Lasalle is an Atlanta-based muralist and multidisciplinary artist whose work appears across the city’s everyday surfaces — walls, utility boxes, and street corners people pass every day. A graduate of Valdosta State University with a degree in Fine Arts, he has been part of Atlanta’s arts community since high school. His practice grows out of the neighborhoods where people live and move, turning ordinary infrastructure into places where art can interrupt routine.

His murals often center figures surrounded by symbolic elements — flames, leaves, stars, and gestures that suggest listening, reflection, or release. These paintings move beyond simple portraiture. They bring interior life into public view. Color, posture, and surrounding imagery create a mood around each figure, allowing the work to hold both personal feeling and shared experience.

Movement appears throughout Lasalle’s work. Arms lift, eyes meet, tears fall, and imagined motion shows up through skaters, wind, and shifting environments. Most people encounter the murals while walking or driving past them. The experience changes depending on where someone stands and how long they remain with the image.

Lasalle’s work also extends beyond painting. He collaborates with community organizations across Atlanta, including Cuz I Love You Atlanta, which supports fundraising for the Trans Housing Coalition, and Paint Love, where he works with young people exploring emotional expression through art. These collaborations reflect a belief that art and community care are connected.

Within the Black Life Everywhere Atlanta cohort, Lasalle’s work shows how imagination and creativity appear across the city’s landscape. His murals soften hard infrastructure and bring emotion into places built only for function. Each painting becomes a moment of recognition in the middle of everyday movement.

Portrait

This portrait sits inside a recessed wall, drawing attention through color and posture. A figure painted in saturated pink raises their arms overhead, a gesture that could suggest rest, release, or quiet strength. Blue flame-like forms move around the body while a bright green star punctuates the surrounding space.

The contrast between softness and intensity gives the mural its emotional pull. People often notice the work while passing by and then turn back to look more closely.

Utility Box

A roadside utility box becomes a portrait in this piece. The structure sits in an open patch of grass near a roadway — a place most people would normally overlook. Lasalle wraps the painting around the box so the figure reveals itself as viewers walk around it. Deep reds and purples shape a face marked by a single tear. Curving lines of hair and scattered leaves soften the metal edges of the structure. On one side, a hand lifts toward an ear, decorated with rings and painted nails, suggesting listening or reflection. Set among trees and passing cars, the mural introduces emotion into a space usually defined by transit and infrastructure.

Ghetto Birds

This mural stretches across a wall like a conversation held in public. Two figures face one another from opposite sides of the composition, their gazes meeting across a shared field of color. Above them, a winged skater moves through a curved half-pipe set against a stylized city skyline. The imagery introduces movement and imagination while remaining grounded in the urban environment. Lasalle uses warm reds to anchor the figures while cooler blues expand the space around them. The title Ghetto Birds adds another layer of meaning, inviting viewers to think about flight, surveillance, movement, and visibility within city life. Installed along a neighborhood street, the mural becomes part of the environment — encountered by pedestrians, drivers, and residents moving through their daily routines.

This mural transforms a bright red utility box along a busy Atlanta street into something impossible to miss. Two stylized figures appear across the structure, their bodies suspended in motion as if caught mid-jump. The repeated phrase “GO GO GO” surrounds them, reinforcing the sense of momentum.
The figures wear white caps marked with small heart symbols, long braids falling past their shoulders. One skater bends forward with a raised leg, while the other crouches low as if preparing to push off again. Yellow bursts radiate from behind their bodies, turning the flat metal surface into a field of movement and energy.
Placed at the edge of a sidewalk beside passing traffic, the work interrupts the routine of the street. What would normally be overlooked infrastructure becomes a moment of color and rhythm within the neighborhood.