Urban | Equinox: materials and changing scale at GraffitiStreet

Urban | Equinox ran at GraffitiStreet Gallery, 25A West Street in Chichester, from March 20 to May 30, 2026. SNIK appeared in a group exhibition that connected street-art practices through the spring equinox’s balance of light and darkness. The gallery’s public inventory contains 50 works, offering a substantial cross-section of sculpture, paintings, drawings and editions. Exhibition listing

GraffitiStreet described the show through relationships between nature and the built environment, control and spontaneity, and fragility and strength. Those pairings become more specific when traced through the exhibited objects. The materials include recovered everyday matter, carefully prepared paper, wooden panels and canvas, giving artists several ways to bring a practice associated with public space into close viewing. Gallery exhibition account

Found matter and drawn light

Bordalo II’s Eastern Quoll (Neutral) is catalogued as paint on an assemblage of found objects, including plastic and wood. My Dog Sighs’ Essential uses mixed media on a reclaimed aluminium can. Both make the physical identity of recovered material part of the artwork. Read within the exhibition’s stated theme, they provide a concrete connection between what circulates through an everyday environment and what can be encountered again as an art object. Eastern Quoll (Neutral) · Essential

Spidertag’s Blue Signal /26 drawings approach the exhibition through a change of scale and means. Works including Blue Square use acrylic marker on black Fabriano paper. GraffitiStreet’s accompanying account explains how the artist translates a practice associated with illuminated murals into hand-drawn geometric forms: the sense of light comes from pigment against a dark surface. The gallery medium therefore changes the way the image produces its effect, while retaining the importance of line, geometry and visual intensity. Blue Signal /26

Painting and the human figure

The painting selection adds further contrasts. Hua Tunan’s Light Spreads Through Time combines acrylic and spray paint on canvas; HOXXOH’s Blue Portal places spray paint on a wood panel. The gallery discusses both artists through abstraction, movement and the relationship between control and release. Sophie Mess’ Equinox, meanwhile, is an acrylic work on birch plywood. These examples make clear how much the show’s conversation depends on an object’s construction as well as its imagery. Light Spreads Through Time · Blue Portal · Equinox

SNIK’s contribution brings the human figure into this material conversation. The gallery’s show inventory identifies For a Moment alongside three unique 2026 Solitude canvases: Golden Dawn, Twilight Blue and Amber Light. Together, the group gives a stencil-led counterpart to the assembled objects, geometric drawings and abstract paintings elsewhere in the programme. Our comparison of the three Solitude canvases examines their individual colour and finish. Their exhibition significance lies in the wider exchange: an exacting portrait-making process placed among several different ways of carrying urban-art practice into a gallery.