World famous graffiti artist Inkie got the spray cans out during a visit to the Custard Factory in Birmingham to campaign for the upcoming City of Colours Street Art Festival.
Inkie is one of the most renowned UK graffiti artists to have emerged from the 1980s Bristol Scene – where he finished second in the 1989 World Street Art Championship painting – alongside 3D and Banksy.
From large murals to quirky canvases the City of Colours festival took place across a number of venues to show off what street art has to offer.
New York City has traditionally been considered the premier mecca for street artists around the world. “It’s hard to imagine what New Yorkers experienced in the early seventies, as they watched their city become steadily tattooed with hieroglyphics,” wrote Dimitri and Gregor Ehrlich New York magazine.
“Some saw it as vandalism and a symbol of urban decay. But for the writers who risked life, limb, and arrest, and the teenagers, filmmakers, and, eventually, curators who admired them, graffiti was an art form.”
But in the wake of the global financial crisis and subsequent Great Recession, Greece has emerged as a new hub for powerful, subversive street art.
“People in Greece are under increasing pressure,” iNO, a graffiti artist “who aims to draw attention to the social situation in this crisis-hit country,” told the New York Times in April. “They feel the need to act, resist and express themselves.”
Getty Images photographer Milos Bicanski has been documenting the recent surge in street art, an graffiti renaissance “both politically aware and socially accepted.”
Looking at Danny Birch’s avatar on Facebook, his clenched fist over his chest, it is a reminder of the passion in him and why he opened a tattoo studio by the name of Heart for Art.
A shop with red wallpaper and antique frames and clocks and French chairs.
It is a stylish and inspiring space for both him and his fellow artists, like Ash Higham, and Sam Barber who’s done an impressive tribute to dark fantasy film, “Pan’s Labyrinth,” as shown in the image above.
Paintings of desolate houses and unremarkable buildings by artist Sarah Williams that focuses on her roots in the rural American Midwest.
Raised in a small town then moving to an urban setting for her education led her to a greater awareness of the seemingly mundane areas close to her home.
The nightscapes have a familiar feel as we often see houses and buildings like these illuminated only by the glow of a television screen on the inside or neon lights on the outside as we pass them by.
Strong emotions can be prompted by a place. Over time, ways of life shape and define the people and the spaces in which they live.
Sarah is drawn to areas and structures that show character acquired from the history and memory of the people that formed that environment.
Aesthetically I am interested in light sources and the play of light on surfaces.
This led me to paint nightscapes of familiar yet isolated and unremarkable buildings, rooms and scenes located in rural areas close to my home. I use darkness to edit out extraneous information and provide the viewer with the essence of the place.
Portraying these settings as nightscapes allows me to convey the emotional tone of the painting.
The viewer’s location is not specifically implied because of the light source within the paintings.
They must find their own way and decide their own approach when out in the rural night depicted in these works.