Nina Valkhoff

Believing in the ability of art to create a positive environment for learning, aWall Mural Projects has produced over 150 murals at schools across Miami Dade County since 2018. Founded and directed by artist Sergio Arce, who paints under the name Registered Artist, this year's round of murals reached a peak during Miami Art Week. During that time, about 30 international artists descended on Miami to transform bleak school walls into something special.

For Arce, this period is the culmination of hard work that not only involves selecting artists and coordinating their murals, but begins much earlier through fundraising and working with schools to select walls in need of art. For the 2024 edition, he also mentored two college students in the art of mural-making and allowed them to contribute to his two finished pieces.

“The aWall Mural Projects is an incredible example of the positive power of art,” says Eugene Kim, co-founder and editor-in-chief of My Modern Met. “I was honored to meet some of the participating artists while providing media coverage for My Modern Met during Miami Art Week and Art Basel Miami. They are such good-hearted people with amazing talents.

“The stunning large-scale murals they created, at multiple schools across Miami, will impact thousands of children’s lives and I’ve seen comments on social media where students, past and present, are excited and proud that these artworks are being displayed at their schools. Imagine how this will impact their attendance, participation, education, and overall future. Kudos to Sergio (Registered Artist) and all of the participating artists for their massive contributions.

Arce's hard work and dedication to bettering these schools, which are primarily located in low-income areas, is undoubtedly commendable. Drawing on a wide array of skills, he's been able to steer aWall into a shining example of the transformative power of public art. “My Modern Met is proud to donate to the aWalls GoFundMe campaign,” Kim adds. “Our hope is that the community will support them as well so that they can continue to grow and do their important work.”

We had the chance to speak to him about the impetus behind aWall, what it's like managing the festival, and his hopes for the future. Scroll down for My Modern Met's exclusive interview and support future aWall murals through their GoFundMe.

Registered Artist

How long have you been painting and creating your own work out in the street?

I have been painting for over 15 years now and putting my work out in the streets for about maybe 13 years now.

How did aWall come about?

What inspired me to create aWall was seeing some of my peers creating their own art projects. At first, I just wanted to bring more art to blighted areas, but I soon found an opportunity to bring that art to public schools.

Shane Grammer

How does it feel to be on the other side as an organizer and director of a festival, rather than strictly an artist?

Before tackling this task of being an organizer and director of a mural festival, I was a charge nurse at the University of Miami Hospital. This gave me the opportunity to build on my leadership skills, manage a team, and work for a common goal. The biggest challenge I faced at first was just figuring how to start. I think that’s the hardest thing, taking that first step. You learn as you go, and there will always be difficulties and challenges, but without taking the initiative to even start, you will never know what you’re capable of. I believe that the fear of failing holds so many back from doing something great.

Congo

My Dog Sighs

What was the process for getting walls? Did you feel that schools were receptive?

With our first project, the walls were selected for us. The schools were receptive to the project but also weary, as there was no evidence of any previous projects. They really put their faith in us to do a good job and deliver on our promises. Since then, they have placed more trust in the process and have allowed us more freedom to create.

How do you think that street art can enhance public space?

I have first-hand seen how public art can transform public space with the rise of the Wynwood Art District in Miami, FL. It went from a blighted area of Miami to an art mecca recognized worldwide. Most of the schools we partner up with are in low-income areas, and these buildings have this institutional influence, which some find dreary. In all the years we have been doing this project, one of the takeaways we’ve noticed is that students, staff, and parents have all taken more pride in their schools. This has led to more community involvement and increased attendance in these schools.

Natalie Robinson

Wing Chow

What type of curatorial considerations did you make when selecting artists for the project?

The process we take to curate these schools is first finding artists who share the same passion and understanding of the importance of how art programs are to early education. Therefore, we do have a screening process where sketches are submitted, and a panel reviews each submission, ensuring it will have a positive impact on the students and staff of each school. Safety is also a big priority, so we perform background checks and lightly screen social media presence to get a feel for the artist's personality.

What was the biggest challenge during Miami Art Week in getting such a large number of walls pulled off?

Currently, the biggest challenge we face during Miami Art Week is just getting through the traffic. It sounds silly, but when you have multiple schools in various areas in Miami, traffic plays a huge factor in being able to successfully complete all these murals.

MORAZUL

Patrick Maxcy

What do you hope that people take away from aWall?

What I would like people to take away from the work we are doing here with aWall is that art programs and initiatives do have a big impact on our communities. We hope to find more organizations supporting these types of initiatives.

Dodici

Registered Artist

What's next for you and for aWall?

I’m hoping to take a few weeks off to reflect on this year’s project and see how we can improve and build a bigger impact for the upcoming year.

Registered Artist: Instagram | Facebook
aWall Mural Projects: Instagram | Facebook

My Modern Met granted permission to feature photos by Registered Artist.

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UK-based creator My Dog Sighs has loved art throughout his entire life. From sneaking it into side gigs to fortunately turning it into a living, he ultimately aims to become better and better with every project he completes. After all, creating art is more than just a job for him—it's the one thing he loves, and he considers himself lucky to be able to do it time and time again.

While some recurring motifs have become synonymous with his work—from eye murals to can art—the true beauty in the work of My Dog Sighs is in the details, making each mural, each painting, and each experimental project unique and special.

Recently, My Dog Sighs took his now world-famous colorful eyes to Miami Art Week. There, he transformed four walls into brightly colored pieces. While still connected thematically, the pieces serve as the perfect example as to why standing by a design or pattern doesn't limit an artist. Instead, it inspires one to use their creativity to the fullest.

My Modern Met has been following the work of My Dog Sighs for over a decade now, seeing him experiment with projects big and small, and canvases that go from the traditional to the unexpected. We recently had the fortunate opportunity to catch up with him and take a look back at his long career. Read on for My Modern Met's exclusive interview with My Dog Sighs.

How did your painting journey begin?

I’ve always painted. In the ’80s it was friends’ leather jackets, the ’90s rave backdrops but I never thought I’d be able to make a living from it. So I got a “proper job” and moved on with my life. In the early 2000s, I stumbled across the emerging street art scene and was hooked. It was the perfect opportunity to create with complete freedom. No galleries curating. Just my own creative drive pushing me forwards. As the scene exploded, I was in the right place at the right time.

Can you tell us what your creative process look like?

I’m lucky to work in a few different styles, both in my street art, mural painting, and studio work, so no two days in the studio are the same. I have a very short attention span so I’m often flitting from one piece to the next, with 30-40 pieces on the go at the same time. It means my studio is chaos. But it’s my happy place.

We've featured your work for over 12 years now! Looking back, how do you feel about the evolution of your practice over the years?

I’m incredibly lucky to have found the thing I love. Over the years, I’ve only ever strived to better the last piece I’ve created and the journey has been just that. One piece better than the last. The importance of play and experimentation has been key. I love the quote attributed to Picasso, “Inspiration exists but it has to find you working,” and I’ve followed that mantra, keeping busy all the time, in the hope that with every artwork I produce I get a little bit better.

Since you've experimented with both as an artist, what do you like about smaller canvases and what do you enjoy about large-scale murals?

I love the variety. Mural work offers me the opportunity to travel and meet up with other artists. Working on the street offers excitement and the opportunity to interact with the audience but my studio work keeps the introverted side of me content. Sometimes hiding away in my studio painting with a tiny brush with only three hairs and lost in tiny details is the perfect meditations, other times, being among different communities, playing with scale and throwing paint on huge walls with spray cans gets my juices flowing. I’m also moving into more sculptural work which is pushing my skill base and keeping everything fresh.

Is there a story or meaning behind the recurring eye motif in your work?

I stumbled into the eyes quite late in my creative journey but find it the perfect vehicle to explore stories and narratives. I’m often touted as the artist who paints eyes but for me it’s the ability to hide stories within the reflections. Stories of love, loss, people and place.

You're also known for your can art. What's the latest with that project?

I was honored to be invited to have a museum show in Paris last year with a focus on my cans, pushing myself to move to oil paint as a new medium, this new medium really stretched the possibilities and outcome of my cans. They are like family. Each with their own history, their own personality. Each stepping into the world to lead their own journey.

Is there a particular painting you're most proud of?

It’s a cheesy answer but the best artwork I’ll ever create is the next one. Every piece an artist makes has elements they like and elements they’re not happy with. I pull the good elements forward and work on the bits I don’t like.

What do you hope people will take away from your art?

The hope, with everything I make, is that there is some connection with the audience. The dream is that some element gets stuck in their head/heart and that it makes them view their world in a slightly different way.

My Dog Sighs: Website | Instagram

My Modern Met granted permission to feature photos by My Dog Sighs.

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“Scholarship Prep Santa Ana,” Santa Ana, CA. Depicts three heroes for the Scholarship Prep Elementary in downtown Santa Ana.

Out of all artistic media, murals are arguably the most public. Site-specific, expansive, and often highly visible, they’re unique in their ability to capture their surrounding culture and atmosphere. This is only one reason why artist Brian Peterson gravitates toward the medium.

Based in Miami and working in Southern California, Peterson has developed a practice firmly rooted in what he describes as the “essence of the human spirit.” They’re also replete with bold colors and simplified geometry, reflecting the vibrancy of the communities in which they’re found.

Peterson’s artwork, though, is not self-indulgent. In 2015, he pioneered the Faces of Santa Ana initiative, during which he painted portraits of unhoused people in his Santa Ana neighborhood and shared sale proceeds with them. Since then, the project has expanded into the non-profit Faces of Mankind, and has been featured in BBC’s Amazing Humans, NPR, and The Huffington Post.

Most recently, Peterson designed a mural for California State University’s Fullerton (CSUF) campus. The mural explodes with warm and inviting tones, and showcases a diverse array of faces, ages, and personalities. The CSUF project is indicative of Peterson’s other work, which is displayed in everything from high-end shopping facilities to homeless shelters across the country.

“I was fortunate to meet artist Brian Peterson through a mutual, local friend,” says Eugene Kim, co-founder and editor-in-chief of My Modern Met. “Before I even saw any of his artwork, what I immediately noticed was his kind and genuine heart. As you can see, Brian is an incredible talent. But even more than that, he is an amazing person. The thought and meaning behind projects like Faces of Santa Ana should absolutely be highlighted and commended. It’s an honor to see him continue to grow as an artist, and we are privileged to feature his stunning artwork and call him a My Modern Met friend.”

My Modern Met had the chance to speak with Brian Peterson about his artistic practice, his creative process, and his relationship to public art. Read on for our exclusive interview with the artist.

“Lion of Judah,” Santa Ana, CA.

“Lion of Judah,” Santa Ana, CA.

How has your creative practice evolved throughout time? 

My creative practice in mural production has evolved significantly over the years, with each new project offering me the opportunity to push my boundaries. I continuously challenge myself with more complex shapes, refined color palettes, and larger scales, resulting in a distinctive geometric modern street art style that has gained recognition within the broader street art community.

Moreover, I have increasingly focused on the design phase and collaborative process with clients. This phase, which includes brainstorming sessions and discussions about their business or space, has become an essential and energizing part of my work. Engaging with clients on a deeper level inspires me to create pieces that truly resonate with their vision, allowing me to produce work that feels both personal and impactful.

“A Mother's Love,” Phoenix, AZ. Installed at the Phoenix Rescue Mission Women's Home.

Detail from “A Mother's Love,” Phoenix, AZ. Installed at the Phoenix Rescue Mission Women's Home.

What originally drew you to murals as a medium? 

My journey into mural work began unexpectedly. At an art conference in Orange County, I met an inspiring woman who told me, “God has a word for you about your creativity.” While initially taken aback, I was intrigued as she spoke for several minutes, describing a vision of me painting the faces of the poor on a wall in my city to honor and dignify those who often feel forgotten. She foresaw this wall leading to many more across the U.S., transforming graffiti art into something meaningful.

A few months later, I received a call from a developer working on a housing project for the homeless. They asked if I would create a 180-foot mural on the back of their building. I ended up painting the faces of the formerly homeless residents, and that project became the first of many, shaping the course of my mural work ever since.

“Scholarship Prep Santa Ana,” Santa Ana, CA. Depicts three heroes for the Scholarship Prep Elementary in downtown Santa Ana.

Mural installed on California State University's Fullerton campus.

Detail from mural installed on California State University's Fullerton campus.

What is your creative process in designing and ultimately painting a mural? 

My creative process begins with the initial phone or Zoom call with the client, where I focus on understanding their business, organization, or space—whether it's a workplace, ministry, school, or something else. I ask questions to uncover aspects of their day-to-day life that truly excite them or evoke passion.

Once I identify that spark, it becomes the foundation for my ideation process. I then design the mural digitally, typically using Photoshop and Illustrator, before transferring the final design onto the wall. I rely on Montana 94 spray cans, a painter's edge, and countless hours of careful work to bring the mural to life.

Upon arriving on-site, my primary goal is to find my “zone.” It’s a place of deep focus and flow, where I can paint for hours on end, fully immersed in the process. It’s in this space that I silence the external distractions, quiet the doubts, and push through any physical fatigue. For me, this process feels like a form of worship, often deeply spiritual, and profoundly rewarding.

“La Placita,” Santa Ana, CA. Mural installed in partnership with Community Development Partners on their affordable housing development.

“La Placita,” Santa Ana, CA. Mural installed in partnership with Community Development Partners on their affordable housing development.

Murals are often highly public works created on a large scale. How, if at all, do these two factors influence the themes you focus on in your work? 

I believe that creating murals in public spaces carries a unique responsibility to contribute to the narrative of the surrounding community. In every neighborhood, within just a one-mile radius, stories are unfolding, cultures are evolving, and people are creating lasting memories.

My goal is to create art that resonates with and enhances these stories. I strive to ensure that each mural feels intrinsically tied to its location, as if it could only exist in that specific place and time, reflecting the unique energy and history of that moment.

“Rise Above the Storm,” Fullerton, CA. Installed in Illumination Foundations Fullerton care shelter.

How does your art embody a “contemporary street art” style? Are there other terms you would also use to classify your art? 

I don't typically categorize my style with specific labels, but I would describe it as a form of modern geometric street art. My goal is to create portraits that distill individuals down to their essential forms, using angular shapes to offer viewers a fresh perspective on the subjects, encouraging a deeper connection and understanding.

“More Than an Athlete,” Ovation Hollywood, Hollywood, CA. Public mural honoring Kobe Bryant's 2018 Academy Award.

“We Will Rise Above,” Philippe the Original, Los Angeles, CA. A tribute to the leaping skills of Kobe Bryant and Mookie Betts.

“We Will Rise Above,” Philippe the Original, Los Angeles, CA. A tribute to the leaping skills of Kobe Bryant and Mookie Betts.

What are some of your favorite past projects, murals, or paintings? 

Some of my most meaningful projects have been my Kobe Bryant murals. As a teenager, I was a huge fan of Kobe, and as an adult, the opportunity to collaborate with his wife, Vanessa, and the Mamba & Mambacita Sports Foundation has been truly remarkable.

My three favorite Kobe murals are Forever Courtside in Pearson Park, More Than an Athlete in Ovation Hollywood, and Courthedral in Nickerson Gardens. These pieces, along with others, can be viewed at www.brianpetersonart.com.

“Kobe and Gianna Courthedral,” Los Angeles, CA. Installed inside of the Nickerson Gardens Gym.

“Kobe and Gianna Courthedral,” Los Angeles, CA. Installed inside of the Nickerson Gardens Gym.

What do you hope people will take away from your work? 

My favorite reaction from viewers of my work is when they are left speechless. It's that moment when the art connects with the heart on a deeper level, transcending words. This is the true power of art—the ability to evoke something intangible and profound. When I witness a quiet, reflective response, I feel grateful that the art has had a transformative impact, reaching beyond the visual to touch the soul.

“Abba's House,” Asheville, NC. Installed at Western Carolina Rescue Ministries.

“Love Always Wins,” Anaheim, CA. Mural installed on the parking garage adjacent to the county clerks office.

“Love Always Wins,” Anaheim, CA. Mural installed on the parking garage adjacent to the county clerks office.

Do you have any exciting projects coming up? 

I’m constantly working on new projects that I’m excited about. While I can’t always share details until the murals are underway, I’m grateful for the growing opportunities opening up in new locations across the United States.

Brian Peterson: Website | Instagram

My Modern Met received permission to feature images by Brian Peterson.

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Artist David Popa is known for his extraordinary earth murals. Using natural materials, he creates stunning ephemeral pieces that slowly blend back into the Earth. For one of his latest projects, he was inspired by nature itself, specifically the spiral form of ammonites.

These prehistoric shelled cephalopods died out about 66 million years ago, but their fossils can be found around the world. Their unique shape, which echoes the golden ratio, spoke to Popa, and when he saw a section of ice with a protruding rock in southern Finland, he knew that he's come upon the perfect canvas.

Created using charcoal and water, Ammonite is a stunning piece that Popa shows off through well-executed videos and photography. He then transformed the piece into a limited-edition print that captures the spirit of the original. We had the chance to speak with Popa about Ammonite and his philosophy about creating ephemeral art. Scroll down to read My Modern Met's exclusive interview.

 

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What attracted you to the form of ammonites?

Ammonites have always fascinated me. They’re these fossilized spirals—remnants of creatures that lived millions of years ago—and to me, they embody time itself. There’s something poetic about their form: cyclical, eternal, and yet fragile. They remind us that life leaves traces, even after it’s gone. In a way, ammonites are nature’s art, capturing the passage of time in a single, beautiful form. That idea felt deeply connected to the themes I explore in my work.

Can you tell us a bit about how you scout your locations?

Scouting locations is about searching for resonance—finding places where the landscape feels like an extension of the piece I want to create. In this case, I was working on the Baltic Sea, only about 20 minutes from my house. My process was quite simple: I headed out with my drone. I found this incredible spot where rock formations were cracking and protruding through the ice, almost as if they were pushing their way out of the surface. I knew immediately that this would be the center of the piece, a place for the ammonite to spiral out of—as if being birthed from the earth itself.

Given the shifts in weather, do you have to start creating immediately after finding your location, or is there flexibility?

When working specifically on the ice, I have to start almost immediately. The conditions can change drastically from one day to the next, whether it’s temperature, wind, or shifting ice. If I find a location that resonates, I begin working right away—because I know that it might not look the same even a few hours later.

 

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How long did the piece take to execute, and what type of materials did you use in order to be sensitive to the environment?

The Ammonite piece took about a day to create. I work quickly due to the scale and the unpredictability of the environment. For materials, I use natural pigments—chalk, charcoal, and earth pigments—that are completely non-toxic and biodegradable. They blend back into the land over time without leaving a trace, which is important to me.

Many art lovers take the permanence of art very seriously. Museums go to great lengths to ensure the permanence of works, and artists are often told they must ensure their work lasts over time. Your work is quite the opposite. What is it about working with impermanence that speaks to you?

Impermanence feels honest. Life is fleeting, fragile, and constantly changing. Why should art be any different? Working with impermanence forces both me and the viewer to be present—to appreciate the work while it’s there, knowing that it won’t last forever. It’s a reminder of the beauty in letting go, in the cycles of creation and disappearance. The earth takes the work back, and in that, there’s a kind of poetic completion.

What is your favorite part of the creative process? Is it the execution or watching the evolution after the fact?

My favorite part of the creative process is when I’m out at the location, working in the context of nature. I generally don’t reference my drone very often, so when I pull it up for the first time and see the work from above, it’s always such a surprise. The way nature interacts with the piece is something I could never have predicted. Sometimes, the surprise works in the opposite way—the piece doesn’t look as good as I imagined. But that element of not knowing what the end result will be keeps me coming back for more.

 

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What do you hope that people take away from this piece in particular?

I hope Ammonite gives people a moment of reflection. It’s about connecting with something bigger than ourselves—nature, time, and the beauty of what’s been left behind. I want viewers to feel a sense of awe at how the earth carries its history and to reflect on their own place in that cycle.

What’s next?

I don’t generally know what’s next, and I think that’s part of the journey. That said, I’d like to spend more time creating fuller, longer films about the entire adventure of my work—capturing not just the art, but the entire process of being out in nature and creating. I hope to focus on that in 2025, along with any future brand or public art projects that come my way.

David Popa: Website | Facebook | Instagram | Shop

My Modern Met granted permission to feature photos by David Popa.

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Una publicación compartida por City of Bend Oregon Government (@cityofbendoregon)

Over the last few months, the city of Bend, Oregon has become used to the feeling of someone having an eye on them. But this isn't espionage or anything of the kind, but rather a cheeky act of art vandalism. An unnamed individual(s) has been putting googly eyes on public art around the city, much to the delight of the public, and to the concern of local officials.

The artworks that have been brought to life with googly eyes are part of the Roundabout Art Route, which is located around the city and features 27 sculptures created by artists from around the world. Among the eight pieces that have been targeted are the  Phoenix Rising, an all-red bird-shaped metal piece by Frank Boyden; Orb I by Brandon Zebold, a six-foot-tall metallic sphere; and Joe Halko's Big Ears, a family of deer cast in bronze—all of which have been given a fun twist, dropping their more solemn appearance if only for a little while.

While the elusive artist(s) has long engaged with these pieces by decorating them with seasonal gear, this time the local government has asked the anonymous art bandit(s) to stop. “We love our roundabout art in Bend, so let's do our part to take care of it,” reads a statement from the city.​ “While the googly eyes placed on the various art pieces around town might give you a chuckle, it costs money to remove them with care to not damage the art.”

The officials were quickly met with pushback from the residents, who shared how it has given them a good chuckle and lightened the mood, and that they should focus on more pressing issues. While the government said that they don't condone the wreaths, leis, and Santa hats that people have placed on public art in the past, they requested people stay away from adhesives, graffiti, and all things that can damage the art.

According to Oregon Public Broadcasting, the city has spent $600 to remove the adhesive from the metal sculptures, plus an estimated $900 will be spent to remove googly eyes from Phoenix Rising, as the piece may need to be repainted entirely.

“Adhesives can pull off the paint, wax or other protective coatings on the metals,” René Mitchell, Bend’s communications director told The New York Times. “If paint on steel is chipped, scratched, or removed with adhesives, the steel will rust.” Due to the nature of the metallic pieces, each one requires a trained conservator and a different process to be cleaned.

After the response to the googly eyes was picked up by several outlets—including a call out by The Late Show host Stephen Colbert—the team said that they were simply putting the artworks first. “There was no intent to be heavy-handed, and we certainly understand maybe how that was taken,” Mitchell told ABC. “We own this large collection of public art and really want to bring awareness to the community that applying adhesives does harm the art. So as stewards of the collection, we wanted to share that on social media.”

Meanwhile, local businesses have followed suit with the trend, aware of the cheer it brings to people's days. The Pine Tavern posted a photo on Facebook of giant googly eyes on their façade with the caption, “This googly eye trend has got to STOP!” Meanwhile, the Unofficial Logging Co., an ax-throwing facility, added googly eyes to one their targets, cheekily writing, “This googly eye problem in Bend is getting out of hand!” These funny additions may physically be completely removed from the city one day, but they'll surely stay in the hearts and memories of the city’s residents.

Sources: City of Bend; Thanks to a Prank, Sculptures Make Googly Eyes at Oregon Residents; In Bend, art is in the googly eye of the beholder

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On International Men’s Day, November 19, male statues across Sweden were adorned with baby slings, carriers, and dolls. From Malmö in the south to Umeå in the north, several Swedish cities bore witness to statues transforming into fathers through the brilliant #Kvantitetstidspappan campaign, conceived by the Swedish think tank Arena Idé.

Sweden boasts some of the world’s most robust parental leave policies, offering both parents a combined total of 480 days’ parental benefit per child. Though these days are intended to be shared between parents, Swedish fathers take only 30.9% of parental leave days and 38% of sick leave to care for children. Roughly translating to “Quantity Time Dad,” Kvantitetstidspappan challenged these disparities in a subversive celebration of International Men’s Day.

Arena Idé and fathers around the country located male statues and wrapped baby accessories around them, including Standing Man in Umeå, Hjalmar Branting in Stockholm, and Det svenska tungsinnet in Malmö. The baby slings and carriers diminished traditional associations with stoicism and masculine power, instead reimagining these statues as contemporary models of fatherly engagement.

“When discussing equality in the work place, we often focus on women and the negative consequences inequality has upon them. But here, we see that men also lose out on something important—time with their children,” Vilgot Österlund, a statistician at Arena Idé said in a statement. “With our statue campaign, new statistics, and our proposals, we hope to make this a little clearer!”

The campaign urged workplaces to reconsider parental expectations, especially as they related to fathers. Arena Idé proposed reforms such as redistribution of parental allowance days, increasing mutual parental leave days, and introducing employer bonuses for workplaces that encourage equal leave between parents.

This initiative generated tremendous visibility across Swedish media outlets, as well as on Instagram. One user shared a post that said “more dads should spend more time at home with their children, something that we as a society should encourage through reformation and pep!”

To learn more about the Kvantitetstidspappan campaign, visit Arena Idé’s website.

For International Men’s Day, male statues across Sweden were adorned with baby carriers, slings, and dolls.

 

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A post shared by Vilgot Österlund (@vilgotost)

The campaign, called #Kvantitetstidspappan, sought to challenge disparities between parental leave policies and expectations.

 

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A post shared by Arena Idé (@tankesmedjan)

Male statues, traditionally symbolic of stoicism or masculine strength, transformed into contemporary models of engaged fatherhood.

 

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The think tank behind the campaign, Arena Idé, released an in-depth report about workplace disparities and proposals of how to encourage fathers to spend more time at home with their children.

 

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Arena Idé: Website | Instagram | Facebook

Source: Arena Idé

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Known for its lively nightlife, independent shops, and vibrant arts scene, Manchester’s Northern Quarter boasts a unique and creative character. The neighborhood has been home to a diverse array of graffiti murals, street art, and public installations throughout its history. Now, the Northern Quarter serves as a fitting backdrop for a new mural by the artistic duo SNIK.

Located on the corner of Tib Street, Still Life offers a moment of tranquility within the bustling city. The mural depicts a woman rendered in etched black lines, bathed in warm tones, and surrounded by flowers. Towering at the impressive height of 20 meters (65.6 feet), Still Life gracefully beckons passerby to pause, reflect, and consider their surroundings.

Still Life marks SNIK’s triumphant return to Manchester’s Northern Quarter following their 2018 mural Serenity. The artwork paid tribute to the suffragette movement, timed to the 100th anniversary of women gaining the right to vote. With its bold colors and lively composition, Serenity quickly became a fixture of the neighborhood. Still Life is expected to gain similar recognition and beautifully reaffirms the Northern Quarter’s dynamic and singular culture.

“With Still Life, we wanted to create something that not only enhances the urban landscape but also encourages people to take a step back and appreciate the little things, the moments of calm that we often overlook,” the artists say.

A vivid portrait of peace and contemplation, Still Life seamlessly captures the spirit of a legendary neighborhood. To discover more striking murals and street art by SNIK, visit their website.

A new mural by the street art duo SNIK captures the vibrant spirit of Manchester's Northern Quarter.

The nearly 65-foot mural, titled Still Life, encourages passerby to pause, reflect, and consider their surroundings.

Located on the bustling corner of Tib Street, Still Life seamlessly blends into the dynamic and creative neighborhood.

SNIK: Website | Instagram | Facebook

My Modern Met granted permission to feature images by SNIK.

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The city of Łódź, located in central Poland, has a rich history with textiles that began in the 19th century. Its abundance of rivers made it the perfect location for this industry to flourish, and in 1960, the city opened the world's first textile museum. To celebrate this heritage, Polish street artist NeSpoon recently spent six days painting a meticulous lace pattern across the side of a building.

The 1,400-square-foot mural pays homage to Łódź's lesser-known machine lace industry. NeSpoon, who always looks to local lacework for inspiration, found a piece of lace at an antique shop near the wall. This pattern inspired the stunning mural that flows across the wall.

A photo in the Central Museum of Textiles inspired her to focus on machine lace. The image shows Anna Geyer, the wife of Łódź industrialist Gustaw Geyer, holding a piece of lace in her hand. In 1888, Gustaw Geyer opened a lace and curtain factory that operated in the city. Though that factory no longer stands, NeSpoon's mural is an homage to this industry and its impact on the city.

Making an immediate impact on the urban landscape, the mural is an incredible work that requires patience and precision. After sketching out the basic framework of the lace in spray paint, NeSpoon works tirelessly to connect the piece and fill in the small filaments that give the work the look and feel of lace.

To see more of her street art, which graces walls around the world, follow NeSpoon on Instagram.

Street artist NeSpoon recently completed a 1,400-square-foot mural in Łódź.

The mural celebrates Łódź's rich history with the textile industry.

The pattern used in the design is based on a piece of lace NeSpoon found at a local antique shop.

Watch the artist's meticulous creative process.

 

View this post on Instagram

 

A post shared by NeSpoon (@nes.nespoon)

 

View this post on Instagram

 

A post shared by NeSpoon (@nes.nespoon)

NeSpoon: Website | Behance | Facebook | Instagram

All images by Piotr Walendziak. My Modern Met granted permission to feature photos by NeSpoon.

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Photo: Dr. Derek

The busy streets of Manhattan are typically far removed from nature. That's precisely why it was the perfect spot for Spanish artist Dulk to make a statement with a giant mural. As part of the Street Art for Mankind, the street artist created a mural starring a whimsical group of ocean creatures, hoping to send a message about how these animals also call the neighboring waters home.

“Nothing has had a more powerful impact upon the course of New York City’s history and prosperity than its natural position on the water at the confluence of the Hudson River and the Atlantic Ocean,” Dulk tells My Modern Met.  “Yet the city’s flourishing economy was built on the alteration of New York City’s shoreline and at the expense of marine ecosystems. Progress has been made and this mural is a tribute to blue ecosystems and to the significant efforts that need to continue to achieve healthier ocean ecosystems that will benefit people, communities, and the natural world. It is about ensuring that whales, dolphins, sharks, and other marine life that we see coming back in higher numbers to cities and NYC continue growing and thriving!”

Dulk started working in graffiti in 2003, and began taking on large-scale murals in 2011. When asked to choose his canvas, he picked the building located at 450 10th Ave for its shape and format. “Also because it seemed to me that the building in which it is located, a small building, in the middle of huge skyscrapers was the perfect place to show a mural of such high significance,” he explains. “It was like David against Goliath, a modest and small building is able to launch a big message in front of big and powerful glass buildings.”

From top to bottom, the mural features a humpback whale, the endangered North Atlantic right whale, a sperm whale, and the harbor porpoise. The artist also made sure to showcase the Hudson River’s most famous fish, such as the Atlantic sturgeon and the diamondback terrapin, a turtle species that is declining. He also included his signature character, the Soul Rider, depicted getting along with wildlife in the ocean.

To create his murals, Dulk uses water-based acrylic paint—an usual choice for this sort of work. “Using acrylic paint instead of spray paint helps me create a color palette with smoother transitions. And it allows me to create the shades of color I need for each part of the mural,” he explains. Painting the mural took him and his team seven days to complete.

Since murals are an accessible form of public art, the artist sees them as precious resources to launch powerful messages that need to reach all kinds of people. Ultimately, he hopes to shine a light on the wildlife found in bodies of water in New York City and other large metropolises.

Dulk says, “I'm trying to make people aware that if we really want to, we can repair many ecosystems that are very damaged today. Only a little awareness is needed from all parts involved to see big changes.”

As part of Street Art for Mankind, Spanish artist Dulk created a mural starring a vibrant cast of ocean creatures.

Photo: Dr. Derek

“This mural is a tribute to blue ecosystems and to the significant efforts that need to continue to achieve healthier ocean ecosystems that will benefit people, communities, and the natural world.”

Photo: Dr. Derek

When asked to choose his canvas, he picked the building located at 450 10th Ave for its shape and format. “It was like David against Goliath, a modest and small building.”

Photo: Dr. Derek

From top to bottom, the mural features a humpback whale, the endangered North Atlantic right whale, a sperm whale, and the harbor porpoise.

Photo: Dr. Derek

The artist also made sure to showcase the Hudson River’s most famous fish, such as the Atlantic sturgeon, as well as his signature character, the Soul Rider.

Photo: Dr. Derek

To create his murals, Dulk uses water-based acrylic paint. “Using acrylic paint instead of spray paint helps me create a color palette with smoother transitions.”

Photo: Dr. Derek

Painting the mural took him and his team seven days to complete.

Photo: Dr. Derek

Since murals are accessible forms of public art, the artist sees them as precious resources to launch powerful messages that need to reach all kinds of people.

Photo: Dr. Derek

“Only a little awareness is needed from all parts involved to see big changes.”

Photo: Dr. Derek

Dulk: Website | Instagram

My Modern Met granted permission to feature photos by Dulk. Quotes have been edited for length and clarity.

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Versailles-based artist L7matrix is known for his expressive street art, with large-scale murals spread across more than 50 countries. Through his vibrant and bold work, he aims to unite people from diverse cultures and regions.

L7matrix’s style blends realism with dynamic bursts of color, using spray paint to create sweeping effects that resemble billowing smoke or flames. Every piece he creates feels alive, capturing the movement and energy of his subjects, which often include birds, jellyfish, and human faces.

Although L7matrix often portrays natural subjects, he adds a surreal twist to each piece. In a recent mural for The Phoenix Bar in Dundalk, Ireland, he depicted The Morrígan, a powerful figure from Irish mythology. The Morrígan is closely linked to war and destiny, often foretelling doom, death, or triumph in battle. She frequently takes the form of a crow, and L7matrix’s striking mural beautifully captures her transformation from woman to bird.

L7matrix describes his work as a reflection of everything he loves and feels—“always moving and screaming and exploding in beauty and chaos.” By bringing his art into public spaces, he infuses vibrant energy into the surroundings, capturing the chaotic essence of nature and being human.

Check out some of his street art below and find more of the artist’s work by following L7matrix on Instagram.

Street artist L7matrix creates large-scale murals around the world that blend realism with dynamic bursts of color.

Every piece he creates feels alive, capturing the movement and energy of his subjects.

This piece captures The Morrígan, a powerful figure from Irish mythology.

Through his vibrant work, the artist aims to unite people from diverse cultures and regions.

L7matrix: Website | Facebook | Instagram | X

My Modern Met granted permission to feature photos by L7matrix.

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