Mainly art from the past is the main inspiration, like Fracis Picabia or Picasso, Mondrian or Miro. A show by Joan Miro is the first art exhibition that I ever saw and it changed all my life when I was 10 year old.
I was out of the house like a flash after Stacey had gone. She was to spend the day at a first aid training course that would last until 5pm. This gave me nine hours to paint the biggest piece I'd ever attempted: 50ft long by 15ft tall, four characters and seven massive, crunchy letters. I quickly sketched out the outline before filling in the background, the letters and, lastly, added the final details to the characters. Easy.
Banksy is one of the few people who have been able to popularly harmonise the terms 'graffiti' and 'artist' and his work is treasured around the world from the West Bank to Bristol. Yet Banksy's fame brings a headache to would-be art dealers and community leaders the world over: just who owns a Banksy?
We live in an ever changing, dynamic cityscape, where the balance between public and privately own space, illicit creative practices and authorised recreational activities, is a controversial, fragile matter.
Is it purely about perception - the size and quality of the venue and the comfort of the seats - if indeed there are any. Is it the cost of the ticket? £20 and you're on to a winner - both as performer and audience...
This week's review of art on the streets focuses on pieces that comment and challenge the balance of power,submission and beauty in contemporary society.
Valencia-based VinZ is back in London for his first solo show and he quickly adorned the city walls with his signature bird-headed characters.
This week's 'On the Street' is dedicated on more figurative works, that tackle the poetic, metaphorical and quite literal meaning of rising and falling in different nuance.
This week the UK based company Sincura Group runs is launching 'Stealing Banksy - an exhibition and sale of what is rumoured to be the 'most expensive' collection of outdoor Banksy pieces ever assembled.
Monday morning and the festivities of 420 and Bradford Street was awash with new pieces from the famous and infamous of Birmingham's street art scene. Alive and kicking, but just not very good at blowing it's own trumpet. So, as an adopted son of this city, that's where I will happily step in and learn to play the trumpet.
Whilst I was absentmindedly posting some letters at the end of my road ready for Tuesday's first collection, I saw the most wonderful new piece of street art. Right at the end of my street. Here it is...
From the intensity of Borondo's 'Scratching' work, we move on to RONE's deep and beautiful ones. The artist is in town for his first UK solo show, and quickly delivered those two beauts. If you happen to be in London, do not miss the opportunity to see them in person, they are both a treat...
This week's On the Streets is focused on the faces painted on the city walls, that we see but don't always look at. Having a portrait is usually something very emotional and personal, and all the works included below carry this 'inside-out' revealing intimate feeling... See for yourselves.
It is true that street art uses the city walls as its main canvas, but it also a fact that the movement has took the gallery challenge and it now resides within the white cube quite comfortably - a sign of its resilient and dichotomous nature...
Standing in the dank, fume-ridden disused road tunnel in an untrendy, forgotten corner of south London, little did I realise I was witnessing the start of a new art phenomenon. It was 2008 and the Cans Festival was taking shape.
Street art is controversial, challenging and dichotomous, but is also a way of life; a sort of unique persona; 'religion.' It is organically intertwined with the urban environment and its aesthetics, though unconventional, is truly original.