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.’
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.”
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.
“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.”
Anticipation buzzes in the air as Stavanger braces for TelmoMiel’s upcoming, completed piece, a highlight of the Nice Surprise Festival that honestly has already produced several surprises across the city this summer in this seaside city in Norway.
Though just a day away, the unveiling of this tall mural promises to be worth every moment of the wait. This week, the senior residents of this verdant complex have been stopping by, their curiosity piqued, craning their necks skyward to decipher the enigmatic and surreal tableau taking shape before their eyes.
As Miel readies to return to Amsterdam by Friday, he reveals that the true depth of this evolving piece might continue to elude the casual observer. The elongated and intricately reproduced forms, playing with shadows and reliefs, deviate from conventional norms, yet they merely hint at a narrative woven into this captivating work-in-progress.
“I’m just shaping, re-shaping reality, actually,” the artist says as he lowers the cherry picker to the ground for a few minutes to talk about the piece that continues the duo’s practice over the last decade of crafting visually arresting, imaginatively surreal narratives that you may not deconstruct, but you’ll engage with. “Yeah, I’m just digitally trying to find new ways to make the composition,” says Miel, “and make it interesting.”
Graffiti history and contemporary creativity merge this summer during the inaugural run of the Nice Surprise street art festival in the Norwegian city of Stavanger. Join BSA as we celebrate the city’s 900-year milestone with a new cadre of artists and programming that continues the modern heritage of this city on the North Sea with a season of new street art and graffiti.
Born in 1983, Tamara Alves is a Portuguese visual artist and illustrator based in Lisbon. Holding a degree in Arts from ESAD-IPL and a master’s in Contemporary Artistic Practices from FBAUP, she considers her figurative work as a form of activism in the streets.
Here in Stavanger, for the Nice Surprise festival, she creates a monochromatic scene enlivened by a burning car – an object she has used before to symbolize love, a relationship, a mutilating crash of the heart. The body is engulfed in flames while the figure stares at it dispassionately, possibly with red-rimmed eyes. Alves gives this mural the name “go on baby… burn a while”.
Her artwork weaves a visceral narrative, celebrating the raw, primal vitality of intense emotions and the transformation of connections. Through interactions between human and animal figures and natural landscapes, her universe embodies love in its rawest form – intertwined with wounds, pain, tears, but also pleasure, joy, and ecstasy. At times, her visual soliloquies resemble wildflowers thriving in the wilderness.
Since the early 2000s, Tamara Alves has participated in numerous projects, group and solo exhibitions, and impactful street art interventions. Her unmistakable presence has established her as one of Portugal’s most notable street artists, and her schedule of mural painting is seemingly overflowing.
Graffiti history and contemporary creativity merge this summer during the inaugural run of the Nice Surprise street art festival in the Norwegian city of Stavanger. Join BSA as we celebrate the city’s 900-year milestone with a new cadre of artists and programming that continues the modern heritage of this city on the North Sea with a season of new street art and graffiti.
Street artist Belin grew up far from the Vikings in his home of Linares in Andalusia, Spain.
But that doesn’t mean he can’t paint a mural tribute to one of Stavanger’s heralded Vikings, Ragnar Lothbrok, on a wall in his post-neo cubist style here for the Nice Surprise Festival. Renowned for his exceptional photorealistic murals, this paint-wielding athletic warrior is celebrated on the street and in the gallery for his ability to create lifelike portraits that often incorporate cubism, distortion, and surrealism elements.
“Inspired by Ragnar Lodbrok, I play a Viking in battle,” he says on his Instagram.
A renewed enthusiasm for the history of conquerors from this part of the world is due in part to the success of onscreen series like “Norsemen”, “The Last Kingdom”, “Vikings: Valhalla”, and simply “Vikings”. Ragnar Lothbrok holds a significant place in both Norwegian and Viking history, representing the spirit of exploration, adventure, and valor that has become synonymous with the Viking Age. His connections to Stavanger, whether historical or mythical, have added to the city’s allure as a destination for those seeking to immerse themselves in the world of Norse mythology and Viking heritage. According to some sagas, Ragnar is said to have been born in the vicinity of Stavanger, although the exact location is disputed.
“Each mural is a new challenge since I love continuing to face large formats, continuing to work with the same energy as always and freehand,” Belin says of this new mural, “which is why I value my work so much. “Playing with the lines, with the space and the colors is what amuses me the most, and I think you can feel it when you see this mural.”
Self-taught, Belin holds his graffiti roots seriously, finding opportunity through experimentation and practice – and has left his mark on walls and buildings across the globe. From Spain, where he has been to cities like Jaén, Madrid, Barcelona, and Malaga, to the United States with murals showcased in Miami, Los Angeles, and New York, and across Europe in France, Italy, Portugal, and Belgium, he has also ventured to Latin American countries like Mexico and Argentina. He discovers new people, cultures, and histories wherever he goes and often paints them into the composition.
Here’s the latest hit from the first-time street art festival Nice Surprise in Stavanger, Norway – a novel fusion of historical roots and contemporary brilliance showcased in the latest mural by the artist Doze Green. Born and bred on the vibrant streets of New York City, Green’s trailblazing journey in graffiti writing and breaking crews during the 1970s and 80s resonates deeply in the telling of this street art culture. With this modern expression as a mature visual artist today, it may strike you as a rare gift of great significance here – given his direct relationship to the foundational early days of graffiti and hip-hop.
As an original member of the iconic Rock Steady Crew, a pioneering force in hip-hop culture, Green’s mastery in breakdancing and subway-tagging graffiti informs the bedrock of his studio practice and public artworks. Venturing into uncharted territories, Doze Green’s contemporary canvasses embody a signature style of figurative abstraction and letterforms, interwoven with metaphysical inquiries about narrative, time, and the essence of existence.
Green has described his pieces as “biological entities; a swarm of arrows coming in from infinite perspective.” In this newest creation, “Spirits of the Midnight Sun,” Green draws inspiration from Norway’s enchanting 24-hour daylight periods that grace the northern region for three months every summer.
It is a pleasure to witness the artistic journey of Doze Green, and to see how it intertwines with the pulsating rhythm of life, art, and this modern city so far from his own. With his language of symbols and iconography, Green nods to the rich historical Nordic lore surrounding Norway’s natural wonders with much respect. The title also indicates that for the artist, the mural captures supernatural energies and mythic storytelling – through a lens of abstraction. In this context, the new work reads as an amalgamation of historical roots and contemporary vocabularies – and a reflection of the authentic voices of these streets.
BROOKLYN STREET ART LOVES YOU MORE EVERY DAY
