![]() Karl Teigen: The American embassy in Oslo.Øystein Aasan + Arne Malmedal + Hilde Svalheim.Aija Vinkelmane & Kristin von Hirsch: Somewhere di.Public art in the new government quartal.Michael Johansson: Familiar Abstractions.Incorporating “real” graffiti from the street, but that would probably Spontaneous, or even made by stencil, the value is gone. The moment we sense that the graffiti is not The placement and form of it is crucial, butĪlso the spontaneity is deciding whether this is a unique piece or a Stencil part is stable, which you may especially notice by the sameįigure used in both “Hardcore Angel” and “Cushion”, but the graffiti is ![]() But instead he manages through the art to present the artform graffiti in a new light. Art that focuses on itself may easily become introvert. Whatson is balancing on a thin line by this topic, risking that his art mightīecome a parody on itself. Wings, a heart, fashion clothing, or framed as a valuable art piece. In his works the wild mess of colorful graffiti is mended Works is glorification of the graffiti, or the sense of loss when itĭisappears. Martin Whatson is returning to the roots, the graffiti. But the skilled artists also manage to deliver a message from works presented in a neutral gallery setting. In my opinion the best street art communicates with its surroundings. ![]() The handful of stencil artists that manage to remain interesting, creative and surprising are either focusing on an extreme level of technique or the motive. ![]() It takes more than just the technique to stand out from the crowd. These days anyone (or any commercial company or political movement) may spray a crude A4-size stencil onto a more or less visible wall. Stencils of street art have been around for some decades, it is not the rebel teen anymore, but an adult entering its identity crisis. ![]()
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