Multilayer Stencil Portrait Blek-Lineage

Render in the visual register of a multilayer aerosol-stencil street portrait in the lineage of Blek le Rat 1980s Paris and the subsequent stencil-portrait wave (Banksy and the wider scene). Medium: three to five separate hand-cut acetate or cardboard stencil layers, each sprayed in registration over the previous with a different value of grey, producing a posterized portrait that reads as photographic from across the street and as flat-cut shapes up close. The stencils are applied to a rough urban wall surface (brick, render, peeling poster-pasted billboard) leaving slight overspray halos around each cut. Palette: photographic-grayscale only, ranging from solid black through three values of mid-grey to the substrate-color of the wall as the brightest highlight, no full white because the substrate provides it. Texture: rough brick mortar or peeling paste-up substrate visible through and around the portrait, characteristic stencil overspray fuzz at the edges of every cut, occasional drip where aerosol pooled too thick. Lighting: ambient urban daylight, no special lighting needed because the medium reads at distance. Mood: the dignity of the medium that lets one person produce a hundred near-identical large portraits in a city overnight, the political speed of reproducibility weaponized against unique-object commodification. Do not render any legible text, signatures, tags, dates, logos, watermarks, named hate symbols, or defamatory likeness of any real living or historical person; the portrait must be the source-image subject only, treated as an anonymous formal study. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering.