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.
Shepard Fairey. Printed Matters: Raise The Level. Straat Museum Amsterdam.
“Raise the Level” is what street artist/fine artist Shepard Fairey has always done regarding the level of political, social, and environmental discourse in any given room. At the STRAAT Museum in Amsterdam, where the shipping trade resides in the annals of history, you may also find yourself contemplating the ebb and flow of ocean levels. The question of how high future waters will lap at the doors of this establishment, nestled within a former maritime warehouse, has surely crossed the minds of those who tread its epic halls.
In town for his first serious exhibition here, which opens this weekend and runs through the first of October, the sharply satirical stalwart of activism and stunning graphic design on the street is surrounded by a cadre of fans and photographers gathering on the sidewalk as he floats with his crew on the lift above.
With deft choreography, he and his adept crew maneuver a lift to forge a new mural, seamlessly fusing his signature elements: symbols, incisive political commentary, and an embodiment of feminine resilience – somehow all of it converging in her unwavering gaze.
As ever, Fairey hopes to shake you from your apathy, if possible. The Californian voyager of street/punk/graphic aesthetics says the themes he follows in the new exhibition are “aimed at improving the ‘health’ of our planet but also addresses other urgent matters, such as nationalism, xenophobia, war, fake news, and threats to democracy.” There will be no doubt that he will do so convincingly.
Across the bottom of this new wall, which we’re proud to be able to share, are two collaborators styled rather wildly and in a complementary color palette. One is the OG USA crew captain and calligraffiti artist Niels “Shoe” Meulman. To his left is writing legend Yalt, who kills it. Integrated more directed into Shepard’s composition are the stylized letters of Shoe, perhaps reminding us that in matters of the planet and each other, it’s a good idea to “Handle With Care”.
“Printed Matters: Raise the Level” opens at Straat Museum Saturday, August 13th.
After licensing his images to everything from handkerchiefs to coins to vinyl toys, Gary Taxali is back to the basics here in Stavanger for the Nice Surprise Festival. With the guidance and expertise of the famed and respected Norwegian street artist Pøbel, who has quite a fervent fan base of his own, Taxali has been able to put his work up on walls here and appears to be enjoying it. Favoring the retro found-this-in-the-attic aesthetic that he has established in editorial and commercial illustrations, Taxali’s one-color stencils look best here in this Nordic town on walls that have seen better days, or at least ones that sport imperfections.
His hand-cut aesthetics boast an instant clarity, yet the intention concealed within his work sometimes defies simplification – a characteristic that boldly situates these latest creations within the enigmatic realm of contemporary street stencil art established by hundreds of street artists over the last decades. On the windy streets of Stavanger, Taxali appears to have charted a bold new course, one that navigates the intricate waters of this often cryptic, sometimes activist, and frequently satirical urban discipline.
As he says, “Why not?”
Read our first article on Mr. Taxali’s participation at Nice Surprise Festival HERE.
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.
Welcome to BSA Images of the Week! This week we have some great stuff from Norway for you.
The southern tip of Norway, graced by picturesque towns like Flekkefjord, Obrestad, Bryne, Sandnes, and Stavanger, is imbued with a rich tapestry of history, culture, and breathtaking natural beauty. Nestled along the summer coastline, these towns stand as a testament to Norway’s maritime history and heritage.
As you are driving and winding through the green rolling countryside and into quaint old idyllic towns countenancing picturesque harbors, waterfronts, wooden buildings, cobblestone streets, boat parades, seafood-focused cuisine, towering cliffs, and steep mountainsides plunging dramatically into the deep, serene waters below that, produce and interplay of light and shadow and a mesmerizing tapestry of colors, you think “Where did all of these sheep come from?” At first, during our two days of driving the south Norwegian countryside, we thought we had stumbled into a unique town with those puffy white animals dotting the green hills, constantly chewing, but they would soon disappear. Little did we know.
In the US, there are 16 sheep per person in the country. In Norway, it is 463.
And they are all freaking adorable—also rams. Rams are very adorable but might knock you on your rumpa if you get too close.
Also, there was a very modest amount of street art among all the natural beauty and stunning architecture. Still, with our expert guides, we found surprising occurrences of stencils and murals and the occasional tag while traipsing through places like Flekkefjord, Sandness, and Obrestad (in a lighthouse!).
Our sincere thanks to Tor and Marie for showing us the sights and the beautiful fjords. Hey, did you hear about the musical fjord? It’s quite a harmonious inlet!
Here’s our weekly interview with the street, this week featuring: Isaac Cordal, 1UP Crew, David De La Mano, Said Dokins, Ethos, JPS, Pøbel, Hama Woods, Smug, Jofre Oliveras, Helene Norkildsen, Nimi, RH-74 Renate, Pablo S. Herrero, Juan Fiveliner, Skrue, Anette Moi, Ugly Logo.
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.
Elfo is a graffiti writer and social commentator whose work intentionally sidesteps traditional notions of style or technical lettering. This …Read More »
In her latest mural, Faring Purth delivers a powerful reflection on connection, continuity, and the complexity of evolving relationships—a true …Read More »
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