Random of the Obvious is a vibrant meditation on the visual language of graffiti, inviting viewers into a space of curiosity and contemplation. Through a synthesis of abstract forms and traditional graffiti elements, the work hovers between legibility and mystery—speaking without words, suggesting meaning without insisting on it.
The artist, Mikey, reflects:
“Random of the Obvious is my exploration of abstract shapes and designs with elements of traditional graffiti. I enjoy experimenting with different techniques and mediums, pushing the boundaries of expression and challenging the norms. My work reflects my surroundings, experiences, and emotions. Through my art, I hope to inspire others to see the beauty in the unconventional and to embrace their own creativity.”
A pioneer of spray paint since 1989, Mikey infuses decades of street practice into this piece. Random of the Obvious evokes the silhouette of a spaceship, nodding to themes of motion, futurity, and the restless energy of progress. It is one of The Avenue Concept’s first abstract works, marking an expansion of our collection into new aesthetic territory.
As Mikey himself notes:
“People understood what it was—that it says something, but not in words… It’s anything you want.”
By merging the immediacy of graffiti with the open-endedness of abstraction, Random of the Obvious transforms the familiar into the unexpected, breaking the rules to reveal a new visual language of freedom and possibility.
Contextual Resonance with Other Abstract Graff Artists:
Mikey’s vision resonates with a global cohort of artists who blend abstraction and graffiti. Among the most influential is Futura (FUTURA2000), a pioneer of abstract graffiti since the 1980s, whose work merged atomic symbolism and fluid abstract expressionism rooted in his urban spray-can heritage .
From London, Remi Rough evolved from wild-style lettering into geometric abstraction. His compositions combine bold geometry, refined rhythm, and a graffiti-informed aesthetic aligned with Graffuturism movements.
In Berlin and beyond, Morten Andersen has developed a style of “geometric expressionism,” creating vibrant abstract canvases that stem from his 1990s graffiti roots, infused with futurist and cubist influences.
Meanwhile, Prague-based Jan Kaláb began with street murals and transitioned into organic, abstract forms—layered shapes painted with spray, acrylic, and installation elements that blur public art and studio practice.
Women artists such as MadC and Alicia McCarthy also contribute vital perspectives: MadC translates the energy of street tagging into transparent, overlapping spray-painted canvases; McCarthy combines spray paint with house paint and found objects to create intensely personal, abstract weaves and geometric motifs.
Together, these figures map an evolving global art lineage—one that Random of the Obvious now joins, standing alongside other makers who reimagine spray paint as a language of pure form and emotional potency.
