Wings of Love, by 'Punki', 2014

'Wings of Love'

Punki, 2014, Off Fore Street.

Reminiscent of Eros, the winged God of Love, this artwork features traditional symbols of love; hearts and wings in conventional colours representing romance or passion. However, like an ill-fitting lacy negligee, this number looks a little bit cheap. The message of love does not ring true – the concept of romance is subverted by the harsh outlines in black around the hearts, and significantly, the large, central heart is empty, suggesting a lack of love - or that Punki ran out of red spray paint after filling in the six smaller hearts. Saying that, the idea to leave the piece unfinished is inspired – like a prematurely ended relationship, the viewer is left wondering how it could have been, if only. However, the sharp and blackened tips of the wings, signalling the underlying pain of heartache, serve to remind the viewer of that all was not well in paradise. The wings remain loose and airy despite their poisoned tips, suggesting freedom, but at what price? Perhaps Punki is suggesting not that love sets you free, but that the only way to attain freedom is a freedom from love. Perhaps we are destined never to know. 

Sad Robot (Unknown, 2014)

'Sad Robot'

Attributed to 'Tasha', 2014. Lane beside Turquoise Takeaway.  

The Sad Robot is a masterpiece of expressive art of the very highest calibre. From the exquisite shading, to the highest attention to detail (one can almost imagine the robot's nipples glinting in the morning sunlight), to the profound message the artwork intends to convey – this piece is well worth a sojourn down to Bodmin's finest kebab house.

The image of the sad robot here represents the everyday urban struggle – the daily grind which dehumanises the individual and transforms him into a joyless robotic worker.  The loss of the robot's carefree, childlike state through poverty is lamented through the phrase 'great init' which is also a pun on why the robot is unable to speak up against his oppression – his mouth is literally a grate – 'great init'.  The environment has cleverly been utilised as a canvas, and the robot (as the working individual) now completely relies upon it for his existence. 

The irony of the statement 'work-to-live, not live-to-work' is examined here – while we are forced through poverty to toil away in offices and cafés, we are not enjoying life on a more meaningful, fulfilling level.  In order to live, we are forced to survive in ways which we do not really enjoy at all.  The Sad Robot encourages us to imagine enlightenment through art - begging us to ask 'Is there not more to life than this?' 

This spectacular and thought-provoking piece is currently still on display.

Accepting Submissions!

Graffiti is an important part of culture - it can be an outlet for creativity and expression, or a way for the under-represented or voiceless within society (those who have never had the joy of discovering an aptitude for expressive dance) to express their feelings. Sometimes graffiti is witty and playful, and at others an important way to air political, social or economic grievances. And sometimes, just sometimes, it's a way to express your dislike of penguins. 

If you've spotted a modern masterpiece or a classic work of art in or around the town of Bodmin, please do take a picture and send it in with a little context of where the masterpiece can be found, and feel free to state what emotions the piece aroused in you when you discovered it. I will then review the artwork and post it to the site, adding it to the online collection; thus preserving it evermore for our children, our children's children, and our children's children's children. 

EDIT - this blog is no longer accepting submissions. 

RJ (Unknown)

'RJ'

Unknown, outside Bodmin Jobcentre Plus.

Etched indelibly into the very fabric of Bodmin's streets, this noble artwork will proudly stand the test of time. RJ – or Rights and Justice - serves to aid the impoverished or down-on-their-luck, reminding anyone who stands outside the jobcentre holding their head low that they deserve more from life - far, far more than Bodmin Jobcentre can offer.

79A (Unknown, 2014)

'79A'

Unknown, 2014. Fore Street.

Oscar Wilde famously said that 'life imitates art'. Here we see an example of a philosophic artwork which really pushes the boundaries between art and life; was this flat number 79A before the lettering was added, or only after? 

This piece causes the viewer to ponder the meanings of existential questions. Is it art? Is it vandalism? Or is it simply a functional way for the postman to find the right house? Perhaps we'll never know.

No penguins (Unknown, 2014)

'No Penguins'

Unknown, 2014. Fore Street/Bree Shute Lane Alley.

The juxtapositioning of Bodmin's Mackays and what is most likely to be a penguin instils a sense of confusion in the viewer. The artist exploits this confusion in order to angrily hit back at the establishment through this artwork. The penguin (assuming that it is a penguin) is symbolic of the cold treatment faced by Bodmin's youth, who are being dictated what they can and can't do by a government who doesn't understand them. The bold use of red and black outlines this anger, and the naive style in which the bird is depicted reveals the artist's inner child, a young boy or girl who just wants to play with their toy penguin without having to deal with the pressures and stresses of modern Bodmin life.

The Rising Sun (Unknown, 2014)

'The Rising Sun'

Unknown, 2014. Entrance to Arnold's Passage, Fore Street.

The Rising Sun is an elegant artwork in celebration of Bodmin's rich history. A reflective piece, here the placing of the artwork over the entrance to Arnold's Passage is highly symbolic. Bodmin's John Arnold (1736-1799) was a watchmaker to King George III, and was a master craftsman, an artist of the highest calibre. This is something which our unknown artist obviously aspires to, and clearly channels exquisitely through his work. 

The subject of time is playfully examined here. The old fashioned concept of timepieces is discarded, time here becomes a sun, magnificently rising. In this the artist notes the transient nature of time, and hints at the immortality of Art. 

The sun rises over a crown, which is high with symbolism – It is not only a hint of John Arnold's link to George III, but the crown itself appears to be constructed from the word 'Swag', which is a social comment upon the nature of the monarchy and aristocracy today. The artist begs us to ask 'have things changed so much since the 1790's after all?' 

The fish leaping up beside the crown reflects Arnold's complex marine timepieces. Yet the attempt of the fish to leap from the water above the crown signifies the struggle of the artist or working man to rise up through society. However the fish is made of downward pointing arrows, hinting that the struggle will most likely be in vain – yet throughout time and history, the artist lives on through his art. 

I think we can be certain that this artist will be remembered for this magnificent piece for many generations to come.