This whole series of posts on the Icelandic Muelle topic, made up with scraps I barely could become aware of within the photo archives for lack of time for a systematic, thorough investigation, demonstrates to what extent a much more careful screening of the material could bring up truly remarkable results for a phenomenology of Reykjavík street art. And speaks, too, of the huge amount of information that is there in the streets of Reykjavík awaiting an extensive field investigation and accompanying scrutiny.
If the sophisticated version of the muelle pattern was dated 2019, here I show you a proof that serious attempts in that same direction had been made quite earlier, as you see in the above photo, which I took in September 2017 and clearly shows a work from the same person(s) or within the same distinctive style. But, note: the signature is completely different…
And here you see the muelle patterns appearing as decorative elements of a bird (and is RWS another signature or what?):
