I met Jon on a boat. We sailed the Stavanger Bay together during Nuart 2017. Our sail was dressed with an eye chart like the one used by optometrists. Artist Igor Ponosov meant for it to symbolize the distance between public art and its audience; a gap that Jon Reid is definitely working hard to close with his cultural blog “Dancing in the Dark – Creativity & Culture in Aberdeen and Beyond”
I met CeePil last summer in Bristol, where he was painting the back of the legendary Tap and Barrel Pub for Upfest 2018 alongside Smok and ShitOne. When I knew I was going to travel to Ghent, I asked him to meet for an interview and he invited me over to DOK, an amazing factory-turned-cultural-center where we sat for a cup of coffee…
Unlike many other cities, Ghent’s street art legacy developed from the bottom-up, rooted in the passion of local artists and their connections to international artists whom they invited to paint.
There is a no-place in Montesilvano where cars, trains, bikes and pedestrians frequently cross. Multi-level linear paths all intersect her before carrying on their trajectory towards the vanishing points. There is a beautiful park on both sides, and the blue sea rests not too far away, although once you are caught up in the traffic that flows through Sottopasso Aldo Moro, all you can hear is the noise of the cars, whose engines roar through the two tunnels that serve as the entrance and exit of the city, and a train clanking past every twenty minutes or so.
I haven’t been to Prague for 20 years, and yet I immediately felt at home. It must have been for the language, so similar to Slovene that I can understand a good 50% of what people say.
The warmth of this unexpected homey feeling compensated for the fact that I hadn’t spotted much street art in Prague.