The Mural de Oze Arv in Graça is part of the exceptional set of street art manifestations that appeared during the year 2021. The Graça neighborhood distinguished itself in this aspect and every month something new appeared in this form of artistic expression. In particular, I had the privilege of witnessing the birth of the Oze Arv mural.
Oze Arv is the artistic name of José Carvalho (1980), an artist based in Lisbon and one of the emerging names in street art today.
This work can be appreciated at Rua Natália Correia in Graça. You can see it from tram 28, as it passes through Rua da Graça, but you have to be careful and sit on the right side of the tram. It would be even better to visit this work on foot, so that you can enjoy it properly and even better if you combine it with a visit to Senhora do Monte or the joint work of Fairey/Vhils.
A job of this dimension is not done overnight. In particular, this work, which the author called “Fado Tropical in RGB tones”, took a month to produce. The artist had the support of a crane and an operator, in authentic teamwork of precision and method. For three-quarters of this time only strange marks appeared on the wall, full of meaning for the artist, but completely unintelligible to passersby. When Oze Arv finally began to fill in with color, the magnificent work appeared that we can enjoy today.
The during and after the execution of the work. Despite the meticulous way in which the work is planned, you can see that the color filling phase does not follow the sketch 100%, leaving the artist the freedom to correct the sketch as dictated by the inspiration of the moment and the the way the final work appears to your eyes.
The last photograph gives a detail of the single bird that is presented with a realistic plumage, all the others having a stylized plumage.
Artur Bordalo (Lisbon, 1987), a.k.a. Bordalo II, follows the motto “one man’s trash is another man’s treasure”. Bordalo uses in his works recycled materials that have survived their original purpose, as a declaration of sustainability and ecological awareness.
The Racoon (2015)
“The Raccoon” is one of my favorite works from Bordalo II ( @b0rdalo_ii ) and my guests, while touring the Belem area, have the opportunity to appreciate this stunning street art installation. The Raccoon is made of parts of old cars.
This work was conceived to be seen clearly from a distance and becomes blurred when the observation point comes closer. In this small video, you may see the Raccoon going from blurred to clear as the tuk-tuk moves away, a kind of effect causing usually a lot of “wows” in the rear seats.
The Fox (2017)
This fox is decorating the ruins of an old warehouse in the industrial zone near the river. This work is made out of recycled plastic chairs.
The Honey Bee (2016)
This bee can be visited in Lx Factory and is made of plastic ducts, shower curtains, car bumpers and wire nets.
The Pelicans of Bordalo can be seen next to the Santa Justa elevator, at the intersection of Santa Justa and Carmo streets. The materials used are plastics, rubbish bins, bumpers and other car parts, construction material, hoses and helmets.
The pelican is the corporate image of the Bank on whose wall it is located, and which commissioned the work.
American artist Shepard Fairey (Charleston, 1970) and Portuguese Vhils (Lisbon, 1987) are both world-renowned artists. A mural decorated by any of them would always be interesting, but what makes this work in Graça brilliant is the perfect combination of two such different styles. A case where the whole is greater than the sum of the parts.
Are you walking in the Graça neighborhood? Have you already seen the landscape from the Senhora do Monte viewpoint? So don’t miss this co-production, which is the best Lisbon has to offer its visitors at the moment.
From Rua da Graça, whether you arrived there by tuk-tuk or tram 28, just go down Rua do Sol to Graça and turn right onto Rua da Senhora da Glória.
This co-production represents a woman’s face. On the left side of the viewer you can see the painting by Shepard Fairey and on the right side the wall is carved in the style of Vhils.
The woman depicted has her mouth covered and her hair covered, but only in the painted part, while in the chopped part the face is more visible. This difference symbolically reflects the difference in techniques. Fairey, when painting, is adding something to the wall, which is the paint. On the other hand, Vhils in doing her work is removing material from the wall. If we think of the fabric of the scarves that cover the mouth and hair as the first layer of the drawing, Vhils, when doing his work, is exposing the woman’s face in a way that is not the case in the painted part.