Now in our 20th year! Since 2002, your old-school website for all things stencils.

Welcome to StencilArchive.org, home for 1000s of photographs, videos, and more. We never datamine user info nor do we use annoying pop ups to make you subscribe. We do not monetize content and we believe in keeping this project free and open.

How can you support this site (beyond submitting pics, videos, exhibit info, etc.)?

  • Visit the Stencil Archive Support page to purchase a copy of Stencil Nation, take a tour, or donate to this project.
  • Find the Stencil Archives' best original photos on Instagram and flickr.

Here's to 20 more years - Russell

Stencil Archive at 20: Peat Eyez Wollaeger

Peat Luchador
Peat drops a Luchador stencil on the walls at CELLspace in 2007.

Whenever I see Peat's many fresh social media posts, showing new art, videos, NFTS, merch, talks, call-ins, and family bits, I am once again reminded that he is the irrepressible example of what it takes to be a 2020s artist that can make a living off of their work. Back in 2002, Peat had this spark when we first made contact.

He appeared to be a step ahead of the crowd with memorable stencils, hilarious videos, direct inspiration from late Pop Art and "Low Brow" artists, encouraging and supportive board posts, early adoption using social sites, topped off with massive online hustle and self promotion. Getting to know him, and hang out and make art with him over the years, I usually barely keep up with him when we visit.

Back in the early 2000s, Peat already had a style that stood out, and the fact that he now focuses on the eyez (his spelling) makes sense. Looking through his Stencil Archive submissions, dating back to around 2002, this style - and the eyez - shine through the years. He hooked me with his "Dead Fat Comedians" stencils, but his hilarious Mountain Dew Bill Hilly stencil, and the video of Peat as Bill Hilly himself painting the hillbilly stencil in his hometown of St. Louis, was the moment that I got totally hooked.

I still watch that video when I need a laugh, and still have the bottle with Peat's character on the label (I wore out the t-shirt he gave me).

Miss.Tic - Rest In Paint

miss.tic

Paris street art legend Miss.Tic dies at 66

Radhia Novat began cropping up in the Montmartre neighborhood of Paris in the mid-80s and became a pioneer of French street art. Her family said she had died of an unspecified illness.

Le Monde with AFP
Published on May 23, 2022 at 03h15 

Miss.Tic, whose provocative work began cropping up in the Montmartre neighborhood of Paris in the mid-80s and made her a pioneer of French street art, died on Sunday at 66, her family told AFP.

Radhia Novat grew up in the narrow streets in the shadow of Sacré-Cœur basilica, the daughter of a Tunisian father and a mother from Normandy in western France, where she began stencilling sly and emancipatory slogans. Her family said she had died of an unspecified illness.

'One of the founders of stencil art'

Other French street artists paid tribute to her work. On Twitter, street artist Christian Guemy, alias C215, hailed "one of the founders of stencil art". The walls of the 13th arrondissement of Paris where her images are a common sight "will never be the same again", he wrote.

Another colleague, "Jef Aerosol" said she had fought her final illness with courage, in a tribute posted on Instagram. And France's newly appointed Culture Minister, Rima Abdul Malak, saluted her "iconic, resolutely feminist" work.

Miss.Tic's work often included clever wordplays – almost always lost in translation – and a heroine with flowing black hair who resembled the artist herself. The images became fixtures on walls across the capital.

City Journal Contemplates Inscriptions of Crisis

City is a journal of provocative, cutting-edge and committed insights into, analysis of, and commentary on the contemporary urban world. We record and analyse ’the city’, cities and their futures, and urbanization from multiple perspectives....

Against the wall
Introduction to the Special Feature: Inscriptions of ‘crisis’: Street art, graffiti, and urban interventions

Anna Carastathis &Myrto Tsilimpounidi
Published online: 08 Jul 2021

[a quick excerpt] In March 2011, large-scale demonstrations erupted in the city of Daraa, prompted by the arrest and detention of children who were accused of writing graffiti against the regime on the walls of their school. The protests in Daraa were said to have broken through the ‘wall of fear’ (Masalmeh quoted in Sterling 2012), sparking the people’s uprising across Syria. Watching these expressions of dissent unfold through our computer screens, we were reminded of a song we grew up singing, referring to the resistance to the colonels’ dictatorship in Greece (1967-1974): ‘the street had its own history/someone wrote it on the wall with paint/it was a single word: freedom/later they said that children wrote it’ (Mitropoulou 1974).

Alex Vallauri (1949-87)

Vallauri Postal God

>NEW< Alex Vallauri on Stencil Archive

A few weeks ago, we got an email asking if the Stencil Archive featured stencil work from Brazilian artist Alex Vallauri. We didn't, so an instant online search ensued. In a brief Wikipedia entry, it is noted that Vallauri traveled to Sweden in 1975, saw graffiti, and returned to Brazil to paint walls. He then traveled to New York City in 1982 and landed in to the hot scenes of Manhattan while the city was covered in graffiti, stencils, and pop art. He flew back to Brazil and never stopped painting walls, mostly with stencils, until his untimely death in 1987. The book "Alex Vallauri Graffiti", by Joao Spinelli, was published in Brazil by Bei press in 2011.

As always, Stencil Archive appreciates it when loved ones, fans, and artists themselves reach out to us. Since art in urban streets has a history that runs deep, and precedes the all-seeing internet, this project continues to help connect the people, places, methods, and events that enrich the knowledge and celebrations of this technique and art form.

Stencil Archive at 20: Some of the First Street Flicks

Mao in Basel
One of the first!: Basel, CH (1995)

In the early 1990s, I spotted a stencil in Clemson, SC while driving to meet up with some friends. I knew what the stencil was a symbol for, because I knew what J.R. "Bob" Dobbs' head looked like. Turns out, the Church of SubGenius had put a stencil of "Bob" in their 1983 book The Book of SubGenius. For some reason, I thought about that Clemson stencil enough to drive back to the town weeks later with my camera so I could take a photograph of it. Like most illegal public art, "Bob" had been buffed.

Then, in 1995, I managed to save enough money before getting laid off in Atlanta, GA to take a budget trip to Europe. I had decided to make it an art, graphic design, and art history trip, which was a great self-taught way to learn and develop an eye for my own creations. Landing in Amsterdam, I found amazing rave flyers, fresh graffiti, and other imaginative public advertising. I also enjoyed the van Gough museum. 

I found much of the same in Berlin and elsewhere, and then also started noticing stencils in the streets. I didn't find many; I did not go to Paris on this trip, but I did snap a few along with the graffiti, ads, etc. One of my first-ever stencil photos was in Budapest:

budapest

I had a roll of color film in my camera and snapped the above photo without thinking much of what it meant, what a stencil was, and even the now-forgotten "Bob" stencil from about four years earlier. On a later date, I snapped a few in Basel, Switzerland. They were obviously political images, and I didn't think much of them as I added these photos with the other art from the trip.

I finally got hooked when I randomly ended up moving to San Francisco in 1997. After a few weeks on a couch, I got a sublet in a house in the Mission District. Walking around all the time to discover the City, I found stencils everywhere. I started taking my big DSL camera with me, trying to conserve my photos to save money on film and development. I chose not to snap graffiti and murals, and began to focus only on snapping photos of stencils. Many of these early film snaps have been scanned and rescanned for the Stencil Archive project, and the best now have their own archive here.

One reason Stencil Archive has a "one stencil in one photo only" policy is partly because I tried to only take one photo of a stencil while using the film camera. Seeing the repetition, like Jr.'s Budapest stencil, was fascinating, but I didn't have the time or money to snap all the extras I saw during my wanderings. In 2002, at the beginning of the digital camera era, Stencil Revolution let anyone post as many photos of the same stencil as they wanted (much like social media today), so I took that film-based rule I had and made Stencil Archive a more curated site.