Their piece is called “Domino” and is from 2016.
Akay and Olabo started out as graffiti writers. They work with different materials and motifs; what they have in common is their sense of humour, curiosity and ability to make use of derelict corners of the urban landscape and seemingly worthless junk.
Akay belongs to the first generation of Swedish graffiti writers. Around 1990 he began to extend the graffiti frame in terms of materials and themes, something which has earned him a reputation worldwide. Akay resists definition by confidently moving across boundaries, thereby offering his audience constant surprises.
Olabo returned to painting in the street in the late 2000s. Since then he has completed a number of works that are recognised by their great wit and sense of distorted reality.
Both Akay and Olabo do most of their work in close cooperation. Akay thrives on working with others. “It’s a way of socialising that is typical of graffiti culture,” he says.
Domino is a characteristic Akay/Olabo piece of art based on an urban, abandoned site – a timber yard. The pallets seem to have been used quite randomly, as if the artists looked around the place and tried to figure out how to use the material they found lying around. Because it is completely impossible to predict what is coming, the spectator has to accept the element of surprise. As in many other works by Akay and Olabo, Domino gives you a sense of dislocation when that which you believed to be true turns out to be something entirely different. The spectator is gently led into a playful environment where they are allowed to turn everything upside down. Not for any particular reason, but for the fun of it. We, the audience, are left with a smile on our faces and new ideas in our heads. What does it all mean?