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    Fantastical Figures Illuminate Urban Buildings in Amanda Lobos’ Murals and Installations

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    “Ventura” (2024), Festa da Luz, Belo Horizonte, Minas Gerais, Brazil. All images courtesy of Amanda Lobos, shared with permission

    Fantastical Figures Illuminate Urban Buildings in Amanda Lobos’ Murals and Installations

    February 20, 2025

    ArtDesignIllustration

    Kate Mothes

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    Vibrant contrasts, eye-opening patterns, and mischievous creatures are just a few of the characteristics of Brazilian artist Amanda Lobos’ beguiling scenes. Based in Vila Velha, about an eight-hour drive up the coast from Rio de Janeiro, Lobos works extensively across a range of mediums, from graphic and product design to murals and public installations.

    A large-scale inflatable work titled “Ventura” was installed last year on the top of a building in the city of Belo Horizonte. Lobos calls upon the philosophy of Indigenous Brazilian environmentalist and philosopher Ailton Krenak, who posits that humankind should live in harmony with nature rather than trying to control it.

    Mural for Festival Nalata (2023), 5 x 8 meters. Av. Faria Lima nº822, São Paulo, Brazil

    Lobos’ all-seeing “Ventura,” which translates to “fortune,” perches on a corner of a tall building and oversees its domain, double-faced with two eyes on each side and one of its legs curled up casually on the ledge.

    This work “is about the agony and dilemma of returning a star to the sky,” Lobos says in a statement, describing “Ventura” as “condemned to the duality of the fantastic and the real.”

    Much of the artist’s work is intentionally left open to interpretation. “I believe that what I want to communicate to viewers is already embedded in my work visually, allowing them to interpret it however they wish—that’s the beauty of it!” Lobos tells Colossal. “I don’t like to be too literal or overly serious with my concepts; I enjoy the creative process and the freedom it gives me.”

    In vivid murals, Lobos applies a similar juxtaposition of mystery and play, as coy characters dance within colorful panels or long walls illuminate the joys of learning. An expansive mural at a school in the Jardim Limoeiro neighborhood of Serra celebrates science, art, curiosity, and play.

    MC.Arte mural for the Penélope Municipal Early Childhood Education Center in Jardim Limoeiro, Serra, Espírito Santo, Brazil (2023). Photo by Ana Luzes

    “My favorite thing about painting murals—besides seeing them come to life on a large scale from an initial sketch on paper or a 30-centimeter canvas—is the process itself,” Lobos tells Colossal. She adds:

    Executing the piece and watching it unfold is truly special. The feeling of applying paint with no “Ctrl+Z” is humbling, and working on such a large surface teaches you to embrace mistakes and adapt in new ways. Every wall is a fresh learning experience.

    Lobos is soon heading to Mexico to paint her first mural outside of Brazil looking forward to collaborating with two other artists on a pair of murals for the Movimento Cidade festival in August.

    We’ve shared a handful of public art projects here, but you can head over to Behance or Instagram to see a wide range of the designer’s vibrant product collaborations and commissions.

    Three illustrated tarot cards created for the publishing company TAG Livros, referencing iconic authors

    “Ventura”

    “Tropical Transformation” mural for brand activation of Devassa beer at the Casa7 event venue, Vitória, Espirito Santo, Brazil

    Six illustrated tarot cards created for the publishing company TAG Livros, referencing iconic authors

    Interior mural for CASACOR Espírito Santo

    MC.Arte mural in progress for the Penélope Municipal Early Childhood Education Center

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      A New Documentary Traces How a Faith Ringgold Mural at Rikers Island Helped Women Break Free

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      Detail of “For the Women’s House” (1972). All images from ‘Paint Me a Road Out of Here’

      A New Documentary Traces How a Faith Ringgold Mural at Rikers Island Helped Women Break Free

      February 13, 2025

      ArtFilmHistorySocial Issues

      Grace Ebert

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      In 1971, Faith Ringgold (1930-2024) received her first public art commission. New York City offered the late artist a $3,000 grant to paint a mural at the Women’s House of Detention on Rikers Island. After going inside and speaking with those incarcerated in the notorious prison, Ringgold decided to base the work around a request from one of the women about what she hoped the piece would depict: “I want to see a road leading out of here.”

      In Ringgold’s characteristically bold palette, the resulting mural features more than a dozen figures, many of whom are employed in professions unavailable to women at the time. Vibrant and sliced into eight sections, “For the Women’s House” portrays doctors, bus drivers, basketball players, and the yet-to-be-realized vision of a woman as president. The large-scale work was a tribute to the deferred dreams of those who were locked up and a directive to reimagine the stereotypes put on incarcerated people.

      According to ArtNet, the artist continued her relationship with the detained women and returned to the facility each month to provide “courses in subjects ranging from mask-making and theater to career counseling and drug addiction prevention.”

      When Rikers Island transitioned to housing men in 1998, though, the Department of Corrections painted over the work, concealing it under a thick layer of white paint.

      A new documentary directed by Catherine Gund chronicles Ringgold’s fight to regain control over the mural as it tells a broader story about the injustices of the U.S. justice system. Paint Me a Road Out of Here, released by Aubin Pictures, features conversations with Ringgold before her death last year, along with artist Mary Enoch Elizabeth Baxter, who has been commissioned to create a new work to replace “For the Women’s House.”

      The film comes at a time when more artists who were formerly incarcerated are gaining attention as they point out the dehumanization and cruelty at the heart of the prison system. Jesse Krimes, for example, interrogates the material conditions of life inside as he incorporates soap bars, playing cards, newspapers, and bedsheets into his practice. And at a similarly infamous facility, artist Moath al-Alwi sculpts ships from cardboard, dental floss, and threads from his prayer cap while detained at Guantánamo Bay.

      “For the Women’s House” (1972)

      While the film shares the story of Ringgold’s nearly lost mural—which was relocated in 2022—it also speaks to the power of community and connection through art and making, particularly in places where despair and degradation are rampant. “Art gives us permission to imagine a world beyond what currently exists,” one interviewee in the film says.

      Paint Me a Road Out of Here is currently screening at the Film Forum in New York. Keep an eye on Aubin Pictures’ website and Instagram for additional locations.

      The artist with the mural

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      In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician

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      All images courtesy of Mission Archéologique Franco-Suisse de Saqqâra, shared with permission

      In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician

      January 15, 2025

      ArtHistoryScience

      Kate Mothes

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      For ancient Egyptians, the afterlife—also called Duat, among other names—was a mystical realm overseen by the god Osiris, who personified rebirth and life after death. But entry to Duat was anything but guaranteed; when a person died, their spirit traveled across vast, challenging terrain and deposited them at the Hall of Final Judgment, where their heart was weighed against a feather from Ma’at, the goddess of justice and truth.

      In preparation for the afterlife, royals, dignitaries, and the wealthy elite constructed great tombs. The most elaborate among them were painted with ornamental murals that shared one’s accomplishments, packed with artwork and riches to demonstrate each individual’s status and accompany them to Duat.

      Expansive ancient necropolises complemented large cities, where society’s upper crust commissioned tombs, temples, and pyramids. For the capital of Memphis, the final resting place was typically Saqqara, which contains some of Egypt’s oldest monuments, some of which date back to the First Dynasty around 5,000 years ago.

      Scholars continue to unfurl millennia-old mysteries as archaeological excavations carry on in Saqqara. And sometimes, as researchers from the Mission Archéologique Franco-Suisse de Saqqâra (MAFS) recently found out, marvelous and unexpected discoveries still emerge from the sand.

      During the 2024 season, as the team excavated near a mastaba—a large-scale, rectangular, flat-roofed tomb—they discovered a number of smaller burials, including a “kiln” tomb. Also known as “oven” tombs, these burials are “made of raw bricks that are characterized by their vaulted ceiling,” says a statement from MAFS. “They are built several meters below the ground, and the only way to access them is through the burial shaft, always placed to the north of the entrance.”

      Typically, kiln tombs are “fairly simple mud brick monuments, sometimes with limestone walls, and even less often decorations,” MAFS says. Today, they are also often empty as a result of looting throughout the centuries. But instead of a basic, unadorned room, the team found vibrant wall paintings commemorating a doctor who died around 4,000 years ago.

      Archaeologists uncovered a stone tablet bearing the doctor’s name, Tetinebefou, near the entrance. A stele is a stone slab featuring text, imagery, or both, and in ancient Egypt, a false door stele represented a portal for the deceased’s spirit pass through into the afterlife. As researchers explored farther, the physician’s name was represented in other locations, confirming it to be his tomb.

      As reported in Live Science, Tetinebefou was known as a “dean of the palace physicians,” with inscriptions referring to him also as “conjurer of the goddess Serqet,” who was associated with protection from scorpion stings. He was also prescribed the titles of “director of medicinal plants” and “chief dentist,” both of which are unusual designations in ancient Egypt. It’s unclear which pharaoh he may have served, but MAFS’s lead Egyptologist Philippe Collombert suggests Tetinebefou may have worked under Pepi II, who reigned between approximately 2246 and 2152 B.C.E.

      Inside the tomb, relief carvings of urns, furniture, hieroglyphs, and garments are complemented by colorful patterns and richly textured ceiling. At some point in the past, the doctor’s tomb had indeed been looted, and only tiny fragments of objects remained. The decorations, however, mark an exceptional discovery.

      A documentary slated for 2026, directed by Frédéric Wilner, will take a deeper dive into the details of this excavation. In the meantime, explore more on the MAFS website.

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      Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

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      Mural on the Southeast Financial Center building in Miami, Florida. All images courtesy of Mantra and Justkids.art, shared with permission

      Mantra’s Murals Collect Enormous Butterflies in Building-Size Specimen Cases

      January 10, 2025

      ArtNature

      Kate Mothes

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      French artist Youri Cansell, a.k.a. Mantra (previously) continues to brighten neighborhood streets and large cities alike with his vivid insect murals. Drawing on a fascination with nature and its preservation, he creates monumental specimen cases on buildings around the world, filled with a wide variety of butterflies.

      The artist recently completed his largest mural to date in Miami, positioned on the rooftop of the Southeast Financial Center building. Nestled into the surface of a characteristically organized case, a range of colorful butterflies rest alongside the structure’s utility systems.

      Detail of progress on mural in Miami

      The mural features numerous species, including the endangered Miami blue butterfly that’s native to South Florida. “It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” the artist says.

      Additional recent projects include a giant glass-fronted display on the side of a building in Brooklyn and a towering, narrow composition in downtown Houston. Find more on Mantra’s website and Instagram.

      Houston, Texas

      Brooklyn, New York

      Crans-Montana, Switzerland

      Breda, The Netherlands

      Detail of progress on mural in Miami

      Rombas, France

      Detail of progress on mural in Miami

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      Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

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      “The Minotaur Room.” All images courtesy of Historic England, shared with permission

      Near Liverpool, a One-of-a-Kind Art Environment by Ron Gittins Is Saved

      January 3, 2025

      ArtDesignHistory

      Kate Mothes

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      Behind the unassuming red brick facade of a gable-roofed flat in Birkenhead, England, sits a home like no other. The only clue passersby would have had, until recently, was a pair of hand-sculpted figurative columns that flanked the wooden front door. But to step inside this corner flat near Liverpool is to be transported into the imaginative world of Ron Gittins.

      A gifted artist who also dabbled in local acting groups and music, Gittins was a complex character. He took day jobs here and there, but he was much more inclined to work for himself, on his own terms. Anecdotally, he was known for his zest for life and determination to do great things; his sister recounts that he once exclaimed to their brother, “I will not be ignored!” His creativity shone through in every facet of his life, and his home is no exception.

      Hallway

      In a ground floor rented flat, which he let in 1986, Gittins created monumental hearths in the shapes of a lion, minotaur, and relief-adorned Roman altar. He painted bright murals inspired by ancient Greece, Rome, and Egypt, including a central hallway adorned with hieroglyphs. The columns at the front door were reminiscent of palatial stone depictions of pharaohs and deities.

      Gittins turned to the era of English romantic portraiture in one room’s Georgian era-inspired murals, which feature framed paintings in a row above an ornate hearth. And in the bathroom, the walls swim with aquatic-themed images.

      “Although Ron was extremely proud of his artwork, he generally refused entry to landlords, maintenance staff, and any kind of officialdom in order to protect the fantasy world he had created for himself,” says a statement from Wirral Arts & Culture Community Land Trust, which now owns and manages the property. It adds, “After all, not every property owner would allow their tenant to build an epic concrete lion fireplace in their living room.”

      Gittins’ tenancy agreement permitted him to “decorate the interior of the property to his own taste and the external porch in classical style without the prior written consent of the Landlord.” He also had access to the garden, which he was able to landscape at his own expense.

      “The Lion Room”

      Few people were granted the privilege of seeing Gittins’ creations during his lifetime, as he was protective of his art and preferred to maintain his privacy. He continued to collect unique objects and transform his home into his ultimate fantasy, his self-described “villa.” Then, following his unexpected death in 2019, its fate was suddenly uncertain.

      In December 2021, artist Jan Williams—who is also Gittins’ niece—along with Chris Teasdale of The Caravan Gallery, launched a campaign to save the flat. Along with a dedicated team of volunteers comprising family, friends, and experts in arts and heritage, a last-minute purchase at auction was successful in March 2023. Since then, the team has continued caring for the installations and sifting through the artist’s eclectic collection of books, magazines, videos, clothes, furniture, and trinkets.

      The Wirral Arts & Culture Community Land Trust continues to catalogue Gittins’ belongings and work to preserve this unique environment for years to come. Learn more and take a virtual tour on the organization’s website.

      “The Georgian Room”

      Ceiling of “The Georgian Room”

      The “Roman Altar” in the kitchen

      Bathroom

      “The Minotaur Room”

      “The Georgian Room”

      Exterior of Gittins’ flat in Birkenhead, England

      Front door columns

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      Community, Traditions, and Resilience Ring Through New Public Works for Tbilisi Mural Fest

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      Community, Traditions, and Resilience Ring Through New Public Works for Tbilisi Mural Fest

      December 31, 2024

      Art

      Kate Mothes

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      Residents and commuters alike can now enjoy more than 20 new, large-scale public artworks across five Georgian cities thanks to the 2024 Tbilisi Mural Fest (previously). The sixth edition facilitated new installations in Kutaisi, Batumi, Gori, and Gurjaani—in addition to its namesake community—by nearly a dozen artists from around the country and beyond.

      Many of the works reference local traditions, like Afzan Pirzade’s depiction of vintners holding a basket of grapes, representing a form of agriculture common in the eastern region of Kakheti. Tina Chertova incorporated a traditional lace-like pattern into a stunning, blue, multistory mural featuring birds, people, deer, and other decorative motifs. And in others, figures assume mythical personas, prepare food, and portray togetherness.

      This year, the monumental compositions adorn the sides of buildings that range from two stories tall to more than a dozen, the largest painting reaching 65 meters tall and 20 meters wide. Through vibrant splashes of color, the works celebrate resilience, community, and local customs in an array of styles.

      Explore more on the festival’s website.

      Innefields, Batumi

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      MonkeyBird’s Majestic Murals Bend Time Through Elaborately Stenciled Compositions

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      Detail of “Le Présage,” Metz, France (2023). All images courtesy of MonkeyBird, shared with permission

      MonkeyBird’s Majestic Murals Bend Time Through Elaborately Stenciled Compositions

      December 19, 2024

      Art

      Grace Ebert

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      For more than a decade, French artists Louis Boidron and Édouard Egea have been collaborating as MonkeyBird (previously). The pair are known for their large-scale stenciled murals rich with symbolism, architectural structures, and elaborate motifs, many of which reach for timeless themes related to human emotion, experience, and the inevitability of change.

      “The Arch of Peace” is one of their most recent pieces and transforms the facade of an Aarhus building into a monumental homage to peace and justice. Commissioned for the 17 Walls Project, the mural draws on one of the United Nation’s Sustainable Development Goals to create a more inclusive and resilient future.

      “The Arch Of Peace,” Aarhus, Denmark (2024)

      “The Universal Declaration of Human Rights, whose origins lie in France, served as our central inspiration,” the artists shared. “We reinterpreted the ornamental framework of the original engraving: angels, arches, and colonnades symbolize the moral pillars essential for stability in a constantly changing world.”

      As is typical in a MonkeyBird mural, two anthropomorphized creatures donning robes stand at the center of the composition, guarding a library based on that of Trinity College Dublin. “Their attributes of power and intellect take on true meaning only when guided by reason and ethics,” the artists add.

      Similarly mythic and majestic figures appear in a pair of murals in Fontainebleau and Metz, France, the latter of which features an avian creature holding an hourglass high in the air. Titled “Le Présage,” or “The Omen,” the piece directly points to the artist’s interest in the passage of time and collapsing the boundaries between past, present, and future.

      In February, the pair will join the Montgomery Art Project in Alabama to create a mural and immersive installation of their papercuts. If you’re local, keep an eye out for opportunities to participate in one of MonkeyBird’s workshops, which will engage the community in cutting their stencils and creating public paste-ups. Until then, pick up a print in their shop, and follow their latest projects on Instagram.

      “Le Présage,” Metz, France (2023)

      Detail of “The Arch Of Peace,” Aarhus, Denmark (2024)

      Fontainebleau, France (2023)

      Aubervilliers, France (2022)

      Fontainebleau, France (2023)

      Fontainebleau, France (2023)

      Fontainebleau, France (2023)

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      Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics

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      ‘Wild Things’ (2024), glass and ceramic mosaics. Commissioned by MTA Arts & Design for 14 St-7 Av station. Photo by Photo: Trent Reeves. All images © Fred Tomaselli and NYC Transit 14 St Station Complex, shared with permission

      Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics

      November 13, 2024

      Art

      Kate Mothes

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      Known for his large-scale, collaged resin paintings and ongoing series of reimagined front pages of The New York Times, Fred Tomaselli is captivated by what he describes as the “friction” between beauty and ugliness or internal and external forces. He often observes interactions between humanity and nature through rhythmic patterns and vibrant colors.

      In New York City’s 14 St-6 Av and 14 St-7 Av subway stations, a series of new murals titled Wild Things have been unveiled in the historical spirit of the MTA mosaics. An avid birder, the Brooklyn-based artist highlights species that live year-round in New York City.

      Detail of mosaic in 14 St-7 Av station

      Scenes brightening up passageways and stairwells include orioles mobbing a falcon, a bright sky full of electric blue clouds, a spiral-eyed, cosmic cardinal, and more.

      Wild Things marks Tomaselli’s first permanent public artwork in Manhattan and reflects his mixed-media approach to collage in ceramics and glass. Commissioned by MTA Art & Design, the mosaics join more than 350 permanent installations accessible to public 24/7.

      Learn more about the artist’s work on Instagram. You might also enjoy Contemporary Art Underground, a celebration of New York City Subway art, Nick Cave’s 360-food “Soundsuit” installation, or Nancy Blum’s sprawling tile blossoms.

      Passageway from 7 Av to 6 Av

      Detail of work in passageway from 7 Av to 6 Av

      Mosaic located in 14 St-6 Av

      Mosaic located in 14 St-6 Av

      Detail of mosaic located in 14 St-6 Av

      Mosaic located in 14 St-6 Av

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      In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice

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      All photos by Jonathan Furlong, courtesy of the artist ObeyGiant, shared with permission

      In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice

      October 11, 2024

      ArtClimateSocial Issues

      Grace Ebert

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      At 36 Boundary Street in London, a bold new mural rises 15 feet above the street. Anchored by scales atop a small seedling, the public artwork by Shepard Fairey addresses environmental justice and our responsibility to care for the planet.

      “I believe that our individual and collective actions will dramatically impact current and future generations, be it for the better or for the worse. It is our responsibility as the citizens of Earth to protect it,” the artist said.

      A series of workshops with young Londoners inspired the bright, graphic motif. The group was interested in expanding access to green space and reducing air pollution, and given the recent convening of the United Nations General Assembly focusing on international cooperation, connection between countries and cultures was top of mind.

      The project was produced by Charlotte Pyatt, Simon Butler, and Migrate Art, which has raised more than £2.1 million in the last decade through creative projects in refugee camps in France and Northern Iraq, with the Indigenous Xingu people in the Amazon, and in collaboration with U.K.-based charities feeding London’s unhoused population.

      Find more from the artist on his website.

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