Archives for posts with tag: graffiti art

Better to seek forgiveness than ask permission is a useful guiding principle for those who have a cunning plan but problematic superiors. Seeking forgiveness isn’t just for usual suspect rogue operators. Ramón Mor, padre at L’Hospitalet de Llobregat near Barcelona, had a cunning plan early last year to paint a wall at his church. Artist selection required the Archbishop’s permission. But the priest took a punt. He didn’t ask permission. He commissioned Rudi and his Madrileño amigo House to paint the blank apse of Santa Eulàlia. Rudi and House use aerosols. They are escritores de grafitis. Graffiti artists. Which explains why Padre Mor didn’t seek permission.


detail of apse at Santa Eulàlia de Provençana painted by Rudi and House. Photograph by Joan Pau Inarejos

Santa Eulàlia de Provençana was built in the mid-1950s in a neo-Romanesque style to complement the adjacent thousand year old Romanesque church L’Hospitalet. The priest asked the artists to adapt their style to Catalan Romanesque. Flat colour, monumentality, lined, planar faces and rigid expressions.

The Virgin and Child are central, flanked by the patron saint of Santa Eulàlia and a family to symbolize the working-class neighborhood of L’Hospitalet. Of particular interest to COVER is the inter-generational family. A woman hands a thimble to a young boy. According to reporter Gerry Hadden the woman is House’s grandmother who was “a keen seamstress” (does this mean the boy is House?)

ABC España’s video of the artists, and the accompanying report ends with Rudi emphasising their painting is not street art. “Graffiti is a style” he says, “this is a wall decoration made with spray, but not in the style of graffiti.” His statement underscores why Padre Mor kept quiet. He knew art should be judged by results rather than tools. DJ


detail of apse at Santa Eulàlia de Provençana painted by Rudi and House. Photograph by Joan Pau Inarejos


Nick Hartwright and Mark Hanlon collaborate with “the world’s finest cutting edge artists and designers to create beautiful, limited-edition hand-knotted rugs.” Together they are Foundation, a new rug company. Foundation’s inaugural exhibition – “Rug Addicts” – opened last week at the Old Truman Brewery on Brick Lane in East London (2-6 November 2012). COVER’s big Kahuna and colleagues attended the opening night, and teletyped your scribe the inside scoop. Today I unfurl the paper tape to report to loyal readers.

East End art exhibitions are normally chockers with taches, a hipster sine qua non, which along with fixie bikes appears immutable. But although the opening party was heaving, colleagues report a dearth of moustachioed men. Perhaps Hartwright and Hanlon take their “cutting edge” approach literally and have a Gillette triple edge door policy (despite this being the hairy lipped month of “Movember”)? Or perhaps they adhere to Edgar Allen Poe’s rug diktat. “A carpet is the soul of the apartment”, Poe wrote in 1840, and decreed those who flaunt shallow carpet knowledge “should not . . . be entrusted with the management of their own moustachios”. This much is clear from the Rug Addicts exhibition; Hartwright and Hanlon are superlative creative managers and impresarios of both rugs and moustachios. What more is needed?

Artists and designers represented in the exhibition include French graff artist and illustrator Alëxone :

Alëxone limited edition rug for Foundation. Photograph courtesy COVER magazine.

and Pete Fowler of Monsterism fame:

Pete Fowler limited edition rug for Foundation. Photograph courtesy COVER magazine

For more images from the Rug Addicts collection see Lucy Upward’s feature in the current (Autumn 2012) issue of COVER.

Life would be less rich without woven floor coverings. We must have rugs and carpets especially superlative Rug Addict editions. But must we have taches? Of course, but perhaps fewer on hipsters and more on ZZ Top, bears, and Amish farmers please. DJ

Nick Hartwright (sporting a subdued and elegant tache) and Mark Hanlon of Foundation Rugs. Photograph courtesy COVER magazine