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On the Grimburgwal street towards the metro station Rokin, the brick wall with the words “LOVE ME” captures the attention of countless passersby. Despite limited knowledge about its origins, this mural is one of many graffiti pieces found throughout Amsterdam. Graffiti is a form of visual art or writing that is commonly found in public spaces, and is most often made using materials such as spray paint, markers, and stencils. Graffiti is typically seen as a form of vandalism but it is also recognized by many as an art form. It serves as a way for self-expression, political imagery, and social commentary. It reflects urban culture, rebellion, and the desire to leave personal marks on shared environments. In this way, graffiti has an important role in contemporary culture and art.

In this essay, I will be writing my own “Little Big History” on this mural. As defined in Esther Quaedacker's words:

“Little big histories are the studies that connect a specific subject, such as Tiananmen, to aspects of all major stages of big history, for example, the history of stars and planets, the development of life and state formation throughout the world. While doing so, they make it possible to discover about their subjects that have been overlooked before due to the existence of disciplinary boundaries.” (Quaedackers 2011, 1)

My analysis will be on the following three connections to the “LOVE ME” graffiti mural. The first connection that I will explore is the biological influences of evolution. The second connection is the enduring human need to use public art and spaces as platforms for expression, resistance, and dialogue. The last connection that I will analyze is the use of materials like charcoal and clay, in the modern era, where spray paint and stencils are mainly used for graffiti. By doing so, I will offer fresh insights through the lens of the “LOVE ME” graffiti mural that will be understood as an artwork but also as a product of historical, biological, and material processes.