The Artistic Vision of Ed Hicks: A Journey from Darkness to Light

At the 10th edition of Waterford Walls in Ireland, English street artist Ed Hicks unveiled a striking untitled piece that captured the attention of festival-goers and locals alike. His mural, painted in one of the neighborhoods of Waterford, offers a visual and philosophical journey that resonates deeply with both the space it occupies and the viewers it engages.

When I had the chance to speak with Hicks about his work, he shared insights that illuminated not only his process but also the layers of meaning embedded within the mural. For Hicks, painting is more than just applying colors to a wall—it is a narrative of transformation, both for the artist and the observer.

Hicks’ creative process revolves around a guiding principle: painting “dark to light.” He begins with a dark vignette, building up through layers to gradually introduce light. This technique gives his work a sense of progression, a visual journey that echoes a movement from chaos to clarity.

“You gotta have a system, right?” Hicks says, as if recognizing the need for structure within the abstract. Yet his system is not merely a method for organizing color and form; it’s a way of taking viewers on a journey. “The foreground is chaotic,” he explains. “The middle is a negotiation, and the distance is a singularity.”

The painting, much like life itself, is a journey through uncertainty. Viewers traverse metaphorical tunnels and gorges, moving toward a light at the end. This light, however, is ambiguous. Hicks’ imagery invites us to question: Is it the light of escape, or is it an oncoming train? Is it a moment of divinity, or a symbol of death?

Through these contrasting interpretations, Hicks introduces a moral element to his work. He prompts the viewer to make a choice—will they see the glass as half full or half empty? The chaos of the present, represented in the foreground, poses a challenge, while the light at the end offers a potential way out.

“There’s the nightmare, there’s the way out—what are you going to do?” Hicks asks. This question underscores a deeper philosophical dimension of his art. The mural not only confronts viewers with their fears but also offers them a moment of reflection. It becomes a metaphor for life’s difficult choices, where one must decide how to view and navigate the uncertainties of existence.

Hicks’ work is also about transcending the ever-changing, chaotic nature of the world—a concept he refers to as “the world of becoming.” He views life as a blur of experiences, constantly shifting and evolving. But through his art, Hicks strives to move beyond this state of flux, toward a place of “being.”

In his view, this transition is not unlike the journey from life to death. “Before birth, after death,” Hicks reflects, suggesting that we momentarily give up our sense of being everything in order to live in the world of becoming. This narrowing down of existence, however, is only temporary. Eventually, we return to a state of everythingness, of unity.

“There’s no other way to play,” he adds, acknowledging that this narrowing of experience is essential to living in the present moment, however brief it may be.

Hicks’ mural at Waterford Walls is more than just a visual feast; it is a meditation on the human condition. Through his use of dark-to-light layering, symbolic imagery, and philosophical reflections, Hicks invites viewers to embark on a journey not only through the space of the mural but also through the spaces within themselves. The work challenges, questions, and ultimately inspires.

In a world that is constantly in flux, Hicks’ art provides a moment of pause—a chance to reflect on where we stand in the chaos and where we might find our own light at the end of the tunnel. Whether that light is an escape, a divine presence, or something else entirely is up to the viewer to decide.