Oulu’s New Mural: A Tribute to Nature and Culture in Preparation for 2026

As Oulu (Finland) prepares for its role as the European Capital of Culture in 2026, the city has been enriched with a stunning new mural that celebrates its natural beauty and cultural heritage. Created by renowned artist Fabio Petani, this mural has become a symbolic representation of Oulu’s landscape, its flora, and its deep-rooted connection to nature and tradition. More than just an aesthetic addition, the mural stands as a lasting tribute to the city’s past, present, and future.

Selected from a competitive pool of 500 artists, Fabio Petani was tasked with capturing the essence of Oulu in a single piece of art. Central to his mural is the depiction of the Oulujoki River, a vital waterway that flows through the heart of the city. With its flowing currents, the river is portrayed as a life-giving force, symbolizing Oulu’s connection to nature, its historical significance, and its evolving identity. Petani’s vision of the river links the city’s past and future, while also reflecting the interconnectedness between Oulu’s natural and cultural landscapes.

In the foreground, the mural is adorned with vivid representations of local plants, including Achillea Millefolium, Sorbus Aucuparia, and Lathyrus tuberosus. Each of these species was chosen for its unique symbolism:

• Achillea Millefolium (commonly known as yarrow) is a resilient plant that thrives in harsh conditions, making it a fitting metaphor for the strength and perseverance of Oulu’s people.
• Sorbus Aucuparia, with its vibrant red berries, represents vitality and the connection to the wild northern landscapes that surround the city.
• Lathyrus tuberosus, known for its deep roots and colorful flowers, symbolizes cultural roots and the importance of preserving traditions in an ever-changing world.
  These floral elements, while beautiful, also carry a deeper message, reminding viewers of the enduring relationship between Oulu’s inhabitants and their environment.

The mural’s vibrant palette reflects the energy and dynamism of Oulu, a city that is constantly evolving while maintaining a strong sense of harmony with its natural surroundings. Fabio Petani uses balanced, yet lively colors to evoke the vitality of a city that is growing and adapting without losing sight of its cultural and environmental roots.

A central theme in the mural is harmony, represented through the recurring use of circular shapes. These simple, yet powerful forms suggest balance, continuity, and the cyclical nature of life. By integrating these circles with the flowing river and local flora, Petani creates a composition that feels unified and whole, much like the city of Oulu itself.

Petani’s mural is more than just a work of public art—it is a lasting tribute to Oulu’s natural beauty and cultural legacy. Each detail in the mural was inspired by the artist’s personal experience in the city. Photographs taken during his time in Oulu served as the foundation for a composition that captures the spirit of the area’s landscape and its people.

As Oulu looks ahead to its role as the European Capital of Culture in 2026, this mural serves as a symbol of the city’s rich heritage, its connection to nature, and its resilience in the face of change. It is a celebration of what makes Oulu unique and a reminder of the importance of preserving the natural and cultural treasures that define this northern city for future generations.

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@fabiopetani @oulu2026official @upeart @joropoika @ollifoo

The post Oulu’s New Mural: A Tribute to Nature and Culture in Preparation for 2026 first appeared on street art united states.
by Sami Wakim via street art united states

Oulu’s New Mural: A Tribute to Nature and Culture in Preparation for 2026

As Oulu (Finland) prepares for its role as the European Capital of Culture in 2026, the city has been enriched with a stunning new mural that celebrates its natural beauty and cultural heritage. Created by renowned artist Fabio Petani, this mural has become a symbolic representation of Oulu’s landscape, its flora, and its deep-rooted connection to nature and tradition. More than just an aesthetic addition, the mural stands as a lasting tribute to the city’s past, present, and future.

Selected from a competitive pool of 500 artists, Fabio Petani was tasked with capturing the essence of Oulu in a single piece of art. Central to his mural is the depiction of the Oulujoki River, a vital waterway that flows through the heart of the city. With its flowing currents, the river is portrayed as a life-giving force, symbolizing Oulu’s connection to nature, its historical significance, and its evolving identity. Petani’s vision of the river links the city’s past and future, while also reflecting the interconnectedness between Oulu’s natural and cultural landscapes.

In the foreground, the mural is adorned with vivid representations of local plants, including Achillea Millefolium, Sorbus Aucuparia, and Lathyrus tuberosus. Each of these species was chosen for its unique symbolism:

• Achillea Millefolium (commonly known as yarrow) is a resilient plant that thrives in harsh conditions, making it a fitting metaphor for the strength and perseverance of Oulu’s people.
• Sorbus Aucuparia, with its vibrant red berries, represents vitality and the connection to the wild northern landscapes that surround the city.
• Lathyrus tuberosus, known for its deep roots and colorful flowers, symbolizes cultural roots and the importance of preserving traditions in an ever-changing world.
  These floral elements, while beautiful, also carry a deeper message, reminding viewers of the enduring relationship between Oulu’s inhabitants and their environment.

The mural’s vibrant palette reflects the energy and dynamism of Oulu, a city that is constantly evolving while maintaining a strong sense of harmony with its natural surroundings. Fabio Petani uses balanced, yet lively colors to evoke the vitality of a city that is growing and adapting without losing sight of its cultural and environmental roots.

A central theme in the mural is harmony, represented through the recurring use of circular shapes. These simple, yet powerful forms suggest balance, continuity, and the cyclical nature of life. By integrating these circles with the flowing river and local flora, Petani creates a composition that feels unified and whole, much like the city of Oulu itself.

Petani’s mural is more than just a work of public art—it is a lasting tribute to Oulu’s natural beauty and cultural legacy. Each detail in the mural was inspired by the artist’s personal experience in the city. Photographs taken during his time in Oulu served as the foundation for a composition that captures the spirit of the area’s landscape and its people.

As Oulu looks ahead to its role as the European Capital of Culture in 2026, this mural serves as a symbol of the city’s rich heritage, its connection to nature, and its resilience in the face of change. It is a celebration of what makes Oulu unique and a reminder of the importance of preserving the natural and cultural treasures that define this northern city for future generations.

---

@fabiopetani @oulu2026official @upeart @joropoika @ollifoo

The post Oulu’s New Mural: A Tribute to Nature and Culture in Preparation for 2026 first appeared on street art united states.
by Sami Wakim via street art united states

The Artistic Vision of Ed Hick: A Journey from Darkness to Light

At the 10th edition of Waterford Walls in Ireland, English street artist Ed Hicks unveiled a striking untitled piece that captured the attention of festival-goers and locals alike. His mural, painted in one of the neighborhoods of Waterford, offers a visual and philosophical journey that resonates deeply with both the space it occupies and the viewers it engages.

When I had the chance to speak with Hicks about his work, he shared insights that illuminated not only his process but also the layers of meaning embedded within the mural. For Hicks, painting is more than just applying colors to a wall—it is a narrative of transformation, both for the artist and the observer.

Hicks’ creative process revolves around a guiding principle: painting “dark to light.” He begins with a dark vignette, building up through layers to gradually introduce light. This technique gives his work a sense of progression, a visual journey that echoes a movement from chaos to clarity.

“You gotta have a system, right?” Hicks says, as if recognizing the need for structure within the abstract. Yet his system is not merely a method for organizing color and form; it’s a way of taking viewers on a journey. “The foreground is chaotic,” he explains. “The middle is a negotiation, and the distance is a singularity.”

The painting, much like life itself, is a journey through uncertainty. Viewers traverse metaphorical tunnels and gorges, moving toward a light at the end. This light, however, is ambiguous. Hicks’ imagery invites us to question: Is it the light of escape, or is it an oncoming train? Is it a moment of divinity, or a symbol of death?

Through these contrasting interpretations, Hicks introduces a moral element to his work. He prompts the viewer to make a choice—will they see the glass as half full or half empty? The chaos of the present, represented in the foreground, poses a challenge, while the light at the end offers a potential way out.

“There’s the nightmare, there’s the way out—what are you going to do?” Hicks asks. This question underscores a deeper philosophical dimension of his art. The mural not only confronts viewers with their fears but also offers them a moment of reflection. It becomes a metaphor for life’s difficult choices, where one must decide how to view and navigate the uncertainties of existence.

Hicks’ work is also about transcending the ever-changing, chaotic nature of the world—a concept he refers to as “the world of becoming.” He views life as a blur of experiences, constantly shifting and evolving. But through his art, Hicks strives to move beyond this state of flux, toward a place of “being.”

In his view, this transition is not unlike the journey from life to death. “Before birth, after death,” Hicks reflects, suggesting that we momentarily give up our sense of being everything in order to live in the world of becoming. This narrowing down of existence, however, is only temporary. Eventually, we return to a state of everythingness, of unity.

“There’s no other way to play,” he adds, acknowledging that this narrowing of experience is essential to living in the present moment, however brief it may be.

Hicks’ mural at Waterford Walls is more than just a visual feast; it is a meditation on the human condition. Through his use of dark-to-light layering, symbolic imagery, and philosophical reflections, Hicks invites viewers to embark on a journey not only through the space of the mural but also through the spaces within themselves. The work challenges, questions, and ultimately inspires.

In a world that is constantly in flux, Hicks’ art provides a moment of pause—a chance to reflect on where we stand in the chaos and where we might find our own light at the end of the tunnel. Whether that light is an escape, a divine presence, or something else entirely is up to the viewer to decide.

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The post The Artistic Vision of Ed Hick: A Journey from Darkness to Light first appeared on street art united states.
by Sami Wakim via street art united states

The Artistic Vision of Ed Hick: A Journey from Darkness to Light

At the 10th edition of Waterford Walls in Ireland, English street artist Ed Hicks unveiled a striking untitled piece that captured the attention of festival-goers and locals alike. His mural, painted in one of the neighborhoods of Waterford, offers a visual and philosophical journey that resonates deeply with both the space it occupies and the viewers it engages.

When I had the chance to speak with Hicks about his work, he shared insights that illuminated not only his process but also the layers of meaning embedded within the mural. For Hicks, painting is more than just applying colors to a wall—it is a narrative of transformation, both for the artist and the observer.

Hicks’ creative process revolves around a guiding principle: painting “dark to light.” He begins with a dark vignette, building up through layers to gradually introduce light. This technique gives his work a sense of progression, a visual journey that echoes a movement from chaos to clarity.

“You gotta have a system, right?” Hicks says, as if recognizing the need for structure within the abstract. Yet his system is not merely a method for organizing color and form; it’s a way of taking viewers on a journey. “The foreground is chaotic,” he explains. “The middle is a negotiation, and the distance is a singularity.”

The painting, much like life itself, is a journey through uncertainty. Viewers traverse metaphorical tunnels and gorges, moving toward a light at the end. This light, however, is ambiguous. Hicks’ imagery invites us to question: Is it the light of escape, or is it an oncoming train? Is it a moment of divinity, or a symbol of death?

Through these contrasting interpretations, Hicks introduces a moral element to his work. He prompts the viewer to make a choice—will they see the glass as half full or half empty? The chaos of the present, represented in the foreground, poses a challenge, while the light at the end offers a potential way out.

“There’s the nightmare, there’s the way out—what are you going to do?” Hicks asks. This question underscores a deeper philosophical dimension of his art. The mural not only confronts viewers with their fears but also offers them a moment of reflection. It becomes a metaphor for life’s difficult choices, where one must decide how to view and navigate the uncertainties of existence.

Hicks’ work is also about transcending the ever-changing, chaotic nature of the world—a concept he refers to as “the world of becoming.” He views life as a blur of experiences, constantly shifting and evolving. But through his art, Hicks strives to move beyond this state of flux, toward a place of “being.”

In his view, this transition is not unlike the journey from life to death. “Before birth, after death,” Hicks reflects, suggesting that we momentarily give up our sense of being everything in order to live in the world of becoming. This narrowing down of existence, however, is only temporary. Eventually, we return to a state of everythingness, of unity.

“There’s no other way to play,” he adds, acknowledging that this narrowing of experience is essential to living in the present moment, however brief it may be.

Hicks’ mural at Waterford Walls is more than just a visual feast; it is a meditation on the human condition. Through his use of dark-to-light layering, symbolic imagery, and philosophical reflections, Hicks invites viewers to embark on a journey not only through the space of the mural but also through the spaces within themselves. The work challenges, questions, and ultimately inspires.

In a world that is constantly in flux, Hicks’ art provides a moment of pause—a chance to reflect on where we stand in the chaos and where we might find our own light at the end of the tunnel. Whether that light is an escape, a divine presence, or something else entirely is up to the viewer to decide.

---

 

The post The Artistic Vision of Ed Hick: A Journey from Darkness to Light first appeared on street art united states.
by Sami Wakim via street art united states

SNIK Returns to Manchester with Stunning Mural

The vibrant Northern Quarter in Manchester has welcomed a new monumental addition to its iconic street art scene, thanks to the return of SNIK, the renowned street art duo. Their latest creation, a 20-meter (65ft) mural titled “Still Life”, now towers on the side of the Northern Quarter Car Park on Tib Street, adding another masterpiece to the city’s urban landscape.

SNIK, known for their breathtaking blend of stencil and freehand techniques, has been a prominent name in the street art world for years. Their return to Manchester marks a significant moment, as they build on their artistic legacy established with their first mural, “Serenity”, which has graced the walls near Stevenson Square since 2018. “Serenity” has become a beloved landmark, symbolizing the city’s growing appreciation for large-scale street art, and SNIK’s latest piece, “Still Life,” is set to leave a similar lasting impact.

The title of the mural, “Still Life,” evokes thoughts of tranquility and reflection, inviting passersby to pause and engage with the work. SNIK’s art often captures the interplay between light and shadow, movement and stillness, which creates a captivating tension within the composition. The new mural embodies this dynamic, blending intricate stencil work with vibrant colors to create an image that is both arresting and serene.

Stretching 20 meters high, “Still Life” dominates the urban skyline of the Northern Quarter, transforming the façade of the car park into a canvas of bold artistic expression. Much like “Serenity,” the mural is expected to become a touchstone for Manchester’s street art culture, drawing locals and tourists alike to experience its visual impact.

SNIK’s work in Manchester is more than just street art; it’s an integral part of the city’s cultural fabric. Their first piece, “Serenity,” has remained a fixture in the city since its completion in 2018, becoming a must-see for those exploring the creative heart of Manchester. Located just off Stevenson Square, “Serenity” continues to resonate with its audience, thanks to its delicate portrayal of femininity and calm amidst the energy of the city.

With “Still Life,” SNIK builds upon this foundation, bringing a new narrative into Manchester’s streets. The mural’s sheer scale and prominence signal the duo’s continued evolution and commitment to the city’s street art scene. Both murals now serve as bookends to SNIK’s artistic journey in Manchester, a testament to their lasting influence and the Northern Quarter’s status as a hub for creativity.

Manchester’s Northern Quarter has long been synonymous with artistic innovation, creativity, and alternative culture. The neighborhood, known for its independent boutiques, eclectic bars, and ever-evolving murals, has become an open-air gallery that showcases the best of urban art. SNIK’s contribution to this vibrant landscape reflects the Northern Quarter’s identity as a place where art isn’t confined to galleries but flourishes on the streets, accessible to all.

The addition of “Still Life” reinforces the Northern Quarter’s reputation as a canvas for artistic expression. It continues the district’s tradition of fostering creative endeavors, ensuring that the public space remains a living, breathing art exhibition.

As Manchester continues to embrace street art as a key element of its cultural identity, SNIK’s “Still Life” stands as a powerful reminder of the importance of art in public spaces. The duo’s ability to transform ordinary walls into extraordinary works of art speaks to their talent and the enduring appeal of street art in contemporary culture.

“Still Life” is more than just a mural; it is a symbol of Manchester’s creative pulse and a testament to SNIK’s vision of art that transcends traditional boundaries. With two standout pieces now gracing the city, SNIK’s influence on Manchester’s urban landscape is undeniable, ensuring that their work will inspire, provoke, and captivate for years to come.

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The post SNIK Returns to Manchester with Stunning Mural first appeared on street art united states.
by Sami Wakim via street art united states

SNIK Returns to Manchester with Stunning Mural

The vibrant Northern Quarter in Manchester has welcomed a new monumental addition to its iconic street art scene, thanks to the return of SNIK, the renowned street art duo. Their latest creation, a 20-meter (65ft) mural titled “Still Life”, now towers on the side of the Northern Quarter Car Park on Tib Street, adding another masterpiece to the city’s urban landscape.

SNIK, known for their breathtaking blend of stencil and freehand techniques, has been a prominent name in the street art world for years. Their return to Manchester marks a significant moment, as they build on their artistic legacy established with their first mural, “Serenity”, which has graced the walls near Stevenson Square since 2018. “Serenity” has become a beloved landmark, symbolizing the city’s growing appreciation for large-scale street art, and SNIK’s latest piece, “Still Life,” is set to leave a similar lasting impact.

The title of the mural, “Still Life,” evokes thoughts of tranquility and reflection, inviting passersby to pause and engage with the work. SNIK’s art often captures the interplay between light and shadow, movement and stillness, which creates a captivating tension within the composition. The new mural embodies this dynamic, blending intricate stencil work with vibrant colors to create an image that is both arresting and serene.

Stretching 20 meters high, “Still Life” dominates the urban skyline of the Northern Quarter, transforming the façade of the car park into a canvas of bold artistic expression. Much like “Serenity,” the mural is expected to become a touchstone for Manchester’s street art culture, drawing locals and tourists alike to experience its visual impact.

SNIK’s work in Manchester is more than just street art; it’s an integral part of the city’s cultural fabric. Their first piece, “Serenity,” has remained a fixture in the city since its completion in 2018, becoming a must-see for those exploring the creative heart of Manchester. Located just off Stevenson Square, “Serenity” continues to resonate with its audience, thanks to its delicate portrayal of femininity and calm amidst the energy of the city.

With “Still Life,” SNIK builds upon this foundation, bringing a new narrative into Manchester’s streets. The mural’s sheer scale and prominence signal the duo’s continued evolution and commitment to the city’s street art scene. Both murals now serve as bookends to SNIK’s artistic journey in Manchester, a testament to their lasting influence and the Northern Quarter’s status as a hub for creativity.

Manchester’s Northern Quarter has long been synonymous with artistic innovation, creativity, and alternative culture. The neighborhood, known for its independent boutiques, eclectic bars, and ever-evolving murals, has become an open-air gallery that showcases the best of urban art. SNIK’s contribution to this vibrant landscape reflects the Northern Quarter’s identity as a place where art isn’t confined to galleries but flourishes on the streets, accessible to all.

The addition of “Still Life” reinforces the Northern Quarter’s reputation as a canvas for artistic expression. It continues the district’s tradition of fostering creative endeavors, ensuring that the public space remains a living, breathing art exhibition.

As Manchester continues to embrace street art as a key element of its cultural identity, SNIK’s “Still Life” stands as a powerful reminder of the importance of art in public spaces. The duo’s ability to transform ordinary walls into extraordinary works of art speaks to their talent and the enduring appeal of street art in contemporary culture.

“Still Life” is more than just a mural; it is a symbol of Manchester’s creative pulse and a testament to SNIK’s vision of art that transcends traditional boundaries. With two standout pieces now gracing the city, SNIK’s influence on Manchester’s urban landscape is undeniable, ensuring that their work will inspire, provoke, and captivate for years to come.

---

 

The post SNIK Returns to Manchester with Stunning Mural first appeared on street art united states.
by Sami Wakim via street art united states

Jorge Rodríguez-Gerada’s “Opening Horizons” Land Art: A Powerful Message of Accessibility

Renowned international artist Jorge Rodríguez-Gerada has once again captured the world’s attention with his monumental land art piece titled “Opening Horizons.” Unveiled in Villablino, Spain, this impressive artwork was created in collaboration with the Villablino City Council as part of the Caminos Naturales initiative, aiming to promote accessibility and inclusivity in natural spaces.

The piece, which features an athlete in a wheelchair, stretches across a massive area of land and can only be fully appreciated from an aerial view. Its grand unveiling was timed to coincide with the 14th stage of La Vuelta 2024, the prestigious cycling race, between Villafranca del Bierzo and Villablino. As cyclists raced across the landscape, the colossal image emerged, offering a striking contrast to the natural surroundings.

More than just a visual spectacle, “Opening Horizons” delivers a message that is both timely and necessary: the need to ensure that all forest and natural areas are accessible to people with disabilities. The choice of an athlete in a wheelchair as the subject highlights the physical and emotional strength of individuals with disabilities, while also drawing attention to the barriers they face in accessing nature.

Rodríguez-Gerada’s work underscores the importance of creating inclusive environments where everyone, regardless of physical ability, can enjoy the beauty of natural spaces. His artistic vision aligns with the mission of Caminos Naturales, which seeks to develop pathways and recreational areas that are open and accessible to all, promoting equal opportunities for experiencing nature.

Rodríguez-Gerada is known for his large-scale public art projects that often tackle social and political issues. His use of land art—an art form that involves the creation of large-scale designs directly onto landscapes—allows him to convey powerful messages that resonate on both a local and global scale. With “Opening Horizons,” he brings attention to the often-overlooked issue of accessibility in natural environments, justifythe vast expanse of land as his canvas.

The choice to unveil the artwork during La Vuelta was deliberate, ensuring that the piece would be seen by a broad audience, both in person and through media coverage. As one of Spain’s most popular sporting events, La Vuelta provided a unique platform for spreading the message of inclusivity and accessibility far beyond the borders of Villablino.

“Opening Horizons” is more than just a temporary artwork—it is a call to action. By creating this monumental image of a wheelchair athlete, Rodríguez-Gerada encourages governments, organizations, and individuals to think critically about how they can make public spaces, particularly natural ones, more inclusive. The collaboration between the artist and the Villablino City Council serves as a model for how art can be used to promote social change and community engagement.

As land art, the piece will eventually fade, but its message will remain. Through “Opening Horizons,” Rodríguez-Gerada has not only left a physical mark on the landscape of Villablino but also a lasting reminder of the importance of accessibility in all aspects of life, including our natural environments.

In sum, “Opening Horizons” stands as a testament to the power of art to inspire change, challenge perceptions, and advocate for a more inclusive world. By using the vast canvas of the earth itself, Rodríguez-Gerada has opened a conversation about accessibility and inclusivity that will continue to resonate long after the artwork fades.

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The post Jorge Rodríguez-Gerada’s “Opening Horizons” Land Art: A Powerful Message of Accessibility first appeared on street art united states.
by Sami Wakim via street art united states

Jorge Rodríguez-Gerada’s “Opening Horizons” Land Art: A Powerful Message of Accessibility

Renowned international artist Jorge Rodríguez-Gerada has once again captured the world’s attention with his monumental land art piece titled “Opening Horizons.” Unveiled in Villablino, Spain, this impressive artwork was created in collaboration with the Villablino City Council as part of the Caminos Naturales initiative, aiming to promote accessibility and inclusivity in natural spaces.

The piece, which features an athlete in a wheelchair, stretches across a massive area of land and can only be fully appreciated from an aerial view. Its grand unveiling was timed to coincide with the 14th stage of La Vuelta 2024, the prestigious cycling race, between Villafranca del Bierzo and Villablino. As cyclists raced across the landscape, the colossal image emerged, offering a striking contrast to the natural surroundings.

More than just a visual spectacle, “Opening Horizons” delivers a message that is both timely and necessary: the need to ensure that all forest and natural areas are accessible to people with disabilities. The choice of an athlete in a wheelchair as the subject highlights the physical and emotional strength of individuals with disabilities, while also drawing attention to the barriers they face in accessing nature.

Rodríguez-Gerada’s work underscores the importance of creating inclusive environments where everyone, regardless of physical ability, can enjoy the beauty of natural spaces. His artistic vision aligns with the mission of Caminos Naturales, which seeks to develop pathways and recreational areas that are open and accessible to all, promoting equal opportunities for experiencing nature.

Rodríguez-Gerada is known for his large-scale public art projects that often tackle social and political issues. His use of land art—an art form that involves the creation of large-scale designs directly onto landscapes—allows him to convey powerful messages that resonate on both a local and global scale. With “Opening Horizons,” he brings attention to the often-overlooked issue of accessibility in natural environments, justifythe vast expanse of land as his canvas.

The choice to unveil the artwork during La Vuelta was deliberate, ensuring that the piece would be seen by a broad audience, both in person and through media coverage. As one of Spain’s most popular sporting events, La Vuelta provided a unique platform for spreading the message of inclusivity and accessibility far beyond the borders of Villablino.

“Opening Horizons” is more than just a temporary artwork—it is a call to action. By creating this monumental image of a wheelchair athlete, Rodríguez-Gerada encourages governments, organizations, and individuals to think critically about how they can make public spaces, particularly natural ones, more inclusive. The collaboration between the artist and the Villablino City Council serves as a model for how art can be used to promote social change and community engagement.

As land art, the piece will eventually fade, but its message will remain. Through “Opening Horizons,” Rodríguez-Gerada has not only left a physical mark on the landscape of Villablino but also a lasting reminder of the importance of accessibility in all aspects of life, including our natural environments.

In sum, “Opening Horizons” stands as a testament to the power of art to inspire change, challenge perceptions, and advocate for a more inclusive world. By using the vast canvas of the earth itself, Rodríguez-Gerada has opened a conversation about accessibility and inclusivity that will continue to resonate long after the artwork fades.

---

 

The post Jorge Rodríguez-Gerada’s “Opening Horizons” Land Art: A Powerful Message of Accessibility first appeared on street art united states.
by Sami Wakim via street art united states

Ernest Zacharevic’s Mural “The Ugly Duckling” Unveiled in Aalborg, Denmark

Aalborg (Denmark) has recently become home to a new mural by Lithuanian-born artist Ernest Zacharevic, known for his evocative street art that often features children interacting with their environments. The mural, titled “The Ugly Duckling,” is a testament to Zacharevic’s ability to blend cultural motifs with contemporary urban settings, and it has been curated by the renowned Kirk Gallery.

Zacharevic, who currently resides in Penang, Malaysia, brought his global perspective to Aalborg after a long journey from Southeast Asia. Before diving into his work, the artist spent a week exploring Aalborg, immersing himself in the local culture and surroundings. This thoughtful approach is evident in the mural, which captures the essence of both Danish heritage and Zacharevic’s unique artistic style.

The mural, prominently displayed above a parking space in downtown Aalborg, features a large origami swan made from an old Danish banknote from 1952. This banknote is significant as it bears the portrait of Hans Christian Andersen, one of Denmark’s most beloved literary figures. Perched on the neck of the swan is a young girl, nestled within its wings, as if cradled in a delicate paper nest. The scene is both whimsical and poignant, evoking the timeless tales of Andersen while also highlighting the innocence and imagination of childhood.

In discussing the inspiration behind “The Ugly Duckling,” Zacharevic shared his long-standing fascination with Andersen’s stories. He recalls how Denmark’s choice to feature “The Little Mermaid” at the World Expo in China left a lasting impression on him, underscoring the power of public art to become a national symbol. This connection to Andersen’s work and Denmark’s cultural identity played a significant role in shaping the mural’s theme.

“The Ugly Duckling” not only pays homage to Andersen but also reflects Zacharevic’s signature style, which often features children engaging with their surroundings in playful and imaginative ways. The mural has already garnered attention for its ability to blend traditional Danish elements with a contemporary artistic approach, making it a standout addition to Aalborg’s urban landscape.

As Aalborg continues to grow as a hub for street art and cultural expression, Zacharevic’s mural stands as a symbol of the city’s commitment to fostering creativity and preserving its cultural heritage. “The Ugly Duckling” is more than just a mural; it is a narrative that connects the past with the present, inviting viewers to reflect on the power of art and storytelling.

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The post Ernest Zacharevic’s Mural “The Ugly Duckling” Unveiled in Aalborg, Denmark first appeared on street art united states.
by Sami Wakim via street art united states

Ernest Zacharevic’s Mural “The Ugly Duckling” Unveiled in Aalborg, Denmark

Aalborg (Denmark) has recently become home to a new mural by Lithuanian-born artist Ernest Zacharevic, known for his evocative street art that often features children interacting with their environments. The mural, titled “The Ugly Duckling,” is a testament to Zacharevic’s ability to blend cultural motifs with contemporary urban settings, and it has been curated by the renowned Kirk Gallery.

Zacharevic, who currently resides in Penang, Malaysia, brought his global perspective to Aalborg after a long journey from Southeast Asia. Before diving into his work, the artist spent a week exploring Aalborg, immersing himself in the local culture and surroundings. This thoughtful approach is evident in the mural, which captures the essence of both Danish heritage and Zacharevic’s unique artistic style.

The mural, prominently displayed above a parking space in downtown Aalborg, features a large origami swan made from an old Danish banknote from 1952. This banknote is significant as it bears the portrait of Hans Christian Andersen, one of Denmark’s most beloved literary figures. Perched on the neck of the swan is a young girl, nestled within its wings, as if cradled in a delicate paper nest. The scene is both whimsical and poignant, evoking the timeless tales of Andersen while also highlighting the innocence and imagination of childhood.

In discussing the inspiration behind “The Ugly Duckling,” Zacharevic shared his long-standing fascination with Andersen’s stories. He recalls how Denmark’s choice to feature “The Little Mermaid” at the World Expo in China left a lasting impression on him, underscoring the power of public art to become a national symbol. This connection to Andersen’s work and Denmark’s cultural identity played a significant role in shaping the mural’s theme.

“The Ugly Duckling” not only pays homage to Andersen but also reflects Zacharevic’s signature style, which often features children engaging with their surroundings in playful and imaginative ways. The mural has already garnered attention for its ability to blend traditional Danish elements with a contemporary artistic approach, making it a standout addition to Aalborg’s urban landscape.

As Aalborg continues to grow as a hub for street art and cultural expression, Zacharevic’s mural stands as a symbol of the city’s commitment to fostering creativity and preserving its cultural heritage. “The Ugly Duckling” is more than just a mural; it is a narrative that connects the past with the present, inviting viewers to reflect on the power of art and storytelling.

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The post Ernest Zacharevic’s Mural “The Ugly Duckling” Unveiled in Aalborg, Denmark first appeared on street art united states.
by Sami Wakim via street art united states