deer Supermoon described by Mr. Petani as “the most magnificent, luminous, and visually expansive lunar display due to an optical illusion. The Deer Supermoon graces the skies in early July and earns its name from the fact that this is the time when the antlers of male deer reach their peak size. According to legend, these antlers are believed to cast shadows on the moon’s light. This celestial event, historically linked to fertility and its sway over tides, marked an auspicious period in ancient times for various activities such as hair cutting, bottling, collecting medicinal herbs, sowing, fertilizing, and tending to plants”
Fabio Petani & Mr. Fijodor. The Buck Moon – Super Luna del Cervo. Vigone, Italy. (photo courtesy of the artists)Fabio Petani & Mr. Fijodor. The Buck Moon – Super Luna del Cervo. Vigone, Italy. (photo courtesy of the artists)
An unexpected surprise this week for Stavanger, for street art, a renowned contemporary artist, and even a group of schoolchildren who found painterly companions during their raucous schoolyard games.
Kjell Pahr-Iversen is lauded worldwide for his distinctive blend of minimalist aesthetics and abstract expressionism, often infusing his pieces with a dynamic interplay of bold geometric forms, intricate patterns, and vibrant palettes. As one of Stavanger’s most cherished modern artists and neighbors, his enduring legacy encompasses decades of achievements, including exhibitions in prestigious galleries and museums and a collection of awards and formal recognitions. His innovative approach and unwavering dedication have garnered esteem from peers and ardent art enthusiasts around the world.
Monday afternoon, along with Stavanger artist Atle Østrem, he made a pretty good impression with a new audience. He says it is good to have support when working on your art “live” and in public.
“Well, I spoke to two boys,” says Pahr-Iversen, “and one of them gave me the honor of saying, ‘I like your painting,’ so I am satisfied.”
More soon on this developing collaborative story happening during the Nice Surprise festival.
Pøbel embarked on his street art journey by fashioning modest stencils in his studio, yet now he conquers towering facades with bold prominence. A cornerstone of this year’s Nice Surprise Festival in Stavanger, Norway, Pøbel stands as an artistic powerhouse, well-versed in history and the global network of his peers. With summer’s curtain not yet drawn, he teasingly hints at the possibility of one more Nice Surprise, a cunning twist up his sleeve.
A quarter-century after he embarked on the quest to master the art of stencil-making, sparked by the electric resonance of his favorite band Rage Against the Machine and their fervent political lyrics, Pøbel has transmuted stencils into instruments of advocating for social justice and an array of politically/socially charged perspectives, painted boldly on the street canvas, sometimes within the lines of legality, and occasionally elsewhere.
Delving briefly into this captivating stencil narrative, you unearth the DNA of Pøbel and an entire generation of street artists intertwined within. It all began with a Che Guevara stencil that fueled Pøbel’s desire to craft his own. This iconic image was heavily wielded by Rage et al. during the 1990s – its origins tracing back to the fervent student uprisings in Paris in 1968, a time of civil upheaval driven by a collection of factors encompassing political, societal, and economic dimensions. Thus, the link between activism, outlaw street art, and the stenciled story is as vivid as his colors.
Courtesy art.salon
The original photograph of Che, immortalized by Alberto Korda as ‘Guerillero Heroico,’ was transformed into a stencil by Jim Fitzpatrick, yielding 1000 posters disseminated to student movements and marches advocating against the establishment and imperialism during the late 1960s. Yet, an unsavory tale emerges as well – Gerard Malanga, anointed Warhol Superstar, poet, and photographer, propagated counterfeit Warhol canvases bearing multiple renditions of this very image, consorting with a European gallery to peddle them without Warhol’s knowledge or consent. “Warhol was alerted and claimed the piece – and its royalties” (Warholstars | WikiArt). Regrettably, our story shows that a similar shadowy side has weaved through the contemporary art story over the past century. As an artist, Pøbel certainly has tales to share.
The original stencil that inspired Pøbel to learn how to make a stencil with its creator, Jim Fitzpatrick
Pøbel wields his artistic prowess like a clandestine truth-seeking missile launcher, propelling thought-provoking explosives and orchestrating silent symphonies in his unfiltered dialogue with the social and political arena. Not a seeker of confrontations, he jestingly beckons you to ponder because he believes that issues like inequality, consumerism, corporate dominion, and our fragile environment deserve a closer look. It’s not that he shies away from commercial ventures; he prefers to provoke pondering with his initiatives.
It could be the fusion of bold contours and sometimes vibrant hues meld with punchlines that pack an unexpected wallop? A sprinkle of humor, an occasional conceptual sculpture, and whimsy don’t hurt either – remember that time he merrily buried a bus in the sand? The very bus that vexed the populace in Vardø, a quaint town where he had just wrapped up another curated street art extravaganza named Komafest. Much like ‘Nice Surprise,’ it showcased luminaries whose art practice is respected and whose reputations have aged well – the likes of Conor Harrington from Ireland, Vhils from Lisbon, and Stephen Powers from the concrete jungle, New York, for example. Amidst final-party revelry at a bar, a tipsy conversation spiraled into a sandy escapade come dawn, birthing a chain of events that culminated in a sudden public art installation, even coaxing the mayor to partake in the unauthorized spectacle.
The vertical sculpture became a time capsule, a repository for ephemera and memories generously contributed by the community. “At one point, when we were finished, I was at the bar and this mature woman was coming over and, she began reaching out to my hand and I shook her hand and she was like, ‘thank you very much, thank you for everything.’ And I’m like, ‘no problem’ and I was going to take away my hand,” he recollects. “Then she grabbed really firm with purpose, and she said something like, ‘I don’t think you understand, thank you’. And then there was this tear coming down.” Moments like these are etched in his memory. Spontaneous as it was, the bus idea resonated deeply with the community in a way he never could have foreseen.
Artist, curator, activist, mischievous spirit, and consensus-seeker, Pøbel wears many hats, and his work has kindled both admiration and critique in his homeland, Norway. Just as art takes myriad forms, eliciting a spectrum of reactions, here are some Pøbel pieces we encountered and a couple that perhaps eluded us during our sojourn in this vibrant enclave, where brisk gusts of Nordic air meet astute minds.
Welcome to BSA Images of the Week! This week we have a stunning array of street art pieces in Norway, from small detailed stencils to sweeping murals, figurative to conceptual to heroic. We’re in Stavanger for the Nice Surprise festival. Naturally, our own Jaime Rojo also had to strike a pose atop Preikestolen (Pulpit Rock), which takes all the stamina and courage you can affjord. We are also seeing pieces and installations from previous Nuart festivals all over the place in Stavanger, many of which we’ve published previously but have not seen in person. Of course, not all of these shots are from Nuart and one is in Flekkefjord – a storied town that looks like it is frozen in time. And by frozen, we mean, well…
Here’s our weekly interview with the street, this week featuring: 1UP Crew, John Fekner, HYURO, Add Fuel, EVOL, Snik, Jaune, JPS, Pøbel, Ammparito, Nuno Viegas, Vlady Art, Slava Ptrk, Toddel, Mendioh, and STRØK.
Atle Østrem has returned to Stavanger after 11 years in Oslo.
The muralist and fine artist finds himself in the right place at the right time – a flourishing career, a new high-profile street art festival to co-direct, and a commitment to family that anchors him in this city he was born and raised in. Formerly a graffiti writer and owner of a graffiti supply store, Atle is represented by galleries and creates a dynamic blend of urban narratives and personal expression that delves into humanity and society, often with hidden undertones. His unique characters, a fusion of humans and monkeys, serve as enigmatic messengers with possibly profound stories.
Artley’s iconic characters originated from his graffiti days in the early 1990s, when he first experimented with illustrated characters as street tags. Following an arrest in 1999 that momentarily halted his graffiti endeavors, Atle channeled graffiti’s energy into a new form of expression, resulting in his hybrid characters. He employs them to prompt contemplation of modern dystopian themes and everyday idiosyncratic ones as well.
“I think for me, graffiti was like an adventure. There were many elements – the actual painting… Like, it was my whole life, you know. Back then, when I was a youth, graffiti was exciting. You’d have to find walls, and scope out the situation. I painted on trains also, so I’d have to scope out maybe the train yard, and see if there are any security guards there. And you would have to do it at nighttime. You’re sort of living like a double life because you don’t tell everyone that you’re doing it. The whole thing was like an adventure for a period of my life. Working in the studio the artwork allows me to get the satisfaction out of self-expression. Yeah. My thoughts or my feelings get an outlet – and I can put them into my painting.”
Themes of control, individuality, and a looming dark forecast for humanity reappear throughout his paintings and popular prints. Characters appear as puppeteers and puppets, representing power dynamics and coerced conformity. In “Dystopia,” for example, he portrays a bleak, controlled society contrasted against a vibrant backdrop, inviting introspection on societal norms, surveillance, and individualism.
Transitioning from graffiti to canvas enabled Atle to infuse his personal emotions and narratives into his work. This theme reverberates through his art, reflecting a sometimes delicate balance between control and freedom, power and vulnerability. His experiences as a father are a recurring motif, highlighting his son as a pivotal force within their family dynamic. One canvas, called “Mover and Shaker”, appears as a family portrait to illustrate his current state of mind with a 2-year-old in the house.
I try to use humor in my work as well. So I think of myself now as a father with a small son. Whatever my son wants to do, you do. He’s the mover and the shaker of our family. It’s chaotic at times to have small kids,” he smiles. “So I think that’s where the title and text comes from. It’s like ‘whatever he says, goes.’”
In this Nordic city of around 130,000, Atle Østrem’s artworks enjoy popularity among the skateboard and graffiti community and older audiences turned on by the rebellious spirit and a bit of counterculture. His meticulous attention to detail, deliberate strokes, and vibrant color palette resonate with audiences. The character’s expressions arouse curiosity, while text and symbolism add layers of storytelling – all without overt confrontation.
Atle views his artistic journey as adaptable and transformed, evolving from a graffiti artist to a fine artist and adjusting from a nocturnal painter to a family-oriented creator.
“I had been used to sleeping late – maybe waking up at noon, you know?” he says as he describes incorporating childcare into his art-making routine. “Now I get up earlier, and I take my son to daycare. Then I go back home, eat breakfast, have a nap if I’m tired, work in the studio for two or three hours, go pick up my son, and pick up my girlfriend from work. We eat dinner together, have a few hours to play with my son, and stuff like that. And then I can work after he has gone to bed.”
This ability to navigate both the weighty, serious characters in dark worlds and the nuances of familial bonds is a testament, perhaps, to his resilience. It may be the influence of all the reality-TV programs that he listens to while painting.
“I’m a huge fan, or not a fan, but I like reality shows,” he admits a bit sheepishly. “Yeah. Like drama, like where people are arguing and stuff. We have Scandinavian versions of shows like the American ‘Survivor,’” he says.
“People form alliances, and they try to vote someone out, stuff like that. I love that. It’s sort of like brain-dead television. You don’t have to watch the screen all the time. – just whenever some people are shouting at each other, now it’s something exciting. You glance at it a little bit, and then you can continue working and just listen to it. I also listen to music – I always listen to something while working.”
From his past struggles with Norway’s anti-graffiti laws to his present role as an artist, organizer of the “Nice Surprise” street art festival, and family man, Atle’s evolution is evident and impressive. His humor-infused artworks encapsulate a spectrum of emotions and viewpoints if you care to decode them, inviting viewers to explore his unique view of the human experience.
Step into a realm where art intertwines with urban tales – an upcoming exhibition paying homage to the enigmatic Darkclouds, an iconic presence that has graced streets and galleries since 2003. Williamsburg, Brooklyn, once an artist’s haven, harbored an air of creativity amidst the unsettling backdrop of these ominous clouds. These veiled forms, perhaps reflections of the fog of propaganda during the “Orange Alert” era, emerged from a complex cityscape defined by both resilience and uncertainty.
The Skewville Gallery in Bushwick acts as a poignant time capsule, transporting us back to an era when Williamsburg pulsed with creativity amid the turbulent 2000s. Amidst the atmosphere of ambiguity and encroaching gentrification, Darkclouds emerged as a symbol of apprehension, masterfully filtered by Robin Drysdale’s artistic lens. The cloud’s presence, shifting between somber gray and intense black, set against bursts of vivid color, invites us to engage with this streetwise enigma, challenging perceptions and sparking contemplation.
In this fifth solo exhibition, a celebration of a 20-year artistic journey, the core essence of the original Darkclouds image takes center stage. Evolving from a simple rain cloud, these forms replicate into a mesmerizing array, each iteration a testament to artistic prowess. A grand installation amplifies the heart of the concept, a harmonious interplay of colors, textures, and grit. As you journey through the exhibition, prints, smaller pieces, and stickers provide a tangible connection to the enigma, while steel sculptures stand as sentinels, embodying the resilient vitality nurtured under Darkclouds’ gaze.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
