Murals by Gerada Art seen at The Westin New York Grand Central, New York - Reflection
Murals by Gerada Art seen at The Westin New York Grand Central, New York - ReflectionMurals by Gerada Art seen at The Westin New York Grand Central, New York - ReflectionMurals by Gerada Art seen at The Westin New York Grand Central, New York - Reflection
Image credit: JoJo, @jo_hanne_photography (instagram) (given 1st link)
"Reflection," is a colossal piece that rises on this facade of the Westin Grand Central Hotel in Manhattan, was curated by Street Art for Mankind, a non-profit organization working with prominent street artists from around the world to raise awareness on child slavery. Street Art for Mankind worked in collaboration with the International Labour Organization of the United Nations. This mural coincided with the 100th anniversary of the founding of the International Labour Organization. Realized in New York City in early April 2019, “Reflection” advocates against child trafficking and slavery. It is the biggest mural ever painted in New York City. The mural is 44 m high x 52 m wide and covers 2,290 square meters.

Meet the Creator

"Rodriguez-Gerada’s portraits, performed as murals or as terrestrial interventions that can be seen from space, more than the artist’s mark, reflect other people’s imprints. They are part of a memory that refuses to solely be a passing signal.

Although it has always been based in cities, urban art hasn’t always belonged to the citizens. Jorge Rodriguez-Gerada has changed this and has given it a new condition. He has achieved this because his work is not made solely for “urbanites.” Above all, it is truly aimed at the citizenship that is forced to live, and above all, forced to transform the beast that is the City in the 21st century.

Jorge Rodriguez-Gerada has his own singular space in contemporary art. From his arrival in the nineties with Culture Jamming to his recent Terrestrial Series, his has been a “lateral” road, branded by his constant going against the flow.

His work hasn’t left behind the classical arguments of the urban art practice, but he has moved away from some of its most common mistakes: the egotistical excess of graffiti, the loudness, and the invasive aesthetics, to move into a calmer and more reflective space."

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