Every once in a while an idea comes along which is so clever that it seems absolutely obvious — even though it is being expressed for the first time.
I love graffiti — or more broadly, street art (actually, it is both more broadly and more narrowly, since the word art contains the idea that the art maker intends to engage with a viewer through his work, and therefore wants it to be good, or pretty, or expressive, or whatever it may be, but does not include someone randomly scrawling a mess in black paint in the side of a building to no end except destruction). But admittedly, there are a number of issues raised by street art which make it a contentious and problematic medium. If a building (wall, bridge, train track) is nondescript, run-down, urban squalor, or in some way in need of energy and beauty, graffiti may look like a positive addition to the structure. If the building is, instead, a recently completed structure, constructed to the tune of vast amounts of money by a talented architect who invested a lot of time and thought into its appearance, the same graffiti may be seen as destructive defacement. However, such a distinction suggests that one can objectively distinguish which structures belong in each of the two categories. That little problem aside, if we accept that, at its best, graffiti breaths new life and energy to derelict structures and spaces, Russian artist Nikita Nomerz’s work can be seen as its literal realization — concept made form in entirely literal terms. It is surprising that no one has done this before. After all, the urge to anthropomorphize seems like an almost irresistible human imperative. But, as far as I know, Nomerz is the first. Check out these photos of some of the work … it’s absolute trip.