With 700 languages spoken in these five boroughs, New York is a nerve center with a vast network of connections to the rest of the world. So, if you are feeling it, we’re probably feeling it too. This week, the Middle East conflict, more radioactive than ever, it would seem, is sending people into the streets in Manhattan and Brooklyn – with heightened emotions stoked by a media machine that loves to see us fight. Now, as we see continued bombings by Isreal outside of their country, as surrounding countries begin banging their war drums, and as the US sits in the sea nearby, more than one commentator on the news and in your local deli, laundromat, bookstore or bar are wondering aloud if a hot war can spread across the region, or further.
Closer to home, we see that street art has not reflected the events directly, but somehow, the anxiety that has been raised will be invariably internalized and aerosolized. We’ll keep an eye out for the messages and sentiments, which are far from unanimous.
Here is our weekly interview with the street: this week featuring Shepard Fairey, Mike Makatron, A Lucky Rabbit, Phetus88, Muebon, Ideal, Jurse, Skitl, Thobekk, Go4art, Polar Bear, Mr. ENT, ICU463, and Where’s the Water.
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.
Heartbeats are pounding and New Yorkers are chattering and gawking here as the city ploughs into an autumn bevy of exhibitions, new theater shows, concerts, street fairs, and fall semesters at schools and universities. The prices are climbing higher every week at the grocery store, pumpkins are popping up on street displays, and fresh aerosol graffiti and street art pieces are appearing on the street. In quintessential Brooklyn fashion, Spike Lee opens his private collection of art, black American history, Oscar statuettes, Knicks jerseys, film posters, memorabilia, Prince’s guitar, even a brownstone stoop in his “Spike Lee: Creative Sources,” show at the Brooklyn museum. The dance party in the rotunda after the opening this week was the best! Thank you DJ Spinna!
Here is our weekly interview with the street: this week featuring Dark Clouds, Lexi Bella, Free Humanity, HOACS, Zexor, Huetek, Roachi, Yok & Sheryo, Kwest, Jeff Henriquez, Fours Crew, Fire Flower, Nemz, Chaos, Kar Part, Belows, Crem, and TakerOne.
Situated in the North Sea, 18 kilometers west of Haugesund, Utsira epitomizes Norway’s maritime heritage in Rogaland County. As the county’s smallest municipality, this 6.15-square-kilometer island with around 200 residents is deeply rooted in Norge traditions. Its historic dual-tower lighthouse has guided North Sea vessels since 1844.
Utsira not only boasts natural beauty and wildlife, including migratory birds and local livestock, but also showcases innovative sustainable energy projects, like their wind and hydrogen initiative from the early 2000s. Its archaeological treasures, from stone rings to burial mounds, echo the island’s deep heritage. Embracing both the old and new, Utsira has attracted international street artists here since 2014, enhancing its cultural tapestry. To experience this unique blend, take a ferry from Haugesund.
Icy & Sot, Issac Cordal, Pichiavo and Borondo have all created artworks here, so have SNIK, Hama Woods, and JPS, and several others during the last decade. The names are only as important as their proximity to a fan, as it turns out. As you cycle along the narrow winding roads or trek up the rocky hills, you might overlook it at first, but there’s likely a piece of street art nearby – just beyond where those two rams are butting heads.
Visiting the Utsira island for the first time in August of that year, public art curators and organizers Tor Ståle Moen and Borghild Marie were very curious about how the islanders would react to their idea. Would they welcome or resist the idea of bringing street artists to paint old barn doors or enormous seaside boulders in this pristine and remote home to 211 people?
“The island was 100% “clean” from any tags, graffiti, and street art,” says Tor. “They didn’t even have the names of their streets at that time.”
The magnetic charm of the island’s pristine beauty, deep-rooted history, and innovative spirit drew the duo back, time and again, to see more of the terrain and classic Norwegian architecture, and close-knit community. Over the span of a decade, people here warmly welcomed a handpicked ensemble of street artists, each personally cherished or inspiring to the pair. First-timers on the island are now treated to a subtly integrated treasure hunt of site-specific artworks tucked away and openly displayed in equal measure. The island’s lively art program has quietly become a shining example of how tight-knit communities can joyfully embrace the language of street art, all while celebrating and safeguarding their rich cultural heritage.
“The white-painted picturesque old-fashioned Norwegian wood houses were perfectly blended with the green and grey colored landscape,” Tor says of the environment where he and Borghild first inquired about their idea. “The answers came quickly as many people were interested in observing one of the artists while they were painting—and they positively commented on their art.”
“The oldest person living on the island, Tobias, was 87. He approached us and said, ‘There are too many grey walls in this world. Would you like to come over to my house and paint my wall in front?’ Of course, we reacted positively, and the artist ‘3 Fountains’ painted two kissing kids in front of his house. Tobias both smiled and had tears in his eyes when he saw the piece for the first time,” says Tor.
“‘Now, doesn’t the wall look much better?’” Tobias told Tor. “I used to work as a sailor back in the day, and I have seen street art in New York, Rio De Janeiro, and other cities back in the 70’s and 80’s. Finally, I can now see street art on my island. Thank you very much.”
We spoke with Tor Ståle Moen and Borghild Marie as they prepared to celebrate ten years of curating street art on the island of Utsira and asked them about their experiences there.
BSA: What were the origins of bringing street art to Utsira? How was the idea formed and presented? TSM & BM: Several of Tor’s street art friends wanted to come to Stavanger to paint, but Stavanger already had a festival curated by NuArt. Borghild Marie knew Utsira, with its unique environment and engaged population with Tove Grimsby as a passionate doer. So she wrote Tove, and asked if this tiny Island without street names wanted some street art. The answer was loud and clear: ‘Yes, please!’
BSA: Does the project rely on public funding? Is there funding coming from private donors? TSM & BM: The project has been supported by both public and private funding, but primarily with public funding, the Utsira municipality and the region of Rogaland as major donors. But private donors have helped with labor, material, food, housing, and support with travel costs, etcetera. The whole island has contributed, and we have as well.
BSA: Who is the project manager or director? Is she/he/they based in Utsira? TSM & BM: It’s more of a committee work, and by now, all involved are locals. We contribute as advisors when needed.
BSA: Can you speak about the residents and their involvement in the process? Did they have strong opinions in favor or against bringing street art to their island? TSM & BM: The islanders have greeted the art and artists, with great warmth. They have baked cakes, cooked dinners, taken the artists fishing, and invited them to their homes. Many of the artists have engaged in teaching art techniques at the school, and Icy and Sot conducted a beach cleanup together with the islanders.
BSA: Can you describe the collaboration between Martyn Reed, who ran the Nuart Festival based in Stavanger, and this Utsira project? How has the project evolved over time? TSM & BM: Nuart was invited to promote the events mutually to strengthen the whole region’s identity as a street art location, but their contribution is very limited.
BSA: What’s the process of extending an invitation to an artist to participate? It is such a remote location – how does the artist live there, and who do they interact with? TSM & BM: They have been housed in various ways, but most have stayed in the “artist in residence” space at the lighthouse.
BSA: Can you speak more about how residents have welcomed the artists and offered assistance or volunteered to help? TSM & BM: As answered above, the response has been overwhelmingly engaged and heartfelt. Many have contributed with gear (ladders, etc.), food, friendship, nature experiences, babysitting, etc. They express gratitude because the art enhances the everyday life on the Island, bringing new impulses and people to the Island.
BSA: The project is now in its 10th anniversary and recently, the British duo Snik painted on the island. What are the plans for the future? TSM & BM: We don’t know, but we have our eyes on big names who suit the Island well.
BSA: On a personal level, what does the project mean for you two, and how involved are you presently in bringing more artists to Utsira? TSM & BM: We have a deeply felt love and passion for Utsira and will support the project with our network and advice. But it is equally important to us that the islanders own the event. It’s their environment, and the art should live and breathe their voice and pace.
Valencia, 2023: A mural in Valencia dares to communicate beyond its confines. “The Delirium of Juan Carlos I”, affectionately dubbed the “Juanca Wall”, stands not just as a piece of street art but as a bold critique against the actions of the powerful.
At the helm of this venture are two artists, Fasim and Mr. Kern. In the midst of Valencia’s scorching heat, they chose to depict Juan Carlos I, Spain’s ex-monarch and legal fugitive. The imagery is striking – a down-tempo human profile of the king, which for Fasim, instantly brought back the ex-monarch’s infamous statement: “I’m so sorry, it won’t happen again”. But beyond these words, the mural incorporates a hauntingly vivid representation of a real photograph – the king alongside a lifeless elephant.
Fasim, reminiscing about the moment he first saw that photograph, says, “I was terribly shocked by that image. It was a harsh reminder of the cruelty some indulge in under the guise of power and privilege. I promised myself then that there would be a day of artistic reckoning in honor of those noble creatures.”
The mural cleverly integrates the whimsical ‘pink elephants’ from Disney’s “Dumbo”. It’s not just for its aesthetically surreal appeal in bubblegum pink, but a layered metaphor – drawing parallels between the king’s questionable actions and the hallucinatory episodes of Dumbo and Timothy. The intent is crystal clear: to make the imagery evoke the unsettling hunting incident without a single spoken word.
Yet, brilliance often faces hurdles. Battling Valencia’s oppressive summer, the duo had limited resources, they tell us. The end result is a mural with a unique color palette and a message resonating loud and clear: “Juanca, you’re the King of scoundrels”.
This piece stands as more than just a mural; it’s a testament to audacity, wit, and the unyielding spirit of artists who dare to challenge the status quo. Through their artistry, certain narratives, no matter how powerful the figure, will always find a way into the light.
New York is drying out after the most intense storm we can remember just clobbered us on Friday. The loss of life, property, and minds that can happen when two months of rain falls in one day is hard to describe. Because we are such a dirty city, you can imagine the plume of detritus that got flushed out to sea, viewed from above. Our hearts go out to fellow New Yorkers who really suffered as a result of this pounding storm.
Here is our weekly interview with the street: this week featuring Nychos, No Sleep, Optimo NYC, Huetek, Zexor, Mike Makatron, Tempt, Lango, Viva Che Man, Carly Ealy, 2DX, Sucioe, and Colder.
Zaragoza’s Asalto Festival, in its recent edition, once again demonstrates a magnetic pull in the world of street art, attracting both local talent and international artists. Nestled in La Jota, one of Zaragoza’s most historic neighborhoods, the festival radiated creativity on the streets from September 15 to 24. Not only did it reclaim its mural game, but it also embraced a spectrum of activities reminiscent of its pre-pandemic grandeur.
Taroe. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
This year artists from diverse backgrounds converged on Zaragoza’s streets: Taroe from France drew inspiration from a working-class neighborhood in the United States, promising to carry a touch of Zaragoza to his next destination. Stelios Pupet of Greece unveiled a pixelated female figure, marking his first significant piece in Spain. Anetta Lujkanova from Finland introduced a mural evoking dreams and local folklore, while Italy’s Giulio Vesprini paid homage to La Jota’s gardens in his distinct style, infusing both the name of the neighborhood and his signature numerical touch. Ceciro from Uruguay showcased a potent depiction of women’s emancipation, and Zaragoza’s own Miguel Hcuar, now a London resident, brought a vivid pop art dream to life.
Taroe. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
One of the standout initiatives was from 3dfiti, which cleverly bridged the tangible and digital realms through 3D printing. They orchestrated a city-wide treasure hunt with 3D printed art pieces, leveraging social media’s power and engaging attendees in an immersive game.
Taroe. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
This year’s edition also resurrected the Asalto Fair, celebrating both local and national artists. Noteworthy documentary screenings, including Carlos Saura’s “Las paredes hablan” and Boa Mistura’s “Crossroads”, added depth to the festival’s narrative.
Now in its eighteenth year, Asalto continues to be a beacon of community engagement with workshops, guided tours, tournaments, and more – underscoring a commitment to inclusivity and cultural enrichment. The festival’s blend of grassroots energy, global artistic prowess, and the embracing of innovative mediums makes it a celebration of not just art, but also the community and the city it celebrates.
Miguel Hcuar. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Miguel Hcuar. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Ceciro. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Ceciro. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)3DFITI. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)3DFITI. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)3DFITI. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Stelios Pupet. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Stelios Pupet. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Anetta Lujkanonva. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Art Fair. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)Art Talks. Festival Asalto 2023. Zaragoza, Spain. (photo courtesy of Festival Asalto)
In the heart of the Emilia Romagna region, close to Ferrara, a new mural brings a favorite cinematic moment to life. Towering on a wall as part of the “Gherardi città del Cinema project,” it showcases the iconic figure of King Kong, but not quite as we traditionally know him. Behind this reimagined portrayal stands Alessio “Bolo” Bolognesi, an urban artist, painter, and illustrator, is renowned for a distinct style and approach to street art, but for him, this one is inspired by location. “As Ferrara has a strong bond to the world of cinema,” says the artist, “all the walls are dedicated to films directly or indirectly connected to the territory.”
Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)
Born in Ferrara in 1978, Bolognesi’s roots in graffiti and street art are embedded deep, having been a part of the artistic collective Vida Krei (VKB). Although his initial forays on the street were paused by his academic pursuits in electronic engineering and a parallel career in 3D graphic design, his passion for painting was reignited in 2008.
The new King Kong mural is dedicated to the Oscar-winning special effects genius Carlo Rambaldi, a native of Vigarano Mainarda in Ferrara. Bolognesi says he wants to encapsulate the poignant relationship between King Kong and Miss Dwan, portrayed by Jessica Lange in the 1977 film. It’s a portrayal that goes beyond mere visuals, delving into themes of love, empathy, and the tumultuous relationship between humanity and nature.
Mural painting like this has, for centuries, been a medium of storytelling, with cultural icons often playing pivotal roles. As traditional mural paintings converge with contemporary street art, a rich series of narratives continue to emerge. Bolognesi’s King Kong is a testament to this synthesis.
Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)Bolo – Alessio Bolognesi. Gherardi città del Cinema project. Ferrara – Emilia Romagna, Italy. (photo courtesy of the artist)
It’s no joke, this feeling of connectedness across cities and time zones that the street art and graffiti scene encourages – and often, it all overlaps in NYC, yo! This week, we have Martin Whatson and Hama Woods from Norway on the wall in New York, and it was a pleasure to see them both. It’s another honor to see Niels “Shoe” Meulman in the hood for only a minute, but long enough to see his new wall in Bushwick go up! We’ve been very lucky over these last 15 years to meet so many great people and talents worldwide, making streets in new cities seem like home because we see the work of friends and acquaintances wherever we are exploring. This week we have shots of New York and LA mixed together – enjoy the show!
Here is our weekly interview with the street: this week featuring Adam Fujita, Martin Whatson, Adam Fu, Niels ‘Shoe’ Meulman, Solus, Danielle Mastrion, Optimo NYC, Hama Woods, Cody James, BK Sckler, Toe Flop, Hiero Veiga, Hydrane, Notice, Jayo V, Alexali Gonzales, TBanbox, and Fenji93.
A Labyrinth of Plastic Waste / Laberinto de Residuos Plasticos. Shanghai 2023.
From the vibrant streets of Madrid to cities across the globe, the anonymous art collective Luzinterruptus, has been painting the world with their luminous creations for about 15 years. Known for their temporary light-based installations crafted from recycled materials, this Spanish-origin ensemble often draws inspiration from environmental concerns. Their art is not just about aesthetics; it’s about sending a powerful, tangible message. Deeply rooted in their philosophy is the intention “to bring attention, in a visual sensory manner, to our unsustainable consumption of plastic.”
Luzinterruptus’s most recent installation in Shanghai, China, offers yet another striking commentary on the environment and our individual role in it. This monumental piece sprawls expansively across a popular public space, and its physical dimensions alone are enough to make a passerby pause and reflect. Made up of thousands of discarded plastic bottles, illuminated from within, the installation is a testament to human creativity and a stark reminder of our plastic consumption habits. It creates an immersive experience where the beholder is surrounded by the very remnants of daily human consumption, transformed into a glowing spectacle.
Reflecting on this project and its evolution, the artists remarked in their press release, “The first time we made this piece was in Poland in 2014. We were trying to raise awareness of the need for recycling. However, ten years later, it is clear that we must stop using it altogether.” This statement not only underscores the longevity of the issue but also the shifting perceptions regarding the solutions to plastic waste.
The collective hopes that the Shanghai installation will not just be a fleeting moment of beauty but a catalyst for change in policy and behaviors. Their ambition is for viewers to not only appreciate the aesthetic appeal but also to ponder on the more profound implications. How many bottles do we use and discard daily? How can urban spaces be repurposed to send powerful social messages?
As cities worldwide grapple with the challenges of waste management and environmental conservation, Luzinterruptus’s art installations may offer a glimmer of hope, but some may feel that hope is fading. By transforming public spaces into arenas of reflection and activism, conscious artists invite us all to be part of the dialogue and, more importantly, the solution.
Now in his mid-thirties and painting large skill land art for over a decade, it is still a pleasant surprise to see renowned street artist Saype unveiling a new masterpiece. His recent project in Place des Nations, Geneva, was commissioned by Handicap International. With it, he hopes to present an eco-responsible image that depicts a hand emblematic of humanity, offering a new leg to the iconic “Broken Chair” – a symbol for the numerous innocent victims of war bombings.
Saype, whose real name is Guillaume Legros, hails from Belfort, France, and has long been recognized for his commitment to eco-friendly and humanitarian art. His unique concoction of biodegradable paints made chiefly from chalk and charcoal ensures that his massive artworks naturally fade over time, minimizing ecological impact. And yet, the transient nature of his art somehow makes his messages even more profound, drawing attention to the fragility of our societies.
Across the vast expanses of grass, sand, snow, and earth in global cities like New York, Paris, Istanbul, and Cape Town, Saype consistently crafts monumental frescoes that resonate with geopolitical causes. Whether it’s unity, peace, or the shared human experience, his art often touches upon pressing global issues and calls upon humanity to rise and address them. Though transient, his frescoes aim to create lasting impressions on the psyche, urging a shift in societal mentalities while respecting nature.
This “ALL OF US!” fresco in Geneva is particularly poignant. In dialogue with the Broken Chair’s advocacy against the horrors of explosive weaponry, Saype underscores the universal call for peace, unity, and understanding.
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BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
