And on artist MonkeyBird's Instagram feed, I found this post which includes a statement about the ideas underlying the work:
This work creates a relationship between geometry and text as a poetic knowledge. In one hand, Monkey Bird with their Stencils, alludes to the ancient ‘platonic solids’ and creates a series of unfinished characters like ‘guardians of knowledge’. In other hand, Said Dokins, use his own calligraphy style and medieval letters to talk about the idea of eternal return, inscribing texts that refer to the possibilities and limitations of philosophy and the importance of the text as a legacy of the consciousness through time. These reminiscences of the old antique prints of Wenzel Jamnitzer, Renaissance statuary and medieval forms of calligraphy and the appearance of unfinished buildings or in ruins, creates several reflections about our human condition, where the awareness and knowledge are in a state of permanent construction.
And I did a teeny bit more research to find that Wenzel Jamnitzer was a contemporary of Albrecht Dürer. Like Dürer, he lived in Nuremberg where Jamnitzer was known as goldsmith, printer, and inventor of scientific instruments. This link will take you to copies of pages from his work on the "platonic solids' mentioned in the artists' statement above . . .
As I say, I've walked by this mural often, but last week, walking to meet a friend for tea, I noticed an interpretive sign and crossed the street for a closer look.
You should be able to tap or pinch-stretch this larger -- and I think you might find the text interesting. What struck me as a link between the Bordeaux murals and "Slurpee Stupor" here in Vancouver is that in both cases two artists collaborate, bringing together different styles in a surprising cohesion. The two murals also share a revisiting and revisioning of (an) art history's past. I see references in both to geometry's mysteries, to metaphysics -- and both grapple --if playfully and in an unexpected genre or medium -- with serious questions about how we see the world.
Mostly, though, they do what that old kids' game tried to make us do. Remember? . . . Made you look! . . . And I love that, love that they can sometimes stop us in our tracks, sometimes just slow us down a bit, sometimes make us think, sometimes make us smile. And they're not sequestered in a gallery or a museum but out there for everyone to see. No price of admission. . . .
Now, what say you? Comments always welcome, as you must know by now. . .