Category Archives: Dicy

Dicy Shares The Love…

In case you hadn’t noticed, it’s Valentine’s Day coming up pretty sharpish, and Dicy’s come up with a pretty cool idea to save you having to grab that last bunch of wilted flowers from the 24 hour Tesco. 

Inspired by a piece done for his good lady wife, he’s producing a series of hand painted originals, not that many of them, and putting them on sale for one day only on the Let Them Hang site, from this Friday to this Saturday. They’ll be in the post next Tuesday and with you by Thursday, ready to get framed and give to the one you love, or perhaps wish to love, on Saturday. 

Thing is, everyone’s a bit worried about money at the moment, so he’s sharing the love even more by keeping them south of £50, postage included too.

It’s called ‘You Steal My Heart’ and here’s some preview pics…

full-image1web full-image2web

Close up on the stencil.


Please note, if giving this as a traditional anonymous valentine’s gift to someone you hope to get together with, remember to specify that whilst this picture may be signed by Dicy, it doesn’t mean he’s the one sending the anonymous gift. Nor is the title written on the bottom a personal message to the recipient from him. Else what started as a lovely valentine’s idea for his wife may end up backfiring on him badly. 


Have got hold of some snaps of his studio alongside this as well, which provides a pretty interesting insight into what he’s up to at the moment. Always think more pics of people’s studios/workspaces/whatever would make interesting content for the blog, through the keyhole style perhaps. Should get on it.

More Belton than you can shake a stick at.


Wonder what’s going on with the First Great Weston print at the back there…


…and is that some sort of Dicy and Toasters collab piece in the background of this one too?


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Filed under Bristol, Dicy

12 Days Of Christmas Show – 2008!

So once again, the Steal from Work guys and a huge army of helpers have pulled off another huge show out of nothing in hardly any time. This post is going live as the doors to the show open, so people not there can see it too, but that said, the show was a couple of hours away from finished when these photos were taken, so whilst most of the organisers were of course relaxing having finished setting it all up in advance, there were still a few final tweaks to be made.

So these photos aren’t necessarily the final final thing, you’ll only see that there, and am not putting names with everything just yet, but this blog isn’t here so people can live life through the web, it’s here to encourage you to get out and see stuff for yourself, so get down there!

Incidentally, rumour has it that a load of free spray paint on card pieces will be being left round the area this evening too by an artist not in the show, so keep an eye out.

When you’re round there, you should also definitely go and check out the PRSC gallery at the Stokes Croft end of Jamaica Street. Photos on the blog tomorrow all being well, but it’s got some top work in it, and it’s all for auction, starting at just 99p.

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Filed under 45 RPM, Acer, BC, Bristol, Cyclops, Dan, Dicy, Dora, Mau Mau, Motorboy, Richt, Rowdy, Sainty, Sickboy, Sums, Sweet toof, What? Collective

Children Of The Can – The Weekend’s Painting

Getting to this one a little late annoyingly, but can’t be helped. Was, by all accounts, freezing down there over the weekend when the painting was going on, but everyone seemed to have fun.

So, as mentioned before, to go with the launch of ‘Children of the Can‘, Felix pulled off a bit of a coup and got it arranged to paint the boards outside the current industrial museum redevelopment, boards people had been eying enviously since the Bristol Festival and before.

The piece as a whole is a timeline of Bristol Graf, from some of the first writers to some of the most recent ones, with some people painting (with a spray can at least) for the first time in ages.

Annoyingly, with all the boats now moored up, presumably for the winter, it’s hard to get a good view of the whole thing from across the river.


Still though, starting from the far left as you look at it, it kinda builds up with some random pieces…


…an initial Paris…


…and accompanying Milk.


This is sweet, done by Joe i guess.


Not strictly keeping to the timeline, which should start here, Andy Council. Although the piece hints back to the early days of graf in a way doesn’t it.


Next up Cheba with one of his Brunel characters.


The man behind today’s events, Flx, with some top work.


Inkie couldn’t make it down for the weekend, but should be getting his piece up later in the week.


Back to the old skool, Source.


Next to Kato writing ‘ASK’. What can it mean? You may well ask.


Side by side, Turroe and Shimz, don’t see enough of their work round still.


Closer on Turroe…


…likewise Shimz, really like them both.


First time Jody’s painted with a spray can for 18 years apparently. Damn shame, the man’s a legend (check his work in the Children of the Can book too for more).


Lokey on fine form as ever, with a firm understanding of web marketing to boot!


Teaoh next to…


…Cheo, with Deed in the middle there.


Unfortunate really that the first painting done on these boards a few months back was done right in the middle, as it breaks up the flow of the timeline a bit. Still though, 3rd Eye’s work’s tidy…


…and kinda cool to see a bunch of random kids right in the middle of all this work.


This one raised a smile, Pen and Boswell on typically dark form…


…with a sign right by them titled ‘My Perfect Bristol’. Wonder if the placing was deliberate.


Dicy made it down in the end, also writing ASK, with a reference in there to Poppa Acer too!


Soker and Feek working together again…


…love the names intertwined (though can’t confess to having spotted that initially…)


Feek with the character again, All Suckers Krushed.


Rounding it off, Ponk on the end.


Next along another slot for Paris…


And Milk next door (with a birthday shout to Acer, a whole lot of love going on).


Sepr, Epok and Kaione put together a huge piece, only finished off yesterday. This is the left…


…and this the right.


Rowdy with what looks like some kinda wordsearch, love it.


45RPM representing for the WHAT lot this weekend.


Not entirely sure this was meant to be there, Song on a slot marked out for Seza.


Good to see Magic, Voyder and 3Dom all getting out together at the same time on this one…


…close up on Magic and Voyder…


…with some top work by 3Dom at the other end.


Haker doing his own thing a bit further down.


And finally, rounding it off right at the end, a space put aside for the next next generation…


…including Prankz, keener than mustard.


All told, the length of board is bloody huge, runs right down to that crane at the end there, and this photo wasn’t even taken right from the other end.


So, some bits still to be finished off, and a timeline to be added over the top of it all as well. It should all hopefully be there for a while, and there’s talk of more jams going on there at some point in the future. About bloody time, and all credit to Felix for sorting it out in amongst everything else that must be going on at the moment.

Go and check it all out, and once again, if you haven’t bought the book yet, then do!

(Props to Lokey for the guided tour for this post too!)


Filed under 3Dom, 45 RPM, Acer, Andy Council, Boswell, Bristol, Cato, Cheba, Cheo, Dicy, Epok, Feek, Flx, Haka, Inkie, Kaione, Lokey, Magic, Milk, Paris, Pen, Ponk, Rowdy, Sepr, Soka, Song, Uncategorized, Voyder

Not Just Banksy Night


So, back from the Not Just Banksy night up at UWE’s Frenchay Campus. Wicked night, loads going on, if a little a victim of social marketing. Facebook numbers don’t translate to real life that often sadly. Still though, top crowd in a tough location, take this down the centre and you’d be on a winner.

Got there a little later than expected, to find Nikill at work on the Weapon of Choice wall.


A broader shot of the painting, Nikill, Boswell and Inkie from right to left, with the Art Tart in front of them. Weird.


The Art Tart was drawing a picture of them all drawing a picture, painfully postmodern, but pretty darn funny, and not that bad a picture as it happens either.


Inkie’s piece part way through.


The evening was full of various other things, this was a showing of the ‘Tags to Riches’ documentary.


Inkie and Boswell at work, Boswell’s piece was bonkers, a simple sketch turned into something seemingly so well planned. Skills.


Lokey, Cheba and Nikill on their piece.


Another interlude, Felix giving a talk about his book (now just weeks away). Top talk, fascinating historical take on the whole graf thing, and got into a proper debate at the end. Was amused to wander outside afterwards and hear students debating it – “Yeah, but graffiti’s just a necessary and inevitable symptom of our capitalist society”.

I kid you not.


Nikill and Cheba getting towards the end of the collaborative piece.


Inkie’s piece finished.


Next to Boswell’s


This was a nice touch, short biographies of various artists posted up around the venue, good idea.


All the pieces finished, really good work, interesting to see what happens when people have more space and calm that at Weapon of Choice.


The finished Art Tart piece of the pieces as well


This piece was up in all its glory finally too, done for the fresher’s fair at UWE last year. Feek, Seza and Sickboy. Bloody huge it is.


Feek’s side…


…with Seza in the middle…


…and Sickboy at the other end.


So, wasn’t just the stuff in the evening in the bar, there’d been loads of painting going on outside during the day too.  Billy Stencils at this end…


…next to a pretty good piece…


and another here.


Inkie’s piece out here was sick.


Next to Cheba, Lokey and Nikill, this time with the spray paint and colour.


More Billy Stencil and some work by a UWE student.


Sepr had been here painting in the day too, shame he wasn’t there in the evening too.


Ryda and Reaf there too which was as cool as it wasn’t on the bill.


This was really tidy though. You know when you can sense from a piece that the people in it are really putting everything into it, well, got that from this one, a burner from a collective of UWE students.


On the other hand, the Art Tart outside. It’s not up to this blog to claim that someone’s biting someone else’s work, least of all Nick Walkers.


But there you are.


Top night though, organisers had noticeably put a huge amount of work into planning and running it, and had brought in a really friendly crowd, so should be run again really, perhaps somewhere a little more accessible.

Would save a bus journey home with UWE Freshers throwing up all over bus seats for one.


Filed under Boswell, Bristol, Cheba, Dicy, Epok, Feek, Flx, Inkie, Lokey, Nick Walker, Nickill, Seza, Sickboy

Children Of The Can Preview And Interview With Felix Braun

It’s been a fair while in the writing, and in a way has needed to be written for even longer, but in just a few weeks Felix ‘FLX’ Braun’s book, ‘Children of the Can – 25 Years of Bristol Graffiti’, will be published. Happily, this blog’s been given a sneak preview, and it really is awesome.

So, the basics. It’s 288 pages, hardback cover and a big thing too, something like 50cm across when opened out, so the photos (and there are around 1000 of them, nearly all full colour) are there in a quality you’re just not going to see anywhere else. More important in a way, with such a long history in the Bristol Scene, Felix has had access to some pretty choice photos from the personal collections of people like Banksy, Nick Walker and John Nation amongst many others, so the content ranges right back to the start of it all, and the vast majority has never been seen before.

Still though, this book’s not just a coffee table book like so many others, indeed that’s kind of the point behind it, as over many months Felix has spent time with over over 40 different Bristol graffiti artists, talking to them about everything from their work to the scene as it was then and is now. As a result, the book’s a proper and coherent history of the last 25 years of Bristol graffiti, where it came from, the stages it went through, right up to what it is today. Each interview hangs together as a coherent chapter, but together they’re woven together perfectly to create the overall narrative of this part of the city’s history.

It’s all too easy to say Bristol’s a great place for graffiti or street art, but reading the book it really hits you how genuinely great it is, how the Bristol graffiti is at the end of the day united by difference, how all the different artists have done so many different things over the years, followed different styles, yet all within the same area, often at the same time.

So, in a change from the previous few months, it seemed time to turn the tables and interview Felix himself about the book, it’s writing and the Bristol graffiti scene generally. Thinking he’d got the model pretty right in researching the book, what follows is the result of a chat in a pub over pints, mixed in with some exclusive snaps from the book itself…

Bristol Graffiti: So, let’s start at the start then, what it’s all about?

Felix Braun: Well, it’s a 25 year history really, written by an artist that’s still painting. I had wanted to write the book for a while, but it all started thanks to Cheba, who introduced me to his boss, Richard Jones from Tangent Books, when we were painting together at the Bristol launch of ‘Banksy’s Bristol – Home Sweet Home’ at the Apple (blogged here at the time). Tangent Books have helped me realise my original vision of it, (although i probably would have liked to have added an extra 32 pages), but they’ve stuck with me, stuck with it, and it’s grown. It was originally going to be much smaller, originally i had plans for 12 artists to be interviewed, but ended up interviewing 41.

BG: – It’s interesting it’s finally happened, as I’ve heard various people over time wondering who’s actually going to be the one to write a proper book on all of this.

FB: – Yeah, that’s the other important thing, I wanted all this to be documented, and that’s the other meaning of the book’s title, it’s for the kids of the artists to grow up and read it and have a record of what their dad or whoever did. It’s like 3D said when i interviewed him ‘How many people are lucky enough to have a book made about the best years of their lives?’ It’s a privilege, and this book in a way is like my little gift back to all the people that I grew up with and I painted with, and for those following on from them too.

Inkie outlining at the 1989 World Graffiti Championships in 1989 (pic by Scarce)

BG: – So how’s it been, writing a book? Enjoyable?

FB: – Yeah. At Times. It was really really hard work, but an amazing insight, there was a lot of stuff I didn’t know actually, because I had 10 years out myself. I went off to college, got into making music and so on, and didn’t start again until the time of Walls on Fire, in 1998.

BG: – Did you stop painting because of Operation Anderson and all that went with it then?

FB: – No, not really, I’d stopped illegal painting by then anyway. It was because I was into other things. The book was a chance to fill in the gaps in my own memory, and through it I’ve made so many friends, getting to know other writers and getting inside people’s heads. Like with TNP for example, it took me months and months and months to get them to speak to me, and it was done under very strict conditions, because people who are out there hitting trains have got so much more to lose than someone who’s moved up to London now and is out there doing prints and doing gallery shows. My status as a writer has allowed me unprecedented access into people’s lives, and it’s also added to my understanding of the mindset and what motivates it.

Also being older, and looking back and seeing more the socio-political context in that sense, that’s kinda allowed me to be in a position to make some informed comment on graffiti and what it means, why it’s important, why it needs to carry on happening, and why cities shouldn’t be clean. At the end of Rowdy’s chapter, he says ‘when you’ve got no tags, then you’ve got to worry, because you’re looking at some kind of Orwellian sort of city’. Graffiti’s a sign that a city’s healthy, and that it’s got its own mind.

That’s why people of a certain sort of mind start to notice it, the more colourful and artistic it gets, the more it wins people over, and therefore hopefully there are people who are going to read this book who know nothing about graffiti, and it will be their introduction to it. They might live in a city and  start to understand through this book why people do it.

BG: How was it, tracking down and interviewing all these different writers and artists?

FB: Some people took longer to track down than others, some people answered their own questions before I’d even asked them, but most of them were really good fun, and like a night out really. It was great hanging out with people I didn’t necessarily know that well before I started interviewing them, but I certainly got to know them better by the end. I got really wrecked with certain people, and was having to listen back to recordings of interviews over pub clamour, rewinding it over and over again the next day to transcribe quotes. For me, the biggest challenge was the transcribing, and then editing 12,500 words of interview into 2000 words of chapter. Being a two finger typist, transcribing all of it was a mission.

Some of the unseen Banksy photos in the book

BG: Is there stuff you’ve left out, deliberately or because you’ve had to?

FB: I’ve left out references to beef, to arguments, because I think that the infighting between graffiti artists is only interesting to graffiti artists, and probably then not even to half of them. I think what people have in common, and what’s provided a thread throughout the whole story of the scene, is much more interesting than people’s differences. I mean, those that know will know, it’s coded but it’s in there, there are certain photographs of certain people’s pieces over certain other people’s pieces that those around then will spot, but it’s not really relevant or interesting to most people.

Apart from that the book’s completely and utterly no holds barred. There’s lots of swearing, it’s not appropriate for children, there’s some fairly grizzly anecdotes. There’s drugs and violence and agony and ecstasy, and there are some people who’ve written their own pieces about very very difficult times in their lives, with the art more there as a background to it.

BG: – Is there anyone you missed out, anyone you wish you could have got hold of?

FB: Well, no, but Andy Council said that he didn’t really want a spread, and he’s done so much good stuff in the last year or two, and before that too, but there’s been so much good recent stuff, that I really wish that i’d been able to find another couple of extra pages for him. It would have been great to have given him more space, he’s a great guy, and a great artist, and I think he stems from the same root as the rest of us.

Apart from Andy, I’d have liked to have had sections just of tags, just of dubs and throw ups, just sign offs, dedications and the like. That was in the original plan, and it’s ended up more as chapters on artists, and I think that a lot of people have missed out as a result of that, people who aren’t necessarily hugely prolific, but have made an impact. But you can’t cover everyone, and I know that I’m going to get grief for omissions and I’m ready for it.

BG: So the book’s about the last 25 years, what do you think’s going to happen in the next 25 years?

FB: In the short term, when the bubble bursts, and people stop looking at graffiti or street art (or whatever you want to call it) for the wrong reasons – for money or as an investment – then there will be a reassessment of what ‘real’ graffiti has done to explore the role of type and the letter form as an icon in art. We might start getting real graffiti recognised as fine art rather than having to compromise, well not compromise, mutate. I think at the end of the day graffiti will carry on, it’s been going on for thousands of years. Visually, who’s to say? I think if I could predict what it would look like it would be quite boring. Infinite possibilities…

Chaos painting at Barton Hill Youth Club 1990 (pic by John Nation)

BG: Do you think the book itself might have an impact on the graffiti scene in the future?

FB:  Well, the book’s there to open up a treasure chest, and if it encourages the next generation to go out and paint, then great. If people say to me the book encourages illegal graffiti, then I’d say yes, it does encourage illegal graffiti, come back and talk to me when you’ve stopped war and violent crime, and then we’ll talk about how serious a crime grafiti is. Anyone who wants to come and talk about this, i’ll debate with them face to face on the subject, because I think it’s futile the way they police it.

BG: Do you think things have changed, that graffiti is more accepted now than it was before?

FB: Yeah, definitely, but at the same time there’s a double standard, a contradiction within the council, where certain people’s work will remain intact, because it attracts people to the city, in the same way as Massive Attack or Roni Size or Tricky have perpetuated people’s idea of Bristol and brought in students and money and so on. The council are aware of these things, but they don’t ever do anything to support it whilst it’s happening. On the continent there’s an understanding of graffiti as an artform that Bristol City Council doesn’t have. The city hasn’t got a graffiti problem, the council’s got a problem with graffiti. Go and look at places like Sao Paulo in Brazil and then come and talk about Bristol having a graffiti problem. There are bigger things to prioritise, bigger problems the city’s got right now.

BG: So the law on graffiti is out of date now?

FB: Yeah, it is. Because it’s a visual crime, graffiti is an easy target. If you go and wipe out all the graffiti, it’s a very easy way of saying you’re reducing crime, whilst if people are sitting in their homes taking drugs then it’s seen as less of a problem. It’s ridiculous, and there’s a real problem, a contradiction in it all. Because of the nature of the art, you can’t wipe out the illegal aspect and leave the legal aspect, because then it becomes sterile, and graffiti on canvasses isn’t graffiti, it’s graffiti-style art on a canvas. When it loses that energy, when it loses that street style vibe, then where does it go? So there’s always going to be that contradiction, and if it didn’t have something to rail against, then it wouldn’t be what it is.

BG: It evolves over time too doesn’t it, punk initially was one form of rebellion, but then other forms of music grew from that.

FB: Yeah totally, that’s something that 3D says in his piece, that it was this new kind of rebellion that was more fun, less po faced than punk. You had a whole load of subcultures around that time when it all started that were very serious and po faced. Then hip hop came along and was rebellious, but it was also a great laugh, it was about partying and having a good time and colour and dance and movement and sound. That’s why graffiti writers are basically big kids, because they like hanging out and painting pretty things on a wall, you know, hanging out in a gang with their friends that they call a crew.

‘It’s no great crime’ by 3D in 1983 (pic by Beezer)

BG:  I was talking to a graffiti writer a while back who was excited to go and see the Marcel Duchamp exhibition when it was in London, which isn’t necessarily the first thing you’d expect from someone who does graffiti. Do you think the wider art scene, fine art so on, has had an influence on the graffiti scene?

FB: Yeah, of course it has, because when graffiti started in Bristol, it was just teenage kids. Then as the art form grew up, you had people coming into it who grew up and went to art college and brought outside influences into it from other places. Especially the TCF, who brought a completely different dynamic to it all in Bristol, because they were coming from an art school background, and i think that’s great, it’s benefitted it no end artistically. Because if it’s self referencing all the time, it gets stale. I love the old stuff, but at the same time, I love the typographic stuff, or Xenz’s frescoes, or whatever. The best art has to do that to keep growing, otherwise it just ends up like a one eyed inbred child doesn’t it.

Mr Jago and Xenz in the book

BG: So, got a launch party planned for the book then?

FB: Yeah, definitely, there will be some large scale live painting going on in the centre of town,  then a launch party on the 4th of December. Negotiations about where it might be are still going on, but it’s looking like a location that’s pretty relevant to the subject of the book and the history of Bristol graffiti itself.

BG: So, live painting by 3D, Nick Walker and Banksy then?

FB: *laughs* Painting side by side? I doubt it. I have invited Banksy, but whether he’ll come or not I don’t know. He’ll probably turn up disguised as a woman or something…

‘Children of the Can : 25 Years of Bristol Graffiti’ is out at the end of November ’08 through Tangent Books. You can pre-order your copy here, and in the meantime, check out Felix’s blog about the book at


Filed under 3Dom, 45 RPM, Acer, Andy Council, Awkward, Banksy, Bristol, Cato, Cheba, Cheo, China Mike, Dan, Dicy, Dora, Eco, Epok, Feek, Flx, Ghostboy, Haka, Inkie, Jeffrow, KTF, Lokey, Magic, Mr Jago, Mr Riks, Mudwig, Nick Walker, Paris, Ponk, Richt, Rowdy, Seza, Sickboy, Soker, TCF, What? Collective, Will Barras, Xenz, Ziml

Bristol Festival / Weapon of Choice Exhibition Opening Night

So, been really intrigued to see this Bedminster venue/new studio space place, venue for the current Bristol Festival Exhibition, since it first cropped up at the Bristol Festival itself. Never know what to expect, but it’s actually pretty darn cool, nice big space, well cleaned up and at the moment looking awesome with some of the work up from the Bristol Festival and previous Weapons of Choice.

These were some of the boards from Weapons of Choice back in the day in the bar area (‘Don’t ask the price, it’s a pound’). Top stuff.

Couple of the other bits, odd seeing them like this all together really, each one was its own night, kinda brings back memories in an odd way.

All round the rest of the venue the boards from the Bristol Festival, well, those that survived the weekend and high winds (some didn’t) were set up all over the walls. Really well done, they almost look better now they’re not all in straight lines and outdoors in a weird way.

Dicy’s bits didn’t survive the conditions too well, so have been chopped into more manageable pieces.

Nikill’s had made it out in one piece.

That’s the thing about a festival like that, don’t even remember the one on the right being there, 3dom’s on the left there looks good though, given how quick a job it was.

They had that cool graffiti computer wall type thing there too, wonder how much they cost…

Guerilla Galleries had themselves a room next to it too, cool when you can just paint signs on things in venues.

Some of the bits in the room, most of them been blogged here before.

And on the floor a comedy police impression of a body, with spray cans marked on too, by Cheba.

Back out in the main room, the other side of the main drag boards from the festival.

Crap photo, but the bits on the stairs were cool, Jeffrow stencils over Ammo’s piece, chopped into tiny canvas sized pieces. A lot of work’s gone into tidying up the pieces from the festival, trimming them and almost reworking some of them through the bandsaw alone. Done a lot of good by the looks of it, given how wrecked some of them were in the end (never buy cheap boards!).

As you’d expect, there were some Weapon of Choice live painting antics going on in the bar tonight too…

…Cheba, Lokey and Nikill working their side…

…45RPM, Cheo and the like getting on with theirs.

Really wasn’t sure what to expect from this, but it’s actually a really cool exhibition, and even if you saw the work at the festival or at Weapon of Choice, you really should still get down there and check it out again in this space. Top space and top work.

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Filed under 3Dom, 45 RPM, Bristol, Cheba, Cheo, Dicy, Feek, Flx, Jeffrow, Lokey, Nickill, Seza

Guerrilla Galleries Broader Than Broadmead Show Preview

So, the summer’s over, the nights are drawing in, and it’s back to it for Guerrilla Galleries, with a new show opening tonight – ‘Broader Than Broadmead’. Have to say the stuff here seems preferable to what’s down Circusmead (love it…) at the moment. And you can smoke outside the gallery if you want.

So, some preview snaps of what’s there. This is Tribe One, who did the pieces outside Angry Dave’s on the Christmas Steps a while back. More graf based than some of the stuff in the show, but it all hangs together well by the looks of things.

Couple of pieces fresh out the studio from Dicy

Zase was a bit of an enigma for this blog for a while, so really interested to see some pieces on canvas at last. They’ve been given a big wall of their own in this show, and it works.

Closer upper on the greener one

Next to them there’s this grey-white one, which looks ace despite being pretty colourless

3 bits from 3rd Eye, love the one on metal on the right there

Few new bits from Dora too, including this rather buxom lady

Cheo’s got a couple of nice new bits in this show, this small piece…

…and this wicked minimalist piece. Really have to see it in the flesh to appreciate it, shows that sometimes les can be a whole lot more.

Lokey can and cap, there’s some other top Lokey stuff in this show too that’s well worth checking out

Finally a small piece from Oath, there may be more of them up there by the time it opens, delivery awaited!

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Filed under Bristol, Cheo, Dicy, Dora, Lokey, Zase

Bristol Festival – The Final Photos

Phewf, felt like a bit of a mission this. Still, guess it is with that many pieces to get photos of. Today was, ironically, the best day to get photos of the lot, no crowds, no hassle, and good sunshine. Here’s the remainder of what didn’t get proper attention before…

Outside where people queued, some Nikill and another of those Dan angels as was in the Bearpit before.

Close up on the angel, love the halo for begging, the piece makes a lot more sense now…

Some more stuff from along the big walkway, this time both finished and not obscured, the Feek and Ponk piece

Close up on the Feek character right…

…and left.

Next to it an uninterupted shot of the Soker piece

Next to it Kato

And across the way, a better shot of the FLX piece, finally.

This got missed out as it was a popular spot to stand, blocking it pretty effectively, Yaka, Richt and China Mike

This one’s taken a while to get a better shot of too, 45RPM, skipping the obvious crowd pleasing owl in favour of some letterforms, top stuff.

Finally, hoorah for the stage being taken apart, a decent shot of the Weapon of Choice piece from Saturday night, was determined that one wasn’t going to get missed out just because of two large lighting stacks, a drumkit and a load of amps. And a band.

Got to give props to Acer as well who’s done these wicked joined up photos of some of the walls there (click them for much biggerness).

First the two big ones on the run down to the arena

and next the TCF wall in all its glory. That’s a rare shot of the official TCF forklift on the right there as well, they’ve picked up some odd and slightly awkward sponsorship deals over all these years of painting you know…


Filed under 45 RPM, Acer, Bristol, Cheba, China Mike, Dan, Dicy, Feek, Flx, Lokey, Nickill, Paris, Ponk, Richt, Sepr, Seza, Soker, Yaka, Ziml

More Bristol Festival Pics

So, it’s harder than you think to get photos of finished pieces when they’re not finished until the crowds get in, so suspect there may be another post updating this whole event in a bit. But still, here’s some stuff from around the site over the Friday, Saturday and Sunday…

So, wildstyle and the like, not all the best bits, but some of them were pretty unspottable through the crowds.

Next along some Awkward

Further along, a tribute piece to Killer.

Unfortunately in the heat of the day on Saturday, the money saved on some of the boards started to show, shame really.

Big load of TCF pieces off there in the distance…

Some Paris on there…

…and some Ziml.

In contrast to the others, Dicy went for some more abstract stuff.

PRSC had a big board, paint, scissors, craft knifes and the like, so you could roll up and stencil your own square on this piece, really cool idea.

Ended up like this later on Saturday evening.

Looking down the boards on the main run down to the arena, Lokey, Flx, Inkie, Chu.

Closer on Inkie’s finished piece.

Inkie, Chu and Cheba.

On the Saturday night, Weapon of Choice had Sepr, Nikill, Lokey and Cheba doing live painting at the back of the Mr Wolf’s stage during the bands. Only problem is the space was well cramped behind the backline, so no chance of any good photos really.

Better one of it once done…

…even worse view from the other side. Don’t tread on cables on stages by the way, it makes the speakers make buzzy noises at everyone.

Tried to get a shot of the whole piece, but wasn’t going to happen, so here’s a broader shot of it, and some CCQ as well.

This was outside the main festival space, but pretty cool.

Paint your own graffiti style stuff on a massive interactive screen. Even used a spray can as the sensor, still want to see the GRL big wall size one of this idea though…

So, all round a cool festival, and one that properly had the main point of Ashton Court about it, the ability to wander round and see people you haven’t seen for ages. Really hope it worked out for them financially and it becomes a regular feature in the Bristol year.

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Filed under Awkward, Bristol, Cheba, Dicy, Flx, Inkie, Killer, Lokey, Nickill, Paris, Sepr, Ziml

Dreweatts Urban Art Auction October

After the last one in the summer, Dreweatts are putting on another ‘urban art’ auction on Tuesday 14th October in the evening. Viewing for the pieces entered at Paintworks in Bristol Thursday 2nd to Saturday 4th October, then at Shoreditch Studios Friday 10th to Tuesday 14th October.

Interesting pieces in interesting times would probably be the theme. Will this interest in selling ‘urban art’ (not a fan of that term) continue now the world’s falling over financially?

You can download the whole catalogue for the auction here, but thought it worth including some pieces of interest on the blog.

This Nick Walker portrait of Jerry Dammers from The Specials is pretty cool, must be tons of interesting Nick Walker stuff around like this from over the years.

On the other hand, this Nick Walker butterfly was first sold at the Black Rat Press show at the start of the year. Did anyone at that show actually buy anything to keep and, you know, put on their wall or something? Sheesh.

These Dicy pieces are really nice though, and pretty decently priced as well. Sorry about the photo quality in this post by the way, pics taken from the Dreweatt’s catalogue, which doesn’t seem that good res in its online form at least.

Finally, of course, the obligatory Banksy pieces. This one’s really odd, it says it’s from the Severnshed show in 2000, but, subject to some final checking later this evening, would swear that it was never in that show. Perhaps sold in connection with it, or as a result of it, but sure that piece wasn’t on the walls of the Severnshed back then. There was a photo of the same stencil (there were a few photos sold at that exhibition alongside the originals), but it wasn’t exactly the same. Same thing happened in a Bonhams auction a while back if you remember, a piece being claimed to be from the Severnshed show when it wasn’t.

UPDATE: Less certain on this not having been there now, but still thoroughly confused. Will have a check of the pricelist for the show tonight.

UPDATE 2: Well, the pricelist shows a piece in the Severnshed show called ‘Monkey Stencil’ rather than ‘Monkey Detonator’, and from the photos of nearly all of the the show on the Bristol Beat site as well as a process of elimination, it looks like it’s this one . So perhaps there was a photo of the same stencil idea at the show rather than the piece actually being there, initially at least? Perhaps it wasn’t ready in time for the show when it opened? That said, the pricelist gives the dimensions of the ‘Monkey Stencil’ piece as 29cm by 42cm, whilst the one in the pic below is 90cm by 67cm. Pest Control have apparently said the piece was in the Severnshed show though. Very odd. Anyone got any more photos of the Severnshed show that may shed some light on this?

UPDATE 3: Been in touch with Dreweatts over this, and happy to confirm again that both Banksy and his agent have stated this piece was exhibited at the Severnshed show, and Pest Control have stated that it is called ‘Monkey Detonator’. So, a watertight provenance then.

If anyone has got any photos from the Severnshed show though, then do get in touch, think it would be interesting to put the show back together virtually, with the original price tags on the pieces too!

Finally, this piece will be the litmus test in a way, a stencil on another painting from back in 2001. £150,000 to £200,000 estimate, which seems a hell of a lot for a piece like that. Are the people still around with that sort of cash to splash now the bubble’s burst and no-one’s buying as a short term investment anymore?

Should be an interesting auction either way.

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Filed under Abroad, Banksy, Bristol, Dicy, Nick Walker