Internationally-acclaimed artists SNIK combine the creation of hand-cut, multilayered stencils with haunting, ethereal portraiture, born from a male/female dual perspective.

This traditional-craft, progressive-ethos approach has seen the duo commissioned on walls the world over; their post-industrial scenes loom large over passersby in locations as diverse as Aberdeen (Scotland), Stavanger (Norway), Miami and Hong Kong.

Away from city streets, the pair have become revered by urban-contemporary art collectors in recent years, thanks to rare releases of editions that can take up to a year to produce – the smaller scale and intricacy of layered stencil work requires incredibly precise cuts and careful compositional thought. 

The pay-off, however, has proved more than worthwhile for buyers, who covet the simple aesthetics of spilling, tangled hair and floating fabrics: a modern scrutiny of pre-raphaelite sensibilities. It is that questioning, accepting narrative that SNIK pursue, and one that has captured the attention of critics, art-lovers and collectors alike. 

Snik

British

Main

Artist

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The Girl in the Red Dress