Among the many different kinds of painting, one of the most popular and energetic is “street art.” It initially emerged as a form of underground art associated with vandalism, and it has since gained popularity. But it has evolved to become a widely accepted artistic medium, and people now have the freedom to express themselves creatively by following the necessary processes.
Because they are needed to operate on exterior surfaces such as walls, glass, boards, sidewalks, or any other uneven canvas, they must be very skilled. They must maintain complete control over their application to produce a well-finished work of art. Consequently, it is fair to infer that street painters are more creative and knowledgeable than those who paint on canvas in an art studio environment. This is well shown in the artwork of Fábio Gomes Trindade. He is a Brazilian street artist who has produced some unique works of art on the streets. This artist differentiates himself from other street artists by including nature as a collaborator in his career, setting him apart from the competition. Some of his most recent artwork shows his creativity, as he has included well-trimmed bushy shrubs into his picture to serve as ‘hair,’ demonstrating his ability to think beyond the box. These are becoming more popular because they provide a real sense of depth, with the greenery and flowers floating above the imaginative artwork.
In addition to her work with nature, Trindade has a remarkable ability in the art of spray painting. Even though spray paint does not operate in the same way as a pencil or a brush, this talented artist produces stunning works of street art with it.
The artist’s work is well-known on the street as well as on the internet. Many people are impressed by his ingenuity and ability to see things through to completion. Photos of his paintings are being shared all over the internet, so we decided to share some of his original creative work with you and others. Please take a look at them by scrolling down. Please let us know what you think in the comments section below.
Photo credits: Fábio Gomes Trindade
Right now, the concept of ‘the public,’ both in terms of people and duration of physical space, is being stretched to its limits. We are also living in an age in which public policy, speech, and debate are being scrutinized to an unprecedented degree. People who are marginalized or less able to speak out in the media may find themselves on the street, allowing such debate. As a consequence of the crisis, many issues relating to public space that existed before the crisis, such as increasing commercialization, surveillance, rising marginalization, corporatization, and housing, are returning. And these are the kinds of issues that are often addressed on the street. The problem isn’t going away anytime soon. It is important to note that the whole crisis idea does not target everyone in the same way. All of our issues are being exacerbated by the virus. Discourse is fueled by our ability to assemble, protest, and band together. When our ability to be in public decreases, when public space is being destroyed and relocated, it is even more critical that we have a place to have these discussions. The problem is that we are in a situation where we are unable to be in that position. When one’s voice must be heard in public, and when being heard in public becomes a danger in and of itself, it is even more essential that criticism and dissent be voiced openly and honestly. Graffiti is a public space where people may express themselves and have their voices heard. It also becomes more intense since everything else is so empty around it, even though it is in many ways more challenging to produce because others cannot see one.
It is necessary for the most part that we depend on the digital public sphere to share and view art. Consequently, on this front, maybe it is time for a paradigm shift to take place. More attention will be paid to how we interpret art when it is seen on the internet. There is a lot of graffiti popping up on a smaller scale, addressing rent strikes and fundamental survival needs. Furthermore, a significant amount of graffiti these days is about 5G or conspiracy theories. Of course, this brings us to the topic of conspiracy theories and people who believe in them. At our most powerless, it’s helpful to have a conspiracy theory to comfort us and make us feel better about our understanding of the situation. This kind of graffiti is becoming more common, in my opinion.
Humans have been producing art since they first became conscious of themselves as beings. We came upon some stunning cave paintings as well as Neanderthal decorative art. There is an innate need in all of us to share our experiences, and much of art is also about connecting with other people. Attempting to transmit one’s experience to others or generating experiences with others is the focus of a more traditional ritual. The way we see art now is just a blip on the timeline of humanity’s relationship with the act of making art. Artistic expression, on the other hand, is a necessary part of human existence. It is going to be needed indefinitely. There is a common misunderstanding that art can only be produced once all of your other essential needs have been fulfilled; nevertheless, art is a fundamental necessity.
I hope that we will rethink digital public art [public art that is disseminated online via social media or other internet capabilities] as a form of expression. As an alternative to just adding another layer of practice, we could consider using the digital public realm to engage people who would not otherwise be interested in this kind of activity. There is a real possibility of drawing new viewers to the channel.