ALL EYES ON MR. BRAINWASH

open-air museum

Imagine strolling down Rodeo Drive, one of the world's most iconic shopping destinations, when suddenly, you're face-to-face with the enigmatic smile of the Mona Lisa. Not in the Louvre, but right here, in the heart of Beverly Hills. 

This is the brainchild of a visionary artist who seeks to democratize art, bringing timeless masterpieces to the people in the most unexpected ways. The result is an open-air museum that blurs the lines between high art and street culture, inviting passersby to become part of something greater than themselves.

The installations are a masterful blend of old and new, juxtaposing the works of Van Gogh, da Vinci, and other masters with the vibrant energy of contemporary street life. Each piece is carefully crafted to reflect the heartbeat of its surroundings, whether it's the edgy dynamism of New York, the romanticism of Paris, or the futuristic flair of Tokyo. The core message remains the same: art is a universal language that belongs to everyone.

As you wander through this outdoor gallery, you're not just a spectator; you're an active participant. You can smile, take a breath, snap a photo, and let the art wash over you. The goal is to evoke a sense of wonder, to transport you to a world where anything seems possible. Whether you're a tourist or a local, the art speaks to you, reminding you that beauty is omnipresent, even on the sidewalk.

The artist's philosophy is rooted in the belief that public space is the greatest gallery of all – alive, unpredictable, and unapologetic. By placing art in the street, they're giving it back to the people, saying, "This is yours." It's a gesture of inclusivity, a celebration of the human experience. In Beverly Hills, a symbol of luxury and elegance, the art adds a touch of soul, a dash of humanity to the shine.

The result is a living museum that defies traditional boundaries. It's not just about the art; it's about the experience. It's about pausing, reflecting, and connecting with others. As you walk down Rodeo Drive, the Mona Lisa's smile greets you from a frame on the street, and you can't help but feel like you're part of something special. This is art in its purest form – everywhere, for everyone, free from the confines of galleries and museums. It's a celebration of life, love, and the beauty that surrounds us all.

On our new issue we are featuring internationally renowned street artist Mr Brianwash. It was a pleasure working with him on this cover shoot—he was warm, approachable, and fully engaged throughout. His vibrant energy and passion for art lit up the set. As he says, “Art shouldn’t be framed, just as life shouldn’t be defined.” His recent frame installation at Rodeo invites the public to interact, breaking down the boundaries between art and everyday life, and encouraging everyone to experience creativity in new ways.

1. Mr. Brainwash, could you share the creative inspiration behind your outdoor gilded frames, what message do these works convey? as well as how the collaboration with Rodeo Drive came about? Were there any memorable experiences during this collaboration?

I feel that Rodeo Drive is truly one of a kind—known worldwide for its luxury brands and iconic status. I wanted to create frames that would resonate with people from all over the world, inviting them to pause for a moment and become part of something special. The idea was to transform Rodeo Drive into an open-air museum, where the people themselves become the art.

One of the installations features the Mona Lisa right on Rodeo Drive—bringing a piece of the Louvre to Beverly Hills. You no longer have to travel all the way to Paris to see her; she’s right here, mingling with modern life. Another frame captures Van Gogh’s Starry Night. It’s a way of blending timeless masterpieces with an iconic contemporary setting—a free outdoor museum that everyone can enjoy.

2. These installations have attracted widespread attention in Beverly Hills. Do you plan to take them to other cities around the world? If so, how would you adapt the works to fit different cultural environments?

Absolutely! My vision is to take this idea around the world. Art has no borders—it speaks every language, it belongs to everyone. If these installations can bring joy and wonder to Beverly Hills, why not Tokyo, Paris, Rio, or Cape Town? Every city has its own heartbeat, its own story. When I create, I listen to that energy. I adapt the work to reflect the culture, the people, the spirit of the place. In New York, maybe it’s more edge and movement. In Paris, it’s romance and revolution. In Tokyo, maybe it’s blending tradition with bold, futuristic ideas. But the core message stays the same: art is for everyone. Life is beautiful. Whether you're standing in front of a Mona Lisa in Beverly Hills or a Van Gogh in Barcelona, I want people to feel connected—to art, to the city, and to each other. So yes, this is just the beginning. The museum without walls is ready to travel.

3. When visitors and locals interact with your installations, what kind of experience or feeling do you hope they will have?

I want people to feel like they’ve stepped into a dream. Like they turned a corner and suddenly became part of something magical—unexpected, playful, full of life. That’s the power of art in public spaces: it transforms an ordinary moment into something unforgettable. When someone sees my installation, I hope they smile. I hope they stop, take a breath, take a photo, and feel something—joy, wonder, curiosity, maybe even nostalgia. I want them to feel like kids again, like anything is possible. Art should bring people together. Whether you're a tourist visiting for the first time or someone who’s lived in Beverly Hills your whole life, I want the work to speak to you. To remind you that beauty is everywhere—even on the sidewalk. Even in a golden frame on Rodeo Drive. In the end, the best kind of art is the kind people carry with them—on their phones, in their memories, and in their hearts.

4. As a street artist, how do you view the relationship between art and public space? Especially in a high-end commercial area like Beverly Hills.

For me, the street is the greatest gallery in the world. It’s alive. It’s unpredictable. It doesn’t ask permission. That’s what makes it beautiful. Public space is where art becomes part of daily life—not locked behind glass, not exclusive. When you put art in the street, you’re giving it to the people. You’re saying, “This is yours.” In a place like Beverly Hills, that idea becomes even more powerful. It’s known for fashion, luxury, and perfection—but art adds soul. It brings humanity to the shine. I love putting art in places where people least expect it—right in the middle of high-end boutiques and five-star hotels. It’s not about rebellion; it’s about connection. It’s saying, “You can have Chanel and also see Van Gogh under the stars.” That mix of culture and commerce creates something new. It invites people to look differently, to feel something unexpected. In the end, public space is a canvas. And in Beverly Hills, it becomes a place where dreams and creativity meet on the sidewalk.

5. How do you think contemporary street art, like yours, plays a role in a city like Beverly Hills, known for its luxury and tradition? How does your work challenge or complement the cultural atmosphere here?

Beverly Hills is a symbol—of dreams, elegance, and a certain kind of magic. It’s a place where the past and the present live side by side. So bringing contemporary street museum art here is like adding a splash of color to a black-and-white photograph. It surprises you. It wakes you up. My work is about love, about life, about making people smile. And what better place than Beverly Hills, where people from all over the world come looking for inspiration, beauty, and yes—luxury. I don’t see it as a clash. I see it as a conversation. Contemporary street museum art brings raw energy to the polished surface. It invites people to pause, to take part, to become the art. That’s powerful. I want people walking down Rodeo Drive to see the Mona Lisa smiling at them from a frame on the street. I want them to feel like they’re in a living museum, one that doesn’t charge admission. That’s how art should be—everywhere, for everyone. So in a way, my art doesn’t challenge Beverly Hills. It celebrates it. It just does it with passion and a little bit of madness.

ISSUE 25 AVAILABLE

In this 25th edition of the ACCA Journal, we are honored to shine a spotlight on outstanding artists and entrepreneurs who have distinguished themselves in their respective fields. Read the Issue. Purchase the Issue.