For Artez, large-scale murals can influence the way we think about both public art and the human form.
In the Serbian street artist’s Simple Acrobatics series, which can be found all over the world, painted figures stretch out over chairs, hold one another as if in a dance or gaze out into the distance, contorting their bodies across the outer walls of buildings like giants on the horizon.
“Rather than making the human figure the central motif with a distinct identity, I treat it as an object, a dynamic building element within the composition,” says Artez. “Its role is to interact with other objects in the scene, as well as with the painting surface, the building itself and the surrounding environment.”
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