Storhaug Part 1 – Tou

Home to Nuart since 2001, this large-scale complex of refurbished industrial buildings is host to Nuart’s annual indoor exhibition and festival, it houses Nuart’s main production office and studios.

Over the years, the surrounding industrial buildings have hosted hundreds of small-scale interventions as well as large-scale murals from some of the scenes leading names. It is a natural starting point for street art tours where you’ll find everything from sticker art, to graffiti, stencil art and muralism.

[click on an artwork title, top left, for further details about a piece]

Untitled (September 2019) by EdwinNuart

Edwin (UK)

Untitled (2019)

Operating under a cloak of secrecy, London-based artist Edwin never shies away from pointing out the most brutal truths, subverting our normal social order. His towering letters and large scale pointed installations deliver impactful messages.

By highlighting the elephant in the room, Edwin provides a critical dialogue often lacking in the urban art environment.

These larger than life, full building, caution-tape wraps are the recurring visual of several installations that Edwin created in Stavanger, as a response to the question “What would happen if tomorrow, we lived the same way as we did today?”

Here, Edwin addresses rising sea levels over the coming decades. These caution-tape hugs, seen enveloping several structures, visually mark the height at which water levels are predicted to reach by the year 2100 if no action is taken.

Untitled, Edwin, September 2019, From the collection of: Nuart
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Untitled (September 2014) by StrøkNuart

Anders Gjennestad / Strøk (NO)

Untitled (2014)

Previously known as Strøk, Anders Gjennestad is a Norwegian stencil artist whose photorealistic pieces defy gravity in their dynamic movement across the walls he paints.

Untitled (September 2014) by StrøkNuart

The figures in his work are based on photographs Gjennestad takes himself before hand-cutting layers of stencils for each figure to achieve a sense of depth and dimensionality.

Long dark silhouettes trail behind the figures in this piece from the 2014 edition of Nuart, captivating viewers with Strøk’s radically altered sense of perspective.

Untitled (September 2010) by Blu & EricilcaneNuart

Blu & Ericilcane

Untitled (2010)

Acclaimed artists Blu and Ericailcane completed this four-piece, full building, painted scenic wrap as part of Nuart Festival in 2010.

Untitled (September 2010) by Blu & EricilcaneNuart

Their gigantic mural was a direct stab at the massive oil spill by BP in the Gulf of Mexico earlier that year, and was unveiled at the same time as a prominent oil and energy conference in Stavanger.

Untitled (September 2010) by Blu & EricilcaneNuart

Untitled (September 2010) by Blu & EricilcaneNuart

Untitled (September 2010) by Blu & EricilcaneNuart

Untitled (September 2008) by Blek le RatNuart

Blek le Rat (FR)

Untitled (2008)

Invited to Nuart Festival in 2008, Blek Le Rat painted this piece for the city of Stavanger, mirroring the visuals he created for his indoor installation segment of the festival at Tou Scene.

One of his signature rats can be seen scampering away.

Blek le Rat

Blek Le Rat is a French artist whose plague of stencilled rats have graced cities world-wide since 1981, beginning with his hometown in Paris. He is an influential early figure in the field of street art, and is often called the father of stencil-art.

Heavily influenced by the NYC graffiti scene of the 1970s, Blek Le Rat was also classically trained in various printmaking techniques and in architecture. Describing rats as “the only free animal in the city” Blek Le Rat’s name adopts "rat" as a subversive anagram for “art.”

Untitled (September 2006) by MIRNuart


Untitled (2006)

MIR’s thought provoking artwork gives us a chance to reflect on how we are living, a specific nod to those in need.


MIR is a Bergen based stencil artist who was prolific in the burgeoning street art scene of the early 2000s. Erupting from the same school and period as his Norwegian contemporaries Dolk, Pøbel, Strøk and Martin Whatson, MIR is well known for his mostly two-toned, classic graphic stencil work.

His pieces are easily recognised in Stavanger by the locals who grew up with his visual take on social injustice, as he often tackled difficult subjects with a level of sensitivity rarely present in this medium.

Dispatchwork (September 2018) by Jan VormannNuart

Jan Vormann (DE)

Dispatchwork (2018)

German/French conceptual artist Jan Vormann is best known for his iconic and striking ongoing global project, Dispatchwork, which sees him fill in the crumbling gaps between physical spaces in structures with Lego Bricks.

Vormann describes Dispatches as “a forum to further develop, piece by piece, a global game together, one that encourages citizens to take back public space and leave their mark in a playful way…”

Dispatchwork (September 2018) by Jan VormannNuart

By highlighting these unused spaces cramped between brickwork, using a material that is both extraordinarily well known worldwide and light and playful in nature, Vormann creates a space to collaborate with the public.

Dispatchwork, Jan Vormann, September 2018, From the collection of: Nuart
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Lars Hertervig's Island Borgøya (September 2019) by Julio Anaya CabandingNuart

Julio Anaya Cabanding (ES)

Lars Hertervig's Island Borgøya

Julio Anaya Cabanding (ES)

Spanish artist Julio Anaya Cabanding paints replicas on found objects in public locations of well known and cherished artworks, meticulously mimicking masterpieces from the Renaissance period through to the Impressionist movement and beyond.

By leaving his studio and actively seeking out contrasting environments for his paintings, Cabanding’s artwork allows the iconic masterpieces he replicates to transcend the hallowed halls of the museums and galleries the originals inhabit.

For his time at Nuart Festival in Stavanger, Cabanding selected works from Lars Hertevig, one of Norway’s most well known artists, as his subject matter.

Gone Beliver (September 2018) by SnikNuart

Snik (UK)

Gone Believer (2018)

In time, the ivy and flowers that naturally decorate this carefully selected wall will grow in, changing with the seasons, and giving this piece a physical weight and sense of movement with each passing day.

Snik (UK)

UK based artist duo SNIK use their visual platform to tell stories about the everyday beauty that surrounds us, often by paying close attention to the details; a fold of fabric, a lock of hair, all meticulously recorded.

They are staunch traditionalists, cutting the massive, multi-layered stencils that create the base of their work by hand, in a painstaking process that leaves a unique and almost photographic quality to their work, like a ripple in a mirror.

Pushing the artform to its boundary and recognised for their discipline, SNIK hold a unique place in the Urban Art movement.

The Deer (September 2015) by Bordalo llNuart

Bordalo II (PT)

Deer (2018)

Bordalo II

Portuguese artist Bordalo II creates work under this name as a tribute to his grandfather, fine artist Real Bordalo, whose studio he grew up in. Heavily influenced by his own graffiti background coupled with 8 years of study in a higher level fine arts environment, Bordalo II now creates curbside 3D murals and installations.

Cobbled together out of found objects and laced with paint, Bordalo II turns trash into large animals, leaving us to think about the impact of our pollution on the natural world, while leaving his unique fingerprint on the urban art scene.

No Connection (September 2018) by Vlady StroyNuart

Vlady Stroy (IT)

No Connection (2018)

Lawn Mower / Asphalt Cutter (September 2018) by Vlady StroyNuart

Vlady Stroy (IT)

Lawn Mower / Asphalt Cutter (2018)

Vlady Stroy

Known for his minimal, sociopolitical and and often spontaneous public pieces, Italian artist Vlady created a series of works in Stavanger during the 2018 edition of Nuart.

Conceptual to their core, Vlady’s works are often text based and teasingly sarcastic, reminding us of the intangible, yet very real pitfalls in the fabric of our built environments.

We insist, we resist, we persist, we coexist & we are pissed (September 2017) by John FeknerNuart

John Fekner (US)

We Insist, We resist, We Persist, We Coexist & We Are Pissed (2017)

When invited to join Nuart in 2017, John Fekner created this piece on a neglected wall near the bay of Stavanger. By using the decaying building, Fekner nods at much of his earlier work, continually impressing upon us a message of resistance and political action.

Growth / Decay (September 2017) by John FeknerNuart

John Fekner (US)

Growth / Decay (2017)

John Fekner (US)

Spurred on by social and environmental issues, American artist John Fekner relentlessly campaigned through the five boroughs of NYC with his ‘Warning Signs’ and later ‘Word Signs’ projects during the 1970s and 1980s.

Using spray paint, he wrote out words, signs and symbols to shine a light on environments, buildings and structures which had been left to decay, creating hazardous conditions for locals. In doing so, Fekner hoped to lead city officials, agencies and residential communities to be more responsible and to take action.

His work represented a distinct category from other graffiti on the streets of NYC at the time, which led public figures such as John Russell of the New York Times to comment that, “John Fekner is an artist who works not only in New York but with New York.”

How Big is the Idea (September 2017) by Bahia ShehabNuart

Bahia Shehab (EG)

How Big is the Idea (2017)

How Big is the Idea (September 2017) by Bahia ShehabNuart

Bahia Shehab (EG)

Bringing her fighting spirit to Stavanger to educate and inspire, university professor Bahia Shehab shows us how her art came to live on our streets with a message of resistance during the Egyptian revolution.

“Art is wonderful, it inspires, but it does not push for action sometimes… If you really want change, which is what we need, at least in my part of the world, we need to do more than just art.”

Translated to “How Big is The Idea”, Shehab’s mural in Stavanger is based on the third stanza of a poem by the Palestinian poet Mahmoud Darwish, which reads in full, "How vast is the revolution, How narrow is the journey, How big is the idea, How small is the state".

The eagle-eyed viewer will notice a smaller text stencilled to the left of the larger piece. It is here that Shehab has written the fourth stanza: "how small is the state" in a poetic illustration of the power of ideas and activism to overcome the kind of civil oppression she witnesses on a daily basis in her home town of Cairo in Egypt.

"OILYGARCHY" / "More Power/Power Less", ±MAISMENOS±, September 2017, From the collection of: Nuart
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Portugal's ±MAISMENOS± joined the local election campaign and presented his political manifesto at Nuart Festival 2017.

Breaking the Line (September 2019) by HyuroNuart

Hyuro (AR)

Breaking the Line (2019)

In 2019, Argentinian artist Tamara Djurovic, aka Hyuro, produced two pieces of artwork in Stavanger with Paint The Change, an international project creating local and global street art campaigns to highlight social justice issues and create opportunities for community outreach.

In a response to the unfolding refugee crisis across Europe, Hyuro painted this stirring piece of two extended arms, crossing over a centre border from opposing directions.

Breaking the Line (September 2019) by HyuroNuart

Beholders (September 2019) by Jofre OliverasNuart

Jofre Oliveras (ES)

Beholders  (2019)

Here we see Oliveras take a direct shot at both the art establishment and the media coverage of the ongoing migrant crisis.

He comments directly on a recurring theme seen at Art Biennales across the globe – the parading of migrant ships as a visual narrative, and the passivity of the observer.

Jofre Oliveras (ES)

Spanish visual artist Jofre Oliveras utilizes a spectrum of mediums to create his murals, sculptures and installations. For Jofre, art is a tool that highlights the need for change at both an individual and a societal level.

His work uses satire to critique problematic social convictions through sculptural and conceptual interventions, alongside his own meticulously executed murals in public space.

Magic Matches (September 2015) by Ella & PitrNuart

Ella & Pitr (FR)

Magic Matches (2015)

Stavanger’s Nuart billboard project in partnership with a local newspaper, affords Nuart artists a chance to paint a visually prominent billboard in the heart of Stavanger.

In Ella & Pitr’s contribution to this project, we see them break from their usual scale.

Here, they have realised two small figures in contrast to the monumental giants they painted around the city.

Ella & Pitr (FR)

You can find French duo Ella & Pitr’s Giants, a series of illustrated comic-book stylised characters playfully snoozing their way around the globe, adorning rooftops, runways, homes, shipping containers and even fields.

In 2019 they claimed a world record for the largest outdoor mural with a piece in Paris, beating out their initial record breaking mural created in Stavanger in 2015 which saw two of their characters cradling each other across a series of rooftops.

Homelessness (September 2014) by Icy & SotNuart

Icy & Sot (IR)

Homelessness (2014)

Here the duo amplify the often ignored social issue of homelessness in Stavanger and beyond.

Using hand cut boards which take the form of the people affected by this crisis, ICY & SOT hold a mirror up to society.

Icy & Sot (IR)

Fine artists and Iranian brothers, ICY & SOT have elevated the urban art scene over the years with their social, political and ecologically focused artworks, scattered across the globe. Currently based in Brooklyn, New York, the artists are in constant pursuit of the mediums that will give their ideas the greatest resonance – whether it be chain link fences, barbed wire, old rusty shovels, or oil cans.

Through their unique visual language and powerful, often site-specific works, ICY & SOT’s work discusses global issues including equal rights, imprisonment, the plights of migrants and refugees, climate change and the pitfalls of capitalism.

The artists have received international recognition with their ability to transform difficult conversations and global affairs into highly engaging visual work.

Untitled (September 2011) by PhlegmNuart

Phlegm (UK)

Untitled (2011)

Phlegm (UK)

Welsh cartoonist and illustrator Phlegm has been bringing his self-published comic books to life for the past decade. Preferring to paint in run down environments, his towering, almost-human characters interact with the built world around them in humorous and surreal ways.

Phlegm’s work gives us a glimpse into a world that is not unlike our own, yet is filled with strange contraptions more common to steam-punk fantasy and the minds of dreamers; flying cars, endless networks of cogs, unreal robotics, and towers with a few too many turrets to be accurate.

Hand painted in strictly monochrome, Phlegm’s artwork can be found in cities across the globe.

Untitled (September 2010) by Alexandros VasmoulakisNuart

Alexandros Vasmoulakis (GR)

Untitled (2010)

Untitled (September 2010) by Alexandros VasmoulakisNuart

Alexandros Vasmoulakis (GR)

Well known in the early Greek urban art scene, Alexandros Vasmoulakis / Vasmou is a contemporary painter with a background in advertising. He has a series of large pieces dotted about Athens in prominent areas, binding his aesthetic with the city itself.

Having undergone a stylistic shift in more recent years towards abstraction, this piece from 2010 is a reflection of the work he is still well known for in street art culture.

Here Vasmou adopts a more figurative approach, utilizing enlarged features to evoke a dramatised sense of what human emotions may lie beneath his character’s skin. His public work mirrors the paper collages he makes solely out of newsprint – both are driven by human nature, and his own state of mind on any given day.

Too Far, Too Close (September 2017) by Igor PonosovNuart

Igor Ponosov (RU)

Too Far, Too Close (2017)

Half conceptual statement, half performance art, Russian artist Igor Ponosov’s work for Nuart casts itself aside from the more traditional model of mural festivals.

Ponosov’s art becomes a thing of impermanence, ethereal to its very core, sailing back and forth across the harbor in Stavanger, leaving the viewer to stumble upon it by chance.

An eye test for the landlubbers, “Too Far, Too Close” is a hand painted, functioning sailboat sail that symbolises the distance and disconnect between the public and the majority of the artwork mural programs often produce.

Too Far, Too Close (September 2017) by Igor PonosovNuart

Credits: Story

Curator: Martyn Reed 
Design and project management: Studio Bergini
Photography: Brian Tallman, Ian Cox, John Rodger, Kalevkevad, CF Salicath, Linn Heidi Knutsen
Videos: Fifth Wall, MZM Projects, Saft Film
Supported by: Stavanger Kommune, Rogaland Fylkeskommune
©Nuart Festival, 2001–2021

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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