Urban Art Association

I'M SURE THE SHOW WILL BE GREAT.
ITALIANS STREET ARTISTS ARE REALLY GREAT AND I'M SURE YOU WILL LOVE THEM.

THIS PICS ARE FROM A RECENT SHOW IN ITALY CALLED "URBAN PAINTING" - www.urbanpainting.info

EL GATO CHIMNEY


ORTICANOODLES



LUCAMALEONTE

What an amazing line-up

We'll try to pop down there guys ^_^

More infos on... 108:

From en.wikipedia.org/wiki/Street_art

"Street artists such as Banksy, D*Face, , Swoon, Twist, 108, Ellis Gallagher, Neck face, and Os Gemeos have earned international attention for their work and in turn migrated the showing of their works to the museum or gallery setting as well as the street".





108 @ Venice Biennale, 2007.


www.108nero.com/

More infos on...Lucamaleonte:

Once upon a time...


He did this:

ORTICANOODLES - URBAN PAINTING OUTDOOR EXHIBITION (WWW.URBANPAINTING.INFO)

This is looking like an awesome show, looking forward to seeing more El Gato. Gotta love those Italians.

nice one, going to try make it along to this one.... looks promising

Amazing! Im there!

(if i cure myself of this darn flu...)

More infos on...PHO.

The streets as a studio and as an expression model

First of all any possible misunderstandings must be cleared. Grassi's choice of expression must not merely be catalogued under the word “painting”: his fondness for certain simple and “used” materials should not be labelled “postdadaism”; his energetic stroke shouldn't be limited to a non-figurative heritage. His references are not purely pictorial, but also pictorial. For instance, his way of creating movement on the surface by applying signs is a clear recall of o riental ideogramic writing, explicit above all in the manner of a recurring “tag”, which works as a signature: like a seal it's not simply an abstract motif, but it's a kind of “logo” made of the signature “PHO”. And there's more. These elements are not sufficient to outline the range of expression which this style of painting is part of, or rather, the poetic humus from which it is born.
The real engine behind his style is identifiable in the intent to give a reactive, immediate and direct answer to the context of “collective and everyday” living, expressed first and foremost in “urban setting”, which, in a city like Milan, has increasingly come to resemble a no man's land .
Marco Grassi, aka “Pho”, has a split personality: when he's “wearing” his day-time “mask” he paints in the studio, with the night-time one he's out on the streets, where he's been out ”bombing” since he was a teenager, especially in the southern parts of the city. The imprinting stems particularly from an exhibition of graffiti art held at the Musée National des Monuments Français in 1991 in Paris which portrayed the experience of the major American and French protagonists of this school. The Parisian exhibition had such a strong impact on the fifteen-year-old that it caused a sort of “conversion”: from that moment on he's to be considered one of the foremost “players” of the pioneering phase of Milanese writing .
A fundamental step towards his present style of painting, which consists of the “contaminated, cryptic and intelligent” evolution of lettering , is represented by the example of Sam Francis, whose exhibition Grassi visits at the Jeu de Paume in 1995 in Paris. “I was struck by the Japanese influences and the emphasized movements in his work. That's where the idea of a new project on the evolution of letters through painting came from”. So the letter is still the matrix of image creation, even though it sometimes can be hard to identify, as it's reduced to a syncopated movement that applies colour. And even though the modalities are different (the speed at which one is obliged to work in the streets does not allow for some things that can however be worked on in the protection and calmness of a studio and vice versa), the operational spirit always seems to be the same. It's not by chance that the first series of paintings made in the studio are entitled “ Dans la Rue ”, as a way to underline the connection to the streets in words as well. Here the relationship between the work in the streets and the work in the studio is established from a visual point of view through the “artificial” and “analogical” reconstruction of the shapes of concretion of urban walls onto the strongly material structures of the canvases. Unto these “texts” loaded with various elements and materials Marco Grassi works alternatively with collage and decollage , applying and removing colour with various means, also and especially by using the typical “weapons” of the streets like the spray can and the sponge.
The most recent series of “Bancali” (pallets), made during the last year, originates from recycling materials intended for packing and transporting goods, abandoned in warehouses and in urban building sites; these materials, once assembled and displayed vertically, resemble fences and other urban surfaces which Marco never ceased to work on (lately especially by attaching already painted posters or working directly on different types of “urban furnishings” including waste containers). The love of a variety of materials emerges more strongly than elsewhere from “Bancali” and it's another strong feature of his style of working. Marco Grassi has mastered the technique and behaviour of materials though the course of “traditional” art studies (Santa Marta's Artistic High School and Brera Academy of Fine Arts ) studies which were reinforced by frequent visits to his father's frame store, he himself a painter.
In order to reflect the two contrasting and complementary worlds (the streets and the studio) that feed on each other by contrast, on the coarse wood of the “Bancali” Marco attaches without distinction already worn-out posters recovered from the wear and tear of the streets, elegant Chinese papers and precious, shining and thin layers of gold leaves, with all their symbolic importance tied to the ancient tradition of Byzantine icons.
The dialogue is carried out by different voices: the dripping intervenes as well to disturb the lettering . The ambiguous richness of these overlappings creates a sort of indistinct whisper and introduces overbearingly the temporal factor onto the surfaces.
The spurious character of this kind of painting undoubtedly talks about the complexity of the contradictory influences at work in today's world and while trying to give a feeling of wanting to keep them all together, he also suggests to consider them all of equal importance.

Written by E. Longari



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Triennale Bovisa, Milan (2008)

EL GATO CHIMNEY
[a href="www.flickr.com/photos/urbanpainting/3087174314/"]www.flickr.com/photos/urbanpainting/3087174314/[/a]

ok..
let's do the set up ^_^

orticanoodles in london


termine growth

Some lovely stuff guys.

I was staggered to find out that the Sten & Lex paintings were entirely hand-painted.

I like the el gato work