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    James Reka – Floriana

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    James Reka’s latest show, Floriana, opens at Backwoods Gallery, Melbourne this week. The Australian artist returns to his hometown for the first time in six years for this body of work, completed partly at his studio in Malta, and in residence at the gallery.As part of the original Everfresh Crew, Reka initially made his mark in the laneways and train lines of Melbourne’s inner-suburbs where he spent over a decade developing his surrealist style. Working across bold colour palettes that are defined by their themes in each body of work, Reka’s nods to classical cubism are enhanced with technical layers and details that disclose the history of his urban canvases as much as they tell the stories of his characters.Reka’s work is both fastidious and expressive in its outcome, a duality his content contains too, sitting somewhere between the familiar and warm, and distantly observational in depth. The paradox extends further in tensions between graphic design and graffiti, and pop-simplicity and abstract geometry.Twisting together a mix of hedonism, still life in his neo-classic fine art, Reka’s studies are an examination of the human psyche, our habits, habitat, gaze, and lifestyles.‘A junction of humanity and natural forces, “Floriana” represents the intersection of my life with the innate forces of the Mediterranean – people and nature. A metaphor of my artistic journey and stylistic evolution, inspired by ancient customs and the barren natural elements of the region.’‘Using canvas and ceramic media, I have sought to reflect the inspiration of living on the ancient Mediterranean Sea – the cradle of civilisation – itself a symbol of energy, creativity and of the search for the meaning of life, for wisdom and the love of family.’‘This exhibition documents my personal journey of the last 3 years, relocating to the Maltese Islands. “Floriana” – Latin for blossoming and prosperous – is the region of Malta where I paint, inspired by core Mediterranean values, of groups congregating outdoors in piazza celebrating life, of family focused around seafood, bowls of marinated olives, wine & the ritual of basking next to the azure blue Mediterranean Sea. I have explored sun-drenched barren landscapes – massive limestone rocks, olive trees and prickly pear. The dominant theme is the saturation of colour from the omnipresent blue sky, the terracotta of the soil and the muted greens of succulents & cacti.’‘I have deliberately held a stronger focus on the abstraction of subject-matter, inspired by the geometric blocks and limestone megaliths of the Mediterranean with horizontal and vertical lines intersecting through the pieces – while the figurative content is inspired by the Venus-like statues of Fertility Goddesses, discovered in the ancient temples of Malta. The execution of my work in acrylic and spray paint, using canvas and ceramic urns, is designed to embrace the matte textures of the ancient, weathered limestone and granite of the region and the muted palette of the soil, rather than a bright and verdant backdrop.’– James RekaOpening Night : Friday April 19th 6~9 PMExhibition runs 19.04.24 ~ 05.05.24Backwoods Gallery, 25 Easey Street, Collingwood, VIC, Australiawww.backwoods.gallery/2024-james-rekawww.instagram.com/rekaone (adsbygoogle = window.adsbygoogle || []).push({}); More

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      Patti Astor, Fun Gallery Co-Founder, Dies at 74

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      She was a founder of the Fun Gallery, which staged early shows by Keith Haring and other artists who defined the city’s downtown scene in the 1980s.Patti Astor, the downtown Manhattan “It” girl, indie film star and co-founder of Fun Gallery, the scruffy East Village storefront space that in the early 1980s nurtured young graffiti artists like Futura2000, Zephyr, Lee Quinones, Lady Pink and Fab 5 Freddy, as well as showcasing artists like Keith Haring, Kenny Scharf and Jean-Michel Basquiat, died on April 9 at her home in Hermosa Beach, Calif. She was 74.Her death was confirmed by Richard Roth, a friend. No cause was given.With her platinum hair, raspy voice and glamorous ’50s-style dresses, Ms. Astor was a formidable presence among the music, film and art makers who gathered at the Mudd Club in TriBeCa. In the summer of 1981, one of her nightclub buddies, Bill Stelling, told her that he had rented a small storefront on East 11th Street with the thought of turning it into a gallery. Did she know any artists?“Yeah,” she said, “I know a few.”The place was just eight by 25 feet, and the idea was to make a gallery by artists, for artists. They had no money and no art experience, but they had a lot of creative friends.The first show there was an exhibition of pencil drawings by Steven Kramer, Ms. Astor’s husband at the time; all 20 of the pieces sold, at $50 each, which seemed like a promising beginning. Mr. Scharf, who had already turned all of the appliances at Ms. Astor’s home into his signature outer-space critters, was offered the next show. He was also given the opportunity to name the place for its duration.“My stuff was fun, so fun seemed like a good name,” Mr. Scharf said in a phone interview.Fred Brathwaite, otherwise known as Fab 5 Freddy, was show No. 3, and his plan was to name the place the Serious Gallery. But by then Ms. Astor had bought stationery stamped “Fun” and had run out of money. Also, as she often said, “the name was so stupid it stuck.”Ms. Astor in 1983 in the backyard of Fun Gallery in the East Village during the opening of a show. Fun Gallery openings were mobbed, as uptown dealers and collectors mixed with D.J.s and aspiring teenage graffiti artists.Allan Tannenbaum/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “Scar” by David de la Mano in Salamanca, Spain

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      In a heartfelt homage to the enduring spirit of women, artist David de la Mano unveils his latest creation, the “Scar” mural, gracing the walls of The House of Women “Clara Campoamor” in Salamanca. Inspired by the moving verses of Louise Glück’s poem “Dress,” the mural stands as a tribute to the strength and beauty found within life’s challenges.Nestled in the heart of Salamanca, the mural serves as a visual testament to the journey of healing and self-discovery. With his distinct style marked by intricate linework and emotive symbolism, dela Mano breathes life into Glück’s evocative words, crafting a narrative that speaks to the resilience of the human spirit.My soul dried up.Like a soul thrown into the fire,but not completelynot until annihilation. Thirsty,went ahead. twitchy,not because of loneliness but because of mistrust,the result of violence.//.The spirit, invited to leave the body,to be exposed for a moment,trembling, like beforeof your surrender to the divine;The spirit was seduced, due to its loneliness,for the promise of grace.How are you going to trust againin the love of another being?//.My soul withered and shrank.The body became too much of a dress big for her.And when I regained hope,It was a completely different hope.“Dress”Louise Glück (1943-2023) USATake a look below for more photos of David de la Mano’s recent work. (adsbygoogle = window.adsbygoogle || []).push({}); More

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      As Graffiti Moves From Eyesore to Amenity, Landlords Try to Cash In

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      Julian Phethean’s first canvas in London was a shed in his backyard where he covered the walls with bold lettering in spray paint. When he moved his art to the city’s streets in the 1980s, it was largely unwelcome — and he was even arrested a few times.“We had nowhere to practice,” he said. “It was just seen as vandalism.”These days, the canvases come to Mr. Phethean, better known as the muralist Mr Cenz. Recent facades, which he shares with his sizable following, have included an abstract mural on a Tesla showroom and a portrait of Biggie Smalls, sponsored by Pepsi Max.“I never would have envisioned that I’d be able to do it for a living,” he said.Landlords wanting to attract young professionals once scrubbed off the rebellious scrawls. That was before graffiti moved from countercultural to mainstream. Now building owners are willing to pay for it.From Berlin to London to Miami, the wider acceptance of graffiti has attracted developers looking to expand into trendy areas, companies wanting to relocate to hipper neighborhoods and brands seeking creative ways to advertise their products.But that attention to once overlooked neighborhoods has pushed up rents, leaving artists, fans and local officials with a quandary: What happens after the street art that brought character becomes commodified?Street art surrounding the Tea Building, a former tea-packing plant in London’s Shoreditch neighborhood.Sam Bush for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “Skin” by David de la Mano in Paris, France

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      In the heart of Paris, a thought-provoking mural titled “Skin” emerges as a testament to the complexities of human existence. Created by renowned artist David Dela Mano, this mural serves as the centerpiece of an exhibition organized by the Roaming Gallery, captivating audiences with its profound exploration of borders.Located at 47 Rue Barrault in the vibrant neighborhood of L’Île-de-France, “Skin” invites viewers to contemplate the multifaceted nature of borders beyond their physical manifestations. Delving into the depths of human experience, the mural portrays the struggles and triumphs faced by individuals as they navigate a world filled with uncertainties, fears, and hopes.Through the lens of “Skin,” visitors are transported into a realm where the boundaries between the physical and the symbolic blur, illuminating the shared elements of human experiences. As viewers engage with the mural, they are prompted to reflect on the profound impact of borders on individual lives and the timeless yet historical character of these abstract concepts. In this captivating display, Dela Mano captures the essence of human resilience and the enduring spirit that transcends the confines of space and time.Spanish artist David de la Mano is known for his large dystopian murals featuring human and animal silhouettes and minimalist style. He creates distinctive artworks which are symbolic reflections on humankind and reminiscent of dark fairytales.The single anthropomorphic figures of the artist gather together and unite in an eternal and recurring movement; the individuals become the mass and vice versa, and they are driven by their dreams, ambitions, fears, vices, hopes, and internal conflicts.Take a look below at more images of “Skin” and stay tuned for more street art updates from the around the globe. More

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      Banksy in London: A Dead Tree and Vivid Hues in Finsbury Park

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      In an unexpected corner of London’s Finsbury Park, a new Banksy piece silently confronts passersby with a jarring juxtaposition of life and decay. Unannounced but unmistakably Banksy, the artwork features a lifeless tree standing in stark contrast to a backdrop of vibrant green splatters—created, in a twist of irony, with a fire extinguisher. This vivid use of color and medium not only captivates visually but also provokes a deep contemplation of the themes it presents.The stark imagery of a dead tree in a park, where life is expected to flourish, is immediately compelling. Behind it, the wall serves as a canvas for an explosion of bright green paint, applied with such force and volume that it suggests a wild, almost violent attempt to resurrect the greenery that should have been. This artificial canopy of leaves, rendered through the unconventional method of a fire extinguisher, speaks to a profound message of loss, resilience, and perhaps a critique of human attempts to control or mimic nature’s beauty. The contrast between the lifeless tree and the vibrant paint creates a visual and thematic dichotomy that is ripe for interpretation.Context and Significance: Beyond the SurfacePlacing this work in the context of Banksy’s oeuvre, it aligns with his penchant for addressing societal issues with poignancy and humor. Yet, this piece stands out for its direct engagement with environmental themes, using the visual medium to highlight the contrast between what is natural and what is artificial. The choice of Finsbury Park as the location adds layers to its interpretation, possibly reflecting on the park as a space of coexistence for nature and urbanity, and the ongoing struggles to balance the two.The Impact of Banksy’s Environmental CommentaryThis latest installation invites viewers to reflect on their relationship with nature and the environment. By juxtaposing the dead tree with the artificial vibrancy of the green paint, Banksy may be urging a reevaluation of how urban societies interact with the natural world. The use of a fire extinguisher to apply the paint also suggests a sense of urgency, a call to action that cannot be ignored.Conclusion: A Mirror to Our TimesBanksy’s unannounced work in Finsbury Park serves not only as a visual spectacle but as a profound commentary on the environmental challenges facing contemporary society. As with all his pieces, the true meaning may remain enigmatic, allowing interpretations to flourish and encouraging public discourse. This artwork, silent yet screaming, presents a poignant reflection on the state of our natural world and the artificial means by which we seek to preserve it.In the wake of this powerful statement, the conversation around environmental conservation and our role within it is invigorated. Banksy’s piece stands as a testament to the power of art to inspire, challenge, and provoke thought, leaving an indelible mark on the canvas of public consc (adsbygoogle = window.adsbygoogle || []).push({}); More

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      Las torres de lujo abandonadas que el grafiti dejó al descubierto

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      En el corazón de Los Ángeles, los edificios fueron un fracaso financiero que mucha gente había ignorado, hasta que los artistas urbanos pintaron sus ventanas.Un trío de relucientes rascacielos fue diseñado para albergar departamentos de lujo, un hotel cinco estrellas y una galería al aire libre con negocios minoristas y restaurantes. Las instalaciones incluirían salas de proyección privadas, un parque de casi una hectárea, servicios de aseo para mascotas y una piscina en la azotea. Un entrenador físico de celebridades ayudaría a crear un estilo de vida saludable para los residentes.El proyecto llevaba por nombre Oceanwide Plaza, y su director ejecutivo declaró que iba a “redefinir el paisaje urbano de Los Ángeles”. Un ejecutivo de la firma de diseño dijo que crearía “un vibrante paisaje urbano”. El sitio web aseguraba que sería un lugar de “momentos inesperados y extraordinarios”.Hay quienes dirían que todas estas afirmaciones resultaron ser ciertas, pero no de la manera en que se imaginó originalmente.El financiamiento para el proyecto se evaporó al poco tiempo. Las torres se erigieron, pero no se terminaron y quedaron vacías. Plagada de problemas financieros y legales, la plaza se quedó en un limbo silencioso durante cinco años.Hasta que, hace poco, una comunidad clandestina la convirtió en un inesperado centro de atención.Ahora, esos rascacielos se han convertido en un símbolo de reputación callejera, “bombardeados” con las obras de decenas de escritores y artistas del grafiti. Sus alias cubren ventanas que se elevan a más de 40 pisos y se ven desde las autopistas cercanas.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      These Downtown Los Angeles Towers Became a Graffiti Skyline

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      Skyscrapers in the heart of Los Angeles were a financial failure that many people had ignored — until graffiti artists tagged their windows.It was a billion-dollar aspiration meant to transform a neighborhood.A trio of shimmering skyscrapers would feature luxury condos, a five-star hotel and an open-air galleria with retailers and restaurants. Among the amenities: private screening rooms, a two-acre park, pet grooming services and a rooftop pool. A celebrity fitness trainer would help curate a wellness lifestyle for residents.The vision was called Oceanwide Plaza, and the chief executive said it would “redefine the Los Angeles skyline.” An executive for the design firm said it would create “a vibrant streetscape.” The website said it would be a place of “rare and unexpected moments.”All these statements, some would say, proved to be true. Just not in the way originally imagined.Funding for the venture quickly evaporated. The towers went up but were unfinished and empty. Plagued by financial and legal issues, the plaza was in a quiet limbo for five years.Until, recently, an underground community pulled it into an unforeseen spotlight.Now those skyscrapers have become a symbol of street swagger, “bombed” with the work of dozens of graffiti writers and artists. Their aliases cover windows that rise more than 40 stories, visible from the nearby highways.“Everybody’s talking about it, of course,” said Ceet Fouad, a French graffiti artist based in Hong Kong, known for his commissioned murals featuring cartoon chickens. “We said it’s amazing what’s happened — we dream to have a place like this. In the middle of Los Angeles? It’s the best promotion you can have.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “Cherry Mouse” by Bordalo II in Lisboa, Portugal

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      Portuguese artist Artur Bordalo, known as Bordalo II, is renowned for his transformative street art creations. His latest work, the Cherry Mouse, unveiled at the Cor de Chelas Festival  festival, is a testament to his unique approach to art. Situated in Lisbon’s Estrada de Chelas neighborhood, the installation breathes new life into the urban landscape, bringing color and creativity to the community.Born in Lisbon in 1987, Bordalo II’s artistic journey began at an early age, inspired by his grandfather’s passion for painting. Drawing from his background in painting and sculpture, Bordalo II developed his signature style of creating sculptures from discarded materials found throughout the city. The Cherry Mouse exemplifies his commitment to using art as a platform for social and environmental commentary.Using street garbage such as scrap metal and plastic items, Bordalo II meticulously constructs intricate animal sculptures that serve as poignant reminders of the environmental impact of consumerism and pollution. Through his installations, Bordalo II seeks to raise awareness about the urgent need for sustainability, inviting viewers to reflect on their relationship with the natural world. As Bordalo II continues to push boundaries with his “trash art,” his work serves as a powerful reminder of the transformative potential of art in addressing pressing environmental issues. More