The latest contributor to our expanding creative playlist is Josh Bradshaw. Josh’s list is a reflection of his evolution over the last two years, where his shift from a certain artistic persona and style represents his desire to make work more honest and true to himself. His latest body of work is defined with an anarchic quality that investigates materials and methods of acquisition and draws a fine line between urban decay and beauty. In that regard, his selections for Tune! are raw and aggressive – classic punk and hardcore, from Minor Threat to Descendents, reminders to not pander to a market, but to disrupt and keep pushing…
For the last few years I’ve found myself witnessing an uprising of particularly flimsy shit being made for the sake of nothing except maybe looking ‘trendy’ or ‘urban’ for all the Merivale Mum’s who might happen to flick past your sweet new artist profile double page spread in NZ House & Garden Magazine. I can’t sit here and claim I’ve never been a part of the problem however, I’ve made more than my fair share of sellable crap for the masses. Nowadays when I’m producing new work, I have to listen to music that is going to keep me honest and not settle for making mediocre shit for no reason. I have to listen to music made by more important people that actually have something to say from a more important time than myself and the lame filtered positivity Instagram era that we are all currently living in. Here’s a few favourite albums and discographies I listen to whilst working because who the fuck has time to curate a playlist or change a song every 2 minutes. Keep it aggressive not flimsy.
Dead Kennedys – Kill The Poor
Bad Brains – Bad Brains
Descendents – Milo Goes to College
Tune! is an ever-growing playlist of music that inspires our artist friends!
Personally, the arts have provided a feeling of comfort throughout the challenges of 2020 and 2021, but November 2021 was a reminder of the struggle faced by the arts, not just in the midst of the Covid pandemic and all of it’s associated barriers, but more generally, the stark reality of the need to scratch and claw to survive. Many events and projects are produced on a shoestring budget and the realities of life as a creative are sobering, many balancing other careers and making time by burning the proverbial candle. Watching an Arts Foundation panel discussion featuring some of Aotearoa’s most renowned artists brought this reality into clear sight, sharpened and tempered by the determination of those from our community to continue to stage events and the audiences that provide support. So while the art life is hard, requiring a seismic shift in how we instill new attitudes towards the arts nationally, it is always so warming to know that the arts community is nothing if not durable and determined. November was a case in point, plenty of highs and unfortunately some lows, but all underlined by a sense of the need to keep on keeping on…
Chimp – Social Woes @ Fiksate
Wellington artist Chimp returned to Ōtautahi Christchurch and to Fiksate Gallery with Social Woes in November, with a body of work exploring the impact of social media on our state of mind and social networks and behaviour. Pushing his work towards increasingly fragmented compositions, Chimp has made some bold progressions stylistically while grappling with very contemporary issues…
Berlin Wall – Community Event @ Rauora Park
The installation of the Berlin Wall segments in Rauora Park in late 2019 was completed with relatively little publicity, many unaware of the historical significance of the concrete forms that appeared like painted monoliths from Kubrick’s 2001: A Space Odyssey. In response, a collective of German expats, led by the amazing Alex Falk and Deutsch in Christchurch, staged Kia Ora Berlin, an event celebrating and exploring the history of the Wall’s deconstruction. Following an official ceremonial portion, the crowd were let loose on a scale wall produced by local artist Nick Lowry, with hoards of kids getting wild with spray paint, brushes and pens. The swell of activity lasted for an hour, until all the supplies were exhausted, a reminder of the power, and attraction of writing on walls, a reality heightened by the displayed photographs of the real wall on display nearby.
Farewell to The Giant Cans
Not far from the Rauora Park location of the Berlin Wall event, the Giant Cans at the Place Making at One Central site were enjoying a last hurrah, with a graffiti art workshop led by the DTR crew. A unique and participatory urban element, the Cans have hosted hundreds (if not thousands) of visitors, and literally layers of paintings, messages and scrawlings, since their installation in 2018. Now deconstructed, the cans are seeking a new home. Fingers crossed these iconic forms, originally created for the Spectrum Festivals at the YMCA, can return soon…
Daken’s Emporium @ 413 Local
Although I didn’t make it along to opening night of Daken’s Emporium, I was glad I headed down to 413 Local on Tuam Street to check out the impressive output of customised toys and other goodies, from Daken and several guest contributors. Charming in their lo-fi DIY nature, it was packed with nerdy, playful and earnest references to films, comics and cartoons (most definitely after my own heart)…
Arts Foundation State of the Arts Panel
The only event not to occur in Christchurch to make the list this month, the Arts Foundation‘s State of the Arts Panel was live-streamed late November and featured the impressive line-up of Dr Fiona Pardington, Shayne Carter, Oscar Kightley, Simon O’Neill and Moana Ete. Moderated by Miriama Kamo, the panel reflected on the state of the arts in Aotearoa in 2021. A lively and passionate discussion, it raised the striking reality that the arts, and artists, remain under-funded and under-valued. While the panel made clear the challenges, the passion of the speakers vitally reflected the need for collectivism, for digging in and for fighting for the cause…
What did we miss? Let us know what you would have added to this month’s list and stay tuned for more And That Was… entries in the coming months
Our first edition of Showtime! featured a host of shows that all opened on the same night – likely a rare occurrence. Another rare occurrence is the Sunday night opening, but with the necessities enforced by the never-ending Covid pandemic, new is kind of the norm. Art Walls is an ongoing and revolving installation concept based at The Welder, rather than an exhibition with a specific opening, the concept, developed by Kyla K, is more organic throughout its run. However, everything has to have a beginning (or at least the beginning of the 3rd iteration) and Sunday afternoon (crowd restrictions meant the timing had to match Welder restaurants being closed) saw the launch of the latest batch of artists to shine, with LKM, Josh Bradshaw, Paige Jackman, Ryan Robertson, Louann Sidon, Ikarus (DTR Crew), Lydia Thomas and Mike Williams (who also served as the opening event DJ!) all featured. We were there and enjoyed catching up with some of the artists and a pohutukawa and strawberry session mead from Buzz Club (who knew?), and here is the proof…
If you have a show coming up, let us know! Email firstname.lastname@example.org with the details…
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…
The first Friday of November proved a popular night for exhibition openings with three shows celebrating openings at the same time! The sun was shining into the evening, making it a great chance to enjoy a social(ly distanced) occasion and, of course, the art of talented locals and a popular visitor from the capital. At Fiksate, Wellington artist Chimp returned to Christchurch for his new solo offering Social Woes, an investigation of the impact of social media on our contemporary existence, while over at 413 Local Gallery on Tuam Street, Daken presented Daken’s Emporium, a selection of his customised toys and comics (along with some special guest contributors), and at the Boxed Quarter, the talented team from everyone’s favourite art supplies store Gordon Harris hosted In the Hours After, a group show featuring multi-disciplinary work from Peter Pinckney, Carrie Dingwall, Klaudia Bartos, Bebe James, Olivia Isabel Smith, Louann Sidon, Theresa Waugh, Seonaid Burnie and Al Joice.
It was pretty tricky to make it around all three shows, and while some were impressively able to manage the logistical challenge, for many others, it was a case of picking one. So, for those of you who didn’t manage to get to all of these shows, this is for you!
Chimp – Social Woes @ Fiksate Gallery, Friday 5th November (until November 27th)
Daken – Daken’s Emporium @ 413 Local Gallery, Friday 5th November (Until November 10th)
In the Hours After featuring Klaudia Bartos, Seonaid Burnie, Carrie Dingwall, Bebe James, Al Joice, Peter Pinckney, Louann Sidon, Olivia Isabel Smith and Theresa Waugh @ the BOXed Quarter, Friday 5th November (Until November 10th)
Are you part of a show coming up? Email email@example.com to let us know. Showtime will cover exhibitions and events from the local scene…
We first noticed Graeme Russell’s photography on Instagram, his striking black and white street imagery bringing to mind the observations of a flaneur, distanced yet right in the heart of the city. Street art has been a recurring subject of his photographs, often exploring close up details, re-framing larger works as disconnected and intriguing snippets. When we asked Graeme if he was interested in putting together a survey of his images as a photo essay, he revealed he was about to move to Oamaru. It therefore made this piece a fitting farewell to a city that the photographer has come to adore for the creativity on its streets…
As a recent newcomer to Christchurch (I guess three years makes me a newcomer?), one of the things that I absolutely adore is the vast array of street art around town, it brings the city to life and adds a new perspective to the city. Those behind the art deserve a huge pat on the back. Almost daily I pop out with my camera to capture what is going on in town, what is new on the walls and, of course, on the lampposts.
Seeing something new around town brightens my day and gives me inspiration to shoot. Watching the looks on people’s faces when I’m taking pictures is interesting – they vary from smiles to a look of disgust, people commenting that I am encouraging graffiti.
For those not familiar with the Christchurch street art scene, it’s awesome. It brings the city to life, and every piece around town has a story to tell. So, if you’re in Christchurch or visiting from out of town (or when travel restrictions ease, from offshore), put on a good pair of walking shoes, wander around and take in the work of street artists. It is certainly worth your time!
People often comment about my photos on Instagram, saying that the content is great, and how they wish they had something similar in their town. I truly believe we need to get out there and encourage local artists to get to it and start producing art to liven up the streets of towns around the country.
So, what images have I taken that I want to share with this post? Yikes, I guess sharing 12,000 images isn’t possible, so here’s a small sample for your viewing pleasure…
P.S – Since being asked to contribute to this blog, I have moved to Oamaru, so I guess this is both a welcome and a farewell post. Thank you for the opportunity and an even bigger thank you to all the street artists who have enriched my viewing pleasure around Christchurch.
Follow Graeme on Instagram and keep an eye out for more photo essays!
If you would like to contribute a photo essay, drop us a message on social media or email firstname.lastname@example.org
The next contributor to Tune!, our evolving playlist to make art to, is Mark Catley. With his strongly pop culture inspired paste-ups (from Star Wars to Masters of The Universe and David Bowie) and his alter-ego as DJ Hairdresser on Fire, it is little surprise that music is such a central influence on Catley’s creative practice. But perhaps even more interesting is his late stage initiation into the magic of music, including a humorous story about the RPM speed of a vinyl. The variety of selections has been a striking feature of this series and Mark’s picks are further evidence of this trend, from The Smiths (Hairdresser on Fire is a Morrissey reference) to ABBA and Captain Kirk himself, William Shatner, as well a few other surprises. So join us as we find out what tunes make Mark Catley tick…
To a lot of people, music is just background noise. Something to have on quietly while you go about your daily life. For others. Music really matters. I fall into the second category. Without music, I doubt I would be alive today.
Music has been there for every special moment in my life. Connecting all the mundane moments in life to the truly magical events or even just reminding me of the various heartbreaks. Like most artists I tend to work with music surrounding me. I also try and pick a song title to name a lot of my art, where suitable.
I didn’t listen to music growing up. If we had the radio on, it would have been the Christian station, Radio Rhema. Even then I really only listened to the Old Testament bible stories told by robots (I mean who else does an eight year-old kid get to read them stories from 2000 years ago?) So when the other kids at school would talk about music I would more often or not just pretend I knew who or what they were talking about. It got to the point where I once had to make up a poem for some class competition about a local radio station. The teacher obviously could see I had no idea what the subject was and so just glued the entry form, poem side down with the brightly, coloured picture facing outwards. I remember feeling really bummed out about that.
But hey, life got worse…
The Seeds Were Sown: Tears for Fears – Sowing the Seeds of Love
The first musical object I ever owned was a 7” vinyl single I won from the Christchurch Star in the 1980’s. It was the Tears for Fears single Sowing the Seeds of Love. I had no idea what the song or who the band was but I was so ecstatic to own my very own record that it didn’t matter!
It’s a big, bombastic, throw-everything-into-the-pot, 80’s single. It also features an amazing over-the-top music video which won many awards.
The funny thing was, as me and my sister never played music on Dad’s stereo, we had no idea there were different speeds for different size records.
Every day after school I would rush home to play the one item of music that was mine… at the wrong speed of 33rpm instead of 45rpm! It wasn’t until a friend flicked the switch on the turntable that I got to hear it at the correct speed. Funny thing is, to this day I still think the correct speed sounds too fast!
Living the Siamese Dream: The Smashing Pumpkins – Hummer
Once I discovered my own music at high school I was in deep.
I found out you could get CD’s from the local library and borrowed Siamese Dream by The Smashing Pumpkins. I would then copy the CD onto a tape and play it on repeat. This album just blew my newly forming teen mind. Those dreamy guitars, those crazy vocals! I was hooked.
The Pumpkins were also the first proper big gig I ever went to. It was May 1996 and I was still at high school, so I sent my dad along to wait in line and get the ticket. None of this fancy online buying tickets. I was always grateful my Dad was able to do that. I also once spent a lonely Christmas day in London pretty much by myself with a cheap bottle of wine and a borrowed copy of Siamese Dream. (Best Xmas ever? Maybe not… but still pretty good).
Litter on the Breeze: Suede – Trash
I’ve always felt more in tune with the English way of life and their style of music and moods. Give me a nice rainy day over a bright, scorching hot sun any time. Trash by Suede sums the band up perfectly and is so 90’s it hurts. But I love that pain. (when I first started making my street art and other work, I worked under the name Trash Design. I was told to change that to something else, so I just went with my boring real name. I’ve since been given another way cool handle to use, Bossk-Cat, but it seems too late to try and change now!)
I haven’t got a stitch to wear: The Smiths – This Charming Man
Sure, lead singer Morrissey has turned into an utter twat over the last seven or so years (I won’t say anymore on that subject), but The Smiths as a band have an almost flawless body of work. I did have fun pasting up various The Smiths singles posters around Christchurch years ago. There can’t be many other cities that can say that. This Charming Man is always guaranteed to get me up dancing.
I’m picking up good vibrations: The Beach Boys – Good Vibrations
Like most nerdy music lads, I got into the Beach Boys years ago. I could link in some deep cut, but really, if you listen to Good Vibrations and don’t feel happy, something must be seriously wrong with you. I had the joy of watching my daughter (Alba, who is two-and-a-half) dancing with sprigs of parsley in each hand to this song recently. I must have been at least 17 before I did that.
My late father did like some ABBA and I found a cheap copy of ABBA Gold on cassette tape. I would drive around in my blue VW Beetle playing it in my car tape deck for a laugh in the late 90’s. But I started to genuinely like the tunes. Hell, I even gave a 10-minute talk on how amazing
ABBA was at a Polytech presentation in the late 90s. They really are a perfect ‘pop’ band. It’s interesting to see the band is about to release a new album, their first in 40 years, and it’s not just some cash tie-in. I mean, this band turned down $1 billion dollars to reform in 2000! Anyway…it’s hard to choose a favourite from ABBA. So let’s just go with S.O.S.
Everyone you know someday will die: The Flaming Lips – Do You Realize??
Death…it’s going to get us all one day. It’s hard to remain in the now and just enjoy the people in our lives. This track by the Flaming Lips always brings a tear to my eye. Just another of those ‘perfect pop songs’ by a band just doing what they do. I also had the pleasure of dancing with the Lips up on stage back in London circa 2003. I was dressed as a parrot. I have a photo of me and the band taken by Beth Orton somewhere (I still can’t believe that I had the cheek to ask Beth Orton to take a photo of us all!).
Cause you are gonna: William Shatner – You’ll Have Time
William Shatner released an amazing album titled Has Been back in 2004.
It was produced and arranged by Ben Folds with most of the tracks written by Folds and Shatner. It’s an album that shouldn’t work, but it just does.
Shatner’s over the top delivery is just perfect and a lot of the songs are really heartbreaking. One song is about finding his wife drowned in the pool and another is about trying to reconnect with his estranged daughter.
They get me every time.
But today I want you to hear this track from Bill. People either love it or hate it. I suppose we don’t like being told we are going to die. I would also often clear people from the CD store I managed with this track… Ahh, the looks the locals in Merivale gave me. Priceless.
Bad dreams in the night: Kate Bush – Wuthering Heights
With the arrival of my daughter, Alba, I wanted to make sure I play more music made by strong females. I do tend to be male-centric with my listening. Not entirely sure why. I suppose it’s who I relate to with the lyrics and singing style. But Kate Bush is here, for all her uniqueness. She played the music game her way and got away with it.
Her first ever released single was Wuthering Heights which to this day is still her most famous track. She wrote the song after catching the ending of the 1967 BBC adaptation of the 1847 novel. She was only 18 at the time and recorded the vocals in one take. Only toured twice 1979 and 2014 and sporadically puts albums out when she feels they are ready.
I could easily select any of Kate’s work, but will just stick with her first offering.
It’s not always music…
More often than not, I work alone and sometimes you just get sick of tunes and music and need a break from everything. The following are my go-to for a ‘no music playlist’:
Casablanca – Full soundtrack with film bites
Max Richter – 8 Hours Sleep Score
Steve Roach – Structures From Silence
This 29min ambient track is just sublime. It’s like a direct shot straight to the brain of pure “weightlessness”. I often fall asleep to this track.
And finally some audio books:
The two Alan Partridge books read by Alan Partridge, I, Partridge and Nomad are hilarious. The Sandman by Neil Gaiman is not only one of the greatest stories EVER, but now it has also been made into an audio book with a star-studded cast. Listen to it, before the Netflix show begins next year…
Follow Mark on Instagram and Facebook and keep an eye out for the next issue of Tune!
Despite the challenges of Covid through the second half of the year, Christchurch has continued to present activities to keep us busy and engaged – from new murals to exhibitions and projects. Likewise, other cities have worked hard to keep events going, albeit under trying and ultimately stressful realities. But one of the great things about urban art is its ability to thrive no matter the circumstances, it is a sign of our endurance and existence, so it is fitting that many of the entries in this month’s And That Was… are reflective of that potential, even if they are commissioned projects or organised events…
Even More: The Show @ Clubhouse Creative
The latest incarnation of Lydia Thomas’ More: The Show, Even More: The Show took place in a new location (making use of the awesome spaciousness of Southwark Street’s Clubhouse Creative) and featured a number of new artists, some Watch this Space favourites, others new names for us to get excited about. With a diverse range of talented local female creatives, and packed into the massive warehouse space in a visual feast, the pop-up was popular and energetic and yet another bow for the Hello I Am project…
Ghosts on Every Corner gets a Boost…
It was so good to see the Ghosts on Every Corner team reach their Boosted campaign goal! Ghostcat and the Fiksate team have been working away at getting this art trail and book project off the ground and the support for their Boosted campaign was incredible as they reached their goal with a few hours to spare! Bring on the mini art and normal-sized book!
The Ocean is in our Hands – Blue Cradle x Popx x OK Creates
Local oceanographic non-profit trust Blue Cradle along with Richie Pops Baker and OK Creates are the forces behind this new mural on Colombo Street. The work celebrates the incredible diversity and supportive qualities of the ocean, while also serving as a reminder that we need to ensure its health and care. It is an impressive and meaningful addition to a busy part of town!
The Paste-Up Project x teethlikescrewdrivers
Watch This Space, along with Phantom Billstickers, have been busy creating The Paste-Up Project, a new platform for one of urban art’s most enduring forms. Turning a central city bollard into a supported platform for paper-based art, the project adds diversity to the city’s urban art profile. Teethlikescrewdrivers was first up, and we love his Connection, Community and Collaboration installation, which ties together some of the key elements of urban art!
Dr Suits @ Graffiato Street Art Festival
our buddy Dr Suits was among the guest artists at Taupo’s renowned Graffiato festival over Labour Weekend. With a truncated roster due to Auckland’s Covid restrictions, Aotearoa’s longest running urban art festival was a slightly different proposition in 2021, but Dr Suits (with assistance from man himself Porta) flew the flag for Ōtautahi, producing a striking and bold work that suggests some new directions for his public output…
What have we missed? What were your highlights for October? Let us know in the comment section…