{"id":5379,"date":"2026-04-01T07:54:37","date_gmt":"2026-04-01T14:54:37","guid":{"rendered":"https:\/\/catbradley.io\/?p=5379"},"modified":"2026-04-01T07:54:37","modified_gmt":"2026-04-01T14:54:37","slug":"street-artists-take-on-monumental-infrastructure-in-impossible-photos","status":"publish","type":"post","link":"https:\/\/catbradley.io\/?p=5379","title":{"rendered":"Street Artists Take On Monumental Infrastructure in \u2018Impossible\u2019 Photos"},"content":{"rendered":"

\"Street<\/p>\n

Known for his collaborative photography<\/a> projects like Invisible Jumpers, <\/em>Joseph Ford<\/a> is interested in perception and intervention. His ongoing series, Impossible Street Art, <\/em>invites artists such as Antonyo Marest<\/a>, Alex Senna<\/a>, and MadC<\/a> to imagine their work in monumental landscapes via a bit of sleight of hand. The artists create trompe-l\u2019\u0153il<\/a> interventions on Ford\u2019s photographs, which he then documents on an easel in front of that same place to give a sense of what these huge paintings or installations would feel like in situ<\/em>.<\/p>\n

\u201cThese new works mostly explore infrastructure in the form of huge concrete constructions\u2014nuclear power plants, dams, fossil fuel power stations,\u201d Ford says. The locations are often connected to the industries and network of energy production, such as hydropower systems, or logistical configurations related to highways and ports.<\/p>\n

\"A
Alex Senna, Luzzone Dam, Switzerland<\/figcaption><\/figure>\n

For example, the nuclear power station \u201cpainted\u201d by Skirl<\/a> is situated in a sprawling nature preserve on England\u2019s east coast, adjacent to the Suffolk & Essex Coast & Heaths National Landscape, and a new plant<\/a> is currently under construction despite much local opposition.<\/p>\n

\u201cThese locations are physically in the public domain and dominate their surroundings through their huge scale, but often have restricted access. They are imposed on us\u2014it is impossible not to see them\u2014but it is impossible to engage with them, use them, or sometimes even approach them.\u201d By superimposing street art on otherwise inaccessible sites, Ford and the participating artists address these looming constructions and the nature of energy production as \u201ca way of reclaiming and engaging with them,\u201d he says. <\/p>\n

See more on Ford\u2019s Instagram<\/a>.<\/p>\n

\"A
Skirl, Sizewell Nuclear Power Plant, U.K.<\/figcaption><\/figure>\n
\"A
Sen2, Willington Power Plant, Derbyshire, U.K.<\/figcaption><\/figure>\n
\"A
RH Doaz, Jersey Turnpike, New Jersey<\/figcaption><\/figure>\n
\"A
Guy Denning, Luzzone, Switzerland<\/figcaption><\/figure>\n
\"A
MadC, Luzzone Dam, Switzerland<\/figcaption><\/figure>\n
\"A
Chris RWK, New Jersey<\/figcaption><\/figure>\n
\"A
Joe Iurato, Morris Canal Basin, New Jersey<\/figcaption><\/figure>\n

Do stories and artists like this matter to you? Become a Colossal Member<\/a> today and support independent arts publishing for as little as $7 per month. The article Street Artists Take On Monumental Infrastructure in \u2018Impossible\u2019 Photos<\/a> appeared first on Colossal<\/a>.<\/p>","protected":false},"excerpt":{"rendered":"

Known for his collaborative photography projects like Invisible Jumpers, Joseph Ford is interested in perception and intervention. His ongoing series, Impossible Street Art, invites artists such as Antonyo Marest, Alex…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5379","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rss"],"_links":{"self":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts\/5379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5379"}],"version-history":[{"count":0,"href":"https:\/\/catbradley.io\/index.php?rest_route=\/wp\/v2\/posts\/5379\/revisions"}],"wp:attachment":[{"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5379"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5379"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/catbradley.io\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}