Long before the world started calling Wynwood an outdoor museum, GREG MIKE was already leaving fingerprints all over Miami. Those early walls shaped him, sharpened him, and set the tone for everything that came after. And now, years later, he’s adding a new layer to the story, one with bass, rhythm, and the same bold energy that lives in his lines.

There are certain artists you watch from the start and just know they’re building something bigger than a moment. GM has always been one of those. From bold murals in Miami to shows that pull collectors across state lines, to running a gallery that helped turn Atlanta into a creative hub, nothing about his path has been linear. It moves like a pulse. And lately, that pulse has a beat.

This cover wasn’t a simple photoshoot. GM was involved from the beginning with the direction, visuals, and composition. It made sense. He’s never been the “step in front of the backdrop” type. He built the cover the same way he builds everything, fully invested and pushing the concept until it felt right.

The debut happened live during Miami Art Week at the ART ACCESS x ARLO Wynwood event, where GM opened the day with a DJ set and a MADPOP café takeover inside Wyn Wyn. Packed room, loud energy, people spilling into the courtyard. It was Miami doing what Miami does best. Shoutout to Maxence Doytier from Twenty6North Productions for helping bring the whole thing together.

People have started calling this GM’s Renaissance Chapter, but it doesn’t feel like a pivot. It feels more like a wider lens opening up. This is what happens when someone stops choosing between mediums and follows the ideas wherever they want to go. Murals, music, soda, installations, festivals, it all ties back to the same universe he’s been building since day one.

He’s not chasing lanes. He’s building infrastructure.

LOUDMOUF grew from a character into a full culture stamp. ABV Gallery became a launchpad for artists who wanted a place to experiment and grow. And the shows, the walls, the events, none of it is separate. It all feeds the same ecosystem he’s building piece by piece.

Miami Saw It Early

If you’ve walked around Miami in the last decade, you’ve seen GM’s presence. Wynwood Walls and the surrounding neighborhood still carry that influence. Big, loud compositions that feel more like soundwaves than murals. They’ve only gotten stronger with time.

His recent DJ support slots with Kaskade and Fatboy Slim weren’t accidents. They were the natural next step in a path he’s been on for years. GM has always created in rhythm. The way he paints, the way he mixes, the way he builds energy in a room, it all comes from the same place. The booth is just another canvas. The Deadmau5 collaboration happened the way the best things do, naturally. Two artists who respect each other’s work, connect as friends, and build something where their worlds overlap.

A Studio, a Gallery, a Festival, All Rooted in Atlanta

Atlanta will always be home base, but his ideas don’t stay inside the city limits. ABV Gallery lives inside a converted church that operates as part gallery, part studio, part experiment. And OuterSpace Project is more than a mural festival. It’s murals, music, community, and a full citywide creative takeover. It’s not a weekend. It’s a movement.

GM doesn’t just make art. He builds platforms for it.

MADPOP: The Soda with a Story

MADPOP isn’t just another can on the shelf. It’s colorful, herb-forward, low-sugar, and wrapped in artwork that feels like it jumped off one of his walls. And each can helps fund public school art programs. It mixes flavor, nostalgia, and a little bit of mission-driven energy in one hit.

What the Renaissance Chapter Really Means

While many artists settle into a style and stay there, GM keeps evolving. His recent work leans more abstract with movement, shape, emotion, and energy driving every piece. It’s less about painting a wall and more about building a world. Add music into the mix and the evolution feels even more natural.

Through all the murals, installations, exhibitions, and DJ sets, one thing stays constant: the volume, the momentum, and the refusal to slow down.

If this is the start of the Renaissance Chapter, we’re ready for the rest. Because Greg Mike isn’t just creating artwork. He’s creating avenues, opportunities, and space for the next generation to grow.

Q&A

You seem to be your “Renaissance Chapter.” What does that actually look like for you day-to-day right now?

Right now it’s about expansion. I’m pushing myself into new mediums, new creative lanes, and new ideas every single day. Some of it is structured and intentional and some of it is just following curiosity wherever it leads. I’m in the studio drawing, traveling and painting murals, I’m producing music and playing it at festivals. I’m building out experiences at ABV Gallery, and I’m connecting with the raw feeling that made me start creating in the first place. It’s a chapter where all the walls between the different parts of my world are being broken down to blend all the creative mediums together to create something new, an expansion of my art.

The FAME cover wasn’t just a feature—it was something you helped shape creatively. How important is visual direction and creative control to you when collaborating with media or brands?

It’s everything. When I collaborate with anyone, I want the final piece to feel authentic and true to what I do. I’m always thinking about how the visuals tell the story. If my name is attached to something, I want to put real intention behind it. The FAME cover was a perfect example. We built it from scratch. I shot the photos in the studio. I drew the art by hand. I approached it the same way I approach any major project, with full creative energy.

From murals to music to MADPOP, your work lives across a lot of platforms. What connects them for you? Is there a thread that runs through everything?

The thread is imagination and energy. Whether it’s a mural on a building, a track I’m playing live, or a MADPOP can on a shelf, it’s all coming from the same place. I like building worlds and letting people step into them. The style shifts a little depending on the medium, but the DNA is always the same. Bold. Loud. A little surreal. I want everything I create to spark some kind of reaction.

The Art Access x Arlo event during Miami Art Week turned into a full Greg Mike experience. What was your vision for that moment, and how did it feel to see it come together live?

You’ve supported artists like Kaskade and collaborated with Deadmau5. How has performing as a DJ changed how you approach visual art—or has it just revealed another side of the same thing?

My art has always been visual, but I’ve always felt like there needed to be an audio side that lived with it. I’ve listened to music while creating since day one and I actually started DJing in the early days, long before anyone saw me doing it publicly. So stepping deeper into music now feels like completing the circle.

DJing opened up another creative channel. When I’m behind the decks I’m thinking about rhythm, movement, pacing, and how to build a moment. That mindset naturally bleeds into my visual work. My lines get looser, the compositions have more flow, and there’s this sense of motion that comes straight from the music. It pulls me out of my head and puts me into instinct mode. At the end of the day it’s all the same creative spirit, just expressed through a different tool.

Atlanta is where you built your foundation, but Miami has clearly been a creative second home. How do those two cities influence your work differently?

Atlanta grounds me. It’s where I built ABV, where my team is, where the community feels like family. Miami has been part of my journey since the beginning. Some of my first shows were in Miami and a lot of my early mural work happened there too. Those walls helped shape my career. From those first pieces to eventually painting at Wynwood Walls, I’ve always had love for the city.

I’ve been coming to Miami Art Week for more than 15 years and it still inspires me every time. The art, the murals, the people, the events, the energy. It all hits differently and keeps me leveling up creatively. Atlanta gives me roots and Miami gives me fuel.

MADPOP started with hand-painted cans and turned into a real product on shelves. Was there a moment when you realized it was bigger than just an art piece?

When people started asking where they could buy it before it even existed as a real drink. That told me it had legs. Once we saw the response at events and in the stores, it felt real. MADPOP began as a creative experiment but it turned into this bridge between art, flavor, and fun. The first time I saw it on a shelf next to national brands, that’s when it hit me that this was something much bigger.