We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2023. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
Don’t ask us, we just report what we see. And really, this mural captured the attention of many on our site and social accounts – so it appeals to, or puzzles, many.
This year, the painter, who is one-half of Telmo Miel, gave us the background of this attenuated portrait placed upon an apartment complex. “I don’t know. I was photographing my son, um, and took these from him, uh, with him looking through the holes of the toilet rolls.” The sparrows fit nicely, he told us, possibly inspired by the themes of freedom, autonomy, nesting, and natural beauty. Later he looked at the shots of his son and decided to include him in triplicate.
We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2023. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
“One of them gave me the honor of saying, ‘I like your painting,’ so I am satisfied.”
Norwegian artist Kjell Pahr-Iversen recalls a simple, yet meaningful chat he had with some school kids frolicking in the playground he had painted. Known worldwide for his unique mix of minimalist and abstract expressionist styles, Pahr-Iversen values getting feedback from unexpected sources. This photo, capturing a moment between him and a young child – their ages separated by roughly 80 years – as they examine a new painting, really highlights the reason behind our work.
We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2023. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
The two jaguars and a giant fire snake seen here by Brazilian artist Tito Ferrara symbolize so much for the artist – possibly providing the strengths needed to face this next chapter of global upheaval. Jaguars are seen as symbols of physical strength, prowess, and agility. Ferrara’s symbol of a fire snake surrounding these two Jaguars is not commonly referred to in ancient stories, perhaps because the artist has fashioned it to fit his hybridized pathway.
“In Brazil, especially Sao Paulo, there’s a lot of immigration from Japan since the beginning of the century – and a lot of Italian immigration as well. So I am half Japanese and half Italian and all Brazilian. And I really like to put this into my work also because Brazil, it’s this mess,”
Combining the symbols of snakes and fire, we surmise it is a powerful, potent, and dynamic form of transformation, this wending snake, one that could also be a destructive and dangerous force, both perils of misused knowledge or power. Attractive motifs or meaningful symbols, the beauty is in the complex intertwining. Ferrara told us this year that his work results from his effort to find universal truths while forging identity tools from a distinctly modern life.
“Japanese animation, botanical illustration, graffiti lettering, old-school computer graphics seen on television and film, and the Pixação he regularly encounters gracing the walls of São Paulo, his native city – all these elements coalesce to form his unique creative style. This fusion, representative of a digitally interconnected and culturally diverse world, accompanies him to cities like Amsterdam, Lisbon, and Toronto, and just before arriving in Stavanger, he was immersed in a project in Italy. The ongoing collaboration of styles and influences is as cultural as it is autobiographical.”
We’re celebrating the end of one year and the beginning of the next by thanking BSA Readers, Friends, and Family for your support in 2023. Picked by our followers, these photos are the heavily circulated and “liked” selections of the year – shot by our Editor of Photography, Jaime Rojo. We’re sharing a new one every day to celebrate all our good times together, our hope for the future, and our love for the street. Happy Holidays Everyone!
This summer in Stavanger, Norway, at the Nice Surprise festival, a monochromatic stencil by Gary Taxali captured the essence of human curiosity and our fragile relationship with nature. Placed thoughtfully in the grass, this piece by a renowned commercial artist venturing into street art for the first time, speaks volumes. It portrays a small, spritely figure, bending down to gently touch a butterfly – a simple yet profound metaphor. This artwork reminds us of the delicate dance between humanity and the natural world, echoing the words of Rachel Carson: ‘Those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts.’
As the ‘Nice Surprise’ Street Art Festival wrapped up, Pobel’s impressive mural on Stavanger silos brought a bit of theater and activism to the fore. With a short lead time and a lot to learn, this first-time run festival was a heartfelt invitation to twelve talented artists from around the world, asking them to share their creativity from a variety of different vantage points in the street art/graffiti parlance with folks in Stavanger. It’s been a journey of unveiling and discovery, and here at BSA, it’s been our pleasure to travel alongside, capturing every mural and sharing it with you. Today, we give you a one-stop recap of all the pieces from the first ‘Nice Surprise’ festival.
We want to say thanks to Atle Østrem, Pøbel, Tore Pang, Izabell Ekeland, and Stine Oliversen for their gracious hospitality, enthusiasm, and attention to detail. We also wish to express our gratitude to Ian Cox, Tor Ståle, and Ludvig Hart for sharing their photographs with us. Thank you also to the great people we talked with on the streets and at our formal presentation at the theater. Perhaps we’ll see you next year!
Art Meets Agrarian Activism: Pøbel’s Monumental Mural Marks Stavanger’s Skyline
Internationally acclaimed Norwegian street artist Pøbel, has masterfully utilized one of Stavanger’s grandest canvases to highlight, with a touch of irony, the often-underappreciated contributions of the agricultural sector. Marking a fitting climax to Stavanger’s inaugural “Nice Surprise” street art festival, his mural seamlessly intertwines activism with the contemporary aesthetics of street art and graffiti. By repurposing public space, Pøbel adeptly sidesteps the cacophony of commercial advertising, championing a poignant message that elevates discourse to an appropriately human level, reminding us all not to overlook those who nourish society.
As the sun sets on the first “Nice Surprise” street art festival and the city heads into autumn, this stands as a powerful unveiling of a thought-provoking mural on an emblematic location: northern Europe’s largest silo facility, once the heart of Norway’s grain storage contingency, standing tall since 1962. This 3,600 M2 masterpiece, depicting a 60-meter-tall farmer adorned in the unmistakable green overalls of the Felleskjøpet Agri brand, poignantly holds a sign reading “Will work for food.” The choice of imagery and location is no accident. As Pøbel, the artist behind this bold and simple visual statement, reflects, “But who will provide for the providers? And do we take it for granted that the providers will and can continue to provide for us?”
The silo’s storied history mirrors the very essence of the mural. Constructed to act as a national contingency warehouse for grains, the facility, which could handle up to 125,000 tons of grains each week during the harvest season, shifted to commercial storage after 1995. However, as global uncertainties rise, with wars, viruses, and economic tides disrupting food supply chains and escalating food prices, the debate over reverting it to its original role resonates deeply. The structure now stands at a crossroads, with discussions around its potential demolition for residential development. Pøbel’s mural underscores this uncertainty, symbolizing the broader societal challenges. As he remarks, “The building, its location history, and provider role… can act as a metaphor for many things we are facing in our society.”
Due to global interests, Norwegian farmers have recently grappled with potential threats to their livelihoods, especially as trade agreements expose them to cheaper imports and challenge the established subsidies system. Concurrently, debates on land use and ownership regulations have stoked concerns over the future of family farms amidst a backdrop of global agricultural consolidation. As climate change reshapes Norway’s agricultural landscape, farmers seek solutions to ensure sustainability and self-sufficiency.
Pøbel appears to hope the mural is an evocative emblem of these struggles. Tor Jacob Solberg, a member of the Norwegian farming community, echoes this sentiment on Pøbel’s Facebook page, praising the artist as a hero for capturing the issues at hand. “You are an incredibly significant artist and social critic. You should know that farmers talk about you as a hero because you show the essence of many important battles food production stands in. We are forever grateful to you!” While the mural’s vastness is impressive, the underlying narrative of resilience, uncertainty, and societal reflection provides a grounding for consideration of our most basic needs and in whose hands they are.
BSA spoke with Pøbel about his new project for Nice Surprise.
BSA: Back in August you told us that you were not open to making any changes to the sketch you presented for approval. Did they express any concerns about your sketch/proposal? Did they want changes made?
Pøbel: I was not directly involved in the dialogue with the building owners, but from what I understand, there was quite a bit of a discussion about whether to give me permission or not based on my sketch. I assume there were concerns that it might have been a bit too political. Finally, we got word that the permission was granted, which was a bit unexpected. For me it was important that I was able to create what I wanted to create, and that I did not have to compromise in any way based on the wishes of anyone else.
BSA: The process of moving from sketching to painting the silo couldn’t be more different. Can you tell us how it went in practice once you were in the lifts? What challenges have you experienced?
Pøbel: I guess it was only after the approval it dawned on me that I had to figure out a way to actually do it! The wall is approximately 200 feet tall, and most regular professional lifts on the marked usually have a reach of “only” 140 feet. Building a permanent scaffold would be too time-consuming and expensive since the wall is also 200 feet wide. I planned to paint it by abseiling from the top of the roof, but then, luckily at the last moment, I found a lift that could reach 192 feet.
Another challenge with the wall is that it consists of 10 silos that are cylinder shaped. This means there are basically “curves” on the wall, with a depth of up to 8 feet. The curves make it difficult to paint just a straight line, for example, because depending on your perspective (if it’s from the bottom or the top), the straight line will look bent. Equally, will the painting changes when viewing from the side.
BSA: Do you remember a particular, distinctive moment that happened to you while painting the silo? – Either a personal experience or an experience with the public watching you paint?
P: It was quite an interesting experience to be almost 200 feet above ground in the big lift that was standing on the lighter (barge). It was the first time in Norway that a lift this big had been on a lighter, so no expert advice existed, but as expected, the waves made it swing many feet from side to side. The biggest challenge was other boats and ferries passing by creating big waves that would swing way too much.
BSA: Being above it all on top of the silo and the lift must have given you a new perspective of the city, its topography, and the immensity of the ocean.
P: It was a very nice view from the top of the lift. Once I was up there, I was usually quite focused on the painting, but the first night of painting the ocean was unusually still and quiet, and at one point in the night aurora lights appeared in the cloudless sky. It is not so often there are aurora lights this far south in Norway. I took that as a good sign for the work to be done.
BSA: Did any farmers come to visit the site to see you while painting?
P: There were spectators from time to time, but all from a distance since the place I worked from was inside a fenced area. Many of farmers have gave praise to the painting afterwards, especially the leader of the largest farmer’s association, who wrote that the painting meant a lot to the farmers. That was unexpected, and I am glad the art could be meaningful that way to them and to the public as a whole.
Some facts and background of the building: Mural height: 60 meters (197 ft) Mural width: 60 meters (197 ft) Mural size: 3600 m2 (38 800 ft2) Paint used: app. 800 litres (210 gallons)
The silos were built in 1962 and during the fall season it can receive up to 125 000 tons of grains each week. It was built to be a national contingency warehouse for grains and was used for that up until 1995. After this it has been used for commercial storage of grains. The current owners want to demolish and move it and convert the area into a residential area. However, with the recent war in Ukraine, energy crisis and increased food costs, debates to make it a national contingency warehouse for grains once again is an ongoing debate.
A masterful curatorial vision lies in this collaborative endeavor that unites two generations of Stavanger artists in creating a dynamic canvas in public space – while the newest generation of onlookers engages in the joyful spectacle of football nearby and around them. The convergence of these two artists, separated by a half-century, in creating something novel is a rare, unique offering at the Nice Surprise Festival.
An internationally celebrated octogenarian whose art graces the walls of countless homes countrywide in Norway harmoniously joins forces with a contemporary graffiti virtuoso renowned for adorning the city’s walls and represented by prestigious galleries in Oslo and Stavanger. Amidst their shared geographic and societal influences, one may instinctively seek a common thread, a thread that unravels the aesthetic DNA of a city.
In this second installment of our coverage of this remarkable collaboration for the Nice Surprise Festival, we see the completed work resonating with the distinct voices of each artist echoing. “I’m used to larger formats,” Mr. Pahr-Iversen says as he brings his distinctive strokes to these white walls in kinderland. “And when they asked me to participate, I considered that an honor.”
“Well, I was a little bit nervous,” says Atle regarding his trepidation to ask the famed painter to work on the street with him. “But he was positive right away,”
BSA:Do you know anything about graffiti? Mr. Pahr-Iversen: No, I don’t. Never. I come from the other side. BSA: You come from the perspective of the formal Academy of Arts? Mr. Pahr-Iversen:Yes, sure. BSA:But you were supportive of the project from the onset? Mr. Pahr-Iversen: Let’s say I like the man, and I like the idea. This has a humanistic element to it. There is an impetus to make things beautiful or to make things right. There is something here that combines elements of religion, art history, and normal human behavior at its best. I’ve painted on concrete before – I went to the Royal Academy in Copenhagen, and of course, I have lived in Paris…
The two work separately while they are together, the air punctuated excitedly with the screams and yells of primary school children who try not to kick the ball into them. But the noise does not appear to bother either of the studio artists, despite being more accustomed to the quiet solitude of a studio.
An unusual meeting of styles, these three panels may remind some of the enormous graffiti jams that are launched in cities throughout the world every year. Since Østrem ran his own graffiti supply store here for several years and sponsored many events related to it, he is arguably one of the most knowledgeable about graffiti culture and history in the city.
The father of a young son himself, Østrem says that this schoolyard environment is not entirely unusual for him.
BSA:How do you like painting here while students are playing all around you? Atle: It’s nice. They’re very honest critics. One boy talked to me about the painting for 10 minutes, likening it to Minecraft. Another one was saying, “I see some animals here.” And so we get a lot of comments.
A consummate professional with years of finely tuned patience, Pahr-Iversen says this is a genuinely new experience. Still, his training and world traveling and exhibiting have prepared him for almost anything. For the moment, he concentrates on his own brand of abstract expressionism, perhaps in love with the first years when we are all exposed to color, shape, geometric shapes, patterns, and creative play.
“I also like the triptych and the image of an icon because it creates a focal point for the viewer,” he says. “For me, it is also a meditation.”
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.
Tito Ferrara, potentially the first Brazilian street artist to create in Norway, and his assistant, swiftly executed a remarkable feat – crafting a composition of two powerful jaguars adorned with his favorite symbols and talismans. This endeavor unfolded during his few days here Nice Surprise Festival in Stavanger. Stretching across 30 meters, the artwork is an embodiment of graphic prowess, emanating a vibrant and muscular energy that deeply captivates. His execution underscores not only speed but also precision and an ardent artistic fervor.
Speaking on this hillside street in front of the mural, Tito Ferrara shared his sentiments and aspiration here, saying, “I want to bring some Brazilian energy to Stavanger to stay here when I leave.” Continuing, he added, “That’s why these are Brazilian jaguars. And this is the biggest freshwater fish from our rivers – they are about three meters long.”
Beginning his artistic journey as a graffiti writer at 15, Ferrara’s current wellspring of inspiration draws from a diverse array of artistic disciplines. Japanese animation, botanical illustration, graffiti lettering, old-school computer graphics seen on television and film, as well as the Pixação he regularly encounters gracing the walls of São Paulo, his native city – all these elements coalesce to form his unique creative style. This fusion, representative of a digitally interconnected and culturally diverse world, accompanies him to cities like Amsterdam, Lisbon, and Toronto, and just before arriving in Stavanger, he was immersed in a project in Italy. The ongoing collaboration of styles and influences is as cultural as it is autobiographical.
“In Brazil, especially Sao Paulo, there’s a lot of immigration from Japan since the beginning of the century – and a lot of Italian immigration as well. So I am half Japanese and half Italian and all Brazilian. And I really like to put this into my work also because Brazil, it’s this mess,” he laughs. As he explains, his Italian name is interpreted as a Japanese 3D tag floating on the spotted fur of one of the Jaguars. “I like very much to use the letters also as textures.”
When discussing the amalgamation of different elements within his art, we ask, “So in many ways, this represents all of your different interests and styles. You have graffiti, Japanese figurative forms, indigenous people, the animal world, symbols of power?”
Confirming, he answered, “Yes,” and then elaborated, “And the Japanese flower and the fire snake. And I really like to draw it as a flower and as a symbol of Japan. This is all of me.” As for the snake, he explained, “It’s a part of me – a snake on fire. Yes. That’s a legend in Amazon and he is called ‘Tata.’ He is a snake on fire and he is also the protector of the forest,” he said. Now in Stavanger, he hopes Tata will also extend his protection to Norwegian forests as well.
Renowned commercial illustrator Gary Taxali graced the spotlight at Frogner House last night, captivating artists and fans with an emphatic message: embracing your unique path and wholeheartedly pursuing your craft can unlock a triumphant career, a liberating journey, and boundless joy. Originating from India and rooted in Toronto, Taxali’s artistic flair harmoniously blends vintage charm with a cutting-edge sensibility, leaving an indelible mark on countless artists and creative minds. His captivating slide show at Stavanger’s Nice Surprise Festival showcased a five-decade-spanning body of work.
In an unexpected twist, Taxali, not typically associated with street art, revealed wheat-pasted posters adorning urban landscapes and vinyl “wraps” straddling the line between advertisement and urban intervention. Guided by the acclaimed Norwegian street art and mural virtuoso Pobel, Taxali now graces Stavanger’s streets, playfully engaging public spaces and unveiling his most substantial stencil artwork to date. These mesmerizing street pieces might not be immediately recognized as his debut in large-scale sprayed stencils, representing an exploration of an art realm between brands and street expression.
The last few decades chronicle Taxali’s unwavering persistence, a journey transforming him from relative obscurity into a luminary. He secured collaborations with top-tier sports and fashion brands, graced prestigious publications, and birthed merchandise adorned with his iconic creations or translated into 3D forms. Rooted in unwavering familial support, Taxali’s belief in boundless possibilities was palpable as he engaged the audience with sharp wit and philosophical insights. Embracing novel pursuits over self-doubt emerged as a recurring theme, echoed convincingly in his rallying cry of “why not?”
Taxali’s art resonates, bridging eras to invoke a comforting familiarity. His unique humor and vintage eloquence infuse timeless qualities accentuated by deliberately imperfect technique, evoking nostalgia through a specifically chosen color palette. Cultural references and playful societal exploration reflect his vibrant multicultural background. Taxali’s illustrations, showcased in respected galleries and noteworthy publications, exude eccentric charm while hand-drawn typography maintains a refined distance from modern coarseness.
His approach to art direction and personal growth encourages ignoring conventions while working diligently to perfect one’s craft. Taxali’s spirited resilience and unwavering vision shine through in his declaration, “And they fought with me, and eventually they gave in, because again, I’m a loudmouth and I always get my way.” It’s a testament to his indomitable spirit and an inspiration for others charting their artistic journeys.
If we understand the local history correctly: The dilapidated structure was once a bustling sardine canning factory complete with smoke ovens designed for processing the sardines. Later, during the 1970s, it underwent a transformation into office spaces and apartments. There came a juncture when the owner endeavored to secure approval for its demolition; however, the city council turned down the request. The community, recognizing its historical significance, rallied to safeguard the edifice against destruction.
Nevertheless, approximately eight years ago, an enigmatic fire engulfed the building, shrouding it in mystery. The aftermath of the blaze has left the structure in ruins, an enduring testament to the past. Despite the efforts to preserve its history, the ravages of time and the cryptic fire have conspired to perpetuate its current state of disrepair. It turns into a perfect canvas and frame for this new stencil by Gary Taxali, not least because he favors older, previously used, surfaces for his character-based art.
“Uh, they’re toilet rolls,” Miel says plaintively when asked what are the mysterious shapes that reappear throughout this newly painted mural for Nice Surprise Festival in Stavanger. You shouldn’t be surprised, though – he was setting up some figure studies with his young son, who decided to keep himself entertained with the unusual/usual household item while his father set up some photos.
“I don’t know. I was photographing my son, um, and took these from him, uh, with him looking through the holes of the toilet rolls.” The sparrows fit nicely, he says, possibly inspired by the themes of freedom, autonomy, nesting, and natural beauty. Later he looked at the shots of his son and decided to include him in triplicate.
In a captivating twist of street art photography fate, our lens wizard, Jaime Rojo, found himself at the perfect moment to capture an echo of this mural in everyday life. Just as the final layers were drying on the wall to be frozen in time, a local resident nonchalantly strolled into the frame, proudly carrying a tower of toilet paper on his shoulder. Ah, the marvel of the mundane! As our pal, Carlo is fond of saying, artistic sparks often arise from the everyday tapestry of life, the quotidian. So, why not in this very spot?
Nestled within the embrace of these sleek, modern ivory apartment complexes, this newly unreal creation will be a visual companion for many here for the foreseeable future. The denizens of these chic abodes hold the ultimate gavel on this whimsical medley of influences and components; all swirled together in a soft, ethereal palette of light and shadow.
After all, the residents here get to decide what inspires them. So far, we have witnessed that the reviews of this one are quite positive when opinions are sought. Particularly those of a woman who calls herself Guro, who stops by to enthuse at the top of her lungs at Miel as he paints three stories above us.
“I live over there, right there. So I open my door, and I want to look at this.” Without any unsolicited advice from folks standing nearby her regarding the content or inspiration or how to measure it against art canons or political winds, she gives her opinion and observations about what she sees before her.
“He must love birds. He must have a connection to them. They come to him so freely. Maybe he’s been feeding them. Maybe he’s been raising them. Maybe,” she says. It is a thoughtful assessment. She says she didn’t know there was a new street art festival called “Nice Surprise” this year, nor that this mural was part of it.
“You see all the birds?” she asks a visitor with a glint in her eye. “They are relaxed. They’re happy wherever they are. And that’s how people should be. You know, everybody deserves to feel secure and loved and taken care of and not feel frightened by the surroundings.” For her, this is a canvas for emotions.
“It is just so wonderful. And it’s wonderful that we can go here and take a look at it and, and have your feelings flow. I look up, and I think you feel compassion and love.” The enthusiasm for this one is forceful as if vitality bursts from every stroke of the master. It is just as palpable as her disapproval is unmistakable for a mural by Doze Green a short stroll away.
“It’s dead. It doesn’t give me anything. It’s not three-dimensional. There aren’t human forms.” She does not have a favorable view of a formalized art world either, as she continues the critique.
“That makes me feel like that represents the cold world where art is supposed to mean this and that. You just give them a lot of nice words and then you’re supposed to follow. I don’t buy that. I don’t, so I don’t like that kind of art.”
Luckily for her, for us, and perhaps others who will be treated to these fervent opinions, the new piece by TelmoMiel can stay happily here in her neighborhood.
“Look at the colors. I look, oh, I think it’s, I think it’s just marvelous. I think it’s marvelous.”
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
