‘The 100’ #33 – Her Jacket Pockets…

“Her jacket pockets, / Turned inside out, / Releasing fears of the colour blue.”



(Click on image for larger version).

This street poem appeared one day under the Cambie Street bridge in Vancouver. Two weeks later it was gone. I have no idea who the artist / poet is, or who ‘allowed’ it to be. If it was a sponsored, local government arts initiative, I am surprised and impressed. I love this idea of transient art. Like drawings on beach sand, erased by the incoming tide, or conceptual art made with seeds and rapidly eaten by birds – this poem is a fleeting moment in time. It is the antipodes of classical art that has survived for centuries, protected in churches, museums and galleries. One sees it or one doesn’t – it is there and then it is gone. The same process occurs with much of street art and graffiti. It is created, stays for awhile and then is power washed or ripped away. Is this the new conception of art?

19 thoughts on “‘The 100’ #33 – Her Jacket Pockets…

  1. Transience makes the works interesting as we watch the space. I am not sure about all of it, but prefer the loose just-finished look. I like the words, but I am suspicious of the neatness of this one!


    1. I hear you Philippa – perhaps the idea was to consciously not make it look like graffiti. In my experience most people tend to ignore graffiti but pay attention to large, neat text.


  2. The idea of writing on someone else’s property never appealed to me, I think graffiti is a sort of vandalism, but I do like the poem 🙂 and the way it was done, in those sober white letters.


    1. Ina, thanks for comment. We could get into a lengthy discussion about graffiti. This poem, I think, is not graffiti, it looks too neat and officially sanctioned; however, what if it was not officially sanctioned? What if it is a new expression of graffiti? (It is on public architecture after all). Where does the difference lie?


    2. I make a distinction betwen street art and tagging. The latter I abhor. I can resonate with your concern about graffiti, even of the enchanting kind. I struggle with the idea of artists spraying someone’s property without permission – and yet, the art is often beautiful. When I see tagging on public property, it bothers me.


      1. Somewhere on my blog I posted a series about graffiti, street art and tagging. Amongst street artists these categories hold power and related philosophies, often strongly antagonistic to each other – much as the isms in art historical or academic art such as Modernism, Expressionism, Surrealism etc. For the tagging and part of the graffiti group, the use of public space for their artwork is an anti-gallery, anti establishment act of art. Other graffiti artists and many ‘street artists’ use only dedicated walls. So much of ‘Tagging’ is juvenile ‘scribbling’ and true graffiti artists abhor it as much as you (and I) do. Whatever the public thinks, there exists enough superior quality graffiti and street art to make it a form that will certainly enter future art history texts. I note your distinction between street art and tagging but just thought I would comment on why I am so interested in this area and have so many related posts…


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