Hotel History - Bristol City

Discover The History of Clayton Hotel Bristol

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Tom Bingle ‘Inkie’

Tom is a London based street artist originally from Clifton, Bristol and with a career dating back to the early 80’s, he is citied as being part of Bristol’s graffiti heritage. The “See No Evil” mural was originally created during the event of the same name back in August 2011 along Nelson Street. A total of 72 artists from around the world took part and nothing of its size has ever taken part in the UK.
Over the last 10 years, with on going works on Nelson Street, the mural has been aged and damaged in parts so ‘Inkie’ will be repainting the piece back to its former glory.

Instagram – @inkiegraffiti

Felix ‘Flx’ Braun

Felix was initially inspired to draw giants by Stik’s giant figures that he painted on Nelson Street for the See No Evil festival in 2011. The way the mural makes a feature of the awkward stairwell struck a chord. With this in mind, he began researching the story of Goram and Vincent and doodling ideas of what the characters from the story might look like, and how they could interact within the space.
The famous local myth of Goram and Vincent: engineers, rivals and towering heroes of the region. The legend of Bristol’s giant brothers, Goram and Vincent, tells of how the siblings competed against one another, to dig the Avon Gorge and Blaise Valley, in a race to drain an enormous lake, that supposedly once covered a huge area of land between Bristol and Bradford-upon-Avon. The giants were set the task by a local woman, Avona, to help her decide which of them to marry. The wiser of the two, Vincent, paced himself and used all his engineering knowledge to dig the far superior channel through the rock to form the Avon Gorge. The wisest of the three, of course, was Avona, who delegated the entire task to the brothers, and got both valleys dug without ever lifting a finger.

Instagram – @felix_flx_braun

Adam Nathaniel Furman

Adam is a queer artist of multicultural and multi-religious background (Japanese-Argentine British) who has a deep passion for architecture, heritage and decorative art. The colours, shapes and patterns he uses speak of the joyful mixing together of local context & history, an exuberant multiculturality and an inclusive simple and direct engagement with visitors of all ages and backgrounds. He said “The Everards Printworks is a dream project that will bring together my lifelong passion for ceramics with a deep love for integrated architectural ornamentation that has an urban presence, in proximity to one on Britain’s greatest examples of architectural terracotta from the turn on the 19^th-20^th century”
“It is with this in mind, and drawing on my Latinx heritage, that I have carefully stitched together a complex and layered urban quilt for the city of Bristol, an epic story told in bold ceramic geometries, at once inscrutable and totally accessible and enjoyable by everyone. I hope this artifact will be loved and become like a welcome old friend in the background of Bristolians’ everyday lives, much like the warm embrace on a cold night of a quilt made by one’s great grandmother”

Instagram – @adamnathanielfurman

Carlo Hornilla

Each column design is an impromptu collection of visual narratives on characters inspired by Carlo’s experiences growing up in creative spaces such as Bristol, in education/university and the need to break out of the monotony that was the various lockdowns throughout 2020-2021. An “organised chaos” that wraps around each column to encourage whoever walks by to fully explore the space around the site in order to take the full image of the artwork in. The column space around the artwork will remain an “empty”/ negative space in contrast to the design to emphasise how much is going on within the art. It is proposed that the concrete remains ‘bare’ so it looks as though the art is wrapping around the existing space, as if invading from some nebulous void, and to connect it with the other columns that will not be painted on.

Instagram – @kaarokaaro

Harriet Wood ‘Hazard’

The artwork for the underpass will offer a nature themed, biophilic design that will inject colour and plant life into the urban environment in the city centre. The mural design will be a floral/botanical piece that is decorative and bright, almost as a large-scale wall-paper print. Not only are plants and flowers a positive and colourful addition to a busy city street but they benefit passers-by by increasing their connectivity to nature which reduces stress, improves cognitive function and well-being. Biophilic elements are being used increasingly in interior design schemes and architecture – this includes artwork and print design, so using this theory on a large scale on an external wall of building in a street where there isn’t a lot of greenery.
Harriet says “My final design is themed around oversized flowers and foliage. My intention is to create a vertical garden in aerosol – embracing the popularity of living walls without the maintenance! The floral offering is also a quiet nod to the nearby St. John’s cemetery, a 2000-year-old symbolic action and ritual to express our bereavement, condolences and respect”.

Instagram – @hazard0ne

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