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In my previous post, I mentioned having another favorite ‘mural’ by Brad Downey. First off, thanks for all the likes - it makes me happy to see your interest and makes me eager to share more.
And this piece is yet another fantastic example of how Brad approaches his art before creating a work.
This time, it sparks an intriguing conversation about muralism and the responsibilities that come with being invited as an artist for a public project in a place where you don't live.
This particular mural was commissioned for the "Big City Life" project in the government housing project Tor Marancia in Rome. Brad was invited to participate alongside 21 other talented street artists.
While chatting with the residents, some raised concerns about the city's choice to fund artists rather than tackle the existing problems in their buildings, especially considering that the city owns these buildings. This inspired Brad to take a unique approach to his mural commission.
He talked with families in the building he was assigned to about any problems or unfinished repairs in their apartments. Remarkably, he decided to use his mural budget to address these issues and complete the repairs.
His initiatives included installing a winch for lifting heavy bags on the balcony of a family on the 4th floor, repainting the corridor and a grandmother's bedroom for a 2nd floor family, and refurbishing the balcony for the 1st floor family. The family on the third floor chose not to participate in the project for personal reasons.
This ‘mural’ was done in 2015 I think it raised a good question about the importance of meeting the residents of the place where an artist gets invited.
But there was also some debate about this project especially Brad’s contribution whether his ‘artwork’, funded by cultural grants, should have been devoted solely to art.
So a special shout-out to Stefano Antonelli, the curator, for having the courage to let Brad create a ‘mural’ in such an unconventional way and for truly understanding the artist's vision. Also for making it a priority to connect all the artists with the families living in each building.
Large-scale art projects like this, especially those involving public spaces and communities, often provoke a range of responses. It's common for such initiatives to stir debates on topics like public funds, the gentrification of neighborhoods, the aesthetic choices made, and the involvement (or lack thereof) of local residents in decision-making processes.