In this set of photographic works INSA orchestrates a conflicting dialogue between all the elements and explicitly subordinates the value of his own street art to both the possessed object of the bike and the overtly sexualized female presence. Thus questioning our individual perceptions of ownership of public space, of sexuality and of belonging(s).
BS justification for tacky pictures imo?
(also I'm pretty sure they've been posted/ripped to pieces before)
BS justification for tacky pictures imo?
(also I'm pretty sure they've been posted/ripped to pieces before)