Favio Martinez, better known on the street as Curiot, is a street artist based in Mexico City. His murals and paintings are especially colorful and complex. Curiot has a well-known and easily distinguishable style. Strange creatures populate his compositions. While each creature is definitely alien, Curiot creates them using familiar animal-like components. Often, these creatures are seen being worshiped by comparably tiny people giving the murals. In a way, this pulls Curiot’s work out of science fiction and places it more as a meditation and variations on Mexican Culture. The gallery statement from a recent solo exhibit at FFDG further explains Curiot’s inspiration:
“Curiot’s colorful paintings, featuring mythical half-animal half-human figures and scenes, which allude to Mexican traditions (geometric designs, Day of the Dead styles, myths and legends, tribal elements), are rendered in precise detail with a mixture of highly vibrant yet complementary colors. “Growing up in the States sort of gave me a diluted Mexican culture, I had no clue what I was missing out on until I moved back 10 years ago”, says Curiot. “The bright colors, folklore, ancient cultures and the beautiful handcrafts are some of the things that I embraced and which influence my work deeply”. The 11 new paintings in “Age of Omuktlans” tell the story of man’s distance from his natural path as he focuses his energy on satisfying his material pleasures and the dystopia this creates.”
Single-perspective installations have been extremely popular for the past several years, with the best examples making their rounds instantly on the usual social media platforms. The real shame of this mass exposure is that viewers rarely experience the tactile joy of these illusions, viewing the photographs but never seeing them first-hand. This is especially true with the work of Georges Rousse, a French artist who has been creating his painted perspective installations in abandoned and soon-to-be demolished buildings since the 1980′s.
Finding influence from Land Art as well as specific works like Suprametist painter Kazimir Malevich’s Black Square, Rousse pre-dates the modern trends of illusionistic installation, having perfected his trademark geometric style and his fondness for desolate locations decades ago. According to his site’s bio, Rousse considers himself a painter, sculptor, architect, and ultimately a photographer, but considers his raw material to be his great inspiration: Space. Upon selecting a site, Rousse goes about creating a unique angular perspective, that when photographed, compels the viewer to re-analyze their own surroundings, possibilities, transformations, and ultimately, Space.
Rousse explains, “The convergence of these spaces goes beyond a visual game: Like a hall of mirrors, enigmatic and dizzying, it questions the role of photography as a faithful reproduction of reality; it probes the distances between perception and reality, between imaginary and concrete.” (via My Modern Met)
Italian street artist Agostino Iacurci is one prolific muralist. His signature style has popped up around the globe in unique locations. The first image, one of the largest murals I’ve ever seen, dominates the side of a skyscraper in Taiwan. Consider the second set of photographs which can be found inside the walls of a maximum security prison near Rome. The third set is over 985 feet long and on a school in the Western Sahara. Iacurci’s singular narrative-like style has seen exhibitions and walls both small and large is a story told globally.
Perhaps more so than any other form of art, street art has the capacity to engage with the neighborhood its found in. The work of artist Ernest Zacharevic, also known simply as ZACH, takes this to a literal extent. ZACH’s murals are often found interacting with features of the building or objects nearby. A bike leaning against the wall becomes a vehicle for a spray painted child or dock posts become giant pencils. ZACH highlights the life of the city in a way by actually making it come alive. The walls seem poised to interact with passersby, and encourage engagement.
The street artist Basik has a singular style. Though often sparse in color, his murals don’t lack in detail. The compositions seem extensively planned. No component is set without intention as if its precise creation were some sort of ritual. Basik’s extreme attention to line is rare in the aerosol can wielding medium. He says of his work:
“I found human and animal bodies, especially hands and weird face expressions, very captivating. I started a research about lines, shapes and solid aspects of the colours. Subjects painted are often idealized and slightly surreal. Strokes become bones, while paint’s matter turns into flesh. I love to make my works on useless and broken items. Painting becomes more intense and dramatic whilst the support gets a whole new dimension and dignity.”
The photographic murals of Mike Hewson don’t exactly decorate the buildings they inhabit. Rather, the murals create surreal optical illusions, highlighting the buildings by nearly making them disappear. Hewson, creatively uses perspective to erase walls or even entire structures. In some of his work this reveals the buildings inside – its purpose being put to use. Other times, his work interacts with the building in order to recall an empty space or a space’s potential. Hewson’s murals hints not only at structures that we’d often take for granted, but our often overlooked relationships with them.
The Argentinian street artist known simply as Elian works with a clean and seemingly effortless style rare in street art. While his large abstract murals would be at home on a magazine page, they work to a powerful effect inhabiting entire sides of buildings. Often using colors reminiscent of a graphic designers CMYK color palette, Elian maximizes the simplicity of each mural. A buildings bland blank wall becomes a space for an exercise in composition and color.
Street Artist Joe Boruchow is an expert at manipulating positive and negative space. His work intertwines stark black and white graphic cut outs, often cleverly playing each off the other. Boruchow’s street art compositions are made up of simple but powerful images, wheat paste posters in public spaces. He interacts with his work, much like a stencil or etching, indeed, frequently creating corresponding cut paper pieces of his posters. While adeptly balancing positive and negative space in each poster, Boruchow also give careful attention to the postivie and negative space of the city. His posters can be found filling empty areas of doorways, windows, and walls.