Aryz graffiti biography of barack

Aryz, a name synonymous with large-scale murals that challenge the boundaries between street art and fine art, has once again brought his unique vision to life in Barcelona. Of course, this is not the first time he has painted here.

This time, his canvas is the exterior of Sala Apolo, a historic cultural center and music venue in the city. Renowned for surreal, muted palettes and imposing unexpected compositions, Aryz reimagines the Greek god Apollo in his latest piece, blending classical iconography with an unconventional, almost irreverent twist that defies the traditional aura of divinity. The project, documented here through the lens of Lluis Olive, showcases Aryz’s technical prowess and evolving approach to storytelling on public walls.

Sala Apolo, situated along the bustling Paral·lel Avenue, is far more than a venue; it’s a multidisciplinary hub for music, art, and inclusivity. Known for its commitment to amplifying various voices and creating a space for many audiences, the venue’s philosophy aligns seamlessly with Aryz’s artistic ethos. His reinterpretation of Apollo—a figure representing creativity and artistic mastery—pays homage to the center’s mission. It also anchors the new figure in the cultural heartbeat of Barcelona – a dialogue between the city’s cultural legacy and Aryz’s contemporary narrative.

In typical Aryz fashion, the mural reflects his ability to reinvent his style while maintaining the visual language that has earned him global recognition. Bold lines, translucent layers, uniquely rendered textures, soaked with warm and inviting hues—we’re midway between the divine and the human. This is public art as a shared cultural experience. Special thanks go to Lluis Olive for vividly capturing the mural’s creation and to the Sala Apolo team for fostering a platform where creativity can thrive.

Sala Apolo https://www.sala-apolo.com/es/

When they spray paint on canvas, it does not look like other art, nor does it much resemble the work they used to do on trains.—Calvin Tomkins, The New Yorker, 1984

When we talk about the origins of graffiti, we have to constantly ask ourselves, “How far back into human history should we go?” And then when we talk about where graffiti has been, where it has gone, and where it permeates into the human experience now, we have to ask ourselves: How broad of an umbrella are we ready to use? We could start with cave paintings, literal mark making, and writing on walls. That, in essence, was graffiti. Here we saw men and women writing on walls for thousands of years; centuries later that led to men and women writing on subway trains, tagging highway overpasses and tunnels, on and on. And though it feels like cheating, the existence of cave painting proves there is an eternal and evolutionary impulse to communicate, to leave a mark in the form of art on walls to be read and deciphered.

Times Square Show, 1980.

Then there’s graffiti the way we know it. Style writing, street art, posters, stickers—it has all become a cultural phenomenon that informs music, dance, fashion, politics, television, movies, advertising, marketing, and, of course, contemporary art. The culture borne out of Situationists and subway trains has now, in a way, elected a president (Shepard Fairey), earned an Academy Award nomination (BANKSY), materialized across Times Square billboards (Jenny Holzer), graced the runways of major fashion houses (KAWS, FUTURA) and memorialized in books, documentaries, hip-hop, pop-rock, the list goes on. If we ever needed a barometer of how far graffiti as a cultural touchstone has gone, The Simpsons, ever the etched-in-stone pop-cultural icon, has not only made Bart Simpson a tagger but also featured a slew of graffiti artists over the years.

So you might ask why BEYOND THE STREETS has spent years dedicating itself to the conversation about where

One, which is about 60 feet high, reflects a woman holding a sledge hammer and represents a “goddess of work.” She has green leaves in her hair, one of her strong hands appears to be made of stone like a Roman or Greek statue, and a daisy is pinned to her skirt.

“I wanted her to look as though she was put together in some sort of collage of various art forms,” said Arrizabalaga in an interview. “In the background, you can see various colors I initially used, such as the green behind the red, or a brown behind an orange.”

The layered effect, which Arrizabalaga called “mistakes on purpose,” adds dimension to the painting, popping out toward the sidewalk instead of laying flat. He uses colors that are reflective of the environment around him.

The other mural, a horizontal piece that is approximately 100 feet wide, depicts seven workers in various uniforms pulling a rope in the same direction. There are both men and women, including one who is wearing a police officer’s uniform. Another is a woman wearing what appears to be a factory dress, with her hair pulled to the side.

“They’ll all pulling the rope in the same direction. Because if we don’t all pull together, things can’t happen,” said Arrizabalaga. “That’s the way it was back then.”

The Avenue Concept, the privately funded public art program founded more than a decade ago, had commissioned Arrizabalaga — better known for his artist name “ARYZ” — to coat the backside of a brand new mixed-use building. The building, Emblem 125, will soon include 249 luxury residential units and nearly 20,000 square feet of retail space. The project first broke ground in October 2020 on the former I-195 land, and is expected to be complete sometime this summer.

And it won’t be the only art at Emblem 125. When the building does open, a grand lobby will feature two-story ceilings

Aalborg, a city known for its rich history and vibrant cultural scene, also boasts an impressive collection of street art that transforms its urban landscapes into dynamic canvases. The street art scene in Aalborg is a spectacular display of creativity and storytelling, with over 85 murals that enrich the city’s public spaces.

The Story Behind Aalborg's Street Art

Street art in Aalborg offers a visual journey through the creativity of numerous artists who use the city's walls to communicate and provoke thought. This movement gained momentum with projects like "Out in the Open," which invites international artists to leave their mark on the city, turning Aalborg into an open-air gallery. These artworks range from photorealistic murals to abstract compositions, each adding a unique layer to the city’s aesthetic and cultural fabric.

The Extensive Array of Street Art in Aalborg

Aalborg is home to more than 85 street art pieces, each with its own story and beauty. This extensive collection includes works by globally recognized artists such as El Mac, who has painted everywhere from album covers for famous bands to murals of Barack Obama, and Guido van Helten, known for his moving portraits of local workers. Local talents and international artists alike contribute to a lively and ever-evolving street art scene that captures the imagination of all who visit.

Renowned Artists Behind the Murals

The city's street art has been created by a mix of international stars and local talent. Artists like the Polish Bezt, known for his piece "Meeting her Parents" at Absalonsgade 34, and the Argentine Franco Fasoli, bring global perspectives to Aalborg. Meanwhile, Danish artists such as Don John and the Copenhagen-based Miss Take decorate the city with local flavor, illustrating Aalborg's open embrace of both international and homegrown artistry.

Legal Status of Street Art in Denmark

In Denmark, street art occupies a leg