houston mural


October 1, 2017


by Neuzz

“I started to use the concept of the mask first for its aesthetic … In the case of the masks that are made in Mexico in particular, they serve as an instrument of interaction and spiritual communication between the animal-man and the forces of nature … When a character appears wearing a mask in my drawings or illustrations, it means that it is a phantom spirit.” – Neuzz, from Wynwood Walls

Born in Mexico City and of Mixtec-Zapotec descent, Migues Mejia, aka Neuzz, has always honored the cultural heritage and traditions of his parents and grandparents, but at the same time says he has been influenced by his interaction with graffiti and skateboarding culture. This piece was painted in 2015 at St Emanuel and Leeland Streets in Houston, for the HUE Festival. The 2017 festival that was originally scheduled for October has been postponed due to the tragic devastation caused across the city by Hurricane Harvey.  @neuzz  @huemuralfest  


Keith Haring painting a mural on Houston Street and Bowery in Manhattan, 1982.  

This was Keith’s first major outdoor mural. It became an instant downtown landmark after Keith painted it in the summer of 1982. The mural was up for only a few months in the summer of 1982 before it was painted out but its image remains imprinted in the memory of many people who were part of the downtown artist community in the early 1980s. 

In 2008 the Keith Haring Foundation, Goldman Properties and Deitch Projects recreated the mural using the extensive photographic documentation of the original work. The work was unveiled on May 4, 2008 the day that would have been Keith Haring’s 50th Birthday .

Keith’s former collaborater, graffiti artist Anel Oritz (LA II) contributed by tagging the wall and filling in the negative space with an intricate black interlocking pattern.

The recreation was on display until 2009.


May 2, 2017



In their ongoing “Art Under Threat” study of attacks on artists and artistic freedom, Freemuse ranked Iran as 2016’s worst country for serious violations including physical attacks and imprisonment. Iranian brothers ICY and SOT were labeled as satanists for involvement in the graffiti movement, and re:art reports that their work would often not last even 24 hours. Now living in Brooklyn it should come as no surprise that the stencil-artist brothers told re:art they have a strong belief in the ability of public art to contribute to change in society. “We believe the role of the artist is to advocate for the freedom and the hope of the general public and raise awareness about the issues happening in their time. Not afraid to speak out wherever they see a need, this stunning and sophisticated statement about justice was done in 2016 for the HUE (Houston Urban Experience) Mural Festival and can be found at St Emanuel and Leeland Streets.  @icyandsot  @the.reart  @huemuralfest  @freemuse.98