Welcome to Windsor, or maybe it is Prahran in Melbourne, and today we will look at a single piece of street artwork
The first look you get at here is actually from Chapel street, which is a main road and shopping strip, but to get this view you have to be on the eastern side of the street and you have to looking for it and even she is only just there peeking out, but it enough, if you are a curious fella for you to go work out where the artwork might in fact be, somewhere behind those old shops fronts.
got through some back streets and you find yourself next to the Melbourne Polytechnic, which is a seven story building, and under the trees you find a hand, part of the larger piece.
Step back and you will see the whole Painting, and from here I'm going to steal a description of the artwork from the internet but the last thought from me - this is the journey that street art should give, piqued interest, discovery through the back streets and finally admiration for an amazing piece of artwork which adds to the environment we live in.
The portrait of profoundly deaf contemporary dancer Ana Seymour was painted by Guido van Helten on a seven storey building at Melbourne Polytechnic in January 2017. The artist, who bases himself in Brisbane but spends much of his time travelling and painting, creates site specific murals that reflect the human stories of the area. This mural is typical of his sensitive monochromatic artwork and reflects the polytechnic links to the deaf community via its Auslan diploma course and the presence of deafConnectED. Van Helten says that the image "is an interpretation of modern society and its influence on architecture."
Seymour, 32, was born profoundly deaf but has become well known in the Melbourne contemporary dance scene, appearing most recently in Under My Skin, a collaboration between deaf and hearing artists called The Delta Project. "Contemporary dance isn't only about the music," she says, explaining that despite being unable to hear anything she can sometimes "feel" music. "But I don't really rely on that. I rely on muscle memory and I rely on other bodies in the studio. I tune into their rhythms, I tune into my own rhythm."
