BW | Artist at Mondoir

Nationality: British

Discipline: Screenprint

Born: 1999

Based in: Liverpool, United Kingdom

Biography

In a region often defined by the exclusivity of the gallery world, BW operates on a principle of radical accessibility. He famously refuses to sell original canvases or one-off "investment pieces." Instead, his work exists solely as limited-edition screenprints. This choice is deeply ideological: by focusing on the hand-pulled print, BW ensures his art is distributed among the people rather than locked away in private vaults. For BW, the act of reproduction is an act of democratic defiance. His aesthetic is defined by a stark, monochromatic palette, occasionally punctured by a single, symbolic "hazard" color. The stencil style allows for a brutalist clarity; there is no room for ambiguity in his lines. BW’s work does not decorate; it interrogates. His screenprints serve as visual manifestos for a generation navigating the tension between tradition and transformation. By keeping his price points accessible and his messages unapologetically political, he has built a cult following that spans from the alleyways of Beirut to the high-rises of London.

Artist Statement

My work is a dialogue between two worlds: the political tremors of the Middle East and the industrial grit of Liverpool. Living and working in a city like Liverpool—a place defined by its docks, its dissent, and its refusal to be silenced—has sharpened my hand. There is a shared DNA between the street art of Beirut and the murals of the North; both use the wall as a megaphone for the marginalized. I work exclusively with stencils because they are the tools of the underground. The process is surgical—cutting away the noise until only the essential image remains. By focusing solely on screenprints, I reject the 'high-art' obsession with the singular, expensive object. In the tradition of great Liverpudlian movements, I believe in collective ownership. A screenprint is a democratic medium; it allows a political message to travel further, landing in more hands and on more walls. My focus remains on the social and political friction of the Middle East, viewed through the lens of the diaspora. From my studio in the North of England, I examine themes of displacement, the echoes of colonialism, and the digital surveillance that connects us all. I don't aim to create something decorative. I aim to create a record. Through ink and pressure, I am documenting the struggle for agency in a world that tries to categorize us. If the work feels sharp, it’s because the reality it depicts hasn’t been sanded down.

Exhibitions

Unlike traditional artists, BW treats the city as his archive. He rejects the label of "exhibition" in favor of "intervention." "The Steel Port Series" (2022) | Liverpool, UK: A series of large-scale stencils appeared overnight on the rusted corrugated metal of derelict warehouses near the North Docks. The works depicted the shared industrial decay between Merseyside and post-war Levant. "Digital Walls" (2023) | Virtual/Augmented Reality: In a protest against the "gentrification of street art," BW released a series of geo-tagged AR stencils. Fans could only view the artwork by visiting specific coordinates in central Riyadh and Dubai using a mobile app, leaving no physical trace for authorities to remove. "The 48-Hour Pop-Up" (2024) | Secret Location, Liverpool: Eschewing the gallery system, BW announced a location via an encrypted mailing list 30 minutes before "opening." He sold 50 hand-pulled screenprints from the back of a van, then disappeared before the crowds became unmanageable. "Borderline" (Ongoing) | International Waters: BW is rumored to have placed stencils on cargo ships traveling between the UK and the Middle East, turning global trade routes into a moving, unauthorized gallery of social critique.

Education

BW’s technical foundation is rooted in the industrial heritage of Liverpool. The city’s history of manufacturing and its "do-it-yourself" working-class culture are what initially drew him to the screenprint. He views the printmaking process not just as an artistic choice, but as a mechanical labor that mirrors the grit of the North. His studio practice is heavily influenced by the city's tradition of public dissent and its historic role as a port—a place where ideas and people have always been in transit.

BW | Artist at Mondoir

Biography

Artist Statement

Exhibitions

Education

Artworks by BW

Cyber Biker

Virgin Mary

Life

Santa