Born from a complicated mixture of graffiti, typographic abstraction and installation art, the work of Italian street artist Teo “Moneyless” Pirisi differs slightly from what you would expect to find in an outdoor space. His mathematical, geometric sketches are quiet, contemplative—an appropriate precursor to his finished installations. What started as lettering on walls steadily shifted toward pure abstraction, where Pirisi says “my efforts then dropped the symbolic meaning of the letter.”
Pirisi ditched the paint, the letters and the walls for a series of carefully choreographed suspended rope installations. He has traveled the world creating multiple iterations of these works, which are often found suspended in wild or forgotten spaces. Pirisi’s attention to perspective and material are seamless, and his placement is usually quite surprising—providing moments of wonder for curious passerby.
From the artist: “My shapes are reduced to the minimum, at the same time they carry some kind of an intense tension, an invisible movement; most of my patterns hide multiple visions and different perspectives. I think my art now speaks through geometry.”
“At age 17, I lost every possession I had accumulated in my short life span; ever since I have been a collector. My mission is to document and observe the world around me as if I have never seen it before. I take notes. Collect things I find during my travels. Document my findings. Notice patterns, Copy. Trace. Focus on one thing at a time. Record and follow what I am drawn to. It brings me immense joy to create space for what has been left behind. To preserve the history of others.”
Oakland-based illustrator and installation artist Lauren Napolitano works with found materials: wood scraps, old bottles, paper torn from old books, tattered lace and dried flowers amass in her subtle shrines, which are layered with the tiny, intricate painting style she has honed over the last decade. Entirely self-taught, Napolitano uses her thin, fragile, art-deco-inspired linework to coat forgotten relics of the everyday with new meanings, and new life. Her recent traveling project with street artist Shrine, called the “Reckless In Love Shack,” has been set up at Symbiosis and Lightning In A Bottle, and she continues to fill spaces with her lovely, lightly aged drawings and paintings, most recently at White Walls in SF and Old Crow in Oakland.
The scale and color density of artist Spencer Keeton Cunningham‘s work makes it almost impossible to ignore—but it’s the poignant, painful subject matter that makes his work difficult to forget. By pushing around the overly romanticized notion of North American Indian culture as a series of icons, sketches or markers, Cunningham is able to speak to the viewer through short, graphic strokes that hit hard. He’s interested in presenting his own take on the demonization of tribal people in American culture.
Being 1/4th Colville from the Confederated Tribes of the Colville Reservation (which consists of 12 different tribes: The Colville, The Entiat, the Nespelem, the Okanogan, The Arrow Lake, The Methow, The San Poil, The Chelan, The Moses Columbia, the Palus, the Nez perce, and the Wenatchee), Cunningham is able to make assertions with his work that relates to his unique position and perspective in this world.
The subtly subversive work of artist Roadsworth fits well in the long history of street art. However, rather than finding his art on the wall, you’ll need to look down. Roadsworth, as his name suggests, sticks to asphalt. Making slight additions with paint to the language of road symbols, Roadsworth provides drivers and pedestrians alike with brain-interruptions for the morning commute. Roadsworth explains:
“The ubiquitousness of the asphalt road and the utilitarian sterility of the “language” of road markings provided fertile ground for a form of subversion that I found irresistible. I was provoked by a desire to jolt the driver from his impassive and linear gaze and give the more slow-moving pedestrian pause for reflection. The humourlessness of the language of the road not to mention what I consider an absurd reverence for the road and “car culture” in general made for an easy form of satire.” [via]
Mosstika Urban Greenery is a NYC based collective of eco-minded street artists, using gorilla tactics to evoke the call of man back to nature. They believe that if everyone had a garden of their own to cultivate, we would have a much more balanced relation to our territories. It is with this notion in mind, that Mosstika, aim to collide the worlds of art and nature, creating havens of unexpected greenery, within the colder harsher environment. Together they aim to give green guerrilla tactics a new twist by creating works meant to be touched, in turn aiming to touch the souls of all that pass by. Mosstika strives to call back to mind a more playful existence, returning man to nature, even among the barren patches of urban existence.
We’re absolutely loving these clever and graphic billboard alterations by Parisian street artist OX. Not only do they cover up the ugly advertising that we are bombarded with on a daily basis but they also interact with their surroundings in witty visual plays that construct and deconstruct space, depth and optical illusion. (via)
Artist and designer Jay Shells is behind the twitter feed @TheRapQuotes. He dispenses daily notable rap quotes as tweets. He has since taken the idea to the street. Shells creates street signs of hip hop quotes that mention specific places, then posts the signs at their mentioned locations. Many of the lines are from iconic songs and legends of the genre – easily recalled. Adding the context of an actual location with the signs adds further depth the memorable tracks they reference.