Thoughtful reflections on the ever evolving street art, murals and graffiti scene in Christchurch, New Zealand
We love @larraman’s time lapse of Jacob Yikes’ massive mural on the Distinction for Flare Ōtautahi Street Art Festival – an insight into the work that goes into such a huge undertaking! Thanks to ChristchurchNZ and @larraman for this incredible footage – and to Flare and Yikes for the vision! Tallest mural in Aotearoa? Completed it mate!
Stay tuned for more Flare Ōtautahi Street Art Festival recaps!
Watch This Space was proud to host the 2025 artist panel discussion for the Flare Ōtautahi Street Art Festival. Joined onstage by Haser, Fluro, Berst, Jessie Rawcliffe and Ling, the conversation ranged from cultural influences and connection to place, to graffiti’s lineage, the differences between Melbourne and Ōtautahi and when Ling will finally paint a portrait of Berst! Hosted at Dux Central, the event capped a massive week for the artists and organisers of the Flare Festival. Luckily, in case you missed it, we recorded the event and you can watch it below!
Thanks to Corban Tupou for hosting the live stream and Local Elements for working the sound! We are already looking forward to 2026!
The Flare Ōtautahi Street Art Festival kicks off on Thursday, 27th February – and it is bringing 10 days of epic street art goodness! With a massive offering of things to do and see, let’s get everything you need to know in one place!
Headline Artists:
Jacob Yikes – Distinction Hotel – Spark Lane side, just off Cathedral Square
Berst – Spark Lane – opposite Jacob Yikes
Jessie Rawcliffe – 566 Colombo Street (on the exterior of Samurai Bowl)
Haser – Ara Campus, Madras Street
Fluro – 282 Cashel Street (Barbadoes Street end)
YSEK7 – 65 Worcester Street (opposite the eastern exterior of the Christchurch Art Gallery)
Nick Lowry – 173 Gloucester Street (Manchester Street end)
Additional Artworks:
Drez (Australia) – 267 St Asaph Street (opposite the Boxed Quarter)
Ling (Australia) – Exterior of Child Sister Cafe, Manchester Street
FSA x DTR x BRS Crew Wall – 490 Colombo Street, Sydenham
Rinley’s Wall – 47 Wordsworth Street, Sydenham
Ikarus x Dcypher – Spark Lane, Distinction Hotel
Additional Activations and Events:
FSA x Flare Pop-Up Exhibition – 10am – 5pm, 1-9 March, 181 High Street
Tattoo Pop-Up with Chez – 1-2 March, 181 High Street – DM @mkeltattooart for bookings
Watch This Space Street Art Tours – 11am & 2pm, 1, 2, 6, 8 & 9 March, departing from The Drifter – book via website/Humanitix
Flare x Watch This Space x Dulux x Duckewe Mural Jam/Mākete/Skate Day – 10am – 4pm, 8 March, Te Pae Green
Watch This Space Artist Panel Talk – 6:30pm, 7 March, Dux Central – tickets via Humanitix
Blackbook Sessions – see Flare website for details
Stencil Workshop – 6pm, 6 March, The Rambler – tickets via Humanitix
Wahine Graffiti Jam – 9 March, 608 Colombo Street
After a three year hiatus, the Flare Ōtautahi Street Art Festival is back for 2025! Featuring seven headline artists creating large-scale murals across the city, more than 50 additional artists contributing to a range of creative activations, street art tours, an artist panel, workshops, a market and an exhibition – this is going to be huge! Oh, and did we mention the creation of Aotearoa’s tallest mural by Jacob Yikes?!?
To mark this return, we caught up with some of the central organising crew – project manager Selina Faimalo, artists Dcypher and Kophie a.k.a Meep, along with our own Reuben Woods to chat about the challenges, the excitement and legacy of Flare!
So, there’s less than a week to go until Flare Ōtautahi Street Art Festival 2025 kicks off! How are you feeling Selina?
Selina Faimalo: I’m good!
Are you sure?
SF: I feel a bit scattered as there’s so much to do, but it is such an exciting time!
You have already done a lot, Yikes has started his huge mural on the Distinction Hotel, the multi-crew wall in Sydenham is complete, a lot of the behind-the-scenes stuff is coming into place… How different has this year been from the 2022 festival?
SF: It’s much easier. There are no Covid restrictions, which has made it a lot easier! With the funding we had already secured, it’s been way easier to get sponsors to get behind it. I guess it’s been okay with walls… Actually, it’s been easy to get the walls, it’s been harder to get concepts approved…
What are the most common challenges with getting concepts approved?
SF: Flare is all about creative freedom, so getting feedback from wall owners and then giving it back to the artists has been hard. We didn’t really have that as much with the first festival.
Do you think that’s because of the new locations or is it a changing sentiment? Street art has to deal those relationships constantly, balancing permission and a process of concession with creative expression. Dcypher, Kophie, as artists how do you navigate those challenges and do those experiences give you more insight when you’re on the ground team helping organise these types of events?
Kophie a.k.a Meep: For me, it’s always important to be able to interpret the brief in my own way, but in doing so I really value working with people and reflecting community, social and environmental issues, which are informed by the research I carry out. Freedom isn’t about painting whatever I want, it’s about responding in meaningful ways to the brief to reflect my ethos as well as the broader community. I think I now get more opportunities to work in that way.
Dcypher, you’re pretty versatile, have you always been willing to go with the flow?
Dcypher: Yeah, that’s always been my approach. I feel like mural art is one of those things
that hopefully reflects community, you know if multiple people have input it always has more impact,
rather than just doing exactly what I want to do all the time. It can be less impactful to only have one specific viewpoint , not a more wide-ranging perspective.
Ultimately, that is a sign of public art right? It’s this mixture of expression and public conversation, so it’s always walking a tightrope in a way…
D: Exactly it’s like a discussion interpreted into a visual format that can be translated in many ways.
What is it like being on the organisational side of something like this? Obviously, your expertise as artists is super helpful, but how much do you enjoy this side of it and would you rather just be an artist being invited to a festival?
D: Yeah, I would love to be the artist invited to all the festivals and having that creative freedom, but ultimately at the same time I actually like all the groundwork and boots-on-the-ground stuff that has to be done, just having a stake in helping other artists achieve their goals as mural artists is something I enjoy.
K: I’ve got a long history with event management, project management, and working with Selina, so I really like it, doing all the design and stuff like that, it’s fun. Tiring but fun. I organised the exhibition for the last festival as well.
2025 is the second incarnation of Flare, how has it evolved from that first iteration? We have already mentioned that the first festival was hampered by Covid, which changed some of the plans, is this version more like what you always envisaged for Flare?
SF: Yeah definitely. I think we have a solid team now behind Flare. I was a complete noob during the first Flare, I’d done events and stuff, but not street art festivals, obviously, having Kophie and Dcypher and Ikarus help me learn about the culture, I think I understand it all more now…
As much as you can anyway, right! Nothing is ever straight forward, right? There is always some issue or logistical problem, and this festival has had its fair share. I mean, creating one of New Zealand’s biggest murals is always going to create a lot of problems! Then you’ve got the relationship between the creative side and the commercial side. What other challenges have come up and how have you dealt with them?
SF: Often the walls to paint are easy to get, but the land next to the wall you are painting are hard and can be a barrier to getting across the line. Then there’s navigating relationships with who’s in the festival, trying to be inclusive, trying to stretch the budget. Everyone wants to be part of the festival, everyone wants to be involved, but you only have so much money and space…
D: Having done previous festivals, obviously it builds up the reputations of all the artists and
other people who want to get involved. It shows the greater community, the people that might be
paying for murals, the quality you can get. It shows off artists to the wider world…
SF: With Flare and my involvement organising large scale murals in between, I can understand what it means to organise a mural, but it’s so niche, there’s not that many people I can ask, it’s a very random job. But it’s really cool being a part of the process, like how much paint you need to order, what equipment you need. With Yikes’ mural, it was a logistical nightmare, I feel like now I could organise any scale mural, because that one is like three large lifts and abseilers and a massive projector that weighs 70 kilos! So, I think having a good team, a good community, is really key.
Talking about involving people, how did the seven headline artists come to be selected? We’ve got Nick Lowry, Jessie Rawcliffe, Jacob Yikes and Ysek7, all from Ōtautahi, and then you’ve got the three out of town artists, Fluro, Haser and Berst, what were the key reasons for selecting those artists?
D: I think there is always a desire to get new people opportunities who haven’t been part of
Flare before, but definitely, there should also be a focus on well-established Christchurch
artists…
K: It’s always important to have a diversity of styles.
SF: Berst is a key figure in the graffiti world and is generally just awesome to work with. We always have an approach that ensures graffiti is a big part of the festival and having Berst as one of the headliners achieves that, Fluro both has a connection here, having grown up in Ōtautahi, and she also comes from a graffiti background. Haser, has that grounding as well, but he also brings a totally unique style, infusing his work with his experience as a Māori artist. I feel like we need more representation of Māori art works locally…
It becomes about a public discourse, right? It’s the same with graffiti, which is seen as this thing to chastise, so incorporating it is really important to help the public to understand it and what impact it can have. It’s about acknowledging and creating a discourse about public performance. From a personal point of view for each of you, what are you most looking forward to in Flare?
SF: For it to start!
K: The opening and closing parties!
SF: I think just seeing it all happen. As soon as everyone’s got all their paint and they’ve got their lifts and it’s can to wall, paint brush to wall, and I can actually see what’s happening visually, rather than just on my computer and on my phone!
D: I think getting lots of artists in one spot together is just really cool. Starting conversations
and having an exchange of ideas and approaches to muralism for artists is a massive draw card for the New Zealand mural art scene in general, it’s not something that happens a lot, especially having everyone coming from all ends of the country.
K: Just hanging out with everyone, like in the last festival, when we got to scooter around on the Lime Scooters and see everyone’s progress, hang out and collaborate like Dcypher said. There’s such a wide mixture of things happening this time as well, so it’s like every day there is going to be stuff going on…
D: I think that the market day [on Saturday, March 8 at Te Pae Green] is probably going be a highlight for me, and of course, creating the largest mural in New Zealand!
How much thought goes into how this event reflects Ōtautahi’s street art standing? Obviously, there are some really good events around the country, like South Sea Spray, Graffiato, Boon, how important is it that Flare, just like Christchurch, has a unique vibe and feel, rather than it sort of replicating what’s already happening elsewhere?
SF: I guess it’s co-created, I think that’s the whole the thing about Flare, it’s created by everyone if that makes sense, it’s Dcypher, it’s Kophie, it’s Ikarus, it’s you, it’s everyone. It’s us trying to make it happen together…
D: I think just geographically the city’s layout and architecture is perfect for a thriving mural scene especially after the earthquakes it just really put Christchurch at the top of the list for muralism in New Zealand. All the prior festivals, Rise, Spectrum, all the stuff that OiYOU! did, you know everything that came before any of this started is super important as to where it’s going to go and why it is the way it is right now. All the work that everyone’s put in beforehand is finally culminating with Flare.
K: The incorporation of graffiti as well, is unique.
There’s a sense of authenticity because Flare is representing something that is organically and authentically happening in the city already. It’s incorporating those parts of the culture that matter in a way that maybe some other places are unable to do for various reasons. We’ve been through so much that half of the sell has already been made, its established. We need this type of event because we’ve got such an embedded urban art culture here. That goes along with making this event work, that sort of authentic, organic aspect, it’s a response to our city’s history, and it feels quite powerful.
SF: I think as well like I don’t know other cities, but everyone’s pretty easy and knows each other, it’s not too hard to get people to work together.
D: The Christchurch scene has always been like that, even back in the day all the different
graffiti crews, even though there were obviously conflicts, more often than not
everyone just got along and painted together…
That is important because everyone is pulling in the same direction, everyone wants it to be successful rather than having people wanting to tear it down. Kophie, you were at an important age when like the likes of Rise and Spectrum took place and you got to be part of those festivals, how much of an influence did those experiences have on your pathway to becoming the artist you are now?
K: I was already writing graffiti and stuff, but just hanging out with all those international artists was just really inspiring, so I kind of like forced my way in there to volunteer and hang out with everyone, I just hung around and didn’t stop hanging around people until they let me paint!
SF: That’s how you make friends!
Do you hope that Flare will do that for another generation?
K: I hope so, but a lot of people don’t want to put in the volunteer work, or they just expect things to be handed to them, so get in there and do stuff…
For you Dcypher, this must be so pleasing, because when you were coming up we didn’t have these types of events here in Christchurch, it must be awesome to see that that evolution from your point of view.
D: Yeah, I mean half the reason I moved to the States was because I didn’t necessarily see a career
path here strictly painting murals . I knew Project Legit wouldn’t have longevity with the City Council’s viewpoint it wasn’t necessarily going to fund it forever, so it was time to leave. So coming back to Christchurch and seeing how much it had developed after the earthquakes was awesome…
Surely a programme like Project Legit would have benefited so much from having something like Flare, because it is a pathway, right? Project Legit was helping young graffiti writers explore positive outcomes, but where could they go from there at that time?
D: Yeah, at the time, I don’t think a lot of people saw a direct career path. I definitely did early
on, but all the other guys I would work with, not many of them saw that same career path,
everyone just wanted to keep it just strictly graffiti and unadulterated which is obviously the core ethos of graffiti culture. I think some people had that line of sight and a lot of people have differing viewpoints, it was either something that faded in their twenties, but now new generations can see a clear career path, even if they may not be hyper focused on it, they can still kind of see it as a potential direction.
So, how can people get involved this year in Flare?
SF: Come to everything!
D: Support your local artists, buy stuff! Exchange ideas!
SF: Go to the show, come to the talks and learn about the headlining artists, go on the tours and learn about what’s there already, volunteer…
D: Just bring life back into the city. After the earthquakes, all the malls took people away from the city, so this is a massive draw card to bring people into the city and make it feel alive.
Flare Ōtautahi Street Art Festival kicks off on February 28th, with the programme running through March 9th. Stay tuned for full Flare coverage – including the full programme, interviews with artists and updates! Get excited!
After several years of developing, planning and piecing together the logistics, Watch This Space was proud to finally bring the Little Street Art Festival to life in Otautahi Christchurch in late 2023!
The festival was conceived as a platform for alternative approaches to street art, especially smaller scale and materially diverse practices. As such, serves as a point of difference from established mural festivals and provides artists who either don’t fit the profile of large-scale muralism or want to push to new directions with their work. For the inaugural festival, we gathered nine local creatives, a mixture of established names and newer artists and helped them take their work to the streets – Jacob Yikes, Ghostcat, Ikarus, Jessie Rawcliffe, Bloom, Dark Ballad, teethlikescrewdrivers, Nathan Ingram and Kophie a.k.a Meep, all contributing whimsical, meaningful and striking pieces. The installations ranged from paintings to sculptural pieces, interactive and participatory approaches and ephemeral interventions. With over 50 individuals pieces scattered throughout the city, the festival encouraged exploration and new ways of looking. In addition to the featured artworks, the festival also presented a programme of free events, including walking tours, an artist panel discussion, treasure hunts, workshops and activations (including Tink’s installation at festival sponsor Westfield Riccarton). We were blown away with the response to the festival and we can’t wait to bring the Little Street Art Festival back soon! For more information, check out our website: https://www.littlestreetartfestival.co.nz/ – but for now – check out some of our favourite pictures captured by festival photographer Centuri Chan…
A massive thank you our sponsors: Westfield Riccarton, Antony & Mates, Phantom Billstickers, Christchurch City Council, Toi Otautahi, Creative Communities and all our Boosted donors!
Almost five years since Street Prints Ōtautahi, Christchurch’s last significant street art mural festival, Flare Street Art Festival provided a welcome shot in the arm for a city with an established reputation as an urban art destination. The brainchild of ARCC, a urban activation collective of local business people and place makers, Flare burst into life with a roster of seven headline artists painting huge murals and a flurry of additional activities.
Flare was built around the selection of massive new murals that would transform the SALT District and surrounding environs, landmarks that showed an impressive diversity, each artist flexing their unique styles, interests and intentions with creative freedom.
The largest mural, on the side of the newly renovated Cotters Lane building, was completed by Koryu, a Japanese artist who has been based in Aotearoa since the 2020 lockdown, living in Geraldine but travelling across the country to paint murals. While relatively new to urban art, picking up a spray can just three years ago after visiting Melbourne, Koryu’s impressive depiction of fierce Niō warriors, guardian statues of Buddhist temples in Japan shows his quick development. The circular motif in the middle of the image suggesting the infinite quality of existence, the warriors themselves representing the beginning and end of all things (the open and closed mouths symbolic of the in and out breath, the first and last characters of the alphabet). The huge work, over 160 square metres, was a massive undertaking, filled with detailed musculature and gestural painting and aware of the shared experiences of Christchurch earthquakes and the Tohuku earthquake and tsunami in Japan in 2011 when both regions were struck by devastating natural disasters, making this work, a gift of guardians, even more resonant.
Nearby, overlooking Manchester Street, local artist Wongi ‘Freak’ Wilson displayed his technical skill with a vibrant depiction of a woman wearing rose-tinted glasses and chewing bubble gum. The pink gum exploding into a cloud of pop culture references, a baseball cap, a paint roller, headphones and more bursting out of the cloud. The combination of realism and pop-esque cartoon work a summation of Wongi’s style. The upbeat energy of the work infecting an area that still bares the scars of the city’s ongoing .
Tucked down Memory Lane, behind the imposing SALT Mural by Paul Walters and Dcypher in Evolution Square, Gisborne artist Kell Sunshine added a rolling, lyrical mural, a beautiful contrast to the architectural and pared-back piece around the corner. Floral forms blooming and unfurling around the phrase ‘Take a walk on the wild side’, Sunshine’s mural reminds us of the need to break from convention and embrace our ‘wild side’ – a literal depiction of nature amidst the urban jungle. The 70s vibe is relaxed and the somewhat secluded placement allows for the viewer to stop and absorb the message before returning to the bustle of the city.
On St Asaph Street, homegrown talent Meep produced the largest work of her career, with a stylised self-portrait against a bright orange backdrop. The massive image shows the artist, with a backpack filled with paint, a roller and a blackbook, walking along the tracks (a traditional graffiti hot-spot and suggested by the large roller piece behind the artist), headphones plugged into a television-headed representation of hip-hop music – her constant companion (the homage to hip-hop cemented with the Kangol bucket hat and the MF Doom and Wu Tang Clan t-shirts). The strong representation of a female graffiti writer illuminating an often marginalised presence in a predominantly male sub-culture.
On the corner of Manchester and Welles Street, local legend Ikarus of the DTR Crew recounted his own experiences in graffiti through the lens of an AR video game (a cartoon version of the artist shown in full AR goggle mode in the corner). The levels of the game move through the stages of graffiti, from tags to throw-ups and finally ascending to masterpieces, the obstacles and intricacies thrown in as well. The shout-out to traditional graffiti an important inclusion in a forum where the culture is often excluded in favour of birds and buildings. The shout out to the legendary Jungle acknowledging the legacy of those who have come before and the important role of mentorship through example.
In the rear of the Little High car park on St Asaph Street, Palmerston North artist Swiftmantis continued his series of ‘Stray Stories’ with a huge depiction of black cat Olive, her green eyes surveying the surrounding area. The amazing detail reveals the feline’s character, her tattered ear a sign of her survival. Currently with the Cats Protection League of Christchurch. Olive, perhaps now the city’s most famous cat, is still looking for her forever home, the work serving to highlight her situation and to celebrate the work done by the Protection League. The image has already stopped hundreds in their tracks, wowed at the production and enamoured with the beautiful, majestic animal.
The final work, located on Manchester Street, was delayed when Elliot Francis Stewart was unable to make his way to Ōtautahi until the final (or at least the final official) day of the festival. Renowned as a supremely talented illustrator, Stewart drew inspiration from Christchurch’s ‘Garden City’ moniker to depict a sweetly nostalgic scene of a shovel and bucket in a garden. The electric colour scheme of blue, yellow and magenta highlights the intricate detail, the leaves, bark and even tiny lizards occupying the serene setting. It is a show stopper that draws you in, your eyes led across the incredible detail of the wall.
While these murals were the central focus of Flare, there was plenty more going on across the extended two week programme. Just prior to the official launch, Dcypher, Ghostcat and Dr Suits installed an anti-war 3D mural – an oversized Molotow pen fixed to the wall appearing to be the tool used to scrawl over the image of a tank in bright pink – a peace sign and the declaration ‘Make Art Not War’ defacing the symbol of military force. Just around the corner, Flare made use of a High Street shop as a pop-up gallery, featuring local and visiting artists, an array of art and apparel available. The pop-up served as the central hub for the festival, with artists hanging out and passers-by drawn in (our Watch This Space guided tours also departed from the pop-up space, while the Watch This Space Artist Panel was held at 12 Bar on St Asaph Street). An unassuming High Street space hosting a projection work, a collaboration between Fiksate Gallery and the Offline Collective, added a dynamic night-time presence to the festival. The BOXed Quarter’s collection grew with the ‘Wahine Takeover’; Jessie Rawcliffe, Jen-Heads, Berlin and MKA adding fresh paintings to the panels. The final Saturday of the festival saw over two dozen artists take over the lane ways surrounding popular bar Smash Palace with a graffiti jam, artists from different cities and generations lifting the veil from graffiti’s often mysterious presence as visitors could watch the paint being sprayed on the wall. Finally, on the last weekend, Billens Lane, next to Little High, received a make-over with fresh hoardings painted by Jacob Yikes, Dcypher, YSEK, Chile One, Ikarus, Tepid and Bols, adding further diversity to the collection of Flare works.
With over 40 new works of art painted across the city, and over 30 artists involved across the festival, Flare served to connect the dots as an event that was for the city and the culture. This is an important element of such an event, recognising the need to support local talent and provide opportunities of varying scales, to raise the profile of urban art and foster the seeds of the city’s creative foundations. Of course, with new incarnations will come new challenges, from finding fresh walls to the massive task of finding money, but Flare has made a promising start, and we are already looking forward to 2023!
Friday the 4th of March was a busy night, with two events marking the opening of significant urban art events in Ōtautahi, signalling an exploding energy in the local scene. First up was the opening event for the Flare Street Art Festival, held at the pop-up exhibition space on High Street, which is host for all the information you will need about the festival and a collection of work by Flare artists and a number of local stars. Across town at TyanHAUS, Slap City’s International Paste-Up and Sticker Festival was also celebrating it’s opening night, with the interior exhibition of work from across the globe completely taking over the space. We were lucky enough to make it along to both events, with a palpable sense of excitement permeating both spaces…
With both events taking place in the red traffic light setting, it was great to see the organisers ensuring people were masked up (except for a quick photo here and there!) and that group sizes were kept appropriate!
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Flare Street Art Festival opening event @ Flare Central, Friday, 4th March, 2022
Beginning with a opening address by Mayor Liane Dalziel, the Flare Festival launched on Friday (although artists had been at work on their walls since Wednesday the 2nd) at the Flare Central pop-up. The exhibited works ranged from Flare headline artists to a roster of local talent such as Chile One, Nick Lowry, Jacob Yikes, Ghostcat, Jen Heads and more. A relaxed vibe highlighted the feeling that such festivals bring, with new friendships and old connections re-established. Check out flare.nz for the festival’s full programme
Slap City presents The International Paste-Up and Sticker Festival @ TyanHAUS, Friday, 4th March, 2022
The Slap City collective have been an unmissable presence in the local scene over the last two years, their widespread community ensuring Ōtautahi has a thriving and diverse array of art in the streets. The International Paste-Up and Sticker Festival harnesses that diversity and community into an impressive exhibition and programme. Completely taking over the TyanHAUS space, the challenge proved to be where to start! Diving into the cacophonous selection of paste-ups, examing the sticker bombs or considering the Hello We Are exhibition, there was no shortage of attention grabbing activity! Follow the event on Facebook for more of the festival’s programme…
Slap City has become a central part of Ōtautahi Christchurch’s urban art scene, and now they are bringing even more international flavour to the city with the first International Paste-Up and Sticker Festival in early March, 2022! The 8 day festival will feature a massive exhibition of stickers, paste-ups and associated works at Sydenham’s TyanHAUS, as well as public installations and workshops. With an array of artists from across the globe, it will be a brilliant cacophonous celebration of paper-based street art in all it’s glory! To get the lowdown we spoke to Slap City stalwarts and festival organisers and participants Vez, teeth like screwdrivers and Cape of Storms…
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How did the idea for the International Paste-Up and Sticker Festival come about?
Vez: I had this idea since I moved here, I wanted to put more paste-ups around Christchurch, to bring in more international artists and turn it into an event. I had that dream when I first got here two years ago…
teeth like screwdrivers: I’ve actually got a page on my website that’s about doing the same thing. Originally, I wanted to cover one of the giant cans and make it a festival. But one night we were at Fiksate and we were having a few drinks…
V: And doing karaoke…
tls: Someone said something to us, I won’t say what they said, but someone said something to both of us and we were like, well, that seals it! It was an instant decision, right there, let’s do this…
You two hadn’t talked about it together, even though you both had the same idea?
tls: No, but we had both seen other shows around the world and put our own work into other shows around the world, and we knew Christchurch could deal with a show like this.
A paste-up festival is a great fit, firstly because of the amazing community around the Slap City scene, but also it is a perfect form to involve an even wider community, paste-up and sticker culture seems to be about networks and collaborations…
tls: Completely, especially if you put it under the heading of street art, if you look at other types of street art, they are based around not doing that, like graffiti is based around not collaborating.
Cape of Storms: Yeah, it’s more anonymous…
tls: And it is also about going over someone else, being higher or being louder…
It also requires a literal presence; you have to physically be in the place where you’re writing…
tls: Years and years ago, we used Flickr and maybe occasionally we would get contacts through that, but with Instagram the ability to connect with people anywhere in the world and instantly trade with them is part of why I like it, because it’s a positive thing all the time. There’s no negativity.
V: What I also like about paper-based art is it’s really inclusive. With graffiti, not everybody has got the skill to do it, including myself, but with paper-based art you can just collage or you can take things out of magazines or you can draw, or you can work digitally, there are loads of different ways you can produce work, so everybody can contribute if they want to…
CoS: I feel like with paper-based art, its more towards the art side, rather than the tagging thing, so people who don’t feel comfortable with that element of street art, it’s still something where you can have integrity about where you place your art. It’s transient. It’s not going to be there forever. It’s going to dissolve with rain and water or a little bit of elbow grease, but it still has the same effect…
tls: We’ve all kind of come to an agreement, whether consciously or subconsciously, that we’re not sticking it on people’s houses or businesses, you know? Personally speaking, I’m an older dude, I’ve got three kids of my own and if they see my art on the street, I don’t want them to go, why have you stuck your art on that?
But at the same time, you don’t want them to not know that you are doing it, right?
tls: Exactly. They always see my pencils and they always comment on them, but they’re not seeing them on people’s houses, they’re seeing them on derelict buildings, or council electrical boxes, because they are boring and they need paint or stickers or something! I’m probably speaking for you guys, but we kind of had a subconscious agreement that we’re not destroying shit, we’re adding to it.
CoS: It is financially accessible as well, it’s not as expensive as buying loads of spray cans.
tls: It might be low impact physically, but not in the messages…
Not visually or conceptually…
tls: I will argue that any one of us who is putting up 1000 pictures of whatever it is we are putting up is going to have an equal impact to anyone tagging…
There’s also the really interesting longer lineage; revolutionary posters, political posters, advertising, sloganeering…
tls: Yeah, I found a picture other day, it was in Paris, an advertising hoarding and it looks like what we’re doing, but it’s a hundred and something years old! It looks exactly the same as what we do…
The Victorian Street in the Canterbury Museum has a fence that is covered in pasted posters…
tls: Because wheat paste was cheap and easy, posters got your message across for free essentially!
CoS: Graffiti writing is beautiful in its own way, but this is maybe a little bit more accessible to people that aren’t so into graffiti necessarily. It’s got a sense of humour, like Vez’s spoons are there to bring joy to people, to make them think, this is so out of place, let’s not be so serious about life! Christchurch can be quite a dull and flat and miserable place…
tls: No! I can’t believe you said that!
CoS: But it’s the people and the sense of humour and the unexpected juxtaposition, that’s why we do it, we can put something funny out there…
It’s a lovely juxtaposition, from the seriousness of signs and the coercion of advertising…
tls: And tilt slabs! That is why it doesn’t feel so quite so awkward. We’re not fighting that, we are just putting stickers and paste-ups up on streets covered in stickers and paste-ups, they’re just from McDonald’s or Coke. I’m not political in that sense, it doesn’t justify what I’m doing, but it just makes me go, I’m OK with this because I’m surrounded any way, we’re just adding our own take to what’s already there.
We did a massive sticker and paste-up installation at Spectrum in 2014. At that time, the local paste-up scene definitely didn’t have the numbers it has now. We had artists contributing from quite faraway places, but Slap City has such a larger network, I’m really looking forward to the breadth of work. Where has work come from and which artists are you most excited for people to see?
V: I’ve written a list… There is work from the UK, USA, France, Germany, Austria, Russia, Spain, Finland, Slovakia, Australia, Canada…
tls: In terms of who we are excited about, I’m going to go first because I’m so stoked about this big piece by The Postman. They are a collective based in Brighton in the UK. I’ve been asking them for a long time because I’ve put Björk pastes up all around the city and when I saw their Björk one, I was like, I need one of those! So, I hassled them and they were like, yeah, we’ll send one to you. It’s huge and I want to take it home, but I’m not going to! I would like a photograph, can I put it out there now? Me standing in front of that please with a big smile on my face! I would love that! I love their stuff, it’s phenomenal. They are a good example of paste-ups as a legit art form. They do everything from whole streets in Shoreditch in London to millionaires’ houses, they do everything. They also work with the artists that take the photos they use to get permission. They are ace!
V: A lot of the people that have sent paste-up packs are people that I trade with quite regularly, so I’m most excited about seeing the work of locals, like Jen and Dr Suits, because I don’t see that many of their paste-ups. I know they’ve been doing it for a long time, but I’ve only seen Jen paste up twice! I’m just super excited to see what some of the people here in Christchurch create and just to have us all together in one space…
CoS: We went with her to do that giant head on the side of that building in town, and we were like, there she is in action!
tls: For people coming to view the show, they won’t know a lot of these artists as well as you do or I do or any of us in the crew do, because we’re always in cahoots and collaborations with them anyways, we’re seeing all their feeds constantly, but if there’s someone coming here for the first time, they’re going to see Vision or YAYA for the first time, and they are going to be like we were when we first saw them, that’s amazing!
CoS: I’m keen to see some of our younger Slap City members or people that work on their own stuff and don’t necessarily always paste with us, alongside all these other guys that are really well-seasoned. I can’t wait to see their growth. I’ve grown so much, because of Vez really, she invited me to the first Slap City and I helped hold the bucket when she put up all the YAYA stuff around town, so that was my initiation and from then I’ve been hooked and just seeing other people get that joy from the show will be amazing.
When you’re getting work from so many sources, you often also get an insight into the stories behind the artists. For instance, we had a 6-year-old, who drew robots in New York and pasted them up with his dad, send work in, there was someone who sent work from Iran, and just to get it out of there was a big deal. Have you had any interesting stories come up?
tls: We are not getting stuff out of Iran, but honestly, I’m getting people trying to send stuff to New Zealand and we are not on the list of places to send stuff to for a lot of countries at the moment. There was one person, they sent it to someone else in another country, because then that person could send it here. You wouldn’t ever think that would be an issue.
I guess you can get around that by sending a digital file as well…
V: I’ve committed to printing for about three or four people who have struggled to post stuff. It keeps people included.
tls: We don’t need to have the physical person here to do it, although [Australian artist] Tweet is saying she’d love to try and get across, you know people are keen and if the borders were in the right place, we’d probably have a few Aussies coming over.
V: Tweet is in Melbourne, we’ve swapped a few packs, and we’ve developed a friendship, we chat regularly, not even just about art anymore. She’s really keen to come over for the festival and help us out…
tls: Panty Baggers and Larf’n [from Dunedin] were all talking about trying to get up. So, there are Instagram friends sending their artwork and they want to come up…
CoS: When we take photos and put them on Instagram and tag our international friends, it always feels like there’s a great sense of wow, look at us up in New Zealand!
tls: There is a sense of New Zealand being so far away, it is like: I made it to all the way to New Zealand!
CoS: There is a feeling of pride at their work making it all the way to this little island and look at what these people are doing for my art down there…
tls: It’s great! If you think about a street artist in the traditional sense, as someone who is doing pieces on the side of a building or murals, they have to be where their art is, but any one of us can say our art has been shown in numerous festivals around the world. There was one in Athens a couple of months ago. I’ve never been to Athens, but there on this stairway going up from the bottom floor to the mid floor of this building, there’s a giant pencil!
CoS: Vez sent a parcel to Captain Eyeliner in New York a while back and I snuck in some stuff just because I was there as she was packing the envelope and I got my stuff put up in New York!
tls: Some people are like that with New Zealand, like New Zealand!?! Hobbits!?! That’s what they’re thinking, because to the majority of the world, that’s exactly it, we’re on the other side of the world, so to have all that stuff here, in the ether, is pretty exciting. The audience won’t just be the hundred people we get through the door on the night, most of the audience will be online, on Instagram.
What have you got happening alongside the exhibition?
tls: Sticker trading is part of what we do. So, all the work that’s coming to us, Vez is doing an amazing job tallying it up and getting the return addresses so that at the end of the festival the leftover stickers will get sent back out to the people who sent stuff to us. It’s a trade like you do already, but instead of a trade with me and they just get a pack of my stupid pencils, its a trade with maybe a hundred artists from around the world that they might never have come across or might never have traded with.
V: I’ll also encourage all the Slap City people to put stickers in as well when we post packs back out.
tls: We’re also going to jazz up some of the spots in the city that we already use, so people can go and have a wander and explore the city as well, like the old Two Fat Indians spot and the Ao Tawhiti wall. It’s not legal, but they don’t get touched too often. We will include the bollard Bloom’s just done [The Paste-Up Project] as well, because that’s us too. We’ll include [New Regent Street bar] WILKO because we did a whole wall in there a few months back…
V: We are going to have an interactive map.
tls: It’s going to be beautifully created by Cape of Storms. This festival is trying to highlight what we do in terms of creating artwork via paper, both in a gallery-style setting, but also by directing people to be more observant in the real-world setting…
It’s an important part of events like this, to further instill the city’s reputation as an urban art destination, right?
tls: Street art capital, right? Lonely Planet said so! As a group, we have such a wide range of artistic endeavors, but we’re all tied together by a bucket of paste and a brush. We have people who come along and just draw smiley faces…
CoS: And we have some people working for weeks and weeks, spending months perfecting something. Or somebody like Lost Boy who listens to our conversations and cartoons what we’re chatting about and then pastes it up! I was saying something about how you should never microwave a sausage, because it’s not good, and he drew a cartoon strip about it! It was hilarious!
tls: Sometimes, I’d say relatively regularly actually, we’ll meet up somewhere and the meeting is more important than sitting down and drawing. It’s knowing that you’re just checking in with everybody and having a good week and is everything alright and we’re all good. I might draw two pencils on a piece of paper and that might be it. Other times I might sit down and not talk to anybody and draw 50, it doesn’t matter. We’ve had people come in for one session and we never see them again. We’ve had a kid come with their dad…
CoS: That kid was so shy, but he was so happy to be there.
tls: We’ve also had kids come along on walks and freak out because they get to put a sticker on the side of a wall. We’re not molding it into one thing. It just is what it is.
CoS: It’s also not a session where you necessarily need to bring anything, and you can take away whatever you want from it. I feel like I do a lot of my cutting out, rather than making my collages, which requires a lot of space and a lot of focus. I just get the energy that I need. Also, the confidence of being in a group is important, going out on your own is quite daunting.
tls: That’s the thing we do differently, there’s safety in a gang. We haven’t got patches, but we go out and there’s a couple of spots on Manchester Street where you don’t want to be hanging around by yourself at 10:30pm at night on a Wednesday, but when you’ve got a group giggling, laughing and joking, it makes light of the situation, for sure.
CoS: It also gives us the opportunity to mix our art together in the streets, so we’re not individuals, it becomes a collective thing…
V: One of the nicest things we’ve done is where we take over a whole box and we collage it…
CoS: It’s everybody’s work all at once. It’s so instant, although sometimes people don’t want it to be too chaotic!
We were talking about the other events…
tls: Oh shit! Yes! So, you’ve got workshops, on the Wednesday after the opening night, it will be similar to what we do already, and we might do one for younger people beforehand. We have the ability to share stuff on the wall here, we have the ability to play music here, we have the ability to do lots of things, which is why we are having it here at TyanHAUS.
How did that relationship with TyanHAUS start?
tls: I judged a youth skateboard competition that was run here on a wet day a while back. We were going to run it at Two Thumbs Brewery, but it was too wet. So, I came down to help Jack [from local skate brand DuckEwe] to judge. I was looking at this big wall and I thought we could cover that! The guys from TYAN were like, yeah, sure, go for it! We did a few workshops here where I drove my car inside and we lay down on the nice clean floor. We talked to them and they were keen to host this festival, so we said yeah let’s do this! Now it’s almost here…
It is going to be a busy time with Flare Street Art Festival as well…
V: We talked about cross promotion, but I feel like everything’s happening at the same time, so people that are interested in street art are going to find out about both…
It is awesome to see these two things overlapping, speaking about the same culture, just from different perspectives…
CoS: I imagine the audience is going to be the same, so I hope that people check out both shows. We’ve done a few of the graffiti workshops at the giant cans and that was awesome. This cross section across the two events is great, with some really big names in graffiti and we have some really big names in paste-up culture, as well as a lot of people that are virtually unknown…
tls: We had to force Lost Boy to get on Instagram, because we wanted to tag him in posts. But he is also totally fine with just coming along and drawing his drawing funny pictures about shit we say. He’s actually got an exhibition opening on the 22nd, its fucking grand! Along with the paste-up show, there will be a Hello! I am the Show exhibition with members of Slap City. It’s not specifically about paper art, but it is connected…
How can people find out more? How can they make sure they don’t miss out on anything?
V: It’s all on our Instagram account, we’ve got a Facebook event set up as well and we are going to get posters printed and pasted up.
Who is supporting the festival?
tls: We’ve got obviously TyanHAUS on board, they’re amazing, we’ve got Hello, who is doing our lovely art show, Karma Cola are doing drinks and there’s talk of a beer and wine sponsor, we don’t need much else. It would be great if there’s someone out there who makes wallpaper paste, hook us up! Or people who can print some stuff for us, hit us up on the Instagram page!
Is there anything else you want to add?
tls: Come along!
CoS: Participate! Do the workshops! Support local artists!
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Follow Slap City on Instagram and Facebook for more information about The International Paste-Up and Sticker Festival. The Festival runs from March 4th to March 12th at TyanHAUS on Carlyle Street, Sydenham
Hard in the Paint – Part of the Christchurch Hip Hop Summit, December 10th, 2021
2021 saw the return of the Christchurch Hip Hop Summit, with a full programme representing the four elements of the culture, from workshops and demonstrations to performances. As the oldest element, graffiti was a vital inclusion, but as the ‘black sheep’ of the hip hop family (to borrow a phrase from an article I read in The Source years ago), it is not as natural a fit as the performative profiles of breaking, DJing and MCing. As the most outwardly anti-social, and manifesting a broader sense of identity, graffiti is an interesting proposition for the Summit, in many ways the best fit for hip hop’s changing scope. For the 2021 event, graffiti was represented by Hard in the Paint, a gathering of graffiti generations creating a traditional production balancing letter forms and characters in the Hereford Street car park (no, not that one). Co-ordinated by the DTR crew’s Ikarus and Dcypher, the line-up was varied and the local scene was well-represented, featuring Ikarus, Dcypher, Smeagol, Drows, Meep, YSEK, Fiasko and Vesil…
If you have a show coming up – let us know by emailing the details to [email protected]…
Our pal Dr Suits recently ventured to the beautiful Taupo for Aotearoa’s longest running urban art festival Graffiato, an event now over a decade old. With the dust settled on a whirlwind trip, we thought it would be good to catch up with the artist to hear about the experience and his production on the town’s BNZ building. With a diverse catalogue of public works, it is surprising that this was Dr Suits’ first time as a featured artist at a festival, with his abstract compositions providing a stylish point of difference from other mural styles. Joined by his good buddy and technical painting whizz Porta, Dr Suits created a striking, colourful piece that explored subtle developments of his style, with tonal variations and new iconography drawn from his studio practice, providing that point of difference from other guest artists, which included the likes of Milarky and Xoë Hall as well as a selection of local artists…
How did the opportunity to paint at Graffiato come about?
The invitation came as a bit of a surprise, really. I was walking along the beach at the time, and my phone pinged, it was Olivia Laita from Aotearoa Urban Arts Trust, asking if I was interested in doing Graffiato this year. She was curating the event and thought that my focus on abstraction would be a point of difference to what they already had, so she just wanted to reach out to see if I was keen. This would have been well before lockdown at the start of the year, so Olivia and I have been in contact via email since then…
How much did you know about Graffiato?
I knew a wee bit about it. I knew that Wongi has been, that Handbrake and Chimp have been, so I knew a few artists that have been part of it, but I hadn’t really done much research into it. I didn’t realise how many murals they actually have up in Taupo, so I was blown away when I actually got up there…
This is the eleventh year of Graffiato, it is the country’s longest running street art festival. I am not super familiar with Taupo, but it’s not massive, so when you have been doing something that long, the legacy must build up…
Definitely. It’s run by an organization called Town Centre Taupo, so all of the murals are focused around the central business district which is not a huge area, so if you find one of them, you’ve found a vein and you just follow them around…
That is exactly how I like to get to know new places, I find some street art and let it lead me to more… In terms of your festival experience, you had some involvement with the Rise and Spectrum shows here, but this is your first out-of-town event, and also your first time as a headline artist. Knowing that your work is somewhat non-traditional in terms of muralism, coupled with your strong studio output, have festivals and public works always been a goal?
I really like the idea of diversity within my work and having a broad range of outputs. Murals are lots of fun and a good way to reach a diverse audience as well. So, is it a goal? Yeah, sure. Is it my main goal? Not really, I’ve got lots of goals. I don’t tend to hang on to one too strongly…
There is an increasing number of events in Aotearoa now, with Boon Street Festival, Whanganui Walls, South Sea Spray…
I’m totally open to those invitations, festivals are lots of fun. You meet lots of great people, you get to be part of a broader community and you get your work out there as well…
You are process-focussed as an artist. How is the conception and execution of a mural work different from your studio output?
It comes down to the wall. For instance, the nature of the wall in Taupo was challenging because it was broken into two sections and it was elevated from the ground. Above the wall was a series of windows, including to round port-holes, and down the right-hand side there was a pipe. It was a challenge, but I just designed around them. I mean, I could imagine someone who’s going to paint a realistic style might find that really distracting, but because I work in composition, I could use it to my advantage and make it part of the design. I just had to take into consideration where I could use my big brush [the artist’s handmade tool for creating textural patterns] and the directions I could drag it, and which areas I would want to do block colours, like over the pipe to make it disappear. I realized I needed to not do much with the big brush or go too technical at the top, where I would have to mask out the windows. I didn’t want to waste my time masking those windows out.
People may not realise that there is real time pressure for these types of events. You were saying you pulled a 14-hour day on the Saturday…
Yeah, we flew up on the Friday, and painted the Saturday and Sunday, we had the option to paint on Monday as well if we needed it, and then we flew home on the Tuesday. The weather was looking pretty patchy for the weekend. So, I decided to modify and simplify the mural ever so slightly, just to make sure that the rain wasn’t going to be a hindrance…
And you had some help?
The coolest thing about the invite was that they asked if I wanted to bring someone with me. Straight away I was like, I’m taking Porta! He’s a machine and we work so well together. We just look at the picture, we hardly even need to talk. We are in sync. By bringing Porta, we got through so much more work than if I was trying to explain things to a local artist.
There is a level of trust, as well I suppose, and that synchronicity is vital. Also, Porta’s so relaxed that it just helps eliminate the potential for stress…
We’ve got really similar taste in music, so that helps as well…
I can imagine! So, tell us more about the actual work, you touched on some of the elements. The work seems to combine elements of previous outdoor works you have created, but it also brings in aspects that have been prominently featured in your studio work as well, so it seems like a slightly new direction in some ways…
That was the idea. It was an open brief and I wanted to do something that was really striking, I wanted it to be recognizable within both my studio work and from of my past murals or ground works. I wanted to smoosh everything together and come up with something that the town likes, and if they don’t, well I like it….
Originally the plan was for you to do a ground mural, right?
Yeah, Olivia saw the basketball court and the piece that I did in the red zone and was really excited to get a piece on the ground, but it never fell into place. They showed me places that wouldn’t be suitable, like a tiled surface or a rough paved area. The places they had available were mainly pedestrian areas because a lot of the town at the moment is currently being redesigned, so all their roads and the way the traffic moves is being redone and they didn’t want to get something painted and just dig it up. So, we went down the road of painting the BNZ building, which was cool, I’m stoked on that wall…
A festival is intended to have a level of public engagement, but we live in the age of Covid and obviously that affected the event, there were quite a few artists and Olivia herself, based in Auckland, who couldn’t be there, and I’m sure there were other changes, did you still get a sense of that communal festival experience?
Absolutely, the crew have been running Graffiato for eleven years. You can tell that they are really passionate about looking after the artists and making sure the public are engaged. They run a well-oiled machine. They’ve got good sponsorship with paints and equipment, so when we were picked up From the airport they were like, do you guys want to start today or tomorrow? The weather was looking pretty iffy, so we said it would be good to start that afternoon and they just said, sweet, we will get you a scissor lift onsite by 3pm and you can start. They had the projector back at the house and we were good to go. We were well looked after, they put us up in a really nice Air B’n’B, there was food in the fridge, with beers and wine. We had a little car to zip round in…
Those types of things make a big difference, right?
It just made it so easy for us to paint the wall. They would bring us lunch at the wall. They had a volunteer sitting on the wall with us to talk to visitors so we weren’t getting distracted, unless we wanted to be. Big ups to Linda, she would hand people a map and a flier with all the information about the festival and talk to them about where the next closest mural is and talk about our mural. There was a photo of our concept down at the bottom and she would talk them through it. That volunteer element meant that we could actually get the work done in the time frame. There have been commercial murals that I have worked on where people are coming and going all day and pretty much someone is always talking to a visitor…
It is interesting, because talking to people is a really important part of this new profile of urban art, so you don’t want to seem too cranky or unapproachable, and of course, it can be fascinating meeting new people, but it can end up eating up a lot of time. You were the only South Island artist at the event this year, why do you think there is often an under-representation of our artists at these North Island events in particular?
Maybe it just comes down to the cost. The logistics of getting artists up there. I mean, the other artists probably just would have driven. I know Milarky just drove from New Plymouth…
We have such a strong reputation here in Christchurch in particular, but maybe you are right, it might be the practicalities, although we still bring a lot of North Island artists down to events here. With all that said, who did you enjoy spending time with?
Me and Porta and Milarky were in the same house, so we got to hang out a little. But I just really enjoyed hanging with Porta, we basically spent the whole weekend together, apart from when I was asleep. Apart from that we didn’t really hang out that much with the other artists. There was a briefing at the start and we all caught up at the end for some pizzas and beers, but everyone was really trying to negotiate the weather and seeing if they could maximise the sun and weren’t really away from their wall. Julie, one of the organizers from Town Centre Taupo, picked us up from the airport and was saying there is a bit of a running joke that she chains the artists to the walls. She makes it so that the artist doesn’t have to leave other than to go to the toilet. If you need paint, they will go get it, if you need coffee, they will go get it. They do a circuit, and you see them every hour with paint or coffee or something to eat, you just put in an order…
Follow Dr Suits on Instagram for more of his work
Follow Graffiato on Instagram to see what other artists got up to…
