"Can a taxi fly?": The street art wall featuring "The World's Most Economical Taxi" on Argyle Street in Scotland.
Have you ever experienced the situation when you are stuck in traffic while riding in a taxi, watching the meter constantly increase in price, wishing the taxi could just fly? The street artist RogueOne's mural in Glasgow might just echo your thoughts: on the painted brick wall, several colorful balloons suspend an old-fashioned black taxi, which is dubbed "the world's most economical taxi". According to RogueOne, besides the flying taxi, the most distinctive feature of this street art wall is that every brick on the brick wall he painstakingly painted has been painted red. And the purpose of doing so seems to be just because he "wants a brick wall".(City Centre Mural Trail Glasgow, 2026)
Freely created street art has changed the outdated mindset that once believed art could not be integrated into daily life. In today's mostly post-modern street art, in addition to visual artistry, political nature, temporariness, and unofficial nature are also widely present: they represent the voices of the people themselves, who are not part of the government.(Riggle, 2010) Returning to this mural, although it does not exhibit strong political confrontation, this piece of graffiti still reflects the pain points of people in today's society: expensive taxi fares, congested traffic, and the desire to own flying vehicles. Furthermore, this artwork blends seamlessly with the old-fashioned buildings made of brick walls. The black old-fashioned taxi adorned with colorful balloons not only serves as a visual attraction but also functions as a city card for Glasgow's old town, narrating the childhood memories of the residents of Aygle Street.
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Reference List
City Centre Mural Trail Glasgow. (2026). Mural trail : The world’s most economical taxi. Citycentremuraltrail.Co.Uk. https://www.citycentremuraltrail.co.uk/murals/muralabout/41
Riggle, N. A. (2010). Street art: The transfiguration of the commonplaces. The Journal of Aesthetics and Art Criticism, 68(3), 243-257. https://doi.org/10.1111/j.1540-6245.2010.01416.x
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