Mosstika: As It Started, Budapest, 2004

Nature calls to us.  All the more so in urban settings.  This is evident in the long history of elaborate parks and gardens in major cities, dating back to Frederick Law Olmstead,  André Le Nôtre and beyond.  Olmstead’s designs were meant to emulate the Savana landscape that strikes so strong a chord in people around the world, whereas Le Nôtre helped define that famously manipulated symmetry of the classic French garden.

Both respond to what we now refer to as biophilia, the magnetic draw that nature has on each of us.  The question we have to ask ourselves is which one is “Art”.  Not an easy task, to be sure. Perhaps the solution is to say “both” and leave it at that.

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Mosstika Urban Greenery is a New York City based collective of eco-minded street artists whose raison d’être is to dissolve the barriers between art and nature; it uses guerilla tactics to evoke the call of man back to nature.

Hungarian artist Edina Tokodi, Mossitka’s founder writes

Together we aim to give green guerrilla tactics a new twist by creating works meant to be touched, in turn aiming to touch the souls of all that pass by. We strive to call back to mind a more playful existence, returning man to nature, even among the barren patches of urban existence.

The Japanese Zen Garden inspired installations are always site-specific, stunning in both their simplicity and their unavoidable juxtaposition with the urban environment.  Viewers are compelled to interact with the pieces as much for their three dimensional nature (no pun intended) as for the instinctive human bond with growing things.

Urban art is often compelling and edgy.  Mosstika art invokes  a different call of the wild.

Mosstika slide show pieces:

Living Portrait, Brooklyn 2009 (I recommend viewing from a distance)

Living Portrait, detail

Metro Moss, NY 2008

Metro Moss, detail

Moss Stencil, Brooklyn 2008

Grass What?, Brooklyn 2008

As It Started, Budapest 2004

One thought on “Mosstrix

  1. Pingback: Fence Art? « Raxa Collective

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