It would be an understatement to assert that street art, which emerges in all (in)conceivable sorts and sizes, is multifaceted. Indeed, painted surfaces of huge proportions are alternated with interventions on a human scale. Abundant use of colours and materials is side by side with aesthetic minimalism. Imaginative images are interspersed with realistic depictions while visual jokes are juxtaposed with serious messages.
Forget about the predictable and tedious advertising posters at bus shelters and on billboards. Instead, scan less prominent places in public space and notice that it is there that much more beautiful, exciting and important things are advertised. Artists, illustrators, photographers, musicians, bloggers, activists, small clothing lines and others promote themselves through sticker art – the most common form of street art.
A delightful chaos composed of arbitrary pictures and words that even after repeated viewings allows you to spot new things. What can this be other than a collage? Throughout the centuries, collage-like application techniques appear at different moments and in different locations, but it was only after 1900 – in conjunction with the rise of modernism and courtesy of the pioneers George Braque and Pablo Picasso – that this art form made a real breakthrough.