Street art is a topic of choice for many urban photographers. Their photographs work as documents of a transient art form, while sometimes becoming art works in themselves. However, the ways in which artists use the structures of the built environment rarely make it to the centre of the frame, as the photos focus on the art rather than on its spatial configuration.
The following photo studies are street art research experiments, focusing on the material context of street art rather than on the works themselves. They do not respond to aesthetic merits, but to spatial adaptation, tracing the relations between different types of inscriptions and their supporting surfaces.
These photos are as much about the places of these pieces as they are about the pieces, exposing their adaptation to frame-like structures in the built environment. Frames on city surfaces act very much like frames on gallery walls, containing expression and protecting it from the visual agglomeration surrounding it.
Photographic frames add another layer to this visual discourse by setting boundaries and operating a selection which emphasizes both surface and piece. Structural, material and chromatic relations become apparent, helping define a new sense of site specificity, where street art takes place through a process of material negotiation before it becomes anything else.