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MonkeyBird’s Majestic Murals Bend Time Through Elaborately Stenciled Compositions

by Aurelia Butler 19 December 2024, 17:53

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)

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Cosmic Birds Soar Through New York City Subway Stations in Fred Tomaselli’s New Mosaics
by Aurelia Butler 13 November 2024, 14:02
‘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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From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
by Aurelia Butler 21 October 2024, 18:37
“Dinosaur.” All photos by Timothy Schneck, courtesy of the High Line, shared with permission
From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line
October 21, 2024
ArtNature
Grace Ebert
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The latest sculpture to grace New York City’s High Line is a monumental tribute to an unlikely creature.
Perched above 10th Avenue, a hyper-realistic pigeon stops to rest in the outdoor pavilion. The work of artist Iván Argote (previously), the hand-painted, aluminum bird is titled “Dinosaur” and looms 21 feet in the air, rivaling the enormous proportions of some of its ancestors.
Argote is known for questioning the role of monuments and statues, particularly as they relate to colonial histories and power imbalances. For this work, he upends the human-animal relationship and notions of migration and value as the common street bird is vaulted into a glorified figure, peering down on pedestrians and drivers. The artist says in a statement:
The name “Dinosaur” makes reference to the sculpture’s scale and to the pigeon’s ancestors who millions of years ago dominated the globe, as we humans do today… the name also serves as a reference to the dinosaur’s extinction. Like them, one day we won’t be around anymore, but perhaps a remnant of humanity will live on—as pigeons do—in the dark corners and gaps of future worlds.
Despite their ubiquity throughout North American cities, pigeons aren’t native to the continent. The birds were initially brought from Europe as a barnyard animal and food source, but as they escaped into the wild, they grew into the scavenging flocks they are today. No longer domesticated and not quite wild, pigeons occupy a unique position.
Argote’s work is a cheeky nod to the birds and suggests they’re more deserving of appreciation than some of the figures we’ve collectively honored in the past. Standing tall and confident atop a concrete plinth, the sculpture also serves as a reminder that “everyone is an immigrant,” a statement says. “Even the pigeon, a New York fixture, initially migrated here and made the city their home, like millions of other ‘native’ New Yorkers.”
“Dinosaur” will be on view through spring. Find more from Argote on Instagram.
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A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart
by Aurelia Butler 15 October 2024, 13:52
All photos by Agency.WTF, courtesy of Fred Battle, shared with permission
A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart
October 15, 2024
Art
Grace Ebert
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In an old French scrapyard, Fred Battle hits the brakes on a fleet of aging cars. For his 2019 installation “Solara,” the artist painted the exteriors of 144 dilapidated vehicles from the 60s to 90s with vibrant colors. Hoods, roofs, and trunks shine once again with bold hues corresponding to an RGB color value, their codes written on the bonnet.
“I decided to create this color chart by observing the action of the sun on the horizontal surfaces of these cars,” Battle wrote. “As each of these cars has had its proper life as an object, then applying one specific color on each reveals its singularity, its personal and particular use.”
Enveloped by lush foliage, the automobiles are parked in chromatic rows, creating an enormous, outdoor swatch book best viewed from above.
Battle frequently works on walls, vehicles, and canvases, painting bright, dynamic works that grapple with movement, public space, and gathering. Find much more on his Instagram.
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In London, a 15-Foot Flower by Shepard Fairey Advocates for Environmental Justice
by Aurelia Butler 11 October 2024, 13:00
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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A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North
by Aurelia Butler 10 October 2024, 18:30
“Umuntu ngumuntu ngabantu” (2024), Serpentine North Garden. Photo by George Darrell. Image courtesy of Serpentine and The Melrose Gallery, shared with permission
A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North
October 10, 2024
Art
Kate Mothes
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For more than eight decades, Dr. Esther Mahlangu has been creating large-scale, site-specific works that draw on the artistic traditions of Ndebele culture.
Known for her vibrant, patterned compositions, Mahlangu learned techniques for decorating houses from her mother and grandmother while growing up in South Africa. She mixes natural pigments with clay, soil, and cow dung to paint directly on the exteriors of structures in her village.
Photo by George Darrell
Ndebele house painting emerged in the mid-18th century when the matrilineal tribe began to build huts out of mud rather than grass. Women applied colorful patterns to the walls to not only brighten the village but also communicate with others.
The geometric shapes, characterized by bold, black outlines, serve as a visual language to express personal values, prayers, or major life events.
Mahlangu paints by hand without using stencils or masking tape, employing chicken feathers and various brushes to create painstaking geometries that preserve a handmade quality. Over time, she has also created numerous works on canvas, using acrylic to broaden the range of hues in her work.
Esther Mahlangu photographed by Clint Strydom, courtesy of The Melrose Gallery
At Serpentine North in Hyde Park, London, Mahlangu’s first installation the U.K. was unveiled this week on a wall in the gallery’s garden.
Comprising six wooden panels, the monumental mural celebrates unity and community and taps into an Ndebele philosophy: “Umuntu ngumuntu ngabantu,” which translates to: “I am because you are.”
The mural remains on view through September 28, 2025. Plan your visit on the Serpentine website, and learn more about Mahlangu’s remarkable work and career on her website and Instagram.
Photo by Clint Strydom, courtesy of The Melrose Gallery
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Temporary Interventions by Kobra Convey the Critical Impacts of Increasing Wildfires
by Aurelia Butler 8 October 2024, 15:30
All images courtesy of Kobra, shared with permission
Temporary Interventions by Kobra Convey the Critical Impacts of Increasing Wildfires
October 8, 2024
ArtClimate
Kate Mothes
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Around the world, rising temperatures and ecosystem imbalances due the climate crisis have spurred an increasing number of wildfires annually. Brazil, for example, has seen more than 180,000 hot spots this year as of mid-September, the most since 2010. As deforestation reduces rainfall, a catastrophic cycle of drought and wildfires has only strengthened.
For Eduardo Kobra, the unprecedented number of uncontrolled blazes spurred a new series of artworks drawing attention to this troubling reality. As fires impacted rural and urban areas alike, including the city of Araçariguama—a little more than 30 miles from São Paulo—the artist chose a local area scorched by flames to document a collection of temporary interventions.
Drawing attention to the wildlife and habitats being destroyed, Kobra portrays birds, monkeys, anteaters, and other creatures surrounded by burned forest. In one piece, a firefighter assists a baby jaguar, and in another—a sign of hope—a child waters a sprouting plant.
Kobra is known for his large-scale murals on buildings around the world, which emphasize vibrant portraits and nods to pop culture through characteristically bright, geometric patterns. Using biodegradable materials, his new series of cutout panels uses a relatively smaller scale to address an enormously critical issue.
See more on his website and Instagram.
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An Expanded Edition of JR’s Monograph Recounts the Power of Socially Engaged Art
by Aurelia Butler 4 October 2024, 18:37
All images © JR, courtesy of Phaidon, shared with permission
An Expanded Edition of JR’s Monograph Recounts the Power of Socially Engaged Art
October 4, 2024
ArtBooksSocial Issues
Jackie Andres
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Traveling to different regions across the globe, French artist JR envisions grand projects that call to humanitarian issues and collective action. At the forefront of his practice is a persistent query, rooted in a palpable yearning for change and strong belief in the power of art.
JR: Can Art Change the World? chronicles the artist’s phenomenal range of participatory efforts, from mural-laden buildings to photographic installations to performance art. Originally published in 2015 and later updated in 2019, an even newer edition featuring a half-decade of JR’s latest works is slated for release by Phaidon later this month. The 2024 version includes a whopping 390 photos and illustrations, as well as a foreword by George Lucas.
Among the four new chapters included in the expansion, you might recognize more recent projects such as “Tehachapi,” a poignant collection of murals focused on the lives of incarcerated individuals, and impressive optical illusions from the artist’s ongoing “Trompe l’œil” series.
Pre-order JR: Can Art Change the World? in the Colossal Shop to be one of the first to page through the monograph.
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Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival
by Aurelia Butler 21 September 2024, 13:20
“A Lasting Place” (2024), London. Photo by Jose Delu. All courtesy of London Mural Festival, shared with permission
Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival
September 21, 2024
Art
Kate Mothes
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Drawing from photographs of landscapes and cinematic portraits, Sebas Velasco’s murals and paintings boldly capture people and places. For the 2024 London Mural Festival, the artist has unveiled a large-scale portrayal of a local resident of Brixton, where the piece was recently installed on the end of a residential building.
Shown waiting for the Brixton train line, the young man in Velasco’s painting leans back against a concrete railing and looks off to the side, illuminated by the station’s lights, which also glow in the background. Titled “A Lasting Place,” Velasco taps into a sense of time slowing down, contemplation, and ease.
Photo by Jose Delu
Velasco revels in the process of exploring and learning about the places where he develops his public art pieces. The compositions emerge organically as he immerses himself in the local environment and meets people who live in the area.
Along with his long-time collaborator Jose Delu, who assists with creating highly contrasted, vibrant photographs, Velasco draws on conversations and experiences in each place in order to reveal something of its spirit through his work. He often addresses the idea of connection, which is also the theme of this year’s festival.
If you’re in London, you can explore more than 100 murals through September 29 as part of the event, including pieces familiar to Colossal readers like Marija Tiurina. New installations this year have been created by Aches Elseed, BAPE, D*Face, Betz Etam, Anna Ovney, and more.
Find a map on the festival’s website, and to dig further into Velasco’s work, check out his website and Instagram.
Wedo Goas, 39 Lee Church St
Bezt Etam, Roundwood Estate
Liam Bononi, 125 South Lambeth Rd
Zoe Power, Jo Hicks, and Vanessa Scott, Canary Wharf
BAPE x D*Face collaboration
Sophie Mess, The Stage, Shoreditch
Anna Ovney, Leadenhall Building, City of London
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Next article More

public art

Latest story

MonkeyBird’s Majestic Murals Bend Time Through Elaborately Stenciled Compositions

More stories

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

From Reviled to Revered, an Enormous Pigeon Perches Atop the High Line

A Fleet of Aging Cars Takes a Chromatic Turn in Fred Battle’s Caravan-Sized Color Chart

A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North

Temporary Interventions by Kobra Convey the Critical Impacts of Increasing Wildfires

Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival

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