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Psychosis and the social model: making sense of a world that doesn’t make sense

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Despite our efforts to build a more liberatory mental healthcare system, psychosis remains one of the most stigmatised psychological experiences. Even people who are otherwise sceptical of psychiatry often see psychosis as different, as more severe and inherently pathological, where social explanations no longer apply and medical authority, including non-consensual interventions, are seen as unavoidable. Psychosis is framed as something that cannot be understood in relation to the world a person lives in, only managed or contained.

This assumption carries weight: it not only shapes how psychotic people are treated, but it also acts as a barrier to meaningful change in our mental healthcare system. When we make exceptions for some people or experiences, we suggest that our stated aims are not fit for purpose – that the social model is insufficient, and that psychiatric abolition, or even substantive reform, is utopian rather than realistic. My aim is to challenge these assumptions, exploring how psychosis can be understood using the social model and supported outside of the psychiatric system.

When I share my critiques of psychiatry with others, a common rebuttal is “what if you had a loved one that was psychotic — would you still think the same?” My answer to that is, undoubtedly, yes. My understanding of psychosis is shaped partly by watching people close to me struggle with beliefs that caused them real fear, yet were judged in completely different ways depending on their cultural fit. Some of these beliefs were immediately pathologised as symptoms of psychosis, while others — despite having the same structure, certainty, and distress — were accepted as normal because they aligned with dominant social anxieties around culture, religion and politics. Seeing this double standard up close made it impossible for me to view ‘psychosis’ or ‘delusion’ as a discrete and purely clinical category. It felt less like a measure of innate disorder and more like a reflection of the specific fears society is willing to legitimise, and those it will not.

The medical model presents psychosis as a combination of delusions (fixed, false beliefs) and hallucinations (sensory experiences that others don’t also experience) that cause distress or impairment in daily life. In psychiatry’s own terms, most delusions are ‘non-bizarre’, meaning the content involves situations possible in real life, like being followed or being in trouble with the police. Hallucinations are usually related to the delusion’s content, such as seeing the person you believe is following you. This means even when a person’s beliefs do not reflect their circumstances, the content usually draws on recognisable, real-world events. They are not random or incomprehensible, but shaped by the social and material environment in which the person lives.

Not only does the genuine plausibility of most psychotic beliefs allow them to take hold, but so does the atomised and precarious nature of our society. It is far easier to become paranoid about people around you when you don’t know them, and when you are living with real, unresolved stress and injustice. In these conditions, people naturally try to make sense of their distress by locating its source, especially in a society that offers few collective explanations or avenues for change. As a result, the experience of psychosis is often far more distressing and debilitating for those living in urban areas and in neoliberal countries. A study found that London and Paris had the highest rates of psychosis in the world, with the strongest predictor of psychosis being a low rate of owner-occupied housing — the metric used to measure housing instability, and by extension inequality. A separate study found that the experience of psychosis varied wildly around the world: while paranoid and distressing symptoms are common in individualistic societies, psychosis is viewed neutrally or even positively in more community-oriented societies. The paranoid, persecutory beliefs we associate with psychosis are not inherent to it; they don’t prove a disordered mind, but rather a disordered society.

This becomes clearer when we consider the prevalence of ‘delusion-like beliefs‘ in the general population, and how analogous these are — both in content and impact on the individual — to those that are pathologised as psychotic. Fixed, false, and distressing beliefs are common, often relating to victimisation: there are far more social media stories of “stalking” and “almost abduction” than are statistically credible. These anxieties are distressing, and often disrupt people’s lives, but they’re also understandable. In a patriarchal society where crime is common and its fearmongered media coverage even more so, “stranger danger” takes precedence over community. In such a society, it is common, natural, and certainly not ‘crazy’ to distrust others.

Crucially, this pattern isn’t limited to beliefs commonly labeled as ‘delusional’. Many culturally accepted beliefs operate in much the same way: they draw on shared narratives, become deeply personal, and shape people’s daily lives, even resulting in sensory experiences that are analogous to hallucinations. For example, religious or spiritual frameworks may involve beliefs about divine punishment, demonic forces, or apocalyptic futures; while political conspiracies may centre on shadowy elites, impending wars, or secret plots. These beliefs can be intensely distressing, all-consuming, and resistant to counter-evidence, yet they are rarely medicalised when they align with dominant cultural or ideological norms. My point is not to pathologise religion or conspiracy, but to highlight the absurdity of pathologising beliefs at all. If distressing, unprovable beliefs are ubiquitous across society, then the act of singling some out as symptoms of illness appears less like science and more like a social judgement about whose interpretations of the world are permitted.

This means that the harm lies less in what people believe than in how those beliefs are responded to. Regardless of content, the best way to approach distressing beliefs is with honesty and respect. For example, a person I know talked to me recently about their fear of stranger abductions, and how they believe a trafficking ring will abduct them if they leave the house. I discussed this belief with them like I would with anyone, regardless of diagnosis. I affirmed their right to be afraid but explained why I thought the belief was not credible; I showed them the true statistics for stranger abductions and stated my opinion as to why it’s such a prevalent yet irrational fear. That it’s the moral panic of “stranger danger”, similar to other moral panics in that it keeps people fearful of, and so separate from, their communities, stifling attempts to organise and shifting blame for social problems onto some ‘other’ rather than addressing their structural causes. This explanation reflects my real view, and it starts a discussion rather than shutting one down. In contrast, responding to psychotic people with lies, such as by disingenuously affirming the content of distressing beliefs, or misleading someone into compliance with a narrow model of ‘recovery’, strip those interactions of honesty and agency. Whether the aim is to reduce disruption, secure cooperation, or facilitate treatment, deception denies people their autonomy. Being repeatedly lied to, managed, or misled in this way is often noticed, and it understandably reinforces paranoia.

The harm deepens with the involvement of carceral systems like psychiatry and the police. Interventions such as forced medication, involuntary detention, welfare checks, and surveillance are justified as neutral or therapeutic responses to psychosis, but they are often unwanted and distressing. Many common psychiatric practices have been recognised by the UN as “forms of torture and ill-treatment” when they rely on coercion, confinement, or the removal of legal capacity. When a person’s distress is met with force, and when those around them collaborate with systems that deny their account of reality or conceal decisions being made about their body and freedom, trust is damaged. What is presented as care becomes indistinguishable from punishment. When a person is forcibly medicated, detained, or surveilled, is it really irrational for them to feel persecuted? And when you are persecuted, is the paranoid response to blame distant powers, or to look to the people, services, and systems that you trust, that are meant to care?

If we take the social model seriously, then psychosis cannot remain the exception that proves psychiatry’s authority. The social model asks us to locate distress not in defective minds, but in unequal, violent, and isolating conditions; to understand impairment as something produced through the interaction between people and their environments. It requires us to recognise that what is called ‘psychosis’ is often an attempt to make sense of real insecurity, injustice, and harm in a society that offers few collective explanations and even fewer routes to safety.

From this perspective, the harm associated with psychosis is not inevitable. The question then is not how to correct or contain psychotic beliefs, but how our responses either compound or relieve distress. Coercion, deception, and surveillance don’t restore trust or clarity; they deepen fear and confirm a sense of persecution. Likewise, drawing rigid boundaries between “sane” and “delusional” beliefs doesn’t protect people from distress, it simply determines whose interpretations of the world are taken seriously and whose are punished. A truly liberatory approach to psychosis is not force disguised as care. It asks that we build our communities, and create trust rather than dismissing distrust as madness, and in doing so strengthening the distrust and isolation felt. A truly liberatory approach to psychosis demands honesty, solidarity, and material change.

For more information and peer-led support for people with psychotic or similar experiences, visit the Hearing Voices Network

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bluebec
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I thought hell would freeze over before I agreed with the pope. But in a world riven by cruelty, that day has finally come | Rebecca Shaw

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I have never been a religious or spiritual person, even though I grew up in a religious area and had friends (and strangers) throughout school and university trying to lure me into whatever prayer disguised as organised fun they were up to. I did try it out shortly for a desperate period when I was young, attempting to pray to a God I didn’t really believe in to make me not gay, but blessedly he never answered.

Despite my resistance to organised religion, I have always had a soft spot for nuns and their counterparts. The girlies.

This is probably partly due to pop culture, specifically Sister Act, but even more specifically Sister Act 2 (underrated). There are of course many real-life horror stories involving nuns and people in similar positions of power, but nuns and the nun-adjacent are often portrayed as the kinder and more reasonable arm of the patriarchal power structures of organised religion – groups of women dedicated to a higher cause and direct hands-on caring for their communities (except Sister Michael from Derry Girls).

This topic has been top of mind recently, since discovering the Dominican Sisters of Mary, Mother of the Eucharist Catholic order. I’m sure all of those words mean things, but I only know what I’ve seen on TikTok, which is that as part of their outreach, they’ve started a podcast. It’s just what God would want. The sisters themselves don’t have personal phones and don’t have anything to do with the production, they just get set up with microphones, and the rest is their gift of the gab. They talk about a variety of things, including what their lives look like.

In one moment that went viral, one sister talks about how she loves playing ultimate Frisbee back at the religion farm or wherever they live, and the other replies “Sister, and you are so good at that!” – a phrase that has taken off. They have gone viral, not just because they are religious sisters doing a podcast, which is like seeing a priest use a vape, but I think because of how calming they are, how sweet and unguarded, how simple their lives seem, and how they radiate genuine kindness. In a time that feels saturated with cruelty and hollowness, these qualities are especially magnetic.

In recent days, the US president, Donald Trump, has gotten into a spat with the literal Pope Leo, after the latter said in his prayers last week: “Enough of the idolatry of self and money! Enough of the display of power! Enough of war! True strength is shown in serving life.” Using my decoding skills, I believe this was likely a reference to Trump and the war on Iran. In response, Trump called the pope “soft on crime”, a line I would have been proud to write as a satirical joke before the year 2017. The reality is that the big boss of the Catholic church, an institution I have a large amount of distaste for, and one that has been definitively not on the same “beliefs” page as me, is now the person in power making the most reasonable statements, or at the very least statements that sound recognisably human: that war and genocide is bad, that human life has value.

In recent months I have seen many lapsed Catholics speak jokingly(?) about how Leo is starting to reactivate their dormant Catholic sensibilities, as well as many non-Catholics sharing his words. To me this trend speaks more to morality than spirituality. It is a relief that someone in a powerful position is correctly identifying right and wrong. It is a relief to see Pope Leo decrying cruelty, because apparently most current world leaders lack the necessary spine. I am not going to become Catholic or religious at all, but with each passing day in this world filled with the despair of genocides, inhumane wars fought for oil, Jeffrey Epstein and his cabal of rich and powerful predators, generative AI dismantling our curiosity and tenacity, and the daily horror of what humans are capable of doing to each other, I feel myself turning towards something.

Of course there has always been human evil, but right now our species’ penchant for atrocity is palpable. It is gleeful, it is proud, it is brazen, it is spreading, it is bringing more stupid people along for the ride every minute.

It’s especially stark and shocking to see how much of this palpable evil comes from people who claim to be God-fearing. Watching those who pretend to be religious carry out the most wretched actions against others for power or money is enough to make me start thinking seriously about souls, something I haven’t done until now.

I think these people are soulless. They are empty. Hollow. Watching people get away with murder (often literally) is so difficult to swallow that it actually makes me hope the afterlife they profess to believe in is real. It would be appropriate for them to suffer in eternity for their actions. But right now on Earth, the psychic damage of watching them surge ahead has given rise to a strange new feeling in me. It’s not faith, but it’s a feeling that humans can be a great deal better than this.

I won’t ever get to a place of religion, but I find myself feeling more connected to other good people. It’s making me seek out people who care, who want to look after each other and Earth herself. This is not because I’m some hippy goodwill-to-all-creatures Ani DiFranco lesbian (although I love Ani DiFranco, am a lesbian and enjoy quite a few creatures). I am no Dominican Sister of Mary with a gentle nature, sweet thoughts and ultimate Frisbee skills. I want the world to be better, and I am angry at the people making it worse. I want them to face consequences, but none are forthcoming, so I find myself drawn into a powerful moral solidarity with other people, one that seems to resemble spirituality, a kind of non-religious faith in each other.

Those who can need to push back against the darkness – not to get into heaven or avoid hell, but because it’s the right thing to do. And Sister, you could be so good at that.

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bluebec
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Odeith Doesn’t Paint Walls (25 Photos)

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Odeith does not just paint concrete. He hijacks it until wasps hover, buses appear, and letters start floating off the wall.

That is why this collection hits so hard. You are not just looking at 25 murals. You are watching one artist bend perspective until architecture starts lying to your eyes.

Meet Odeith: the artist who taught corners how to lie

Before the giant insects and chrome letter pieces went global, there was Sérgio Odeith: a graffiti writer from Damaia, Portugal, building his eye on rough walls, train-line surfaces, shadow, and repetition. That background still matters. You can feel it in the control. Nothing here is random. Every highlight, every cast shadow, every warped line is doing a job.

Odeith’s signature move is anamorphic street art. He paints across corners, pillars, domes, blocks, floors, and abandoned rooms like the architecture was custom-built for the trick. From the wrong angle, some pieces look stretched and strange. From the sweet spot, they lock in and hit with ridiculous force.

Wrong angle: chaos. Right angle: Odeith.

How to read an Odeith wall

  • First, clock the surface. He never ignores the architecture. He recruits it.
  • Then find the sweet spot. That is where paint turns into presence.
  • Finally, watch the shadows. That is where the lie becomes believable.

That is the real flex. Plenty of artists can paint a wall. Odeith makes the wall participate.

This 25-work selection shows the full range. One piece is eerie. The next is playful. Then slick. Then weirdly elegant. Then suddenly a bridge pillar is shouting LISBOA and an abandoned room has a frog sitting in it like it pays rent. Few artists make perspective feel this alive.

🔗 Follow Odeith on Instagram


🐝 Giant Wasp — By Odeith

Watch out. This is not just a wasp on a wall. This is a full room takeover. The body hangs in mid-air, the legs feel loaded, and that tiny brush interaction is the killer detail. It makes the whole thing feel caught in the act of becoming real.

💡 Nerd Fact: Black-and-yellow striping is one of nature’s clearest warning posters. Biologists call it aposematism, and the signal is so effective that harmless insects like hoverflies evolved to imitate wasps in classic Batesian mimicry.

More: Mimic wasp by Odeith


Split image showing a blank concrete block and Odeith’s finished illusion of a black vintage car painted across it.

🚗 Classic Day — By Odeith

One concrete block. One perfect angle. Boom. Vintage car. Odeith turns dead geometry into polished metal and actual mass. What makes it special is the calm. No chaos. No noise. Just ruthless control.

More: Classic day – By ODEITH


Glossy black and red lips mural by Odeith in Lisbon, Portugal, painted with a realistic bitten lower lip.

💋 Bite My Lips — By Odeith in Lisbon, Portugal 🇵🇹

No insect. No vehicle. No giant beast. Just pure surface seduction. The shine is wild, the bite mark gives it pulse, and suddenly rough concrete feels soft, glossy, and way too alive.

More: Bite my lips by ODEITH in Lisbon, Portugal


A giant 3D rooster mural by Odeith painted across two walls and the floor of an abandoned corner.

🐓 Giant Rooster — By Odeith in Lisbon, Portugal 🇵🇹

This rooster struts. The corner becomes chest, neck, tail, and swagger. You can almost hear it owning the space. Odeith loves architecture that already hints at a body, then pushes it all the way over the edge.

💡 Nerd Fact: In Portugal, a rooster almost automatically evokes the Galo de Barcelos: the folk symbol born from the legend of a roasted cockerel that crowed to prove an accused pilgrim’s innocence. Its colorful image was even used for years as a symbol of Portuguese tourism.


Turquoise 3D ODEITH lettering painted on a worn concrete wall, appearing to project outward with deep shadows.

🔷 Turquoise ODEITH — By Odeith

Sometimes the subject is the signature itself. That is when you really see how deep his letter game runs. These turquoise forms do not sit on the wall. They kick out of it, sharp, bright, and built like alien architecture.


Split image of a plain room corner and Odeith’s finished illusion of a burnt-out bus filling the space.

🚌 Burnt-Out Bus — By Odeith

Plot twist: the room is the bus. Odeith does not paint a vehicle beside the concrete shape. He lets the shape become the shell. Windows, mass, damage, depth — all of it lands. Empty space suddenly feels occupied.

More: How To Paint a 3D Bus on concrete – By Odeith


A 3D mural by Odeith showing a blue-and-white porcelain bowl, spoon, and a bird perched at the rim.

☕ Porcelain Bowl and Swallow — By Odeith in Portugal 🇵🇹

Quiet piece. Big impact. The bowl, spoon, and bird have this strange calm that makes the illusion even stronger. It feels like a still life wandered outside, scaled up, and settled onto the wall.

💡 Nerd Fact: This one quietly double-codes Portuguese culture: Lisbon has a National Tile Museum devoted to azulejo as a uniquely Portuguese art, and the swallow became a national home-and-fidelity icon after Rafael Bordallo Pinheiro patented his ceramic version in 1896.


Split image of a rounded concrete structure before and after Odeith painted it as a giant orange beetle.

🪲 Giant Beetle — By Odeith

This is site-specific genius. The rounded structure already wanted to be a beetle. Odeith just saw it first. Shell, legs, lift-off energy — the whole thing feels discovered, not invented.


Two realistic silver fish painted by Odeith on a plain wall in Lisbon, Portugal.

🐟 Silver Pair — By Odeith in Lisbon, Portugal 🇵🇹

Two fish. One plain wall. Zero excuses. The realism has to carry everything, and it does. Clean. Sharp. Convincing. It reads like a flash of silver pinned straight onto the city.

Nerd Fact: In Lisbon, silver fish imagery carries a sardine echo. The city’s official June festivities are literally described as streets filled with the smell of roasted sardines and Santo António imagery, so even a stripped-back fish mural taps a much bigger local obsession.


Split image of a concrete block before and after Odeith turned it into a vintage truck cab illusion.

🚚 Truck Cab — By Odeith

Heavy. That is the word. The proportions are so locked in that the truck feels parked, not painted. Grill, wheel, cabin — everything lands with blue-collar brute force.


A giant blue frog mural by Odeith in a ruined room, painted so it seems to crouch out of the wall.

🐸 Giant Blue Frog — By Odeith in Portugal 🇵🇹

Odeith is lethal with animals because he nails eye contact. This frog crouches like it owns the ruin and knows you just walked in. Glossy skin. Loaded pose. Direct stare. Weird and brilliant.

💡 Nerd Fact: Frogs are not just good mural subjects — they are scientific early-warning systems. National Geographic notes that amphibians are strong indicator species because their permeable skin absorbs both oxygen and toxins, making them especially sensitive to pollution and changes in air and water quality.


Massive 3D LISBOA letters painted by Odeith on a bridge pillar in Lisbon, Portugal.

🌉 LISBOA — By Odeith in Lisbon, Portugal 🇵🇹

Massive scale. Massive pride. Instead of hiding the illusion in a small corner, he sends it up a bridge pillar and makes the city name feel carved from air and concrete. Public art with its chest out.

More: “Lisboa” by ODEITH

💡 Nerd Fact: This mural sits inside a city that officially embraced urban art. Lisbon’s GAU (Galeria de Arte Urbana) was created in 2008, and Odeith’s own site lists him as part of the 2021 GAU MURO Festival — so “LISBOA” is also a story about graffiti becoming civic identity.


Split image showing a wall before and after Odeith painted a faucet and hanging insect illusion.

🚰 Be Careful When You Drink — By Odeith

This one is funny right up until it is not. Faucet. Sip. Surprise insect. Got you. It is a tiny visual ambush and a perfect example of how Odeith can use a wall’s existing logic to build the joke.

More: ODEITH: Be Careful When You Drink – 5 Photos and Video


Split image of a white van parked against a wall and Odeith’s finished kangaroo illusion towering above it in Darwin.

🦘 Rooftop Kangaroo — By Odeith in Darwin, Australia 🇦🇺

Only Odeith could make this setup feel believable for a split second. The real van helps. The painted kangaroo does the rest. Together they turn the whole scene into a quick hit of urban stage magic.

💡 Nerd Fact: A kangaroo is never just a random animal in Australian iconography. The Australian government notes that the kangaroo and emu were chosen for the Commonwealth Coat of Arms to symbolize a nation moving forward, based on the idea that neither moves backward easily.


Split image of a plain corner and Odeith’s finished illusion of a large vintage caravan with a figure peeking from the doorway.

🚐 Caravan Corner — By Odeith

This one feels like a road movie that took a wrong turn into an abandoned lot. Depth, windows, doorway, peeking figure — it is not just a caravan illusion. It is a whole mini-scene frozen in place.


A large yellow-and-black wasp painted by Odeith on a stained mossy wall beside grass and vines.

🌿 Mossy Wall Wasp — By Odeith

Nature joins the conspiracy here. Damp stains, moss, grass, and grime all help the wasp feel native to the wall. Odeith knows when to fight the surface and when to recruit it.


Split image of a white corner wall before and after Odeith painted a reflective chrome-style abstract letter piece across it.

🔲 Chrome Corner — By Odeith

This is pure letter sorcery. Abstract, yes. But never flat. The reflections and stretched geometry make it feel like a metal sculpture got halfway through the wall and stopped there.


A giant blue bird mural by Odeith on a weathered wall, with the artist reaching up to touch its beak.

🐦 Giant Bird Visit — By Odeith

This one is all charm. The bird feels curious, not aggressive, and the little touch between the artist and the beak melts the distance between mural and moment. Big illusion. Soft mood.


Split image showing a rounded concrete structure before and after Odeith painted it as a giant skull.

💀 Skull on Concrete — By Odeith

Brutal and clean. A blunt concrete form becomes a skull with real heft. Once the image locks in, the original structure is gone. That is one of Odeith’s secret weapons: he makes architecture forget its old identity.


Before-and-after image of a white interior block transformed by Odeith into a realistic train car mural.

🚆 Ghost Train — By Odeith in Portugal 🇵🇹

This one hits like abandoned-space poetry. The train looks rusted, used, and somehow already at home inside the room. It is not flashy. It is eerie. And that is exactly why it sticks.

More: 5 Photos of 3D graffiti train by ODEITH


A yellow, black, and white lizard-like 3D mural by Odeith stretched across the floor and wall of an empty tiled space.

🦎 Yellow-Black Lizard — By Odeith

Perfect use of the wall-floor junction. The reptile feels like it just scrambled into frame and froze. The pattern does the rest. Hard pop. Fast energy. Total control.


Before-and-after image of a small utility building transformed by Odeith into bright blue 3D lettering.

🔵 Blue Letter Burst — By Odeith

Before-and-after pieces are catnip with Odeith because the transformation is so rude. A dull little box turns into a blue explosion of edges, reflections, and motion. Pure takeover.


Three-angle image of a red and blue frog anamorphic mural by Odeith, including the stretched side view and the corrected illusion.

🧡 Magic Angle Frog — By Odeith

This one shows the mechanic behind the magic. From the wrong side it looks stretched and broken. From the sweet spot it snaps into a living frog. Odeith is not only painting realism. He is painting position itself.


A giant skull mural by Odeith painted on a rounded structure, with a masked person sitting above it.

☠ Shadow Skull — By Odeith

Darker than the first skull. Heavier too. The figure sitting above adds just enough story to make it feel like a scene, not just an object. Creepy in the best possible way.


Blue 3D ODEITH lettering wrapped vertically around a concrete pillar inside an abandoned warehouse.

🏗 Pillar Piece — By Odeith

Wrapping a pillar is already a problem. Making the letters feel fused to it is something else. This blue type stack reads like graffiti wearing concrete armor.


Which one is your favorite?

The post Odeith Doesn’t Paint Walls (25 Photos) appeared first on STREET ART UTOPIA.

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Jon Foreman Uses Nature Like This (10 Photos)

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Jon Foreman does not just place stones and leaves. He flips the switch on a landscape. Beaches turn geometric. Tree hollows turn theatrical. Suddenly nature looks like it planned the pattern first.

These 10 new works are temporary, yes. But casual? Not even close. Tide lines, roots, wet sand, leaf fall, mud, and pebble gradients all get pulled into visual systems so exact they feel ancient and brand new at the same time.

Meet Jon Foreman: the land artist making impermanence feel engineered

Jon Foreman, working as Sculpt the World, is a Pembrokeshire-based land artist building site-specific works from stones, sand, leaves, driftwood, mud, and whatever the location is willing to give up. He grew up around the Pembrokeshire coastline and woodlands, and you can feel that instantly. These places are not backdrops. They are collaborators.

His official bio notes that some pieces stretch up to 100 metres across and that tide, wind, weather, and even interruption are all part of the process. CBS once framed the beach as his canvas, which is fair, but only half fair. He is just as sharp in the woods, where leaves become gradients, hollows become portals, and roots seem to keep growing long after the tree should have stopped.

Foreman has said he began making land art in college and sees the practice as both escape and therapy. That mix matters. It is why the work feels calm and intense at the same time. Nothing looks accidental. Even when rain hits or the tide starts prowling in, the piece still feels locked in.

Temporary does not mean casual. In Jon Foreman’s hands, it means fully alive.

🔗 Follow Jon Foreman / Sculpt the World on Instagram and explore his official site

More on Street Art Utopia: Dive into The Art of Stones (12 Photos by Jon Foreman) and 10 Forest Sculptures By Jon Foreman.


🪨 Merge at Druidstone

Start with a square. Then watch it inhale. Merge, created at Druidstone, takes the strictest shape around and makes it feel alive. Black stone pours inward. The cliff, waterfall, and wet sand crank up the drama. This does not just sit on the beach. It activates the whole place.

Jon Foreman: I started by drawing a square in the sand, then placed the largest stones in either corner, then slowly worked my way down. Its one of those works that gets slower the further you get into the piece, covering less space with each placement. I’ve worked on a similar piece in the past but wanted to scale it up, its also nice to recreate works in one uniform colour to see the differences. Druidstone really offers up the atmosphere doesn’t it? Imagine it big enough to walk through. Someone help me make that happen as a piece of public art.

💡 Nerd Fact: Druidston’s cliffs are geologically messy in the best possible way. Pembrokeshire Coast National Park notes that whole cliff faces here can be made of Quaternary deposits such as till, solifluction deposits, frost-shattered scree and wind-blown sand, while the beach is also known for natural arches and caves. So that hard-edged square is sitting inside a landscape shaped by Ice Age debris and ongoing erosion, not by neat geometry.


🌪 Carved Void at Lindsway Bay

Carved Void, made at Lindsway Bay, hits like three images at once: rose, whirlpool, shell section. The carved sand softens it. The pebble lines sharpen it. Together they make the beach look like it briefly revealed its own hidden blueprint.

Jon Foreman: Really enjoy the carving process, its just so time consuming to try and do both sand and stones. I’d love to scale this style up much more. This style of flowing lines is something that’s been developing through my style over the last few years, I don’t think its going anywhere just yet! Its particularly obvious in my sand drawing work and one of many features I like to come back to. I love recurring themes.

💡 Nerd Fact: Lindsway Bay is not just a pretty setting; it is a named geology reference site. The bay is the type section for the Lindsway Bay Formation and also exposes the transition from marine Silurian beds into terrestrial Old Red Sandstone, so this spiral is literally sitting on a shoreline scientists use to read a sea-to-land shift in deep time.


🌕 Clustermoon at Freshwater West

Two days. One open center. Maximum impact. Clustermoon at Freshwater West starts in cool blues and whites, then pushes outward into warmer tones until the ring feels like moonlight, weather, and orbit happening all at once.

Jon Foreman: Two days working on this one, the tides didn’t go all the way up that day/night, it began as the dark blue to white working inwards on the first day and went outward from purple to yellow on the second day.

💡 Nerd Fact: Freshwater West sometimes reveals a submerged fossil forest when the sand moves, so this “moon” of stones is staged on a beach where prehistoric tree remains can periodically reappear underfoot.


🌱 Grown Stone

Grown Stone is Foreman in a nutshell. The frame is square. The movement refuses to behave. Stones cluster, swell, and stream outward like the whole piece is trying to grow beyond its own border.

Jon Foreman: Organic flow within a square. No its not AI, yes the stones are from that beach, I nearly always shoot towards the sea, the stones are behind the camera.

💡 Nerd Fact: Freshwater West is backed by dunes, wetlands and reedbeds that attract ground-nesting birds, and the coast there forms part of protected habitat. That is one reason Foreman’s removable, low-trace approach feels so well matched to the site.


🧵 Stone Ribbon at

At first it looks almost too simple. A band of smooth stones stretched between boulders and running toward the sea. Then your eye locks on. Game over. The whole beach starts reorganizing itself around that one line.

Jon Foreman: A lot of back and for gathering and placing and aligning, all the way out to sea. It was kind of a perspective piece, hopefully I’ll get some video made to show it a bit more.

💡 Nerd Fact: A single line across a landscape has serious land-art pedigree. Richard Long’s 1967 A Line Made by Walking turned a temporary track through grass into one of the key works of British land art, so Stone Ribbon reads like a coastal descendant of that idea—less monument, more trace.


🌗 Moons Motion at Freshwater West

Moons Motion proves a circle does not need to close to feel complete. The arc at Freshwater West moves through earthy and cooler tones so smoothly that the empty middle starts doing its own work. Glow. Breath. Orbit. Negative space. All active.

Jon Foreman: I recall just about finishing placing the last stones and it started raining. This seems to happen to me fairly regularly and is the worst time for it to rain as getting photos in the rain is extremely difficult. Constantly stopping and wiping the lense, trying not to let the camera get too wet. Luckily the rain died off and i was lucky the stones (mostly) dried off pretty quickly before it rained again although you can see some wet patches on the stones.

💡 Nerd Fact: Freshwater West is officially described as a high-wave-stress coast with strong currents and a tidal range of about 6.5 metres, which means even the calmest-looking arc there is being built on a surface the sea is constantly reworking.


🌀 Incline Spiral

Incline Spiral is dense, grounded, and a little hypnotic. The red stone bands coil outward from a tight center, but instead of loosening up, they build pressure. This is not a beach spiral trying to be pretty. This is a beach spiral with weight.

Jon Foreman: This piece developed from Erythrean Square which I basically continued the curves to complete this. Think it took 2 days, If i remember rightly.

💡 Nerd Fact: Sandy Haven is so geologically important that it gives its name to the Sandy Haven Formation. The rocks there include the 4-metre Townsend Tuff, an ancient volcanic ash layer used as a marker horizon across south-west Wales, plus red mudstones shaped in arid conditions and reworked by seasonal flooding.


🍃 Leaveshroom Void at

Leaveshroom Void works because it never fights the tree hollow. It lets the hollow stay boss. Instead of covering it, Foreman builds a halo of leaves and sticks around it, and suddenly the trunk looks like it is glowing from the inside.

Jon Foreman: This was a nightmare to make, placing the sticks between the leaves, sticks snapping, wind etc its just very deicate work all round. I tried to have as few sticks going up through the middles as possible so as not to completely block the tree, so I was trying to find stick that bent round (right side) this way the leaves could be kept at the right angle too. I was glad to be done with this one! I like the result and you have to test yourself sometimes. Always love it when the light subtley shines through the leaves too (top left).

💡 Nerd Fact: That hollow is not empty real estate in woodland ecology. Woodland Trust notes that hollow trunks offer more stable temperatures than the outside air and can shelter bats, birds, hedgehogs, fungi, epiphytes and invertebrates, so Foreman is framing one of the busiest little habitats in the forest.


🍁 Ascending Red at Colby Woods

Created with Layla Parkin at Colby Woods, Ascending Red turns a trunk into a vertical blast of color. The red leaves do not read as falling. They read as climbing. The whole thing feels like sap, flame, and motion getting caught mid-rush.


🌳 Twisting Tree at Waddesdon Manor

Made for the Art in Nature event, it responds to the trunk’s natural twist by extending that same motion into the ground with added root forms so convincing the line between found and made nearly disappears.

Jon Foreman: Created with Layla Parkin for the Art in Nature event at Waddesdon Manor. A response to the natural twist in the tree itself. This took us three days! If you zoom in you can see some of the yellow leaves started going orange before we’d finished the piece. The roots were extended using mud, people visiting the work were regularly thinking that they were actual roots! It wasn’t autumn (created in May) so it was very time consuming gathering the leaves (mostly Laurel) from the nearby area. Definitely one of the most ambitious works I/we have done! Also the leaves were all stuck down with clay, so wind wasn’t an issue🍂🍃🍁

💡 Nerd Fact: The fake roots feel convincing because real tree roots usually spread sideways more than they dive down. Forest Research says 80–90% of a tree’s widespread rooting structure is typically in the top 0.6 metres of soil, and Defra notes roots may spread to up to twice the width of the canopy.


This is a nice introduction to Jon Foreman:


Which one is your favorite?

The post Jon Foreman Uses Nature Like This (10 Photos) appeared first on STREET ART UTOPIA.

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Made You Inspired (8 Photos)

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Art does not always inspire in the same way. Sometimes it lifts you, sometimes it makes you laugh, and sometimes it quietly changes the way a whole place feels.

These 8 photos collect artworks that do exactly that: dreamlike murals, playful illusions, poetic interventions, and sculptures that turn raw material into something unforgettable. From France and the Netherlands to Peru, Saint Barth, and North Macedonia, each piece is a reminder that creativity can make the ordinary world feel wider, lighter, and more alive.

More: Happier Already: 16 Murals That Change the Mood of a City


🦉 THÉMIS & ORION — By AKHINE in Pleyber-Christ, France 🇫🇷

AKHINE turns this tall facade into a moment of quiet lift-off. The upward gaze, the carved-looking wings, and the owl above her make the mural feel like a meditation on protection, hope, and inner strength. It inspires not by shouting, but by proving that stillness can be powerful.

More: THÉMIS & ORION on Street Art Utopia

💡 Nerd Fact: This mural was reportedly inspired by the hyperreal couture dolls of the Popovy Sisters and by Grimes, which helps explain why the figure feels half classical icon, half futuristic avatar. The title adds another mythic layer: Themis stands for divine order and justice in Greek tradition, while Orion is the hunter later placed among the stars.

🔗 Follow AKHINE on Instagram


🌸 Still Life of Belonging — By Fintan Magee in Bitola, North Macedonia 🇲🇰

Fintan Magee takes the language of a still life and scales it up to the size of a city wall. Flowers, fruit, glass, and a passport turn into a huge reflection on memory, movement, and the things people carry with them through life. It feels intimate and monumental at the same time, which is exactly why it stays with you.

💡 Nerd Fact: Still life has traditionally been the genre of possessions, trade, and coded symbolism, especially in Dutch and Flemish painting. By inserting a passport into that visual language, Magee turns the mural into a contemporary still life about migration and mobility, which fits both his long-running interest in transition and the mural’s role in marking 30 years of ties between North Macedonia and Australia.

🔗 Follow Fintan Magee on Instagram


⛏ Digging Toward the Light — By Sipion in Callao, Lima, Peru 🇵🇪

Sipion transforms an boring structure into pure determination. The worker’s pose, the endless tunnel, and the warm light pulling the eye forward give the whole mural a sense of endurance and purpose. It is a clever illusion, but it is also an emotional one: keep going, even when the work still looks immense.

💡 Nerd Fact: In Callao, murals like this belong to a much bigger civic story. Monumental Callao describes itself as a project that rebuilds community and recovers public space through art, and its urban art museum brings together work by more than 20 muralists, so this labor scene can also be read as a portrait of the district itself: working its way toward a new identity.

🔗 Follow Sipion on Instagram


🎾 Crashing Tennis Ball — By Jan Is De Man in Utrecht, Netherlands 🇳🇱

Not every inspiring artwork has to be solemn. Jan Is De Man makes this wall explode with energy, turning a tennis ball into a playful impossible event. It is funny, smart, and full of movement, reminding you that imagination and joy are serious creative forces too.

More: 8 Happy 3D Artworks by Jan Is De Man That Will Make You Smile

💡 Nerd Fact: Jan Is De Man’s murals are designed to grow out of the exact wall and neighborhood around them, not to be dropped onto a surface at random. That makes this piece more than a visual gag: Zuilense Tennis Club dates back to 1925 and calls itself one of the oldest tennis clubs in the Netherlands, so the mural also works as a centenary marker for local memory.

🔗 Follow Jan Is De Man on Instagram


🐦 Bird in the Water — By VYRÜS in Oye-Plage, France 🇫🇷

VYRÜS proves how powerful restraint can be. With one poised bird, a pale wall, and a few ripples of reflection, the mural opens up a huge sense of space and freedom. It inspires because it says so much with so little.

💡 Nerd Fact: Oye-Plage sits beside one of northern France’s key migratory bird stopovers. The Platier d’Oye reserve is the first feeding zone on that Channel/North Sea stretch for birds heading south, with more than 200 species recorded there, so this mural feels less like generic bird imagery and more like local ecological portraiture.

🔗 Follow VYRÜS on Instagram


👽 Phone Home — Artist Unknown in Europe

This little intervention might be the most charming piece in the whole set. A bit of hardware, a pasted body, and suddenly an overlooked wall detail becomes a character everyone recognizes instantly. It is inspiring in the purest street art sense: seeing possibility where most people only see background noise.

💡 Nerd Fact: This works like a tiny found-object artwork: MoMA defines a found object as something utilitarian that gets repurposed as art, and that is exactly the trick here. A piece of ordinary wall hardware suddenly becomes E.T., the homesick alien from Spielberg’s 1982 film, with almost nothing added.


✨ Stainless Steel Souls — By Jean Martin in Saint Barth

Jean Martin transforms industrial hardware into figures that feel airy, human, and almost windblown. The material should feel heavy, but the result feels light, graceful, and full of motion. That contrast is what makes it so inspiring: patience, repetition, and raw metal become something nearly poetic.

More: Powerful Statues Made of Stainless Steel Nuts on Street Art Utopia

Nerd Fact: Jean Martin describes stainless-steel nuts as the basic units from which any form can be built, and galleries note that some of his myth-inspired figures are made from around 20,000 individually welded nuts. That makes the sculptures feel almost molecular, as if a human body were being assembled out of matter itself.

🔗 Follow Jean Martin on Instagram


🍃 The Girl with the Ivy Hair — By Vinie Graffiti in France 🇫🇷

Vinie’s character is already beautiful on the wall, but the living ivy makes the piece feel unfinished in the best possible way. The hairstyle changes with growth, weather, and season, turning the mural into a collaboration with time itself. That is a deeply inspiring idea: art that stays open to becoming.

More: Vinie’s Stunning Murals (25 Photos)

💡 Nerd Fact: Vinie has long played with real foliage and architecture, sometimes letting actual ivy complete a portrait. Art history even has a name for leaf-human hybrids like this—the foliate head, later linked with the Green Man, so the mural feels like graffiti meeting a motif that has been circulating in European visual culture since the Middle Ages.

🔗 Follow Vinie Graffiti on Instagram


Which one inspired you the most?

The post Made You Inspired (8 Photos) appeared first on STREET ART UTOPIA.

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Nobody’s “Obsessed” With Israel — It’s Just A Uniquely Horrible Country

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Reading by Tim Foley:

Israeli Foreign Minister Gideon Sa’ar has accused Spain of an “anti-Israel obsession” for its criticisms of the US-Israeli war on Iran and its refusal to allow its airspace to be used in the onslaught, a perceived slight to which Israel has responded by banning Madrid from participation in a coordination center for the oversight of the so-called “ceasefire” in the Gaza Strip.

We’ve been hearing this “obsession” talking point from Israel and its apologists a lot lately. A recent article from the Jewish News Syndicate carries the headline “Why is the media obsessed with violent Israelis?”, bizarrely trying to argue that the western press likes to “smear Israelis” in order “to distract attention from Palestinian terror.” The other day right-wing pundit Meghan Murphy had a strange conversation with Tablet Magazine editor Jacob Siegel about our society’s “recent insane obsession with Israel,” speaking as though everyone just randomly began fixating on this genocidal apartheid state out of nowhere a short while ago, for no valid reason.

The argument, as I understand it, is that Israel is just a normal small country like any other small country, and any special focus on it suggests a sinister desire to single out Jews for discrimination.

But have you ever noticed how the same people who accuse Israel’s critics of “obsession” with a tiny insignificant country will also fall all over themselves to tell you that Israel is an indispensable ally whose interests are inextricably intertwined with the interests of western civilization?

When Israel is being criticized they try to frame it as unworthy of special attention; when alliances and military aid for Israel are being criticized they frame it as worthy of all our resources and energy. When Israel’s evil actions are making headlines, its apologists try to frame it as an itty bitty country the size of New Jersey trying to mind its own business while being victimized by obsessive hatred from the entire world because its inhabitants happen to be Jewish. When people question why their tax dollars and military resources need to support that small nation in west Asia, suddenly the argument pivots in the exact opposite direction: Israel is massively important, and is absolutely central to the wellbeing of the west.

You can claim Israel is a crucial ally in the middle east, OR you can claim it’s discriminatory to focus more on Israel’s crimes than the abuses of other countries. You can’t claim both are true, because they’re contradictory. Israel can’t be (A) immensely significant and intimately involved in the fate of our own society, and also (B) insignificant and unworthy of special attention. It’s either A or B. It can’t be simultaneously deserving AND undeserving of special treatment.

In reality, everyone in the world has every right to focus their attention on Israel — especially right now while its efforts to sabotage the ceasefire with Iran threaten to cause a global fuel crisis. You don’t get to cause a global fuel crisis and then act like you’re just an uwu smol bean who’s being singled out because of your religion.

But really Israel has always been worthy of critical attention in the west, exactly because it is so intimately intertwined with western power structures. Its genocide in Gaza is our genocide. Its abuses are our abuses. Its wars directly impact us. The aggressive push from its lobbyists to stomp out free speech throughout our society is taking away our rights.

Israel is our business, and it always has been. We are right to spotlight its criminality, and the complicity of our own western governments in those crimes.

Israel supporters will tell me “Oh yeah well how come you don’t criticize Egypt’s humanitarian abuses, huh? How come you’re not tweeting every day about the human rights violations of Iran? Something in particular about this one specific middle eastern country that draws your attention, is there? Perhaps you just HATE JEWS??”

But the reason I criticize Israel more than Egypt or Iran has nothing to do with religion. Egyptian aggressions aren’t starting wars of immense consequence which directly affect me. Nobody’s trying to make it illegal to criticize Iran in my country. My government is providing material and diplomatic cover for wars and genocides for this one country in particular, and eroding my free speech rights in order to protect its information interests. This would be true regardless of what religion or ethnicity happens to be favored in this one particular nation.

I’m not “obsessed” with Israel. Does it look like I’m having a great time talking about this horrible apartheid state every day? Does it look fun having people call me a Nazi in my replies all the time?

I wish I could ignore Israel completely. If it were up to me, I would. But because my own society is so complicit in its abuses, and because its abuses affect my society directly, I have an obligation to call out its wrongdoing. And so does every other westerner.

______________

The best way to make sure you see everything I write is to get on my free mailing list. My work is entirely reader-supported, so if you enjoyed this piece here are some options where you can toss some money into my tip jar if you want to. Click here for links for my social media, books, merch, and audio/video versions of each article. All my work is free to bootleg and use in any way, shape or form; republish it, translate it, use it on merchandise; whatever you want. All works co-authored with my husband Tim Foley.

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Feature image via IDF/Wikimedia Commons (Public Domain).

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