Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva

As Seen on the Streets of Paris is an enthralling fusion of travel guide and art photography book that captures the vibrant essence of Paris’ urban art scene. Written by street art expert Giulia ‘BLocal’ Riva, this book serves as both an informative companion for travelers and an aesthetic delight for art enthusiasts. Featuring over 250 stunning photographs by Paolo Giannotti and insights from 13 Parisian street artists, it offers readers a unique and immersive experience into the world of Parisian street art.

From the outset, Riva establishes herself as a knowledgeable and passionate guide, curating an experience that extends beyond the typical tourist itinerary. Her commitment to authenticity shines through as she weaves the voices of local artists into the narrative, offering personal insights and revealing hidden gems throughout the city. Whether it’s a tucked-away mural in Saint-Denis or an iconic piece in Vitry-sur-Seine, the book ensures that readers experience Paris through the eyes of those who shape its street art culture.

One of the book’s greatest strengths lies in its dual-format approach. The hardcover edition, printed on high-quality paper, serves as a collector’s item, showcasing the artwork in all its glory. Meanwhile, the A5 paperback edition functions as a practical travel guide, lightweight and easy to carry for those eager to explore Paris’ graffiti-covered walls firsthand. Despite their differing formats, both editions feature the same comprehensive content, blending historical context, artist interviews, and practical navigation tips to create an unparalleled resource.

Beyond being a visually stunning collection, As Seen on the Streets of Paris also educates readers about the evolution of the city’s graffiti and street art culture. The book delves into the historical significance of urban art in Paris, illustrating how it has evolved into a defining element of the city’s identity. By highlighting both celebrated and lesser-known artists, Riva ensures that readers appreciate the depth and diversity of this dynamic movement.

The photography by Paolo Giannotti further elevates the book, capturing the raw energy and fleeting beauty of street art. Each image tells a story, preserving ephemeral works that might disappear overnight. Giannotti’s keen eye for composition and texture brings the murals to life, allowing readers to engage with the art on a profound level.

What sets this book apart from other street art guides is its commitment to presenting an authentic, non-touristy view of Paris. The inclusion of off-the-beaten-path recommendations ensures that readers discover a side of the city rarely covered in conventional travel books. Riva’s deep connections within the street art community allow her to provide exclusive insights that only a true insider could offer.

With As Seen on the Streets of Paris, Giulia ‘BLocal’ Riva has created more than just a guidebook; she has crafted an invitation to explore, appreciate, and understand the rich urban tapestry of one of Europe’s most artistic cities. Whether you’re a street art aficionado, a photography lover, or a traveler eager for a fresh perspective on Paris, this book is an essential addition to your collection. And with the promise of future editions covering other street art capitals such as London, Madrid, and Berlin, this series is poised to become a definitive resource for urban art enthusiasts worldwide.

---

 

The post Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva

As Seen on the Streets of Paris is an enthralling fusion of travel guide and art photography book that captures the vibrant essence of Paris’ urban art scene. Written by street art expert Giulia ‘BLocal’ Riva, this book serves as both an informative companion for travelers and an aesthetic delight for art enthusiasts. Featuring over 250 stunning photographs by Paolo Giannotti and insights from 13 Parisian street artists, it offers readers a unique and immersive experience into the world of Parisian street art.

From the outset, Riva establishes herself as a knowledgeable and passionate guide, curating an experience that extends beyond the typical tourist itinerary. Her commitment to authenticity shines through as she weaves the voices of local artists into the narrative, offering personal insights and revealing hidden gems throughout the city. Whether it’s a tucked-away mural in Saint-Denis or an iconic piece in Vitry-sur-Seine, the book ensures that readers experience Paris through the eyes of those who shape its street art culture.

One of the book’s greatest strengths lies in its dual-format approach. The hardcover edition, printed on high-quality paper, serves as a collector’s item, showcasing the artwork in all its glory. Meanwhile, the A5 paperback edition functions as a practical travel guide, lightweight and easy to carry for those eager to explore Paris’ graffiti-covered walls firsthand. Despite their differing formats, both editions feature the same comprehensive content, blending historical context, artist interviews, and practical navigation tips to create an unparalleled resource.

Beyond being a visually stunning collection, As Seen on the Streets of Paris also educates readers about the evolution of the city’s graffiti and street art culture. The book delves into the historical significance of urban art in Paris, illustrating how it has evolved into a defining element of the city’s identity. By highlighting both celebrated and lesser-known artists, Riva ensures that readers appreciate the depth and diversity of this dynamic movement.

The photography by Paolo Giannotti further elevates the book, capturing the raw energy and fleeting beauty of street art. Each image tells a story, preserving ephemeral works that might disappear overnight. Giannotti’s keen eye for composition and texture brings the murals to life, allowing readers to engage with the art on a profound level.

What sets this book apart from other street art guides is its commitment to presenting an authentic, non-touristy view of Paris. The inclusion of off-the-beaten-path recommendations ensures that readers discover a side of the city rarely covered in conventional travel books. Riva’s deep connections within the street art community allow her to provide exclusive insights that only a true insider could offer.

With As Seen on the Streets of Paris, Giulia ‘BLocal’ Riva has created more than just a guidebook; she has crafted an invitation to explore, appreciate, and understand the rich urban tapestry of one of Europe’s most artistic cities. Whether you’re a street art aficionado, a photography lover, or a traveler eager for a fresh perspective on Paris, this book is an essential addition to your collection. And with the promise of future editions covering other street art capitals such as London, Madrid, and Berlin, this series is poised to become a definitive resource for urban art enthusiasts worldwide.

---

 

The post Book Review: As Seen on the Streets of Paris by Giulia ‘BLocal’ Riva first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: Street Beauty By Hannah Judah

Street Beauty is a striking, one-of-a-kind photography book that captures the vibrant and ephemeral world of street art through the lens of acclaimed photographer Hannah Judah, with playful design and curation by ATMA.

At 300 pages, this high-visual-impact volume offers a stunning homage to the transient masterpieces of urban artists worldwide. Judah’s work doesn’t just document the art; it encapsulates the raw, visceral experience of stumbling upon these murals, often fleeting in their existence, and preserves their energy and emotional impact.

The book showcases hundreds of large-scale murals, each brought to life by Judah’s distinctive photographic style. Her artistry elevates the photographs from mere reproductions to powerful interpretations of the works themselves, capturing not only their visual brilliance but also the cultural and emotional layers beneath. Judah’s photography places these creations in context, highlighting the interplay between the artwork and its urban surroundings, and offering readers a rare chance to witness the impermanence of street art immortalized in vivid detail.

The design by ATMA, a veteran street artist with 25 years of experience, complements Judah’s imagery perfectly. His playful yet thoughtful curation provides a narrative thread that enhances the book’s flow, celebrating the artistry while honoring its diverse creators. Together, Judah and ATMA have created a masterpiece that is as much about the documentation of art as it is about elevating the medium of street art photography itself.

The book comes with endorsements from cultural icons like music producer and DJ Norman Cook (Fatboy Slim) and the renowned street artist D*Face, further solidifying its authority in the realm of contemporary urban art.

Whether you are a street art enthusiast, a photographer, or simply someone who appreciates the fusion of creativity and raw urban energy, Street Beauty is a must-have addition to your collection. It is a visual feast and an important cultural artifact that celebrates the fleeting yet enduring power of public art.

---

 

The post Book Review: Street Beauty By Hannah Judah first appeared on street art united states.
by Sami Wakim via street art united states

Book Review: Street Beauty By Hannah Judah

Street Beauty is a striking, one-of-a-kind photography book that captures the vibrant and ephemeral world of street art through the lens of acclaimed photographer Hannah Judah, with playful design and curation by ATMA.

At 300 pages, this high-visual-impact volume offers a stunning homage to the transient masterpieces of urban artists worldwide. Judah’s work doesn’t just document the art; it encapsulates the raw, visceral experience of stumbling upon these murals, often fleeting in their existence, and preserves their energy and emotional impact.

The book showcases hundreds of large-scale murals, each brought to life by Judah’s distinctive photographic style. Her artistry elevates the photographs from mere reproductions to powerful interpretations of the works themselves, capturing not only their visual brilliance but also the cultural and emotional layers beneath. Judah’s photography places these creations in context, highlighting the interplay between the artwork and its urban surroundings, and offering readers a rare chance to witness the impermanence of street art immortalized in vivid detail.

The design by ATMA, a veteran street artist with 25 years of experience, complements Judah’s imagery perfectly. His playful yet thoughtful curation provides a narrative thread that enhances the book’s flow, celebrating the artistry while honoring its diverse creators. Together, Judah and ATMA have created a masterpiece that is as much about the documentation of art as it is about elevating the medium of street art photography itself.

The book comes with endorsements from cultural icons like music producer and DJ Norman Cook (Fatboy Slim) and the renowned street artist D*Face, further solidifying its authority in the realm of contemporary urban art.

Whether you are a street art enthusiast, a photographer, or simply someone who appreciates the fusion of creativity and raw urban energy, Street Beauty is a must-have addition to your collection. It is a visual feast and an important cultural artifact that celebrates the fleeting yet enduring power of public art.

---

 

The post Book Review: Street Beauty By Hannah Judah first appeared on street art united states.
by Sami Wakim via street art united states

Indigenous Resistance and the Legacy of Western Imperialism

The Israeli-Palestinian conflict is a stark example of how Western colonialist ideologies continue to shape global narratives about power, resistance, and justice. Supporters of Israel, particularly from Western societies, often justify occupation through a lens of entitlement and superiority, dismissing the right of indigenous people to resist. This perspective not only mirrors the logic of colonial domination but also perpetuates racial hierarchies that dehumanize those who oppose such oppression. Addressing this issue requires a critical examination of the colonial legacy embedded in these narratives and its ongoing impact on Palestinian resistance.

Western colonialism has long upheld the notion that the powerful have a right to claim land and resources, often at the expense of indigenous populations. This ideology frames resistance as illegitimate, branding it as savage, irrational, or terroristic, rather than a legitimate struggle for liberation. Nelson Mandela’s assertion, “It is always the oppressor, not the oppressed, who dictates the form of the struggle,” resonates deeply in this context. The expectation that Palestinians should resist “politely” while enduring systemic violence reflects the same condescending moral framework that justified colonial rule across Africa, Asia, and the Americas.

This colonial mindset is further evident in the Western discourse surrounding martyrdom operations, often dismissed as “suicide bombings.” Such reductive framing ignores the context of prolonged occupation, systemic disenfranchisement, and the desperation born of living under an oppressive regime. It erases the humanity of the oppressed and reinforces the narrative of the colonizer, in which resistance is always criminalized.

Israel’s actions following October 7 reveal the extent of this ideology in practice. The indiscriminate killing of tens of thousands of innocent Palestinians is framed as collateral damage or blamed on resistance fighters “hiding among civilians.” In truth, these deaths reflect a deliberate strategy to quash any form of opposition, no matter how justified. This brutality is rooted in the same racial superiority complex that underpinned Western colonial ventures, where the lives of indigenous people were deemed expendable in the pursuit of domination.

For Palestinians – whether in the occupied territories, within “Israel proper,” or across the diaspora – their resistance is not only a fight against occupation but also a rejection of the colonial ideologies that have dehumanized them for decades. Their struggle resonates across the Middle East, uniting Arabs, Muslims, and Christians who have been similarly impacted by this ideology of Western superiority and control.

The narratives justifying Israel’s occupation and delegitimizing Palestinian resistance are deeply intertwined with Western colonialist ideologies. These perspectives uphold power structures that prioritize the oppressor’s entitlement over the oppressed’s humanity. Challenging these narratives requires confronting the colonial legacies that continue to influence global politics and recognizing the right of all people to resist occupation and oppression. Only through this lens can justice, dignity, and true liberation for Palestinians and other oppressed communities be achieved.

The post Indigenous Resistance and the Legacy of Western Imperialism first appeared on street art united states.
by Sami Wakim via street art united states

Indigenous Resistance and the Legacy of Western Imperialism

The Israeli-Palestinian conflict is a stark example of how Western colonialist ideologies continue to shape global narratives about power, resistance, and justice. Supporters of Israel, particularly from Western societies, often justify occupation through a lens of entitlement and superiority, dismissing the right of indigenous people to resist. This perspective not only mirrors the logic of colonial domination but also perpetuates racial hierarchies that dehumanize those who oppose such oppression. Addressing this issue requires a critical examination of the colonial legacy embedded in these narratives and its ongoing impact on Palestinian resistance.

Western colonialism has long upheld the notion that the powerful have a right to claim land and resources, often at the expense of indigenous populations. This ideology frames resistance as illegitimate, branding it as savage, irrational, or terroristic, rather than a legitimate struggle for liberation. Nelson Mandela’s assertion, “It is always the oppressor, not the oppressed, who dictates the form of the struggle,” resonates deeply in this context. The expectation that Palestinians should resist “politely” while enduring systemic violence reflects the same condescending moral framework that justified colonial rule across Africa, Asia, and the Americas.

This colonial mindset is further evident in the Western discourse surrounding martyrdom operations, often dismissed as “suicide bombings.” Such reductive framing ignores the context of prolonged occupation, systemic disenfranchisement, and the desperation born of living under an oppressive regime. It erases the humanity of the oppressed and reinforces the narrative of the colonizer, in which resistance is always criminalized.

Israel’s actions following October 7 reveal the extent of this ideology in practice. The indiscriminate killing of tens of thousands of innocent Palestinians is framed as collateral damage or blamed on resistance fighters “hiding among civilians.” In truth, these deaths reflect a deliberate strategy to quash any form of opposition, no matter how justified. This brutality is rooted in the same racial superiority complex that underpinned Western colonial ventures, where the lives of indigenous people were deemed expendable in the pursuit of domination.

For Palestinians – whether in the occupied territories, within “Israel proper,” or across the diaspora – their resistance is not only a fight against occupation but also a rejection of the colonial ideologies that have dehumanized them for decades. Their struggle resonates across the Middle East, uniting Arabs, Muslims, and Christians who have been similarly impacted by this ideology of Western superiority and control.

The narratives justifying Israel’s occupation and delegitimizing Palestinian resistance are deeply intertwined with Western colonialist ideologies. These perspectives uphold power structures that prioritize the oppressor’s entitlement over the oppressed’s humanity. Challenging these narratives requires confronting the colonial legacies that continue to influence global politics and recognizing the right of all people to resist occupation and oppression. Only through this lens can justice, dignity, and true liberation for Palestinians and other oppressed communities be achieved.

The post Indigenous Resistance and the Legacy of Western Imperialism first appeared on street art united states.
by Sami Wakim via street art united states

STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture

From February 14 to May 18, 2025, STRAAT Museum in Amsterdam will push the boundaries of urban art with its groundbreaking exhibition, Graffitecture: Typographic Blueprints. This ambitious showcase dives deep into the intersection of graffiti and architecture, spotlighting the work of four pioneering artists: SODA, Gary Stranger, Antigoon, and Georgia Hill. With nearly fifty works on display, including immersive installations, the exhibition promises a fresh perspective on the evolution of graffiti art.

Antigoon

Historically associated with illegality and rebellion, graffiti has undergone a remarkable transformation into a celebrated art form. Graffitecture explores this evolution, demonstrating how typographic art can bridge the gap between chaos and order, spontaneity and structure. Through the lens of architecture and design, the exhibition reimagines the role of graffiti in shaping modern urban landscapes.

The four featured artists offer unique approaches to this dynamic interplay:

• SODA (Italy, 1977): Renowned for creating stunning optical illusions, SODA manipulates flat surfaces with minimal color palettes to achieve striking three-dimensional effects.
• Gary Stranger (United Kingdom, 1970): A member of the iconic Mad Society Kings (MSK) crew, Gary merges graffiti’s fluidity with the precision of architectural design to craft elegant, typographic forms.
• Antigoon (Netherlands, 1983): Pioneering the use of experimental tools such as ink machines and paint blowers, Antigoon produces geometric letterforms that exude futuristic sophistication.
• Georgia Hill (Australia, 1988): Combining reflective, poetic phrases with her distinctive monochromatic typographic designs, Georgia’s work graces both gallery walls and urban environments worldwide.

Georgia Hill

Soda

Visitors can expect more than just a visual treat. Graffitecture offers a comprehensive look into the creative process, with process films by the featured artists providing insights into their techniques and inspirations. The exhibition highlights graffiti’s versatility and its growing influence in contemporary art and culture.

Gary Stranger

STRAAT Museum, celebrated for its extensive collection of large-scale street art, will also debut a new piece by Georgia Hill as part of the exhibition. This addition will join over 180 monumental works in STRAAT’s permanent collection, further enriching the museum’s vibrant tapestry of urban art.

Located in Amsterdam’s NDSM Wharf, STRAAT Museum is a global hub for street art and graffiti. Its mission is to celebrate and elevate urban art by providing a platform for artists and engaging audiences in the cultural and aesthetic significance of street art.

Don’t miss this chance to experience the innovative convergence of graffiti and architecture. Whether you’re a fan of urban art, typography, or architectural design, Graffitecture: Typographic Blueprints offers an inspiring exploration of art’s transformative power in the modern world.

---

 

The post STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture first appeared on street art united states.
by Sami Wakim via street art united states

STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture

From February 14 to May 18, 2025, STRAAT Museum in Amsterdam will push the boundaries of urban art with its groundbreaking exhibition, Graffitecture: Typographic Blueprints. This ambitious showcase dives deep into the intersection of graffiti and architecture, spotlighting the work of four pioneering artists: SODA, Gary Stranger, Antigoon, and Georgia Hill. With nearly fifty works on display, including immersive installations, the exhibition promises a fresh perspective on the evolution of graffiti art.

Antigoon

Historically associated with illegality and rebellion, graffiti has undergone a remarkable transformation into a celebrated art form. Graffitecture explores this evolution, demonstrating how typographic art can bridge the gap between chaos and order, spontaneity and structure. Through the lens of architecture and design, the exhibition reimagines the role of graffiti in shaping modern urban landscapes.

The four featured artists offer unique approaches to this dynamic interplay:

• SODA (Italy, 1977): Renowned for creating stunning optical illusions, SODA manipulates flat surfaces with minimal color palettes to achieve striking three-dimensional effects.
• Gary Stranger (United Kingdom, 1970): A member of the iconic Mad Society Kings (MSK) crew, Gary merges graffiti’s fluidity with the precision of architectural design to craft elegant, typographic forms.
• Antigoon (Netherlands, 1983): Pioneering the use of experimental tools such as ink machines and paint blowers, Antigoon produces geometric letterforms that exude futuristic sophistication.
• Georgia Hill (Australia, 1988): Combining reflective, poetic phrases with her distinctive monochromatic typographic designs, Georgia’s work graces both gallery walls and urban environments worldwide.

Georgia Hill

Soda

Visitors can expect more than just a visual treat. Graffitecture offers a comprehensive look into the creative process, with process films by the featured artists providing insights into their techniques and inspirations. The exhibition highlights graffiti’s versatility and its growing influence in contemporary art and culture.

Gary Stranger

STRAAT Museum, celebrated for its extensive collection of large-scale street art, will also debut a new piece by Georgia Hill as part of the exhibition. This addition will join over 180 monumental works in STRAAT’s permanent collection, further enriching the museum’s vibrant tapestry of urban art.

Located in Amsterdam’s NDSM Wharf, STRAAT Museum is a global hub for street art and graffiti. Its mission is to celebrate and elevate urban art by providing a platform for artists and engaging audiences in the cultural and aesthetic significance of street art.

Don’t miss this chance to experience the innovative convergence of graffiti and architecture. Whether you’re a fan of urban art, typography, or architectural design, Graffitecture: Typographic Blueprints offers an inspiring exploration of art’s transformative power in the modern world.

---

 

The post STRAAT Museum Unveils Graffitecture: A Fusion of Graffiti and Architecture first appeared on street art united states.
by Sami Wakim via street art united states

Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature

Miami, FL – January 6, 2025 – In a breathtaking fusion of art, science, and environmental awareness, Miami’s largest rooftop mural has been unveiled atop the Southeast Financial Center (SEFC). Spanning an incredible 35,000 square feet, the masterpiece by internationally acclaimed French artist Youri Cansell, known as Mantra, captivates with its hyper-realistic depictions of butterflies, including the endangered ‘Miami Blue,’ a species native to South Florida.

Curated by Justkids Art Consulting, this extraordinary project showcases Mantra’s signature trompe-l’oeil technique, bringing a diverse array of butterfly species to life with remarkable precision. Each butterfly appears delicately perched, an awe-inspiring illusion that combines artistry and entomological accuracy. The mural serves as a poignant commentary on the loss of biodiversity, urging viewers to appreciate and protect nature’s fragile ecosystems.

“It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” said Mantra. “This is my largest mural to date, and I am excited to see it come to life.”

The creation of the mural was a technical and physical challenge. Over 400 hours and 200 gallons of paint were required to complete the artwork, which was executed entirely freehand using rollers. Mantra’s process excluded the use of grids or projections, a testament to his unparalleled skill and artistic precision. The mural’s location—on SEFC’s rooftop—presented unique obstacles, including strong winds and morning dampness from the nearby ocean, which the artist overcame during the six-week endeavor.

This massive installation transforms what was once a functional garage rooftop into a vibrant visual spectacle, visible to tenants and the occupants of neighboring residential and commercial towers. SEFC’s commitment to fostering cultural innovation and elevating Downtown Miami’s status as a creative hub is evident in this significant commission.

Mantra’s work is more than an aesthetic marvel; it is a call to action. His murals highlight the alarming decline of biodiversity while celebrating the beauty and importance of small, often-overlooked species. By scaling his subjects to monumental proportions, Mantra invites viewers to reflect on humanity’s connection to the natural world and the urgent need for conservation.

Southeast Financial Center is a defining landmark in Miami’s skyline. Designed by the renowned architectural firm Skidmore, Owings, and Merrill, SEFC is Florida’s largest and most iconic office tower. Its commitment to blending modernity, prestige, and community has made it a cornerstone of Downtown Miami’s vibrant business and cultural scene.

Youri Cansell, aka Mantra, is a French artist and naturalist whose fascination with insects stems from childhood memories of his garden in France. Now based in Switzerland and Mexico City, Mantra combines scientific exploration and artistic expression to create large-scale murals that are both visually striking and ecologically significant. His work is celebrated worldwide for its detailed depictions of moths and butterflies.

JUSTKIDS.ART is a multidisciplinary art consulting firm specializing in curating and producing public art and placemaking projects. Their work connects leading contemporary artists with communities, creating unforgettable experiences that celebrate visual culture.

The unveiling of Miami’s largest rooftop mural is a milestone in the city’s cultural evolution, blending artistry with a powerful message of environmental stewardship. Mantra’s awe-inspiring work invites us all to pause, reflect, and cherish the delicate beauty of our natural world.

---

 

The post Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature first appeared on street art united states.
by Sami Wakim via street art united states

Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature

Miami, FL – January 6, 2025 – In a breathtaking fusion of art, science, and environmental awareness, Miami’s largest rooftop mural has been unveiled atop the Southeast Financial Center (SEFC). Spanning an incredible 35,000 square feet, the masterpiece by internationally acclaimed French artist Youri Cansell, known as Mantra, captivates with its hyper-realistic depictions of butterflies, including the endangered ‘Miami Blue,’ a species native to South Florida.

Curated by Justkids Art Consulting, this extraordinary project showcases Mantra’s signature trompe-l’oeil technique, bringing a diverse array of butterfly species to life with remarkable precision. Each butterfly appears delicately perched, an awe-inspiring illusion that combines artistry and entomological accuracy. The mural serves as a poignant commentary on the loss of biodiversity, urging viewers to appreciate and protect nature’s fragile ecosystems.

“It’s always a pleasure to paint in Miami, a city that thrives on its vibrant mix of people and cultures—much like the butterflies in my mural, which represent a diverse selection of specimens,” said Mantra. “This is my largest mural to date, and I am excited to see it come to life.”

The creation of the mural was a technical and physical challenge. Over 400 hours and 200 gallons of paint were required to complete the artwork, which was executed entirely freehand using rollers. Mantra’s process excluded the use of grids or projections, a testament to his unparalleled skill and artistic precision. The mural’s location—on SEFC’s rooftop—presented unique obstacles, including strong winds and morning dampness from the nearby ocean, which the artist overcame during the six-week endeavor.

This massive installation transforms what was once a functional garage rooftop into a vibrant visual spectacle, visible to tenants and the occupants of neighboring residential and commercial towers. SEFC’s commitment to fostering cultural innovation and elevating Downtown Miami’s status as a creative hub is evident in this significant commission.

Mantra’s work is more than an aesthetic marvel; it is a call to action. His murals highlight the alarming decline of biodiversity while celebrating the beauty and importance of small, often-overlooked species. By scaling his subjects to monumental proportions, Mantra invites viewers to reflect on humanity’s connection to the natural world and the urgent need for conservation.

Southeast Financial Center is a defining landmark in Miami’s skyline. Designed by the renowned architectural firm Skidmore, Owings, and Merrill, SEFC is Florida’s largest and most iconic office tower. Its commitment to blending modernity, prestige, and community has made it a cornerstone of Downtown Miami’s vibrant business and cultural scene.

Youri Cansell, aka Mantra, is a French artist and naturalist whose fascination with insects stems from childhood memories of his garden in France. Now based in Switzerland and Mexico City, Mantra combines scientific exploration and artistic expression to create large-scale murals that are both visually striking and ecologically significant. His work is celebrated worldwide for its detailed depictions of moths and butterflies.

JUSTKIDS.ART is a multidisciplinary art consulting firm specializing in curating and producing public art and placemaking projects. Their work connects leading contemporary artists with communities, creating unforgettable experiences that celebrate visual culture.

The unveiling of Miami’s largest rooftop mural is a milestone in the city’s cultural evolution, blending artistry with a powerful message of environmental stewardship. Mantra’s awe-inspiring work invites us all to pause, reflect, and cherish the delicate beauty of our natural world.

---

 

The post Miami Unveils Its Largest Rooftop Mural: A Stunning Homage to Nature first appeared on street art united states.
by Sami Wakim via street art united states