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Through urban art, Said Dokins draws attention to climate change.

Calligraphy mural by Said Dokins in London

Three Flowers For London

• The artist Said Dokins performs three murals in London.

'Three Flowers for London’ is the most recent series of murals made by Mexican artist Said Dokins where he intertwined visual poetry and calligraphy to reflect on climate change, problematizing from an aesthetic-political perspective the tensions between the world of the natural and artificiality; it’s a visual provocation to point at the urgent need to rethink our relationship with the environment.

Calligraphy mural by Said Dokins in London. Street Art
Said Dokins @saidokins Metal Germination 1/1 -Ed 3, Three Flowers for London Series.

The project was carried out in three areas of London: Central London, Brick Lane and Hackney. In each zone, Dokins installed a calligraphic intervention piece based on a geometric pattern composed of 6 complete circles of the same diameter that form a hexagonal set. Spliced, these circumferences create symmetrical radial patterns that allude to the shape of the flowers. Each intervention contains the same pattern, but incomplete somewhere. His suggestive titles refer to realm of the organic, the machines and environmental pollution, evoking the dystopian vision of biopunk, while satirizing New Age’s mysticism.

Calligraphy mural by Said Dokins in London. Street Art
Said Dokins @saidokins Metal Germination 1/1 -Ed 3, Three Flowers for London Series.

For Said Dokins, each piece represents a contamination of an organic ‘potency’, that is, each image shows a germinal stage that has been modified, infected or bogged down. This interrupted power may seem harmonious; however, it carries a destructive germ:

'I think that today more than ever, we have to turn to nature, be conscious of our relationship with the environment in terms of global and local society, as we have lived through these weeks with Extintion Rebellion, a clear example that society is waking up, that this change is serious. I believe in art as a method of reflection and signaling from aesthetics, sometimes a visual way of asking things.’

Metal Germination. Mural in Central London

Tybalds Community Hall Basement, Blemunsdbury, Dombey 
The first intervention in Central London, has the words Nature and Machine inside the figure.


Calligraphy mural by Said Dokins in London. Street Art
Said Dokins @saidokins. Metal Germination 1/1 -Ed 3, Three Flowers for London Series.
Address:  Tybalds Community Hall Basement, Blemunsdbury, Dombey St, Holborn, London WC1N 3PF. UK.


Poisoned Seed. Mural in Brick Lane.

36-20 Hanbury St, Spitalfields, London E1 6QR
In this piece, Dokins refers to the negative space as a formal structure and finds the simplest answer to nature in the poem of the former monarch and pre-Hispanic poet, Netzahualcoyotl:

“How should I go?
 Will I leave nothing after me on earth?
 How should my heart act?
 Are we in vain come to live,
 to sprout on the ground?
 Let's leave at least flowers
 Let’s leave at least songs”

Calligraphy mural by Said Dokins in London. Street Art
Said Dokins @saidokins. Poisoned Seed 1/1 -Ed 2, Three Flowers for London series.
Address:  36-20 Hanbury St, Spitalfields, London E1 6QR UK.


Dirty Metal Perfection. Mural in Hackney.

78 Mare St, London, E8 3SG, UK.
The last piece of the series shows the complete image of the flower. Dokins used black sprays to give the metallic tones a dirty look.

Calligraphy mural by Said Dokins in London. Street Art
Said Dokins @saidokins. Dirty Metal Perfection 1/1 -Ed 3, Three Flowers for London series.
Address: 78 Mare St, London, E8 3SG, UK.

The curator of this series of interventions, Pablo Angel Lugo, tells us:
‘To dialogue with Dokins' work, it is important to remember the organic. Both in shape and background. Calligraphy in its organic stroke, can’t find a better place of appreciation than London, this organic and growing city, undoubtedly worried about the situation of nature. There is a dialogue between the surviving flowers of Said, Extintion Rebellion and British Petroleum. A discussion in which Dokins strokes become the desperate cry of nature’.
This mural project was made in collaboration with Pèbèo, Paints for Fine Arts, in their 100th Year Anniversary, as well as the agencies Global Street Art, Not Banksy Forum, Glocal Art Markets Consultants Ltd. and the neighbors of the places where the murals were painted.

Murals Locations:

Metal Germination: Tybalds Community Hall Basement, Blemunsdbury, Dombey St, Holborn, London WC1N 3PF
Poisoned Seed: 36-20 Hanbury St, Spitalfields, London E1 6QR
Dirty Metal Perfection: 78 Mare St, London, E8 3SG, UK.

Así lucen los tres nuevos murales caligráficos que Said Dokins hizo en la capital de Reino Unido

Caligrafia y murales, Said Dokins sobre el cambio climático en Londres
Said Dokins @saidokins. Metal Germination 1/1 -Ed 3, Three Flowers for London series.


Tres flores para Londres.

A través del arte urbano, Said Dokins llama la atención sobre el cambio climático. 

Saido Dokins realiza su caligrafía en mural de Londres
Said Dokins pintando su mural en Londres. Fotografía Karoli

‘Tres flores para Londres’ es la más reciente serie de murales realizados por el artista mexicano Said Dokins donde vincula poesía visual y caligrafía para reflexionar en torno al cambio climático, problematizando desde una perspectiva estético-política las tensiones entre el mundo de lo natural y lo artificial; se trata de una provocación visual para señalar la urgente necesidad de replantear nuestra relación con el medio ambiente. 

Caligrafia y murales, Said Dokins sobre el cambio climático en Londres
Said Dokins @saidokins. Metal Germination 1/1 -Ed 3, Three Flowers for London series.

El proyecto se realizó en tres zonas de Londres: Central London, Brick Lane y Hackney, cada zona alberga un caligrama basado en un patrón geométrico base compuesto de 6 círculos completos del mismo diámetro que forman un conjunto hexagonal. Empalmadas, estas circunferencias crean patrones radiales simétricos que aluden a la forma de las flores. Cada intervención contiene el mismo patrón, pero incompleto en alguna parte. Sus sugerentes títulos se refieren a lo orgánico, lo maquinal y la contaminación, evocando la visión distópica del biopunk, al tiempo que satiriza el misticismo new age. 

Para Said Dokins cada pieza representa una contaminación de una ‘potencia’ orgánica, es decir, cada imagen representa una etapa germinal que ha sido modificada, infectada o empantanada. Esta potencia interrumpida puede parecer armónica, sin embargo, lleva en sí un germen destructivo:
‘Creo que hoy más que nunca tenemos que voltear hacia la naturaleza, nuestra relación con el medio ambiente en términos de sociedad global y local, y lo hemos vivido estas semanas con Extintion Rebellion, un ejemplo claro de que la sociedad está despertando, que este cambio viene en serio. Creo en el arte como método de reflexión y señalización desde la estética, a veces un modo visual de preguntarse las cosas’, comenta Dokins.
Aquí te presentamos los tres murales de Said Dokins en Londres:

Metal Germination. El mural en Central London

Tybalds Community Hall Basement, Blemunsdbury, Dombey St, Holborn, London WC1N 3PF. UK. 
El primer mural realizado en Central London contiene las palabras Naturaleza y Máquina en el interior de la figura. 

Detalle de la caligrafía y caligrafiti en el mural de Sadi Dokins en Londres
Said Dokins @saidokins. Metal Germination 1/1 -Ed 3, Three Flowers for London series. 

Poisoned Seed. El mural de Brick Lane.

Localizado en 36-20 Hanbury St, Spitalfields, London E1 6QR UK, esta pieza de Dokins alude al espacio negativo como estructura formal y encuentra la respuesta más simple hacia la naturaleza en el poema del antiguo monarca y poeta prehispánico Netzahualcoyotl: 

“¿Con qué he de irme?
¿Nada dejaré en pos de mi sobre la tierra?
¿Cómo ha de actuar mi corazón?
¿Acaso en vano venimos a vivir,
a brotar sobre la tierra?
Dejemos al menos flores
Dejemos al menos cantos” 

Un mural de Said Dokins para el centro de Londres muestra los razgos de su caligrafía y el poder de sus trazos
Said Dokins @saidokins. Poisoned Seed 1/1 -Ed 2, Three Flowers for London series. 

Dirty Metal Perfection. El mural en Hackney.

Justo en 78 Mare St, London, E8 3SG, UK se encuentra la última pieza de la serie, aquí se muestra la imagen de la flor completa. Dokins utilizó aerosoles negros para dar un aspecto sucio a los tonos metálicos. 

La caligrafía completa de Said Dokins en su nuevo mural de Londres. Street Art
Said Dokins @saidokins. Dirty Metal Perfection 1/1 -Ed 3, Three Flowers for London series. 

El curador de esta serie de intervenciones, Pablo Angel Lugo, nos comenta: 
‘Para dialogar con la obra de Dokins es importante recordar lo orgánico. Tanto de forma como de fondo. La caligrafía en su trazo orgánico, no puede encontrar mejor lugar de apreciación que Londres, esta ciudad orgánica y creciente, preocupada sin duda alguna por la situación de la naturaleza. Hay un diálogo entre las flores sobrevivientes de Said, Extintion Rebellion y British Petroleum. Una discusión en la que los trazos de Dokins se convierten en el grito desesperado de la naturaleza’
Este proyecto mural fue realizado en colaboración con la empresa de pintura Pèbèo en el marco de las celebraciones de los100 sus años de trayectoria, así como con la colaboración de las agencias Global Street Art, Not Banksy Forum, Glocal Art Markets Consultants Ltd. y los vecinos de los lugares donde se hicieron los murales.

Localización de los murales: 

Metal Germination: Tybalds Community Hall Basement, Blemunsdbury, Dombey St, Holborn, London WC1N 3PF

Poisoned Seed: 36-20 Hanbury St, Spitalfields, London E1 6QR

Dirty Metal Perfection: 78 Mare St, London, E8 3SG, UK.

Said Dokins transformed a watchtower into a jewel of Contemporary Urban Calligraphy.


Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna

Said Dokins creates a mural on the 'Panoptic' of an old prison in San Luis Potosí.

  • His new mural, ‘The witness. Stories of a word’, unveils the memory of the site 

The urban artist Said Dokins (Mexico, 1983), has made a new mural intervention that transforms the watchtower of an old penitentiary into a jewel of Contemporary Urban Calligraphy. This creation is carried out during the celebrations of the Center of the Arts of San Luis Potosí 11th Anniversary, where the artist participates as a special guest with the exhibition ‘Runaway Writings’.
Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna
With the title ‘The witness. Stories of a word’, Dokins mural reflects on the role of the archive in the construction of cultural and historical memory, through the recordings of the testimonies of people who were involved in the place while serving as a penitentiary. Dokins intertwines the stories of prisoners, custodians, psychologists, even executives, to reinterpret them with his own style, rewriting these events and accumulating them in a multitude of strokes forming a texture that surrounds the tower. 
Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna
Said Dokins @saidokinsThe witness. Stories of a word, 2019.
Detail. Mural on watchtower of Center of the Arts of San Luis Potosí. Mexico. 
Photo courtesy by Leonardo Luna

In the words of the curator of the exhibition 'Runaway Writings', Claudia de la Garza, “Said Dokins follows the traces of those who inhabited this space of reclusion to intervene with their words, experiences and memories the watchtower, the exact point from which power was over the imprisoned bodies through gaze control and from where the voices of people who passed through these corridors still resonate, […] the artist weaves a network of memory, which transforms the panoptic to be no longer an eye that looks everything to repress, but in a witness that reveals everything it has seen, showing the marks of those who passed through here.”

This intervention can be seen during the rest of the 2019 from 10:00 to 18:00 hours, at the Center of Arts of San Luis Potosí, located in Calzada de Guadalupe 705, San Juan de Guadalupe, Julian Carrillo, 78340 San Luis Potosí.

The panoptic term, from the Greek panoptes (which in Greek mythology was used to name the monster with a hundred eyes), means etymologically ‘the one who sees everything’. With this name, Jeremy Bentham (1748-1832) baptized the building model he implemented, with an unprecedented surveillance system, achieved through a tower located in the center of a radial architectural complex, where the different rooms or cells are housed. Penitentiary of San Luis Potosí until the end of the nineties.

El artista Said Dokins transformó una torre de vigilancia en una joya de la Caligrafía Urbana Contemporánea

Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna

Said Dokins interviene el Panóptico de una antigua cárcel de San Luis Potosí. 

  • Su nuevo mural, “El Testigo. Historias de una palabra”, revela la memoria del sitio.

El artista urbano Said Dokins (México, 1983), ha realizado una nueva intervención mural que transforma la torre de vigilancia de una antigua penitenciaría en una joya de la caligrafía urbana contemporánea. Esta acción se lleva a cabo durante las celebraciones de los 11 años del Centro de las Artes de San Luis Potosí, en donde el artista participa como invitado especial. Con el título ‘El testigo. Historias de una palabra’ Dokins reflexiona sobre la función del archivo en la construcción de la memoria cultural e histórica, a través del registro sonoro de los testimonios de personas que estuvieron involucradas en el lugar mientras fungía como penitenciaría. Dokins retoma las historias de presos, custodios, psicólogos y directivos, para reinterpretarlas con su propio estilo, reinscribiendo los acontecimientos que narran a través de una multitud de trazos, una acumulación de letras y signos que forman una textura en torno a la torre. 
Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna
En palabras de la curadora de la exposición ‘Escrituras en fuga’, Claudia de la Garza, “Said Dokins sigue los rastros de quienes habitaron este espacio de reclusión para intervenir con sus palabras, experiencias y recuerdos la torre vigía, el punto exacto desde el cual se ejercía el poder sobre los cuerpos presos a través del control de la mirada y desde donde aún resuenan las voces de personas que transitaron por estos corredores […] El artista teje un entramado de memoria que transforma el panóptico, ya no en un ojo que todo lo mira para reprimir, sino en el testigo que revela cuanto miró, que muestra las marcas de quienes por aquí pasaron.” 
Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna
Esta intervención podrá apreciarse durante el resto del año en un horario de 10:00 a 18:00 horas en el Centro de las Artes de San Luis Potosí, ubicado en Calzada de Guadalupe 705, San Juan de Guadalupe, Julián Carrillo, 78340 San Luis Potosí.

Said Dokins, 'El Testigo, Historias de una palabra' Centro de la Artes. SLP. México. Foto: Leonardo Luna. 
El término panóptico, procedente del griego panoptes (que en la mitología griega servía para nombrar al monstruo de los cien ojos), significa etimológicamente ‘al que todo lo ve’. Con este nombre, Jeremy Bentham (1748-1832) bautizó al modelo de edificio que implementó, con un sistema de vigilancia sin precedente, conseguida mediante una torre situada en el centro de un complejo arquitectónico radial, donde se albergan las diferentes habitaciones o celdas. Penitenciaría de San Luis Potosí hasta finales de la década de los noventa.

Said Dokins Highlights of 2018

HELLO 2019!

Dear friends, 2018 was a fantastic and intense year, full of challenges, and the greatest people around. I want to thank you all for your support and friendship, for being there, following my work and collaborating with me, and I hope you stay around because 2019 is arriving with tons of energy and new projects. As we organise the agenda, I’m super excited about the endless possibilities. I wish you the best for 2019. Happy new year! Said Dokins

IT’S A WRAP! Said Dokins Highlights of 2018

We want to share with you a selection of Said Dokins best murals of 2018 through images. Enjoy and feel free to share! We’ll keep you posted on Said’s new projects. 

Sleeping Languages in Queensland, AUSTRALIA


Said Dokins @saidokins, Sleeping Languages in Queensland, from the series Stories of a Word, 2018. Brisbane Street Art Festival, QUT University, Queensland, Australia. Photo: QUT University. 

These murals are an acknowledgement to the Traditional Owners of the lands of Queensland. A tribute to the Aboriginal people who have been displaced from their communities, their lands and who were forbidden to speak their language, perform their ceremonies and practice their culture.

Zanco, OAXACA


Said Dokins @saidokins, Zanco, 2018. Zaanarte Festival, Zaachila, Oaxaca, Mexico. 

In this wall Said refers to the colorful characters known as “zancudos”: men who wear around 2-meter-long stilts to perform traditional dances during the carnival festivities in this community of Oaxaca.

Nos falta la realidad, IBIZA, ESPAÑA




Said Dokins @saidokins, Nos falta la realidad, from the series Stories of a Word, 2018. Bloop Festival, Ibiza, Spain. Photo: Leonardo Luna. 

In this intervention Said collected the words of the children of the community with the intention to call attention to their voices and make visible their value for the construction of citizenship.

Sunset / Valentina's feelings, SARDEGNA, ITALY











Said Dokins @saidokins, Sunset / ‘Valentina’s feelings, 2018. Festival della Resilienza, Macomer, Sardegna, Italy. Photo: Leonardo Luna.

For this wall Said transcribed the words of a young local woman who reflected on her condition as a migrant in Italy.

Identity and Difference, LA KARRIERE, FRANCE





Said Dokins @saidokins, Identity and Difference, from the series Stories of a Word, 2018. Street Art on the Roc, La Karriere, Villars Fontaine, France. Photo: Leonardo Luna.

In this Festival, the artist explored the notions of identity and difference among the community and visitors who provided words referring to their experience in that remote region. Said had the opportunity to paint on the plane stone of the ancient quarry, an extraordinary heritage site.

NÆRHET, STAVANGER NORWAY





Said Dokins @saidokins, NÆRHET, 2018. Nuart Festival, Stavanger, Norway. In collaboration with Johannes Læringssenter Foundation. Photo: Leonardo Luna.

The word ‘nærhet’, ‘proximity’ in English, refers to the ways our individual experiences are shaped by our environment and how this can be disrupted through displacement and migration. Is spelled using the names and words collected by the artist through his interviews to the individuals from the Johannes Læringsenter Foundation, a resource center for newly arrived immigrants to Stavanger.

They The Lion Grow, DETROIT, USA




Said Dokins @saidokins, They Lion Grow, 2018. Murals in the Market, Detroit, Michigan, United States. Photo: Trevor Dernai.

This mural is composed by the lines of the poem entitled They Feed They Lion(1972), by the American poet Phillip Devine, best known for his poems about working-class Detroit.

Untitled, BOGOTÁ, COLOMBIA


Said Dokins @saidokins, Untitled, 2018. Village, Barcú Art Fair, Bogotá, Colombia.

This is one of the most striking interventions that Said did during his artistic residence in Colombia.

Stolen Suns, MEDELLÍN, COLOMBIA



Said Dokins @saidokins, Stolen Suns, 2018. Pictopía Urban Art Festival, Medellín, Colombia.

This mural is inspired in the words of Mexican social activist, Rosario Ibarra de Piedra, who has spent her life searching for her son, disappeared by Mexican Government for political reasons during the 70s.

Nocturno III, GUAYAQUIL, ECUADOR




Said Dokins @saidokins, Nocturno lll |Vásárhelyi Night Session - Carpella 4b, 2018. Urban Art Laboratory, International Public Art Meeting Interactos, Telégrafo, Arts University of Ecuador, Guayaquil, Ecuador.

Said pays tribute to the great 20th century artist and his optical experimentation.