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Hybridity, does it trivialize the arts?

Hybridity, does it trivialize art?

“If a painter also does performance art, the art world is extremely skeptical - it’s considered a trivialization of one form by another.” Carolee Schneemann, 1988 (Cited by Kaye,1996 a) 

This essay will explore which philosophical outlooks might have lead to the statement above being true at the time of writing, assess whether these are still prevalent attitudes today and hypothesis how this might affect current and future practitioners. Within the text I aim to define some key terms, identify hybridity as an area of exciting development, indicate some interesting practitioners in the field and place current developments in a wider social context.

Performance art is a loose term ‘often used simply to describe, identify or quantify a certain work of art as having a relation to performance or performance-like attributes ... Performance art does not present the illusion of events, but rather presents actual events as art.’ (Hoffmann and Jonas, 2005) ‘... It can be any artistic manifestation or action that is presented in front of an audience, although, in contrast to theatre, it is not based on a pre-determined set of dialogues.(Hoffmann and Jonas, 2005, citing Goldberg, 1979)’

To consider an art-form ‘trivialized’, it is necessary for it to have been transformed from another state, one of greater importance. It is also necessary to accept that some critics believe the arts are more important when they are distinct from each other, when they are ‘pure’.  This idea of artistic purity within a singular medium is one that Modernist, Abstract Expressionist painters and theorist Clement Greenberg explored (Marthinsen 2002), echoing Plato’s discussions of art and what is desirable in his ideal society(Melling 1987).

Current, postmodern, artists are, by default, influenced by modernist thought. ‘Postmodern’ is also a loose term and many art movements can be included under its banner. Postmodern reactions to modernist ideas may include questioning ideas of originality, status and purity and a desire to break free from categorization. Bricolage is strongly associated with Postmodernism and it can be described as the joining together of fragments not previously associated with each other. Derrida(1967), suggested that we are all bricoleurs as we are all influenced by many things. (1)

It is against this well established background of critical thinking that hybrid and multi-disciplinary artists such as Schnemann find themselves working. If ‘multi-disciplinary’ is taken to describe an artist who works with different genres in separate pieces, the term ‘hybrid’ could be used to describe one who uses different genres in the same piece of work. 

Hybridity, perhaps, is an expanded form of bricolage, related but separate from Jorg Heiser’s (2010) ‘super-hybridity’. The concept of hybridity is closely linked to postmodern questions relating to modernist ideas such as purity and abstraction. It is a word with negative connotations(Cohen &Toninato, 2007) but Leah Marthensen(2002) and I argue that ‘it can represent increased intensity, knowledge and experience.’ RoseLee Goldberg(1979) believes artists have always been multi-disciplinary and that the separation of the disciplines is relatively recent, suggesting that current hybrid practices are a return to an older, more holistic view of the creative arts. 

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‘If there is one generally acknowledged characteristic of post-modernism, it is profound skepticism about the universal validity of any single  narrative, or theoretical ‘story’ concerning human affairs.’ (Blake, 1996, citing Lyotard, 1979)

Modern Painters magazine (March 2011) wrote that ‘theatricality has been a prominent mode of contemporary art since the decline of modernism... a reaction against the modernist emphasis on purity, abstraction, materiality and concept.’ They go on to say that much of the most interesting work, currently, is film and video, a medium which, due to it’s nature and its relative newness, is hybrid in the extreme.  

The problem with being someone who doesn’t fit in one or the other form is that you get trashed from both sides. The visual arts people say it’s not hip enough, but the theatre people think it’s too cold.’ Ping Chong, 1990 (cited by Kaye, 1996 b)

Schneemann’s comment implies a rejection of Modernist values such as purity and an attempt at breaking down traditional genre boundaries. This sentiment is echoed by theatre maker and artist Ping Chong who demands that the scenography associated with his productions is ‘not just passively sitting there ... it’s a statement that has it’s own weight.’ As Penny Saunders of Forkbeard Fantasy says ‘details have to say something to be pertinent (Crawley 2007 cited by Burnett 2007).’ Chong and Saunders are both expressing a need for the performances they are engaged with to be read as complete texts, the scenography is not simply a pretty backdrop to the ‘real action’, any visual or aural details have the same importance as the performed elements and can be read in similar terms to sculpture or painting. There are interesting questions here surrounding what can now be considered the defining factors within each genre when performances might be durational to the extent that the audience now needs to relate to them in a manner previously associated with the visual arts and sculptures may be presented as performances (Gaggie, 1986).(2) 

Within Performance Art, attitudes have changed. Marina Abramovic has moved from describing theatre as ‘the enemy’(Kaye 1996 c) to re-creating her Performance Art history in a theatrical context, blurring boundaries between ‘pure’ performance art and ‘pure’ theatre. Staged...and yet real. Circus, a medium currently enjoying rapid growth(Micklem 2006) and being often incorporated in hybrid work(Wilson 2011), seems ideal for these explorations as, when circus skills are performed(3), to use a quote from Abramovic, ‘the knife is real, the blood is real’ (Ayers 2010) and yet the event is (normally) thoroughly staged, presenting a dichotomy between usual distinctions in live arts - the ‘illusion’ of theatre and the ‘truth’ of performance art. 

Circus, Burlesque and many other entertainments are traditionally viewed as ‘low brow’ despite, or indeed because of their popularity, in comparison to the ‘high culture’ arts such as opera, ballet and classical music where education is deemed to increase understanding and appreciation (Arts Council England 2005). There can be no comprehensive list of what may be considered low-brow but postmodernism has blurred the status boundaries and now ‘low brow’ works have been accepted into the canon of high art, for example Robert Mapplethorp’s photography, Annie Sprinkle’s burlesque shows (Schneider 1997) and Rasp Thorne’s performances (O’Reilly 2010). 

Here I am reminded of John Cage saying ‘through the way i place my intention I create the experience that I have.’ (Kaye 1996 d) I interpret this as meaning a pieces’ status as ‘high-brow’ or ‘low-brow’ is irrelevant to a works status as ‘art’ or ‘not art’. It is, rather, dependent on the engagement of the viewer. I am not suggesting that all work in all genres, e.g. all pornography or all paintings, be considered art. Robert Pacitti (2010) talks of the works shown at SPILL 2007 as being performed with ‘absolute conviction’ and discusses ‘agency’ to include ideas of deliberate choices being made. I associate this with ideas, noted previously, that Saunders and Chong expressed. They, Cage and Pacitti seem to be echoing another of Plato’s ideas, that of mimesis, which would be excluded from the ideal state (Jones 2003). This essay was inspired by the original question ‘What’s the difference between ‘art’ and ‘popular entertainment’?’. At this point I answer that with ‘Nothing, though there is a difference between ‘authenticity’ and ‘mimesis’.’

It is not only artists who are blurring the dividing lines, the art world recognizes this new dynamic too. The Prague Quadrennial, a festival of theatre design, is ‘taking vigorous action to dissolve the borders of it’s historic identity’ (Total Theatre 2011) and it is moving towards a hybrid of exhibition, live performance and scenography. Journals such as Total Theatre and Dance Theatre Journal write almost exclusively about works existing at this edge of hybrid performance. SPILL: Festival of Performance (Pacitti & Ghelani 2010) and What If... (Cash & Schmidt 2011)  are including explorations of the written word and it’s interaction with live art. The Inbetween Time Festival programmed several interactive performance works (e.g. Hunt and Darton, Low Profile) (Cole 2010) and, like SPILL and What if..., sought to integrate documentation into the festival in innovative ways.

The mixing of art forms, far from trivializing them, could equally be understood as creating meaningful and accessible opportunities for new audiences. The public seem happy to engage with hybrid works, Forkbeard Fantasy, Brith Gof and Dogtroep all evolved their unique, ground breaking styles while using unusual locations, including the street(Mason 1992). The street is a harsh barometer of the public’s reaction - if it doesn’t engage them, they walk away. It is common occurrence now for high levels of participation to be encouraged. Diverse events such as Inbetween Time Festival and The Invisible Circus’s ‘Carny-Ville’(Lathan 2007), invite such a high degree of participation that it is hard to know where the performance ends and the viewers continue. It would seem that the public have embraced hybridity so strongly even, that artists such as Tim Crouch, I infer, may be finding it difficult to generate appropriate excitement about their work, despite it being interesting work that pushes at the boundaries of theatre, simply because they are working within a single-genre and do not have the word ‘hybrid’ attached to it(Max Prior 2011).

Science is also offering itself for cross-fertilisations with artists. Science has long influenced art and now, conversly, artists such as Kira O’Reilly(O’Reilly 2010) and Helen Storey (Storey 2005)  are being invited to speak at scientific conferences, to reveal connections that scientists may not have made. Kira O’Reilly was engaged as festival philosopher (thinker-in-residence) for SPILL 2007 in a reversal of the accepted ‘artist-in-residence’ format where as Dance Theatre Journal (2011) has published writing by science writer Ken Grimes. In this way, art is being placed alongside science and intuitive associations are being given equal status to logos, in contrast to traditional, logically sequential, thought. 

Although the public, science and art institutions seem responsive to hybrid thinking, academia may be slower to change. A broad range of creative interests was not supported in my school in the 1990‘s. Students could choose only one GCSE in either Drama, Music or Art. I chose Art and my path through education has been a juggling act of trying to find support for my varied interests. Some tutors have been supportive of my desire to work across disciplines, in these cases the difficulties have been predominantly logistical as the courses were set up as single discipline courses with pre-supposed notions of the way in which an artist, performer or designer would choose to work. There were also issues surrounding the assessment of either live work or object based work depending on the criteria of different courses. (5)

Hybridity in art is growing within a society that seeks an increasingly multi-cultural polyphony(ONS 2009). Where Gilbert and George lead with their poetic postcard bricolage(Tate 2011), capitalist corporations(Nike 2011) now follow - individuality and participation are now key. In directing the viewer to read their postcards like visual poetry, they encouraged us to create our own narrative, narratives as diverse as our individual cultural backgrounds. This love of our differences could be seen as a reaction to modernism, an acceptance that our lives are far from pure and we wouldn’t want them to be.

‘In June 1970, the French writer Jean Clay observed: "It is clear that we are witnessing the death throes of the cultural system maintained by the bourgeoisie in its galleries and its museums." ‘(Witcome 2000)

We have seen what hybridity is and how modernist and post-modern thought has influenced it. We have seen how artists, the scientific community and the public have engaged with hybridity and that the art world no longer views it as trivialization. In light of this, Schneemans statement seem partially outdated. The art world has, it seems, accepted hybridity but, for it to be fully accepted, it needs to be supported by our education system as well. It is beyond the scope of this essay to look into education systems other than the current model which constrains budding artists through it’s need to categorize subjects into distinct genres. It is also beyond the scope of this essay to examine what proportion of artists or art students have a multi-discipline or hybrid practice. There are also interesting questions regarding how the content of university level creative courses might have changed over the years or whether the content of new courses is becoming broader. Answering these questions would lead to a greater understanding of how to best support the next generation of artists.

1. More information on Postmodernism can be found here: Encyclopedia of Postmodernism (2001) [online] http://www.credoreference.com/entry/routpostm/postmodernity accessed: 25/04/2011
2. For example, entering and exiting performances at will (e.g. Abramovic’s ‘The Artist is Present’ or Wilsons ‘The Life and Times of Joseph Stalin’), viewing sculpture that consists only of sounds in a space (E.g. Barry Le Va’s ‘Velocity Piece’) or a sculpture that includes elements traditionally associated with performance Ee.g. Segal’s ‘Alice Listening’ or Tinguelys ‘Homage to New York’). Examples from Kaye, N (1996), Gaggi (1986) and www.MoMa.org
3. Other than acts based on Illusion. E.g. Tightrope, juggling, acrobalance, tumbling, most arial work. For more detail see ‘Strange Feats & Clever Turns’ by Charlie Holland.
4. Taken to mean entertainments popular in less advanced cultures - from the facial features of neanderthal hominids in comparison with the higher brow bones of contemporary man. Encompasses boxing, wrestling, burlesque, reality television shows and more.
5. The Performance course I studied had no criteria for assessing performance related objects. The Theatre Design course had no criteria for assessing performance work. The Fine Art course has limited media and performance resources and is directed towards showing tutors objects, not live performance.  Neither Theatre Design or Fine Art had any space, training or industry specific advice for students engaged with physical work.

Bibliography

Arts Council England (2006), Micklem, D. ‘Circus Health Check’. [online] www.artscouncil.org.uk/media/uploads/documents/publications/phpXkUNtd.pdf accessed on 25/04/2011

Arts Council England (2005) ‘Traditional Culture Vultures’ Arts Based Segmentation Research [online] www.artscouncil.org.uk/about-us/research/arts-based-segmentation-research/13-segments/traditional-culture-vultures/ accessed 27/04/2011 

Ayers, R. (2010) ‘The knife is real, the blood is real, the emotions are real - Robert Ayers in conversation with Marina Abramovic’ A Sky filled with Shooting Stars [online] www.askyfilledwithshootingstars.com/wordpress/?p=1197 accessed: 27/04/2011

Blake, N. (1996) ‘Between Postmodernism and Anti-Modernism: The Predicament of Educational Studies’

British Journal of Educational Studies Vol. 44, No. 1 (Mar., 1996), pp. 42-65 London: Blackwell Publishing on behalf of the Society for Educational Studies [online] http://www.jstor.org/stable/3121703 Accessed: 27/04/2011 

Burnett, K. (2007) ‘Collaborators: UK Design for Performance’ London: SBTD pp. 26 - 31

Cash & Schmidt (2011) Dance Theatre Journal Vol 24, No.1 London: Laban 

Cole, H. (2010) Inbetween Time Programme also available online: http://www.inbetweentime.co.uk/festival/programme/ibt2010/all/ [27/04/2011]

Derrida, J. (1967) ’Structure, Sign, and Play in the Discourse of the Human Sciences’ ‘Writing and Difference’, trans. Alan Bass. London: Routledge, pp 278-294

Gaggi, S. (1986). ‘Sculpture, theatre and art performance: notes on the convergence of the arts’. Leonardo, Vol. 19, No. 1, pp. 45-52  The MIT Press [online]  http://www.jstor.org/stable/1578301 Accessed: 11/03/2011 

Goldberg, R. (1979) ‘Performance: Live Art 1009 to the Present’ London: Thames & Hudson a) Kaye, N. (1996) ‘Art into Theatre, Performance interviews and documents’ Netherlands. Harwood Academic Publishers GmbH pp.23

Heiser, J. (2010) ‘What is ‘Super-hybridity’?’ Freize, Aug 2010 [online] http://www.frieze.com/issue/article/pick-mix/ 25/04/2011

Hoffmann and Jonas, (2005). ‘Perform’ London: Thames & Hudson pp.14 - 15 

Holland, C. (1998) ‘Strange Feats and Clever Turns’. London: Holland & Palmer 

Jones, R. (2003) Becoming-hysterical - becoming-animal - becoming-woman in The Horse Impressionists [online] http://www.ruthjonesart.co.uk/essays.html 27/04/2011

a) Kaye, N. (1996) ‘Art into Theatre, Performance interviews and documents’ Netherlands. Harwood

     Academic Publishers GmbH pp.148

1. Kaye, N. (1996) ‘Art into Theatre, Performance interviews and documents’ Netherlands. Harwood Academic Publishers GmbH pp 181 
2. Kaye, N. (1996) ‘Art into Theatre, Performance interviews and documents’ Netherlands. Harwood Academic Publishers GmbH pp. 23

Lathan, P. (2007) ‘Carny-Ville’ The British Theatre Guide [online] www.britishtheatreguide.info/reviews/carnyville-rev.htm [accessed] 28/04/2011

Marthensen, L. (2002) ‘Purity’ [online] http://lucian.uchicago.edu/blogs/mediatheory/keywords/purity/ 06/04/2011 

Mason, B. (1992) ‘Street Theatre and other outdoor performance’ London: Routledge

Max Prior, D. (2011) ‘The Works: A personal view of the works of Tim Crouch’ Total Theatre Magazine, Vol 23 Issue 01 UK: University of Winchester pp. 10 - 13

Melling, D. (1987) ‘Understanding Plato’ Oxford: Oxford University Press, pp.86-88 

Modern Painters Magazine, (march 2011) Editorial,  NYC 

Nike (2011) ‘Nike Official Store: Nike iD’ [online] www.nike.com/nikeid [accessed 27/04/2011]

Office for National Statistics (2009) ‘Migration: Net Migration Remains High’ [online] www.statistics.gov.uk/cci/nugget.asp?id=260 accessed 27/04/2011

O’Reilly, K. (2010) ‘The Weaver’ SPILL Festival of Performance: On Agency. UK: Pacitti Company pp. 9 - 21 

Pacitti, R & Ghelani, S. (2010)‘Introduction’  ‘SPILL Festival of Performance: On Agency’.  UK: Pacitti Company pp. 5 

Schneider, R. (1997)  ‘The Explicit Body in Performance’ London: Routledge pp.11 - 14 & pp 53 - 65

Storey, H. (2005) ‘Eye & I’ Helen Storey Foundation [online]http://www.helenstoreyfoundation.org/pro5.htm [accessed] 27/04/2011

Tate Liverpool (2011),  gallery text accompanying Gilbert & George’s ‘Postcard Sculpture’ (1974) 

Total Theatre Magazine (2011) ‘Update’  Total Theatre Magazine, Vol 23 Issue 01 UK: University of Winchester pp 37

University of Warwick. Cohen, R and Toninato, P. reviwed in 200.7 ‘Hybridity’ [online] www2.warwick.ac.uk/fac/soc/sociology/rsw/current/cscs/creolizationconcepts/hybridity (accessed on 23/04/2011)

Wilson, T. (2011) ‘When the Circus Comes to Town’ Total Theatre Magazine, Vol 23, Issue 01

Witcome, C. (2000) ‘The End of Art’ [online] http://witcombe.sbc.edu/modernism-b/endofart.html [accessed 27/04/2011]

A snapshot of college, march 2011

Creative Practices:
My initial idea of incorporating moving backgrounds on my website has now become its sole focus. All I want is pages of movement with a few navigation buttons. This has reduced from complex ideas of static backgrounds moving when you click on icons and multiple galleries. The static images, though wonderful, would be a mis-representation of my practice; I am not a photographer, what is currently important to me is the movement and what I am currently learning is the use and manipulation of film. I intend to use images from Balance installation, Wings performance and Les Velobici performance.

With the intention of researching places of work, I will e-mail Sarah at the Arnolfini, asking about peoples routes to their current situation and their projected futures.

Specialist Practice:
Network Recycling are looking to work with artists at festivals. Their aim is bringing recycling to life through creativity. Their plan is to create a rubbish sorting 'theatre', a space where performative action occurs. I intend to work with them on this with a three stranded approach. Firstly I shall focus attention on the action by framing the space with theatre curtains made from rubbish - a richly textured cloth, as encrusted as barnacles on a hull. I have also devised an automata/sculptural installation plan, using old bike bits, create moving sculptures along the frontage. These should engage the audience as they are interactive and will also be made from rubbish and give colour and height to the site. The second aspect will be screen dance, made at the festival. Using footage of the rubbish sorting during the day and related images from around the site, a short iMovie film will be edited and projected onto the lowered curtains at night (will it be dark enough?) This supports my exploration into the use of projections as performance, again I'm choosing to project onto a textured background because i find the atmosphere more ambiguous and it is also less about the subject of the projection, more about the atmosphere and movements within it. The third strand is more performative - creating the 'Rubbish Olympics', this, rather than being an excersise in character, will be performance as interaction. I hope to stage a series of games, beer can shot put, tent pole limbo, etc. Also giant domino rally. These are for fun as I feel, and research shows, that didactic information sessions only reach the already converted. I don't intend to give out any information about recycling, the celebration of materials will be enough.

The Cross-Art Improvisation Lab goes from strength to strength for me. Our last session, slightly too busy perhaps, included text, music, props, voice, movement. I love the soundtrack that has resulted. At the next session I intend to experiment, and improvise, with live projections.

We have signed up to be part of the Montpelier Arts Trail in May. There will be many things happening, my intention is to create performative spaces and interventions. I shall set up the slack rope in the garden and work with Chris, an avent-garde musician to create something, we are currently imagining working with a wetsuit and having the rope over the pond. I am also thinking of re-creating my recent 'Balance' installation but adding the performative element of walking over a mirrored floor on one path (rope) repetitively until one path is powdered.

Les Velobici have been discussing 'the original meaning of burlesque' and it's satirical mocking commentary. We are using elements of this in our mock sexy dancing and we've been trying nipple tassel twirling with bike lights. Costume making has been an important feature recently as is filling in application forms and developing our new routine.

Creative Histories is really interesting at the moment. My research, which I thought was taking me off on a tangent, actually circled itself and ended up answering the original question - what's the difference between Performance Art and Popular Entertainment? I generated a lot of material around ideas of hybridity within the arts and performance in particular and this is a very interesting subject, one which I will return to I would imagine and I still find Carolee Schneeman and Ping Chong's statements about hybridity and trivialisation intriguing. I think the question I intend to explore is 'what's the difference between Performance Art and Popular Entertainment?' to which I will answer 'there is no difference between Performance Art and Popular Entertainment, they can easily be comprised of the same content. The difference I was seeking to explore when I asked that question is the difference between authenticity and mimesis. It is often assumed that the difference is between high brow and low brow but, as we've seen, popular entertainment can be low brow but completely authentic and most definitely performance art (sprinkle). Marina Abramovic on the other hand is arriving at a similar point from the other end of the spectrum, she has moved away from 'theatre as enemy' into ways of incorporating authenticity into rehearsed, staged and repeatable actions.

attempting to become that which i never can be

I've been thinking about how to document/present my performance ideas. Photo's are the obvious step. A mixture of photo, film and projection (is it possible to lay my films over eachother? To split the screen and have all four at the same time? how can i work with sound?)

When thinking of the photos I have, it seems that the most accessible form of identity construction - showing what we think of ourselves, or what we want to present ourselves as - especially in the context of a budding performance artist, is a facebook profile. Wit, politics and narcissim.

artist-in-residence at Network Recycling

Half finished proposal:

Proposal: Artist-In-Residence with Network Recycling

Aim:

Create opportunities for public engagement with recycling issues using creative activities and artistic interventions rather than traditional didactic education methods. Letting the work speak for itself.

Objective:

Create and inhabit a public space using the sorting of the rubbish as a performative action. Create installation work around the subject of recycling, focusing on camping.

Create opportunities for the public to move beyond passive spectatorship.

Foster a re-valuing of the ‘found’ materials through creative interpretation

There is potential for a four phase project delivering different aspects over the duration of the festival. Below are outlines of the phases and suggestions for activities which could be completed or instigated during these phases.* 

Prologue: Beginning the process of documenting and contextualization with film.** 

Phase one: Creating a space - 

- Sculptural/textural installation e.g. quilts made of tobacco packets, hangings from fabric/plastic, screens made from woven ‘four pack’ plastics & objects/wrappings

• Making and projecting film into the space

Phase two: Inhabiting

- The sorting of rubbish in public (almost ritualistic/theatrical), visible as if staged. A constant backdrop to all other activity.

- sculpture e.g. tandemonium bike sculpture, tetra-pack stonehenge (or other relevant icon)

- workshops - tetrapack hat/corset/wallet, tent fabric skirts etc laminating objects

- instruments made from junk

• Use space for educational workshops e.g. the lifecycle of fabric, the situation in calais
• improvised performance opportunities working with themes of shelter/materials etc possibly create walkabout characters.

Phase three: Moving beyond the space

• taking these activities out to meet the public e.g. documenting, walkabout characters,
• fairground rubbish games: think olympics rubbish hurdling/fair ground stall hoopla / village fete coconut shy/playground jacks/giant domino rally, tent pole limbo dancing
• prize giving

Resources needed:

video Camera & tripod

laptop with final cut

projector 

stable power supply?

tools: cutting, piercing, flattening, sewing, sticking implements, iron?

sculptural e.g. chicken wire.

transport - esp if we decorate my bike...

safe storage & locking point for projector when sited.

*These ideas are NOT intended as a prescriptive list of what will be achieved, rather as an idea of what may be possible in the space. The plans will stay necessarily loose and flexible so as to better accommodate ideas presented at the time.

**Film - 

Use of film could be a great boon to this project however it is time consuming and, were equipment to be lost or damaged, potentially costly. 

The film could take some, all or none of the following as attitudes ‘screendance’, ‘comedy’, ‘vox pop’, ‘documentary’, ‘sound track’.

 A certain amount of pre-festival filmed research could give body to the projections and influence the artistic interventions made at the festival. Background to the film: History of rubbish - ask Rhiannon/Cae/Olly ceramics about rubbish through the past. Ask Ed (and CAT?) about recycling now. Ask campers about their attitudes/techniques for rubbish and their attitudes to shelter, if they’ve heard of no-boarders. what’s their worst camping/waste disaster?

Papergirl Bristol: Wow.

One of the most epic feats of drawing i've ever seen!

Papergirl Bristol: Wow.: "This large scale wall painted stop motion animation of the beginning and the evolution of life, by graffiti artist BLU, is absolutely stunni..."