The last thing I was expecting when going to Street Art Avenue was a reference to an ancient way of communicating in the world: hieroglyphics. When I saw this work by the Funky Deco Group, called Egyptian Riddim, I had to take a few minutes to digest what I was looking at after my initial shock of seeing the piece had passed. For some reason, this piece really peaked my interest, as it gave color to something that is so ancient. Many of the pieces we saw on Street Art Avenue took on more modern forms, but I was happy to see a reference to humanity’s past. Funky Deco Group touches on the four elements of hip hop: DJing/rap, break dancing, and graffiti.

Funky Deco Group’s use of an ancient language into this contemporary piece creates an interconnection between new and old, showing that we can use things from our past to explain our present and future.

It’s not hard to miss the piece due to its sheer size. It is the length of an entire facade of a building, and a little larger than life-size based on the figures within the image. There’s a lot going on in this piece, and it’s easy to miss little details if you gloss over it quickly. The piece was created using spray paint on both rough and smooth surfaces. The top part of the building uses a different material from the base, so many parts of their pieces are connected on both these rough and smooth textures of wall.

The line art is very precise, creating intricate details throughout the piece. There are thin lines used to create faces, reflections, and hieroglyphics. I was really impressed by the extent to which the details were so easily seen. Thin lines embellish the necklines of the human figures and the hieroglyphics are intricate and “readable”.

The art format replicates that of Egyptian hieroglyphics. It’s most notable in the humans with animal heads, and the very sharp-angled bodies and the joints of the figures. The figures also lack curvature within their bodies, their arms, legs, and torsos are mostly very straight. Additionally, the piece is in 2D, lacking a depth of field, since there is a lack of shading throughout. It’s also a very colorful piece overall, but the color that is most prevalent is green, used in both some faces, clothing, and the artists’ tag of their names, which protrude from the background in a very obvious manner. The tags have high contrast to the rest of the piece, being created in the traditional graffiti art style of large letters that are lined. The artists are also able to create a simulation of a 3D surface, creating their own bricks with small lines, and letting their tags peek from “behind” the wall they create. There is also even a brick created by lines, with part of the piece on it, as if the brick had fallen after the piece was created! I thought it was a very cool detail.

To make things easier, I will progress through the piece from right to left, as Egyptian hieroglyphics are usually read, and in the order in which things progress through the story that this piece tells. There are four scenes in this piece.

On the right, we have two break-dancers, a reference to the break-dancing element of hip hop. Something that stood out to me about them was that they were the only figures throughout the entire piece that were fully clothed. Both strike a pose within the painting. The figure on the right is a regular human, with the human on the left taking the form of Thoth, an Egyptian deity traditional represented with the head of an Ibis. Thoth was often seen as the god of wisdom, credited with creating hieroglyphics by the ancient Egyptians. Not to go too deep into potential meanings, but I think this character can symbolize the hidden wisdom, intelligence, and experience of those who do something that is seen as more “urban” or less formal. These two characters are framed between two artists’ names (I read Panzer on the right and Spam on the left).

Next, we have a man and a woman who are vying for entry somewhere, presumably a nightclub, or somewhere with a cover charge at least. Presumably, they might be there to see a famous rapper of DJ. The two figures offer money to be put on the scale, as once their bills equal the charge, or the “arrow”, they are allowed entry. This is a reference to the ancient Egyptian belief of the heart being weighed against the Feather of Truth in the afterlife. You were only allowed entry into the Underworld if your heart equaled the weight of the feather. A hippopotamus towers over them, created with the color purple. This is presumably the bouncer, which takes the form of Taweret, the fearsome Egyptian goddess of protection. She was often drawn on tombs to keep evil spirits at bay. Here, the bouncer keeps those who don’t pay, out. I thought this was a lovely and accurate reference to two very different but similar “protectors”. The tag “2016” is on the left of the hippopotamus.

Next, we have three figures, two spray painters and one policeman. One graffiti artist sprays the wall, while the other keeps watch. The artist on the right takes the form of Anubis, the god of death, the afterlife, tombs, etc. I believe there’s a less direct reference here, but the spray painter could be leaving their mark in a way that may last after them. His right leg is detached, as the “brick” that it was drawn on has fallen, creating a 3D effect in this area. On the left, the person keeps watch, and takes the form of Horus, the Egyptian god of kingship and the sky. He has large associations with his eyes, and was also associated with protection for some ancient families. Here, he keeps a lookout for Anubis. There is a duffel bag next to his legs, most likely where they keep their spray paints. On the left, there is a crocodile-headed man that is much larger than them, showing his power and authority. This character takes the form of Sobek, a vicious and aggressive god who warded off evil (in this case, those that break the law). He has handcuffs at his waist, with a scale atop his head, representing the justice system. He blows a whistle as he catches the two spray painters. There are also two more names, Pozo and Petek.

Finally, we have the Anubis figure in jail, being kept watch by a guard who take the form of a mummy. He sits on a bed found often in jail cells, but adorned with fancier Egyptian bedding.  A clock sits beside him, showing he has to wait before he’s able to be let out. The guard takes on the form of Osiris, god of birth and rebirth, although abnormally, he is mummified here.

I know I have been mostly discussing the symbolism in the piece, but I believe that this piece did a wonderful job of connecting ancient symbolism to represent the current status of the world, and how old themes are still prevalent today. I also appreciate the research the Funky Deco Group most likely did when preparing for this piece to be created. The piece itself is also very “readable” just like real hieroglyphics. I believe the creativity in this piece is unlike any I have seen before. I was sad to be unable to find any other works by the group, but will definitely keep a lookout for their future works.