While London continues to contemplate the future of the now empty historic western end of Smithfield Market, the thoroughfare and loading bays of East Poultry Avenue are blocked to all but pedestrians. At the northern end of Poultry Ave concrete traffic barriers are scattered about, the rain continues to drift down Charterhouse Street and I sit on one of the barriers sheltering under the covered avenue.
Looking across Charterhouse toward the old London Port Authority building I watch people dodge the rain and leap puddles. I curse a taxi driver who’s parked-up with engine idling, allowing fumes to gather and pool under my shelter. I move. That’s when I realize these innocuous concrete barriers are painted miniature tower blocks; collectively a sprawling housing estate.
The artist is EVOL. German, and fascinated in part, by tenement housing. His stencil recreations on urban utilities (planters, power boxes, phones cabinets) are a remarkable illusion. With the familiarity of technical drawing, architectural accuracy, and by utilizing shadows to create depth, his miniature buildings tease perspective. Blinds, balconies, satellite dishes and other recognizable objects combine with the distressed weathering of the utility (chips, cracks, discolouring etc) to give an extraordinary authenticity to his buildings; allowing the viewer to accept more of the illusion, to loose awareness of their own spatial presence and become less of a giant in Lilliput.
You can see more of his work here, I particularly like his work on old cardboard, again he incorporates the distressed, the aged, or previous life of the object into the work, so well in fact that old sellotape or felt pen can sprawl across the face of a building without undue question.