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Tbilisi Mural Fest’s Dynamic Murals Brighten the Sides of Buildings Throughout the City

by Aurelia Butler 21 November 2025, 14:00

All images courtesy of Tblisi Mural Fest, shared with permission

Tbilisi Mural Fest’s Dynamic Murals Brighten the Sides of Buildings Throughout the City

November 21, 2025

Art

Kate Mothes

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Established in 2019, Tbilisi Mural Fest has a deceptively simple goal: to turn Georgia’s capital city into one huge public gallery. For the artist-organizers, who also create works under the moniker TMF Studio, contemporary murals have the ability to transform unsightly, blocky developments into giant works of art. The paintings are not only a pleasure to look at but also create a more inviting urban environment.

With a few exceptions, much of the recent work created for the festival is representational, showing people engaged in activities like harvesting grapes or dancing. International artists bring a variety of styles to often narrow, vertical compositions, adorning the sides of multilevel buildings.

Afzan Pirzade and TMF Studio, part of the “Dance” series

Through a wide range of figurative, geometric, or abstract styles, Tbilisi’s mural program is expanded each year, engaging viewers in both commercial and residential areas. Find more on the festival’s website and Instagram.

TMF Studio

Detail of work by TMF Studio

Edoardo Ettorre, “Concrete Horizons”

Afzan Pirzade and Besik Maziashvili, “The Most Sacred Connection of All.” Photo by David Chalodze and Anano Kekelia

Afzan Pirzade and Besik Maziashvili, “The Most Sacred Connection of All” (detail)

Fintan Magee, “Girl in Mirrors”

Afzan Pirzade and TMF Studio, “Samaya”

Afzan Pirzade and TMF Studio, part of the “Dance” series (detail)

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This October, a Global Public Art Project Turns 35 Cities into Playgrounds
by Aurelia Butler 17 October 2025, 20:12
Nomad Studio, “Socarrado (Scorched)” (2025), Parque Natural Sabinares del Arlanza – La Yecla, Castilla y Leon, Spain
This October, a Global Public Art Project Turns 35 Cities into Playgrounds
October 17, 2025
Art
Grace Ebert
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This month, urban centers around the world are hosting a massive public art project helmed by Nōvo Collective. uncommissioned has tapped 54 artists for a global initiative that sees the city as a playground, inviting participants “to slip playful, overlooked, or quietly defiant gestures into the cracks of everyday life.”
In Stellenbosch, South Africa, Strijdom van der Merwe installed sun-activated text works displaying heady phrases like “the visible is a shadow cast by the invisible.” Escif painted tiny fruits among the architecture near his home in Valencia, while Vhils painted a collection of fragmented portraits atop a Munich cultural center.
Vhils, “Antennas” (2025), KUNSTLABOR 2, Munich. Image courtesy of Jose Pando Lucas, MUCA
Perhaps most striking is Nomad Studio’s wooden structure erected in a park in Castilla y León, Spain. Appearing to fan outward in a circle, a collection of branches forms a meditative space with an opening to the sky that lets light stream inside.
uncommissioned continues throughout October with works by Cannupa Hanska Luger, Jason deCaires Taylor, Stephanie Brown, and many others slated for 35 cities total. See more on the project’s website.
Nomad Studio, “Socarrado (Scorched)” (2025), Parque Natural Sabinares del Arlanza – La Yecla, Castilla y Leon, Spain
Nomad Studio, “Socarrado (Scorched)” (2025), Parque Natural Sabinares del Arlanza – La Yecla, Castilla y Leon, Spain
Strijdom van der Merwe, “Shadow Words” (2025), Stellenbosch, South Africa
Strijdom van der Merwe, “Shadow Words” (2025), Stellenbosch, South Africa
Leon Reid IV, “Of a Free Will” (2025), Bedford-Stuyvesant, Brooklyn. Photo by Leon Reid IV
Escif, “Infinite Still Life” (2025), Valencia. Photo by Escif
Escif, “Infinite Still Life” (2025), Valencia. Photo by Escif
Vhils, “Antennas” (2025), KUNSTLABOR 2, Munich. Image courtesy of Jose Pando Lucas, MUCA
Vhils, “Antennas” (2025), KUNSTLABOR 2, Munich. Image courtesy of Jose Pando Lucas, MUCA
Emmanuel Aggrey Tieku, “HOW TO HEAL A B-R-O-K-E-N WORLD-Cemetery of Belongings” (2025), Osu Cemetery, Accra, Ghana
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Millo and Seth Globepainter Trade Concrete for Canvas in ‘Beyond’
by Aurelia Butler 26 September 2025, 16:00
Images © the artists, shared with permission
Millo and Seth Globepainter Trade Concrete for Canvas in ‘Beyond’
September 26, 2025
Art
Jackie Andres
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Street artists Francesco Camillo Giorgino and Julien Malland (a.k.a. Millo and Seth Globepainter) have painted in more than fifty countries combined. In a new exhibition titled Beyond, the pair takes their expansive mural practice indoors with thirty new works and their first collaborative canvas installation.
Beyond is grounded by a vast map at the entrance of the show, charting the far-reaching and meandering paths both artists have taken across the globe. Though they’ve crossed paths before, the exhibition emphasizes their convergence once again at Goldman Global Arts Gallery, where their monumental works have been reimagined within the context of gallery walls.
Both Millo and Seth radiate a childlike wonder within their works, evoking a sense of joy and curiosity. While Millo’s compositions usually feature monochromatic figures and architectural components expressed with robust line work and bold pops of color, Seth’s pieces illustrate his signature optical illusion perspectives, executed with vibrant yet soft palettes.
Installed together, the works visually complement each other and amplify overlapping themes of surreal dreamscapes, everyday whimsy, and the power of imagination.
Beyond continues through November 16 in Miami. See more work on Millo and Seth’s respective Instagram accounts.
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In Rural Wisconsin, Pat Perry Connects the Various Forces That Shape Our World
by Aurelia Butler 9 September 2025, 16:10
“27 Schoolteachers and a Volcano.” All images courtesy of Pat Perry, shared with permission
In Rural Wisconsin, Pat Perry Connects the Various Forces That Shape Our World
September 9, 2025
Art
Grace Ebert
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In a rural Wisconsin city of just more than 1,200 people, the hyperlocal and the universal converge in a new mural by Pat Perry (previously). “27 Schoolteachers and a Volcano” is just as its title suggests: the large-scale piece depicts snow-capped mountains with an explosive volcano at its center, while small portraits of local educators line the top and bottom borders.
Commissioned by Princeton Art Collective, the mural captures the vertiginous experience of life today, particularly as we consume more information than ever before and must confront seemingly endless disasters and devastations around the globe. Perry wanted to highlight how we can “find meaning in ordinary life while constantly witnessing things happening in the world beyond your control.”
“Even in a small rural town, you’re not insulated from the immense forces that shape the world. History happens. Economies rise and fall. Wars begin. Continents drift and mountains erode. One day, the sun will expand and swallow the Earth. Most of us don’t get much of a say in any of it,” he says.
To conceptualize the work, the collective helped to contact and secure permissions from the teachers pictured, and with the exception of the woman in the red floral garment at the bottom of the piece—she’s the artist’s mother and a retired educator—all work in the area. And why teachers? Perry explains:
Day after day, people find purpose. They wake up early, show up with intention, and try to make sense of things—not just for themselves, but also for others. Teachers do this every day. Not for recognition, and rarely for much pay. It’s a repetitive act of maintenance that holds things together.Choosing to shoulder that task, even while standing at the edge of something vast and indifferent, is a quiet act of defiance. Amidst overwhelmingness and uncontrollableness and unanswerableness, teachers—and all custodians of human affairs—keep meaning in the world by steadily and stubbornly tending to it.
“27 Schoolteachers and a Volcano” is located in Princeton, Wisconsin. Find more from Perry on his website and Instagram.
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Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings
by Aurelia Butler 4 August 2025, 17:14
“Dancer” (2024), Bourgoin-Jallieu, France. All images courtesy of Artez, shared with permission
Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings
August 4, 2025
Art
Kate Mothes
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With acrobatic finesse, the figures in Artez’s large-scale murals interpret the boundaries of the walls themselves through contemporary dance and moments of repose.
Currently working on an ongoing series titled Simple Acrobatics, the artist explains that he aims to “break away from the conventional approach of depicting the human figure on a mural and offer a fresh perspective on how the human form can be portrayed in public spaces.” Dancers fill the sides of buildings, sometimes using a chair as a prop, stretching around the confines of the wall as if challenging its boundaries.
“Simple Acrobatics” (2025), Wuppertal, Germany
Another recent theme, Thirst, portrays people drinking from vases of flowers. The unusual gesture nods to a sense of awareness, inviting viewers to consider society—its conventions and expectations—and contemplate the world around them anew.
Artez is currently in Gothenburg, Sweden, working on a new Simple Acrobatics mural. Find more on Instagram.
Patras (2024). Photo by KLE
“Thirst (Milena)” (2024), Aalborg, Denmark
Cerzeto, Italy (2024)
“Simple Acrobatics” (2024), Bristol, U.K.
“Simple Acrobatics” (2024), Boulogne Sur Mer, France
“Sleepers” (2023), Cacak, Serbia
“Simple Acrobatics” (2024), Zagreb, Croatia
“Thirst For Nature “(2024), Belgrade, Serbia
“Simple Acrobatics” (2024), Cheltenham, U.K.
“Moving Residents” (2023), Deventer, The Netherlands
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Among Andalusian Vineyards, a Vivid Carpet Creates a Space for Gathering
by Aurelia Butler 25 July 2025, 19:27
All images courtesy of Javier de Riba, shared with permission
Among Andalusian Vineyards, a Vivid Carpet Creates a Space for Gathering
July 25, 2025
ArtDesign
Grace Ebert
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Nestled among the vineyards of Andalusia, a bold intervention creates a space for gathering in the small village of Montemayor. “Pasera” is the latest addition to Javier de Riba’s ongoing Floors series, a project focused on reclaiming small plots of land as communal sites.
“Pasera” refers to the fields where grapes shrivel up into raisins, producing the exceptionally sweet Pedro Ximénez-style dessert sherry typical throughout the region. Mimicking a patterned carpet, de Riba’s mural is a vibrant motif of burgundy and soft yellow, a nod to the fruits that surround it.
The local community held a breakfast to inaugurate the new work, which the artist notes is an important part of instilling pride and ownership over the space. “As the feeling of home is a feeling that is created, and it fades if not taken care of, now it depends on its use and care to ensure that this meeting place remains alive,” he adds.
De Riba offers prints and picnic blankets featuring his unique motifs in his shop. Find much more on his website and Instagram.
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Five Latinx Artists Explore Materiality, Identity, and Belonging in ‘Los Encuentros’
by Aurelia Butler 23 July 2025, 14:58
Facade mural by Ozzie Juarez. Photos by Alex Marks. All images courtesy of Ballroom Marfa, shared with permission
Five Latinx Artists Explore Materiality, Identity, and Belonging in ‘Los Encuentros’
July 23, 2025
ArtSocial Issues
Kate Mothes
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Marfa sits at the crossroads of US-90 and US-67 in the expansive Chihuahua Desert of far West Texas. About 60 miles from Mexico, U.S. Border Patrol trucks are a common sight along the roads, in addition to an unmissable, otherworldly tethered surveillance blimp that hovers near the highway between the town center and one of its most iconic installations, Elmgreen & Dragset’s “Prada Marfa.”
As the current administration’s immigration policy has taken effect, the politics of identity and geography have again been thrust front and center—often violently. In this remote borderland, where the one-stoplight-town has been redefined by influential art world personalities for several decades in an idiosyncratic convergence of ideas and lifestyles, there is a unique opportunity to engage with themes of community, narrative, socio-economic realities, and a sense of place.
Justin Favela
Ballroom Marfa’s summer exhibition, Los Encuentros, gathers the work of Latinx artists Justin Favela, Ozzie Juarez, Antonio Lechuga, Narsiso Martinez, and Yvette Mayorga. The gallery describes an aim of the show, the title of which translates to “the meetings” or “the gatherings,” as “the representation of Latinx culture to confront the accessibility of art spaces, colonial art histories, the conditions of labor, and lived experience.”
Amid daily news reports of ICE raids around the nation, the work in Los Encuentros is a timely and provocative exploration of today’s societal complexities along with being a way of “responding to the experiences of the people and places they engage with and depict,” a statement says.
All the artists employ a wide range of materials and techniques, from Mayorga’s frosting-like, piped paint to Favela’s vibrant ruffled paper installations redolent of piñatas. Lechuga uses Mexican blankets, or cobijas, creating sewn textile collages that explore a wide range of experiences and perspectives amid the current political climate.
Martinez continues to create intimate, candid portraits of farm workers by using produce boxes, bags, and repurposed plastic as his substrates as a reminder of the often invisible labor that goes into putting food on Americans’ tables. And Juarez has completely transformed Ballroom’s facade in to a giant painting derived from ancient Mesoamerican motifs.
Narsiso Martinez
Los Encuentros is curated by Texas-based Maggie Adler, who expressed delight at being able to collaborate “with artists whose practices center on allowing a broad range of community members to see themselves represented in art spaces.”
The show continues through October 12. Find more on the gallery’s website. And during open hours, keep an eye out for Rachel Hayes’ colorful patchwork flag that flies out front.
Ozzie Juarez
Narsiso Martinez
Justin Favela
Antonio Lechuga
Detail of a work by Antonio Lechuga
Yvette Mayorga
Detail of a work by Yvette Mayorga
Antonio Lechuga
Detail of a work by Antonio Lechuga
Narsiso Martinez
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Unity and Resilience Flow Through Taquen’s Gestural Compositions
by Aurelia Butler 10 July 2025, 20:00
Unity and Resilience Flow Through Taquen’s Gestural Compositions
July 10, 2025
ArtSocial Issues
Jackie Andres
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In large-scale minimalist compositions, street artist Taquen covers the sides of houses, hospitals, and street barriers with reminders of strength and mutual understanding.
Often depicting animals in motion, kinetic portraits, and expressive hands, Taquen’s expansive works exude momentum. The importance of movement reflects a central tenet of the artist’s practice, as he visits different parts of the world to work on murals.
One of his recent excursions was made possible by The Jaunt, a residency program that creates opportunities for artists to travel to a new destination to spark inspiration and connection. In February, Taquen made the journey from his hometown of Madrid to Africa to participate in the Sahara Marathon.
Established in 2001 to advocate for and demonstrate solidarity with the Sahrawi people, the international event takes place in close proximity to Tindouf, Algeria, a region that has been marked by the Western Sahara Conflict and humanitarian crisis for decades.
In 1975, when Spain relinquished its colonial rule over the Western Sahara region, a power vacuum erupted between neighboring countries, leading to the Madrid Accords. This agreement heavily ignored the voices of Indigenous Sahrawi people who were forced into displacement, eventually settling into refugee camps that still reside in the Algerian desert approximately fifty years later.
The long-standing conflict has faded in and out of headlines for decades, but the Sahara Marathon has continued to shine a light on the resilience of the Sahrawi people. “It was a project that allowed me to combine my greatest passions—art and sport—and also to contribute as much as possible to this unjust cause,” Taquen shares.
The artist’s resulting silkscreen print demonstrates his experiences in Tindouf. Featuring two gestural hands with bold line work that subtly nods to henna, Taquen references young Sahrawi women, who play a vital role in the desert’s society. “During the marathon, for example, they were the ones who encouraged us the most,” the artist shares. “In the houses where we lived, they took care of us, their families, and so on. They are an example.”
Arabic text lies below, alluding to a phrase that resonated with Taquen along the way. “The Sahrawi people living in the refugee camps call this place ‘the desert in the desert,’ which is meant both geographically and metaphorically. I knew I wanted to reference that in my artwork,” he says.
Beyond the limited-edition print, Taquen also created a four-color risograph portrait combining line drawings and analog photography. And before leaving the refugee camps, the artist hosted two art workshops for children, sharing, “at the end of the day, these are boys and girls who do not speak my language, but through drawing we were able to express ourselves. It taught me a lot about their ideas and their hopes for the future.”
The artist is currently in Sicily completing the Graniti Murales residency and has a busy year coming up including an art festival this summer and a solo exhibition in the fall. Keep up with his work on Instagram, and learn more on his website.
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Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry
by Aurelia Butler 9 July 2025, 14:32
Morag Myerscough in collaboration with Crown Paints. Photos by Robin Zahler. All images courtesy of the artists and the National Festival of Making, shared with permission
Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry
July 9, 2025
ArtCraftDesign
Kate Mothes
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Every year, in the town of Blackburn, Lancashire, a vibrant festival erupts with creativity in a celebration of art, craft, and industry. This year marked the seventh edition of the National Festival of Making, organized along the theme of “Art in Manufacturing.” Acclaimed artists and designers teamed up with industry leaders to create works using a variety of materials, from Morag Myerscough’s collaboration with Crown Paints for a vibrant new mural to Liaqat Rasul’s partnership with textile producer Herbert Parkinson for an optical installation.
Locality played a central role in the festival, as artists were paired with manufacturers in Lancashire. Matter at hand, the design practice of Lewis Jones, teamed up with Darwen Terracotta and Faience, which focuses on traditional glazed earthenware for home products and restoration (faience is a type of tin-glazed pottery).
Liaqat Rasul in collaboration with Herbert Parkinson, “Umeed (Oh-meed) امید – Gobaith – Hope”
Matter at hand created a large-scale installation titled “Poured Earth,” which takes an architectural approach to materials in the northern transept of Blackburn Cathedral. The piece invites visitors to walk through an archway of wooden crates and around cast elements in various shapes and sizes, emphasizing the timelessness and continuity of earthen building materials and styles.
Morag Myerscough transformed a corner building into a characteristically vivid, geometric floral mural with complementary garden boxes and a water tank. Rasul’s piece, a multifaceted textile assemblage suspended in the Blackburn Cathedral crypt, features a friendly face made of independent elements that merge into a full visage when viewed from the front.
Titled “Umeed (Oh-meed) امید – Gobaith – Hope,” the piece was created from scraps salvaged from Herbert Parkinson’s factory floor in addition to the artist’s own archive. Rasul tenderly embroidered the Urdu, Hindu, and Welsh words for “hope” amid various found elements like cord and safety pins.
The National Festival of Making features a program of more than 100 workshops, performances, artist talks, markets, and more across more than 20 Blackburn venues. Emphasizing the power of collaboration, cross-disciplinary exploration, and community, the festival aims to empower people of all ages to lean into curiosity and get making.
Rasul and Lewis’s work will be on view through July 12, with Myerscough’s mural intended for long-term display. Find more on the festival’s website.
Matter at hand in collaboration with Darwen Terracotta, “Poured Earth”
Matter at hand in collaboration with Darwen Terracotta, “Poured Earth” (detail)
Morag Myerscough in collaboration with Crown Paints
Liaqat Rasul in collaboration with Herbert Parkinson, “Umeed (Oh-meed) امید – Gobaith – Hope” (detail)
Matter at hand in collaboration with Darwen Terracotta, “Poured Earth” (detail)
Detail of a mural by Morag Myerscough in collaboration with Crown Paints
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Murals

Latest story

Tbilisi Mural Fest’s Dynamic Murals Brighten the Sides of Buildings Throughout the City

More stories

This October, a Global Public Art Project Turns 35 Cities into Playgrounds

Millo and Seth Globepainter Trade Concrete for Canvas in ‘Beyond’

In Rural Wisconsin, Pat Perry Connects the Various Forces That Shape Our World

Acrobatic Poses in Monumental Murals by Artez Invigorate Urban Buildings

Among Andalusian Vineyards, a Vivid Carpet Creates a Space for Gathering

Blackburn’s National Festival of Making Celebrates Collaborations Between Art and Industry

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