Posts tagged Mural
Evoca1 Artist Feature | Moniker Art Fair
Image courtesy of Evoca1.

Image courtesy of Evoca1.

We’re just a few short weeks away from Moniker Art Fair which will be held May 1-5, 2019 in New York City. The international fair’s 2019 exhibitors include some of the world’s most renowned urban & contemporary artists and galleries in booth exhibitions as well as solo presentations and installations. 28 exhibitors and four special projects, hailing from 13 countries around the globe, will present work in alignment with this year’s theme, Cause & Effect, which examines our shared roles and commitment to addressing the current state of political, social and ecological issues. Create! will be providing coverage of the fair, but we’re also excited to be bringing you a sneak peek at some of the artists who will be highlighted at this year’s NYC edition of Moniker. Last week we introduced you to WK Interact and this week we’re sharing the incredible work of Evoca1!

Image courtesy of Evoca1.

Image courtesy of Evoca1.

Evoca1 was born in the Dominican Republic, where he spent most of his childhood drawing on walls and playing baseball, until eventually moving to Hollywood, Florida at age 11. 

As an autodidact, he has received his art education from the compulsive study of the old masters’ works and techniques. His pieces are a personal reflection of his life experiences, as well as observations of human behaviors and social struggles.

He currently lives and works out of South Florida, where he continues to develop his craft and research of figurative painting. In recent years, this mainly happened in public spaces where he has painted large-scale murals. His interaction with the local environments has been essential in generating the concept of his work.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

For more information about Moniker please visit their website and follow along with Evoca1 on Instagram.

Image courtesy of Evoca1.

Image courtesy of Evoca1.

Jacquie Comrie

Jacquie Comrie is a multidisciplinary, whose colourful work has been making a global impact, using colour as a main tool for social change and mental health at large. 

Whether as murals on buildings, large scale structures or canvases,  her work has a  wellness approach, that combines scale, movement, and colour to transform city scapes while catering to the mental well being of its communities.   

Comrie’s colour palette s  are deliberately orchestrated aiming to repair, heal, uplift spaces and minds. With mental health issues on the rise across the globe, her work continues  contributing to much needed inclusive public spaces, aiming to ultimately unite and  improve lives of all individuals. 

Michelle Angela Ortiz

Michelle Angela Ortiz is a visual artist/ skilled muralist/ community arts educator who uses her art as a vehicle to represent people and communities whose histories are often lost or co-opted. Through painting, printmaking, and community arts practices, she creates a safe space for dialogue around some of the most profound issues communities and individuals may face. Her work tells stories using richly crafted and emotive imagery to claim and transform “blighted” spaces into a visual affirmation that reveals the strength and spirit of the community.

For over eighteen years, Ortiz continues to be an active educator in using the arts as a tool for communication to bridge communities. As a highly skilled muralist, Ortiz has designed and created over 50 large-scale public works nationally (PA, NJ, MS, NY) and internationally. Since 2008, Ortiz has led community building and art for social change public art projects both independently in Costa Rica and Ecuador and through the United States Embassy as a Cultural Envoy in Fiji, Mexico, Argentina, Spain, Venezuela, and Honduras. In Cuba, she completed the first U.S. State funded public art project since the re-opening of the United States Embassy in Havana in 2015.

Ortiz is a 2018 PEW Fellow, a Rauschenberg Foundation Artist as Activist Fellow, a Kennedy Center Citizen Artist National Fellow, and a Santa Fe Art Institute Equal Justice Resident Artist. In 2016, she received the Americans for the Arts' Public Art Year in Review Award which honors outstanding public arts projects in the nation. She is also fellow of the National Association of Latino Arts and Culture Fund for the Arts (2011), recipient of the Leeway Foundation Transformation Award (2008) and Art & Change Grant (2013, 2012 & 2006.) She holds a Bachelor's Degree in Fine Arts from Moore College of Art & Design and a Master's Degree in Science of Arts and Cultural Management from Rosemont College.

Lucy Lucy

Currently residing in Melbourne, French-Parisian born artist Lucy Lucy has graciously carved her niche in the Australian urban art community. Her work moves between large-scale public murals, gallery work, tribal ornaments and bespoke fashion.  She has been painting murals and exhibiting in France, the US, Canada, Thailand, Australia, and the UK.

Her paintings capture the evolving folklore of the feminine, exploring the diversity and boundaries of heritage. Whether a sovereign queen, a mystic sorceress, a youthful muse, or a charismatic lady, all share in the art and privilege of being a woman. More recently, Lucy has been exploring the concepts of presence and perception through imaginary masks enfolding women portraits. The concealing veneers echo with the idea that rarely oneself is entirely present or is able to see reality as it is.

Ali Williams

Ali M Williams is an artist from Philadelphia. She has exhibited her work and murals internationally, and has created art-based curriculum for use in schools and community workshops throughout the Greater Philadelphia area. 

Ali is interested in how visually altering a space with public art affects the surrounding environment. Her murals invite you inside a collaged, fabricated dreamscape of paint, mysterious beauty, and contemporary iconography. Her work touches on the complexity of the human spirit; she often utilizes the female portrait as a means of self-reflection and identity. Her advocacy for environmental and wildlife conservation are also prevalent in her paintings. She regularly uses negative space, juxtaposing methods and visuals to help tell a story. Symbolic elements, graphic imagery, and muted tones in contrast with vibrant colors and realism are frequent components of her workShe has worked with numerous education and community outreach programs such as Cancer Treatment Centers of America, The American Foundation For Suicide Prevention, Riverside Correctional Facility, Zambia Tukongote Community Projects, The Philadelphia Animal Welfare Society, and Mural Arts Philadelphia. Some of her most recent clients include Zappos, The NFL, New Balance, Nasdaq, and The Schulson Collective. 

See more of her work at and get an inside peek on her instagram: @alimwilliams.

Studio Sundays: Sébastien Layral

"Sebastien Layral comes from the woods and the earth. He carries the proud serenity of the Causse on his shoulders. Born in Rodez, the strong hills, he immediately became part of the elements. To note his belonging to a lineage, he readily evokes rough men, a direct relation to things and beings, an art of being camped on one’s ground.

Primitive roughness ... today the brute canvas of the paintings which he stretches and prepares himself, laborer of the initial earth. From childhood, which he barely talks about, emerged the fiery desire, from the age of eight, to take a different path. Not that of the father or the clan, not that assigned by other people’s judgments, conveniences or norms. Far from the sirens of possession, it was a question of creating, of imagining ... After dreaming of being a surgeon and then a priest, he was caught in the waves of a constant desire to draw. A certain continuity, if one looks back. Desire, which is the focus of the subject, can no doubt be formulated thus: to move between the lines, to take place where no one expects it, to become something other.

After a Bachelor's degree in applied arts, his experience at the Fine Arts Institute in Toulouse, from 1992 to 1995, placed a thorn in the wound opened in these days. Painting was no longer fashionable at the time, figuration even less. In between the student Layral and the school existed a profound misunderstanding. Dismissed without explanation before the end of his third year, he developed a bitterness at the time which has transformed, in retrospect, into lucid thought. The lessons of this disappointment are diverse and essentially fruitful. First a stubbornness: if painting was so badly considered, then this was the path Sebastien was to explore. Then, after closing the door, he forgot the history of art. The matter was closed. No hard drive, only random access memory. Finally, as if in order to fill a vacuum, he developed a strong taste for philosophy.
Little by little, the tripod he set up became his guideline : think, say, do.
A balance between concept, relationship and experimentation.

To be an artist is above all to explore the field of possibilities, to examine closely the main principles in order to better shake them. Becoming oneself by questioning what is and what once was, through the rigor of the process and faith in the adventure. A nomadism that evokes Robert Filliou’s formula : whatever you do, do something else. A funny paradox is that the Air Force, where he performed his military service as a photo lab manager, offered him a large room where he could do whatever he wanted ; paint.

Every course conceals its steps, its back roads. In reality, these are very often approaches. Before opening an art studio in 1998 and thus making art his career, Sebastien Layral worked two years in an institute that worked with young autists. The concept was to produce an exhibition of their art work. One can easily imagine what was at stake in this project in the light of the artist's future approach: to hear the voice - even unlikely, even tiny - of the other, to put oneself at his service, in one way or another and follow his point of view. My nature is not my nature, it does not bother me to change it. At the end of this necessarily experimental parenthesis, the path was laid, plowed by reason and emotion. The artist knew that to advance was to question (onself), and that the answers were not the goal. He knew how to advance in a sick society, which admits only one point of view and imposes it violently.

For several years, Sebastien Layral lived an internal crisis that almost secluded him in the art studio and at the same time unleashed a fiery search. It is difficult to say for the artist what questioned, consciously or not, and guided this quest. Maybe this: who am I? How to be the tree-self in the forest of other-possibles? In this great rustling silence, self-portraits and portraits would be the path, enriched, enlarged from one experience to the next.

From the outset, the artist inscribed the presence of others in his own appearance. By inserting his face into bodies borrowed from the clichés of press magazines or downloaded by Internet users encountered on a forum, he initiated with this "common self-portrait" an interactive approach that was to become enriched.

I am (in) another. You are (in the heart of) me.

At the beginning of the years 2000, Sebastien Layral placed the construction of each (self) portrait as a game of exchange, relation and gesture, via tools - computers, webcams, screens ... Even if for a very short time, the model’s intervention guided the painter’s work, even contradicting it. The model is for me the center of everything. The exchanges, virtual or not, very quickly cross the tactile and the flesh: texts of hidden conversations in the canvas, the artist’s imprint, and later tattoos performed in public. By giving the model the opportunity to observe, comment, guide, and soon intervene in his work, he revisited the art of the portrait fixed by centuries of convention, rigidified in a relation of domination in which the subject tends to become an object: inert, consenting, mute.

Conversely, Sebastien Layral has constantly introduced the model on the canvas to give him or her the tools of his or her own emancipation.

The "peintomaton", developed in 2004, marked a form of orientation for performance art. Visitors at the exhibitions were invited to become models, instantly. While the audience attended this live painting, the painter adapted his movements and even the changes made by the model.
In this way, the ideal triangle was formed : artist / model / public, where everyone’s position changes, where the desire to be the other, even if only for a brief moment through a repositioning of acquired positions invites the subject to come out of his comfort zone.

As of 2005, several exhibitions whose subject were the "ego" becoming an abundant @go, Layral refined the principles that shaped his work: think, say, do. His art gradually increased his reflexive dimension, expressed by values r virtues: openness, emotion, doubt, energy, desire. Faith in the power of words - his own, those of others - was also widening: whether it was said, inscribed, coded, tattooed, they anchored the painting in a momentum that goes beyond the mere act of painting.

An ever-broader confidence came when the public, visitors, close friends, strangers adhered to his dream of sharing with the public. My act of rebellion is to love, unlike what our society proposes.

As for the power to do, it also intensified when the artist agreed to give up details in place of energy in his exhibit INO ONI (2011-2013): made unsacred, fragile, ephemeral, painting was even more so a path leading to the other.

A retrospective in 2012, spiced up with a touch of self-derision, confirmed how this double movement - art in series and constant renewal - led him on the river banks of becoming a fully mature artist. Another relationship to time was emerging: slower, longer, more abandoned to patience. The time it takes, how good it is to lose some in order to gain something else ; increased balance and density. The artist’s early beginnings in Aikido revealed a journey in which everything is linked: painting, writing, inscribing, tattooing, grasping, falling, and rising.

Dispossession, which was a watermark from the very beginning, more recently translated into the series DESIRE (2014), was indeed the breeding ground for the roots of the tree to infiltrate.
By depositing the arms of ego, erasing narcissistic temptation as much as possible, humans become subjects and mirrors of each other.

Today, Sebastien Layral works in an open art studio that you can see from the street in Châtel-Guyon.

In summer, he installs a small living room on his doorstep: a bench, a ficus tree, water or coffee. His models are often those who stop to visit. In this former store, he trades proximity, love and peace. Painting is a way to enter a person’s truth in an affirmative manner."

“Space-Landscape” A Solo Exhibition by Pastel

Press Release | “Space-Landscape” is Pastel’s debut solo exhibition in the United States and also his first solo exhibition in years. Being a human in the world means to be surrounded by an environment created by men where all of the elements of modern nature are social actors that constitute the new landscape. The work for “Space-Landscape” is almost a retrospective of the many murals created around the world by Pastel over the years. Experiences and narratives of various communities from as far as Australia to as close as San Leandro come to light, together, for the first time. The exhibition will include a diverse array of sizes, mediums, colors and plants displayed as paintings and sculptures. The opening reception will be held on September 9th at 7pm in Downtown Oakland with Athen B. Gallery. The gallery is located at 1525 Webster St. and is convenient to both 12th and 19th St. Bart stations. To be added to the collectors preview contact

Curator Statement | I first learned of Francisco Diaz (Pastel’s) work through mutual friends. I realized quickly how special and unique Francisco’s work is. There are thousands of artists who work on murals and exhibit works around the world. Through easy exposure on social media and the internet there seems to be hundreds of new artists each month. One thing lacking from a lot of his peers is the social consciousness and awareness that comes with working in a variety of cities across the world, both in their galleries and their communities. Pastel takes the community into consideration, letting it influence his choices.

Pastel is on the short list of artists I’ve come to know who really does his research before putting paint on the wall of a community, reflecting on local politics, history, and geography of each project before arriving to paint. He prefers smaller cities because of the experiences and interactions that come when immersing himself in that place.

In the early 2000’s Francisco was drawn to the liberating freedom that graffiti has brought so many over the years. Letter structure was not the focus of his illegal expression, but creating flowers. The flowers are derivative to the flow of the graffiti we see in our day to day. Shortly thereafter, everything changed as he studied and graduated with a degree in Architecture from the University of Buenos Aires in Argentina. After a few years, he left his day job as an architect, but he still considers what he now creates as a form of architecture. The murals are similar to architecture, but the result is much more abstracted than designing a building. He refers to his work as Urban Acupuncture. The work acts as small interactions with a city that can help improve the already existing environment. In the artist’s eyes, a lot of cities he has visited lack a strong identity; they are not really designed for the people who live there, regardless of what the city planners may say.

Pastel’s process is fairly simple. First, he starts with research to develop a strong idea or structure of what a piece can potentially become. It isn't until after his arrival that he knows what the exact piece will be. Before painting, he walks the surrounding environment to study colors, architecture, and the people that make up the city. Once that is complete, he is able to stabilize and build off the previously conceived structure, much like an architect would before submitting a final proposal.

The colors chosen in the murals come from a personal and conscious way of interacting with a place. The subject matter of his murals are a way of talking about various complex issues in a language that can be directly appreciated through color palette and shapes of plants native to the area, the surrounding region, or even the weeds that grow on the actual wall being painted. By working with plants as social symbolism, the pieces are a dialogue about the nature of man and his surroundings - the existential, real, pure, and tragically forgotten in modern society. The end result of his murals seeks to honor local communities rather than a tool for gentrification. Although to some the final piece feels only decorative, the structure of painted lines harbors a deeper meaning and message.

In the South of Italy, Pastel painted the facade of a large building with massive plants indigenous to Africa in order to symbolize native roots of people trying to immigrate to Europe. With more and more political conversations over topics such as this, Pastel is calling on action with this piece in particular to support those looking for a brighter future.

Pastel traveled to Perth, Australia where he painted a mural called “Idealism of Aboriginal Ngarluma”. The piece addresses the historical issue of Ngarluma people, the Original inhabitants of the coastal areas around Roebourne (West Pilbara Western Australia). Archaeological surveys claim that these people had been living in the area for more than 30,000 years, having a deep historical and spiritual connection to the land and nature there. According to the artist, the floral image is based on the brutal relationship between native communities and colonialism until 1971 when they finally started to be recognized with civil rights.

In Kiev, Ukraine Pastel created a mural, “Two Peasants” that is based on the history of the Makhnovist movement at the time of the 1917 Russian Revolution. The revolution in Ukraine was a libertarian revolution, and the workers and peasants (Black Army) fought both Tsarist reaction and Bolshevik domination. In February 1917, there was a Popular uprising in the Russian empire. The Tsar abdicated the principal political parties - most of them Socialist, and began to set up a crude parliamentary democracy, led by the Mensheviks. But Russia was a big, bleak, backward old empire that sprawled across five time zones, communication was bad; the uprisings continued. Radicals were released from prison, dissidents returned from exile, and ordinary people became increasingly aware of the possibilities of communal power. Peasants chased out the landowners, workers took over the factories and many organized themselves democratically through local mass meetings.

This year Pastel came to the Bay Area and painted a beautiful mural off the 880 Highway (Marina West Exit) in San Leandro. The mural “Costanoans” is an homage to a group of Native American people that lived on the Northern California Coast. When Spanish explorers and missionaries arrived in the late 18th century, the Ohlone (named Costanoans by the Spanish colony), inhabited the area along the coast from San Francisco Bay through Monterey Bay to the lower Salinas Valley.

Studio Sundays: Miquel Wert

Miquel Wert is a Spanish/Swedish painter who currently lives and works in Barcelona (Spain). Graduated in Fine Arts at the University of Barcelona (2005), his paintings and murals are exhibited internationally since 2000 in multiple solo and group exhibitions.

He is represented by “Galerie Art du Temps” (Cléon-d’Andran, France), “Galeria Anquins” (Reus, Spain), “Green Flowers Art Gallery” (Boulogne-Billancourt, France) and “Luxart Galerie” (Arlon, Belgium).

He has been awarded with the “LIV International Drawing Prize Ynglada-Guillot” (2016), an Honorable Mention at the“Stipendutstilling” exhibition organised by “Galleri Ramfjord” in Oslo (Norway) and fellowships from the “Cercle Artístic de St. Lluc”, “Torrearte” and “Jiser: Reflexions Mediterrànies”.

His works are held in the collection of the University of Barcelona (Spain), Real Academia Catalana de Bellas Artes Sant Jordi (Spain), Blütenweiss Archive (Germany), JISER (Spain/Tunisia) and private collections in Belgium, Czech Republic, France, Germany, Portugal, Singapore, Spain, Sweden, Switzerland, Tunisia, United Kingdom and USA. An important part of his work was created in Tunisia and France where he lived for some years.

Studio Sundays: Chris Bigalke

Chris Bigalke is a painter, illustrator, and graphic artist residing in Portland, Oregon for the last 10 years working as a full-time freelance artist. His pop surrealistic approach and subject matter lends itself to include elements of nature, animals, furniture, psychedelic environments, surreal and lush moments. Interests include; ambient and noise music, tacos, the apocalypse, parallel realities, extra-terrestrials, plants, earth, and flannels.

Mural photos courtesy of Julia Skerry @juliaskerryart

Dan Ferrer

I was born in 80 in a tough neighborhood of Madrid, Spain.

When I was a kid, graffiti, skateboarding and comics filled my days. Because of these influences I dodged the bad habits and now I run my own creative studio and development my personal work.

I have had the opportunity to work on projects for major international advertising agencies (Leo Burnett, Ogilvy, BBDO,...). Also, I collaborate assiduously with urban art festivals and apart of my pieces in the street, I organize exhibitions of my mobile work (canvases and prints).

My art have been seen in cities like New York, Rome, Milan, London, Frankfurt, Madrid, Biarritz (France) or Durango (Mexico).

Currently I develop a style with which I seek the visual balance between realistic and studied resources, mixed with more improvised ones. As for the content of the works, I'm thinking a lot until I find an idea that really motivates me. With each work I want to express a powerful message, but that any person can feel as his, because they are feelings common in all people. I like to work with allegories, propose symbols, like fear, love, time, justice, and endow them with a graphic representation.

I like to think of my style as "Allegorical Jazz". "Allegorical" by the symbols I represent in images, and "Jazz" referring to a very technical style that can have much of improvised.