And That Was… 2019 (Actually, That Was A Decade…)

With 2019 now wrapped, we decided to round up a number of our friends to take stock of the year that was. But then we realised it is also the end of the decade, and to be fair it has been a pretty challenging, fascinating and memorable ten years, especially for the residents of Ōtautahi Christchurch. We asked this selection of artists and creatives about their own experiences, the people and work that inspired them, the events that mattered and their hopes for the future. The results were wide-ranging, although, of course, there were a number of events, artworks and ideas that came up repeatedly, highlighting the impactful events and developments that have coloured our collective consciousness since 2010…

Reuben Woods – Writer (@bolsamatic)

  1. What has been your personal highlight of 2019? There have been a few, from working on Urban Abstract, to curating Dr Suits (Nath Ingram) and Josh O’Rourke’s projects in New Brighton, but probably top of the list was having work published in the Nuart Journal…
  2. What piece of someone else’s art in Christchurch has been your favourite this year? It may be that they are fresh in my memory, but TOGO’s rooftop piece to the South West of the city is a favourite, the angular FOLT slaps are rad, and pretty much anything by Vesil over this year.

    TOGO, central Christchurch, 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Aryz’s work has been stellar, Selina Miles’ Martha: A Picture Story was great, I love Elliot O’Donnell’s new direction with the glitch studies of urban surfaces, and Bond’s graffiti pieces are super fresh as well. I also really enjoyed Nike Savvas’ Finale: Bouquet at Te Papa…

    Nike Savvas’ Finale: Bouquet at Te Papa, 2019.
  4. What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was the culmination of a long process and it was so great to see it well received, as it wasn’t clear that there was a massive thirst for that style locally…
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Obviously the earthquakes, and I think the March Terror Attacks signalled a change in the city’s psyche as well. More widely, the increasing division across the world, politically, economically and ideologically, cannot be ignored.
  6. What is the biggest artistic/pop cultural moment from the last decade? When Childish Gambino released the video for This Is America, it felt like a really impactful conflation of pop culture, art and social commentary that captured the zeitgeist. Locally, I don’t think I can go past what George Shaw and Shannon Webster of OiYOU! pulled off with RISE here at the Canterbury Museum…
  7. Which artist or artists have stood out over the last decade? Internationally, Vhils, Aryz, Revok, Stoop Kid, Nina Chanel Abney, Askew, Dside, Katsu, Steve ‘ESPO’ Powers, Timothy Curtis, Deconstructie, Connor Harrington… So many. And of course, locally there have been so many people who have left their mark in the streets, from little tags to big walls, I couldn’t possibly name everyone…
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I really hope the energy that the city saw for a sustained period can be recaptured, with things happening not just within commissioned frameworks, but also more organically, especially as the city evolves into a ‘finished product’ to contest. To see local artists continue to gain wider profiles and in turn to see exciting visiting artists come here and leave their mark.

Tom Kerr – Artist, Musician (@ditchlifetattoos/@_nervousjerk/@toyota_bleeps)

(photo supplied by Tom Kerr)
  1. What has been your personal highlight of 2019? Quitting my job as a builder and becoming a full-time tattoo artist. It’s been a goal of mine since I was a teenager.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? I just love seeing a nice tag to be honest. I haven’t really been involved in the graffiti scene since I started putting all my artistic energy and time into tattooing. However, once you’re in the graffiti culture you never stop turning your head when you go past a tag that has something special about it. My favourite tags are the cheeky ones done with a paint pen or a big marker.

    A drippy FUZE tag, captured 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m a big fan of Josh Solomon from Auckland, both his tattoos and his ‘fine art’.
  4. What exhibition by an urban artist(s) has been your favourite this year? Rory Grant had an exhibition [Babylon is Burning] at Spooky Boogie in Lyttelton last month and I think his paintings are super impressive.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes, it goes without saying, haha! Starting a punk band (Nervous Jerk) and being welcomed into a whole new world and experiencing kindness from strangers like never before. Putting out a record with that band five years later. Becoming a qualified builder. I learnt so many things, but most importantly it taught me to never give up on something and to always have a crack at taking that broken thing apart and trying to fix it or whatever. What’s the worst that can happen right? Buying a house with my girlfriend. So many things. I was 15 at the start of the decade so I’ve been through a lot of first times and probably shaped by a lot of things I’m not even aware of yet!
  6. What is the biggest artistic/pop cultural moment from the last decade? Smartphones, I think. I hate everything about them and love them for the same reasons! But you can be so creative with them and write things down and brainstorm on them and I think so many creative things were probably started as just a note on a phone…
  7. Which artist or artists have stood out over the last decade? To be honest I think over the last decade all the big artists I’ve gotten into haven’t been doing anything this decade. I just really like older music and most of the art I’m into is more traditional stuff too, I guess.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Less people being fussed about how many likes they get for whatever they’re making and just making it for the sake of self-expression. Hopefully by then everyone will be over that shit and just enjoy being themselves.

Ikarus – Artist (@highdoctornick)

  1. What has been your personal highlight of 2019? I quit smoking cigarettes after close to 25 years, does that count? Relating to art stuff, it’s hard to say, there’s been a few cool projects but nothing that blew me away…
  2. What piece of someone else’s art in Christchurch has been your favourite this year? I’m not even sure. For big murals, the photographic piece Dcypher and Yikes produced with OiYOU! looks like a real banger.
    Dcypher and Yikes at work on the OiYOU! curated photo roll mural in Colletts Lane in the SALT District, December 2019.

    As far as traditional graffiti, which obviously is what I’m most interested in, this year has to go to Vesil, that dude is producing some dope work in high profile spots. An honourable mention to Dofus as well, he’s been killing the streets and yards with tags, pieces, throws. A solid all-rounder. The AOC crew have been putting in the heavy efforts and definitely produced some of the rawest graffiti this year.

    AOC by VROD, central Christchurch, 2019.

    Even though he’s been quiet this year, I’ve got to mention WeksOne (IMK), his 2017- early 2019 run is one of the heaviest and most impressive examples of all-round graffiti mastery in Christchurch history. Dude had the streets, yards, rooftops and more crushed, with everything from tags to throws to chromes to pieces to characters and straight up burners.

  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m super ignorant about what’s going on outside Christchurch most of the time. Everything Odeith does is insane though. 1UP’s coral reef project is on some next level shit. I really have no idea honestly. I can tell you all the current 2020 releases for Hasbro’s Marvel Legends line though, if that helps at all.
  4. What exhibition by an urban artist(s) has been your favourite this year? Ahhhh, I see. This is all an exercise to expose how little I actually know about art, well played. OK well, I didn’t actually go to it, but I’m gonna say TOGO’s work in the Urban Abstract exhibition at Fiksate Gallery (see what I did there, guys? You’re welcome). I didn’t see the show but his mix of abstract paintings both on canvas/gallery and on walls/public, coupled with his raw traditional illegal graffiti work and his eloquent descriptions of his experiences lead me to assume I would have very much enjoyed the exhibition.

    TOGO’s video and photographic works from Urban Abstract at Fiksate, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? That’s a brooooad question. Part of me wants to just say ‘Thug Life’ and move on, because thinking and talking too deeply about graffiti and/or street art sometimes feels stupid or falsely high-brow, too forced. But part of me also takes it all really seriously. So, I dunno what to say to be honest. Grow and evolve but don’t change. When you work out what that means and how to do it, lemme know, it might be the key to the struggle.
  6. What is the biggest artistic/pop cultural moment from the last decade? The Internet. The exponential rise of social media and its various platforms to some extent make every moment the biggest moment for artistic/pop culture. Everything has the potential to be the next big thing. Marketing and branding overtook advertising as the true modern art form.
  7. Which artist or artists have stood out over the last decade? There’s too many dope artists and writers to name and I’d be afraid to forget somebody. On some level everybody is an influence but it’s really only my crew and the writers and artists from my city that I think about though, without them I couldn’t exist. Two people I will mention though, are George Shaw and Shannon Webster from OiYOU! While perhaps not the traditional definition of “artists”, they have been incredibly important to the growth of public appreciation towards graffiti and street art in Christchurch. From organising the biggest graffiti and street art exhibitions/shows/festivals in New Zealand, including the historic RISE at the Canterbury Museum, to their continual support behind the scenes, these guys have been a huge factor in the growth of graffiti and street art in post-quake Christchurch.

    OiYOU!’s Spectrum at the YMCA, 2016.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I’ll just keep doing what I do. We have workshops and the Blackbook Sessions starting up again in the new year, as well as a festival or two pencilled in for 2020 already. I’d like to see traditional graffiti art represented more at the many street art festivals and shows that are happening now. It’s great to see the art form evolve and see events that support the new wave of art/artists, but it would also be great to have traditional graffiti art represented in that positive light. Locally I’d like to see the implementation of more legal walls and evolving art spaces where novice artists can practice freely, and more funding toward workshops and tutorial classes for at-risk youth.

Jacob Yikes – Artist (@jacobyikes)

(photo credit: three-six-six media)
  1. What has been your personal highlight of 2019? I’ve had a somewhat quiet year with painting outdoors for various reasons, however, a highlight of mine was displaying some works at Chambers Gallery. I felt those works were a shift in the direction I see my work heading in 2020.
    One of Jacob Yikes’ works from his Chambers Gallery show with Hamish Allen and Steve Birss, October 2019 (photo via Jacob Yikes).

    Another highlight would be getting a solo show in a local gallery that I have been visiting since I was young, I can’t release any info about it yet, but the show will be towards the end of 2020…

  2. What piece of someone else’s art in Christchurch has been your favourite this year? Hmmm, that’s a hard one, personally I feel that overall it’s been super quiet in Christchurch this year… I’ve been locked away in my studio for a lot of the year so I’m not sure I’ve really seen anything new from anyone that’s really stood out, and that’s not a negative thing at all but nobody is really being that active. I guess I need to get out more, haha!
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Yeah, again, I’ve not being paying attention enough to what’s been going on, so I really couldn’t say, hibernating in the studio for the cold months will do that!
  4. What exhibition by an urban artist(s) has been your favourite this year? No answer.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Easily the influx of street-based work in Christchurch, the events that have opened up doors for me and helped me progress as a full-time artist. I quit my job as a house painter about 6 years ago, took the leap to be a full-time artist and it’s not been easy, especially trying to keep my work original and true to my vision and not just to please the masses. That can be hard, but it’s all been worth it.

    Jacob Yikes, Manchester Street, 2019 (photo via Jacob Yikes).
  6. What is the biggest artistic/pop cultural moment from the last decade? No answer.
  7. Which artist or artists have stood out over the last decade? That’s a tricky one, a lot have stood out in their own way, I really couldn’t say, I really should pay more attention!
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that in 2020 we will see our local Council actually contribute to keeping the street scene alive and to stop using the work we do to promote the city but not putting anything into it, but we’ll see…. I personally have some things in the works for 2020, but I’ll keep that close for now, haha!

Jacob Root (Distranged Design) – Artist (@distrangeddesign)

  1. What has been your personal highlight of 2019? My personal highlight of this year was definitely my trip to Los Angeles. The work I was able to do there and the contacts I’ve made from it is still surreal.

    Jacob Root painting in Los Angeles, mid-2019 (photo via Jacob Root)
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Ahh, I haven’t actually seen a whole lot. But Dcypher’s Seagull was dope!

    Dcypher and Ikarus in New Brighton, 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? All of Triston Eaton’s murals!
  4. What exhibition by an urban artist(s) has been your favourite this year? Chimp’s Aliases at Fiksate.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The last decade has really been the start of my life, finishing high school, then being able to work for myself and do what I love every day is a major factor!
  6. What is the biggest artistic/pop cultural moment from the last decade? I really don’t think I’m fit to answer that as I’ve really only been painting for the last couple of years.
  7. Which artist or artists have stood out over the last decade? Triston Eaton, Martin Whatson and Alec Monopoly.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? For me, I’ve got a few festivals planned and quite a bit of travel, so I’m really hyped to be able to have my artwork outside of NZ! For the local scene, I really hope there is a street art festival curated for Christchurch…

A Tribe Called Haz – Artist (@atribecalledhaz)

  1. What has been your personal highlight of 2019? Being invited & participating in a roughly six month long art exhibition with Burger Burger.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? The walls of New Brighton.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Gareth Stehr’s Have a nice day.
  4. What exhibition by an urban artist(s) has been your favourite this year? Joel Hart’s Dopamine at Fiksate.

    Joel Hart’s Escaping Reality from Dopamine at Fiksate, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The Rad Collective’s Under the Influence, the ‘Graffiti Quake House’, my first A Tribe Called Haz exhibition.
  6. What is the biggest artistic/pop cultural moment from the last decade? Ilma Gore’s painting of Donald Trump with a small dick.
  7. Which artist or artists have stood out over the last decade? Locally, Uncle Harold, Hugo van Dorsser, Vesil & anyone I’ve painted with. Outside of Christchurch, it would be Askew, Sofles, Dside, Valentin Ozich, Pablo Dalas, Neckface, Jeremy Fish & Haser.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, more Inspiration, hopefully pull together another exhibition or two. Locally, more legal walls & more art collectives.

Jessie Rawcliffe – Artist (@jessie.e.r)

  1. What has been your personal highlight of 2019? Finally having a solo show, an opportunity which encouraged me to get away from working digitally and experiment with my preferred medium.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Dude, I suck at favourites… I really enjoyed Evangeline Edilson’s show Melpomene and the Sock at CoCA in August. There are some similarities in our work, so I probably related to it stylistically, which being a surrealist figurative artist I don’t get often. But honestly there’s been so much good stuff I can’t remember. Last week is hard enough. And I accidentally deleted my camera roll the other day, so I can’t even look back at visual cues.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Too specific. But in general Michael Reeder had a stellar year (last few really) and I’m constantly seeing his stuff and thinking “fuck you”. His development and refinement is such a pleasure to watch.
  4. What exhibition by an urban artist(s) has been your favourite this year? Fiksate’s Urban Abstract is the most memorable for sure. The range and standard of work was really great and that opening had such a good atmosphere. I think the space has worn in a little, there was such a nice crowd, I dunno, it was the warmest opening in recent memory.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Moving to Wellington at the start of the decade and realising that there were weirdos out there just like me. I’ve moved cities and started gaining some momentum with my practice that was non-existent near the middle of my post-university years. Christchurch has been home for four years now (woah!) and I think it takes at least that long to either get comfortable or figure out how that new environment affects you. Working from The Welder Collective in 2017-18 either directly or indirectly introduced me to everyone in the Christchurch art scene I now know, with a few in particular being a vital influence on my current motivations and interests. The explosion of social media and its relationship to art really stands out. For better or worse. It can be pretty numbing being bombarded with imagery all day, every day, it’s often demotivating to go out and see art in person. The flip side though, is that I’ve connected with artists all over the world because of it and think it can be used as a tool for making art friends and expanding your art business wise. I’m inspired as much as I’m crushed by looking at other artists work (lol). Social media is probably a contributing factor to why I can’t remember what the fuck I’ve seen or done in the last decade.  This might seem mundane, but I was given a copy of Young, Sleek and Full of Hell to read in 2017, which documents all the wild shit that went down and the careers that launched at Aaron Rose’s New York gallery ALLEGED in the 90’s (Mark Gonzales, Chris Johanson, Rita Ackermann, Susan Cianciolo, Barry McGee, Margaret Kilgallen, Harmony Korine, Mike Mills, Ed Templeton…), and it is so memorable and jumps out at me, because it fucked me up for a solid week. I was convinced that I was born in the wrong place/era. The sentiment of this time and place really resonates with my inner punk who wants to be allowed out, except, well, I’m too nice. And it got me worried that what went down there won’t or can’t ever happen here, because Christchurch for the most part is the cultural equivalent of a loaf of pre-sliced white bread.
  6. What is the biggest artistic/pop cultural moment from the last decade? Yeah, maybe it’s still the hangover from the decade before. ALLEGED crew and affiliates are everywhere. Or maybe more generally, the sentiment that came out of that time, all the good stuff of the late 90’s – skateboarding, art, graffiti, film, fashion, photography – has been polished, monetised, derivatives on derivatives. We’ve been in this post-postmodernist depression. And look what’s in again, the 90’s! But did it ever really go away? Another thing that stands out is the multidisciplinary artist/creative – the lack of needing to specialise in one field, like the the skateboarder/artist, or not needing to stick to one artistic medium. Also, the collab. OMG the collab! Big companies approaching (big or small) artists, as they try to capitalise on underground cultures and just basically commodify anything cool.
  7. Which artist or artists have stood out over the last decade? HUGE question, I’m avoiding it! Every year my attention has been drawn to different stuff depending on what I was up to. During university it was magazines like Juxtapoz and Hi-Fructose where I was getting inspiration from – lowbrow pop surrealism. 2009/10 was really my introduction to graf, hanging out at Manky Chops gallery in Wellington and with various members of Pirates crew (who are now graphic designers, tattooists, fine artists and the likes), very much the new gen of graf meets fine art, and the rise of the mural/street artist. The last few years in Christchurch it’s been a mix, which isn’t surprising given how varied the art scene is here, with the very traditional and more low-brow often right next to each other. There’s been a lot of looking back going on, at CAG for example, so many of the stand-out work has been old work from artists I should probably have known. Maybe we’re in a lull?  Otherwise it’s a bit blurry. Specifics are hard. It feels like it just happened and I need a little more distance to work it out.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope the art scene can get a bit more momentum and general support from the wider community. There’s a cultural divide that I find really evident in Christchurch, with rich white people who want to buy landscapes and tell their friends they went to an art opening, then a bunch of super skilled and hardworking artists who will never see any of that support. The underground scenes are supported mostly by the people in them, and this city is too small to sustain that. A bit more overlap and progression of the traditional and contemporary art worlds.I’d like to keep painting, but also not be fucking broke for the 11th year in a row. I have way more focus and direction (and Ritalin) than I ever have before, so we’ll see where this new motivation takes me. It’ll likely be reaching out to galleries in the States to better connect with my audience. NZ has little fucks for figurative work, but the US love it, so I’ll be exporting goods!

Dcypher – Artist (@dcypher_dtrcbs)

  1. What has been your personal highlight of 2019? My personal highlights for this year would have to be working on the Salt wall designed by Paul Walters (I added the additional ‘Otautahi’ piece beneath it), it was a fun collaboration and I learned a lot of new techniques. Also, the more recent negative film strip mural depicting historical photographs of the SALT District was fun, again working with the Oi YOU! team.

    Paul Walters and Dcypher’s SALT Otautahi Mural, curated by OiYOU!, 2019.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? It’s a biased viewpoint, but all of Yikes’ new work, murals and artworks, would have to be my favourite in Christchurch for 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Internationally, I would say Sainer from ETAM crew and Aryz from Spain would be my two favourite artists of 2019.
  4. What exhibition by an urban artist(s) has been your favourite this year? I haven’t had a chance to attend many shows this year but based on what I did see Levi Hawken’s sculptures from Fiksate’s Urban Abstract stuck in my memory.

    Levi Hawken’s Mini Graffiti Cube 2, from Urban Abstract at Fiksate, 2019 (photo credit: Kirsty Cameron).
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I spent the last decade living and working in Los Angeles so that has had a massive influence on my work.
  6. What is the biggest artistic/pop cultural moment from the last decade? I think for Christchurch it would have to obviously be the earthquakes and the mural festivals that proceeded it and put the city on the map as a cultural hub of New Zealand.
  7. Which artist or artists have stood out over the last decade? Internationally there are so many amazing artists that stand out in my mind. And the mural art movement has been pushed in lots of amazing directions but someone who really stands out I would have to say is Vhils, his work is super impressive.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I’m looking forward to 2020 being super productive. Hopefully producing more and more murals and having more mural festivals and bringing in international artists to add to the already extensive public mural catalogue.

Jenna Lynn Ingram – Artist, MC, Gallery Owner (@jen_heads/@fiksate_gallery)

(photo via Fiksate Studio and Gallery)
  1. What has been your personal highlight of 2019? In 2019 Fiksate came to the central city and we’ve so many had great exhibition openings, the highlight was probably the latest one, Urban Abstract, for sure. Also, I quit my 9-to-5 and am focussing on being an artist and running Fiksate full time, that is definitely a highlight!

    The opening of Urban Abstract at Fiksate, October 2019 (photo credit: Kirsty Cameron)
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Levi Hawken has blown my mind with his sculptural work. It was so good to have it in Urban Abstract
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? There are too many to name! I have really enjoyed Remi Rough, the abstract urban artists coming out of Poland, all the female mural artists out there. I have to say that I’m constantly amazed by the stuff that comes across my Instagram feed. I don’t always take in who it is by, but there are so many artists out there that are so talented. I’m blown away everyday by urban art culture, it’s a huge vast ocean of talent.
  4. What exhibition by an urban artist(s) has been your favourite this year? Every single Fiksate exhibition opening! We have had such great vibes, the other exhibitions this year that have stood out have been Jessie Rawcliffe’s shows at CoCA and now at Absolution.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? In 2010 I met Nathan and we fell in love. Then in 2011 the earthquake struck, you can’t not mention that, but that’s also when our street art journey began and we became a team and since that day when we made paste ups of Band Aids or Nath’s Dr Suits character, that energy has never faded away.
    One of the Band-Aids by Jenna Lynn Ingram and Dr Suits, c.2012.

    With Fiksate, we are here to give a leg up to artists who don’t get that from other contemporary art galleries, we are here to give urban artists the prominence they deserve because they are a talented bunch of people. We want to give local artists the chance to show alongside international artists, showing the standard here.

  6. What is the biggest artistic/pop cultural moment from the last decade? Man, it’s a long decade! I’d say the emergence of Anderson Paak.
  7. Which artist or artists have stood out over the last decade? I really enjoy Gary Stranger. Every time Cleon Peterson puts out something it blows my mind, his latest work, it’s so dark and dirty. I’ve got to say that the artists who have been part of our shows at Fiksate, like Askew One, Pener, Joel Hart… And of course Dr Suits, he blows my mind every time and I hate it because he makes it look so easy!
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that I will become a full-time artist and that Fiksate will become a solid grounding for urban art in the city, a mural agency is part of that plan too, working to get more murals around the city. I also hope urban art is given more education and acceptance of all its aspects.

PKAY – Artist (@aaron.p.k)

  1. What has been your personal highlight of 2019? Shooting Steven Park’s 6×4 summer collection.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Vesil’s entire output this year.

    VESIL, 2019 (photo via PKay).
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? No answer.
  4. What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was great.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I feel like I’m giving a very obvious answer but the earthquakes have been hugely impactful, particularly for people like myself who were in their early teens, as it changed the way people my age experienced the city (or lack of one) during our formative years.
  6. What is the biggest artistic/pop cultural moment from the last decade? Mass meme culture (and muralism).
  7. Which artist or artists have stood out over the last decade? Consistently over the whole decade DTR have pulled it off.

    DTR crew colab (detail), Embassy, Colombo Street, Sydenham, 2014.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? More creative opportunities and some failed rebuild projects to retain the city’s spicy ‘bando energy

Dr Suits – Artist, Gallery Owner (@_dr_suits/@fiksate_gallery)

  1. What has been your personal highlight of 2019? The basketball court [Forces] in New Brighton was a big highlight for me. Just making it through to the end of the year is also a feat.

    Dr Suits’ Forces, New Brighton, 2019 (photo credit: Millie Peate-Garratt).
  2. What piece of someone else’s art in Christchurch has been your favourite this year? TOGO all day, without a doubt.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I don’t think I have even left the city! I looked online a couple of times, probably Remi Rough. He’s fucking killing it.
  4. What exhibition by an urban artist(s) has been your favourite this year? I wouldn’t want to be biased, but Urban Abstract was off the chain for us. That was a mammoth project and something that we worked on for a long time. I love urban abstract artwork and I just like to push my agenda! It’s like I love this so you should at least consider it, because I don’t even know if people even knew it existed. It’s really exciting the direction urban abstract art can go. I mean abstract art has been at the forefront of driving contemporary art for a long time, it naturally fits, but the murals and the scale and the insane concepts that can be translated, even stickers, paste ups and graffiti as well murals, it is all so exciting. Graffiti is essentially an abstraction of letter forms, but now artists are just completely letting go altogether.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Meeting my wife Jenna and forming a whanau with her.
  6. What is the biggest artistic/pop cultural moment from the last decade? Over the last decade rap music has just become so mainstream and dominated the music industry, I have to wonder if rap going to become rock? All the good rock songs are by artists from the 60s and 70s, is hip hop now just people reinventing the wheel, with the best hip-hop artists from the 90s? It’s gone so far from its original roots, it seems like the pure reason hip hop music came to the foreground is so contradictory to where it is now, where it used to be about the little guy, now its all about celebrities and big names. What’s next, what’s the next new music?
  7. Which artist or artists have stood out over the last decade? Anderson Paak, TOGO, Leon Bridges… Polish abstract artists are bonkers, they are just driving it. I don’t know if it’s just my preferred aesthetic, but they are so amazing. They are next level. Maybe it’s the Soviet influence of propaganda. Living in New Zealand, I can’t even picture what a day living in Poland is even like. You come across an artist 5 years ago and they take it somewhere even better, what is in the water over there?!

    Pener’s Deconstruction 03 from Urban Abstract, 2019 at Fiksate.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I need to spend some more time with my family, that’s a personal goal. As for urban art and the city, I’m obviously an advocate for abstract art and I want the city to embrace more abstract murals. Sanctioned works need to celebrate the artists, rather than give them a brief. In those situations artists can show their technical ability, but they can’t always show their voice. We need to have that diversity. The public will then become more aware of the issues artists are confronting, whether it is process driven or socially-minded. The process currently is dictatorial and often driven by people who lack an understanding of art.

Wongi ‘Freak’ Wilson – Artist (@wongi.wilson)

  1. What has been your personal highlight of 2019? Painting the second stage of Boxed Quarter was cool because it was nice to be back again to add to the first round of works I did there. They give me full creative freedom. It’s great to have clients like that who know my work, trust my process and let me do my thing. I’ve had lots of positive feedback on the greyscale portraits and photo real paintings that I did. One painting is of a photo I took of one of the foster pups we had which makes it personal.
    One of Wongi’s works at the Boxed Quarter, 2019.

    Teaming up with DOC and the Godley Heads Heritage Trust who commissioned me to paint the Godley Head gun turrets was pretty cool too. The paintings are based on historic photos of men and women who were the soldiers that manned the turrets during WW2. It was an amazing site to paint as was the subject matter. Another highlight were the pieces I painted for the Fresh Produce exhibition in Auckland. I never get the time between commissions to paint on canvas but I really wanted to include some work once I was invited. I got into the studio every chance I had and painted still life images of my wife from my personal collection and they turned out great. Finally, the Rollickin Gelato commission was a great way to end the year because I’d been wanting to paint a hand holding an ice cream for some time and it fit perfectly with their brief. They wanted it to represent their employees and they had a photo shoot of one with the tattoos and jewellery and sent me a few dozen photos to choose from. It was nice to be painting in Cashel Mall again, which I haven’t done since the first few years after the quakes.

    Wongi at work on the Rollickin’ Gelato piece in City Mall, 2019.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? My favourite pieces this year were any and all Jungle pieces that were done, but specifically Weks did two mean ones and Lurq did a dope one too, on top of that the bro Elias did a great portrait of Jungle which was awesome.
    One of the many Jungle tributes across the city following the graffiti legend’s passing in 2019.

    Although, if I needed to point out a specific piece of work, I really liked he UV/Aztec styled characters that Sirum, Linz, Dem189 and Bryan Itch did at the Ten Pin Bowling spot. Mad cool stuff.

  3.  What piece of someone else’s art outside of Christchurch has been your favourite this year? The artist Royal Dog did some outstanding portraits this year and Bust’s graffiti/cartoony combination styled work has been awesome too. 1UP’s boat piece or their underwater reef piece were ground breaking, and Blesea One’s character steez was also mad cool, specifically, I thoroughly enjoyed his Dragon Ball Z series.
  4. What exhibition by an urban artist(s) has been your favourite this year? Two shows from this year that would have been amazing to see would have to be Tilt’s exhibition Future Primitive, and, without a doubt, Martha Cooper and 1UP Crew’s one night exhibition in Melbourne. Such a mean team up from some heavy hitters in the scene.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes were obviously a huge part of the decade, as well as the abandoned buildings/graffiti playground that they left behind. Getting married to my wife and having an amazing partner and best friend. The RISE exhibition was also a memorable part of the decade, being part of a street art show in the Canterbury Museum was crazy and with all the artists that the show brought through.
    Wongi and Ikarus Blackbook Wall (detail) for Rise in 2014, featuring a number of artists who visited the city for the event.

    A huge event from the last decade was getting the chance to travel to and hike to Everest Base Camp as part of a commission for Kathmandu. It was an absolutely amazing experience that was an adventure of a lifetime and extremely memorable. Baby Yoda.

  6. What is the biggest artistic/pop cultural moment from the last decade? The end of Breaking Bad, Game of Thrones, street art becoming mainstream, the final season of Samurai Jack, Baby Yoda, memes of Baby Yoda, Dragon Ball Super
  7. Which artist or artists have stood out over the last decade? There’s been so many amazing artists from the last decade, but Pichi & Avo’s paintings and sculptures really stood out to me, 1UP Crew’s work was also high impact, and Insane51’s portraits were great, his red and blue 3D-style murals also stood out. I’d also like to mention Tasso and Case from Ma’Claim Crew, they were the first photorealistic painters I saw back in the 2000s, but their works from the past decade have stood out as far as skill levels go.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, I’d like it to be a positive, progressive and prosperous one, full of love, laughter and learning with lots of highlights and happiness. Specifically, I’d like to push my work further and further, expanding on my skill level and developing my pieces, processes, portraits and photorealism to new levels. As for the local scene, I’d love it to be more active on all levels, more cohesive across the board, as I feel it’s quite disconnected and disjointed at times, and for there to be more large scale murals painted, more fully themed productions, and more festivals and artist events to help grow and push the scene.

Jane Maloney (M/K Press) – Designer (@mk.press)

  1. What has been your personal highlight of 2019? Travelling to Europe again for the first time in 5 years. It felt like a long time away so I was very happy to go back. Also making the decision to quit a great job that didn’t serve me well mentally and emotionally.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? All of the works in Playing the Drums by Bill Hammond at Christchurch Art Gallery, with notable mentions for the works Volcano Flag (1994), and Eating, Drinking, Smoking (1972).
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Nature Lovers (2003) by Tony de Lautour  which I saw at NMG Arrowtown, Snakes (1969) by M.C.Escher, a coloured woodcut from the Escher and Nendo show Between Two Worlds at Melbourne’s NGV, and Nan Golden’s photobook The Ballad of Sexual Dependency (1986), which I saw at the Tate Modern.
  4. What exhibition by an urban artist(s) has been your favourite this year? Face Value, the group show at Fiksate Gallery, and Convo by Tom Gerrard, Matthew Fortrose and Elliott Routledge at Stolenspace Gallery, London.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Starting my business M/K Press in December 2013, becoming self-employed full-time in December 2016, having my first art studio space (The Welder) in September 2017, and becoming a part of Fiksate Gallery and Studio in April 2018.

    M/K Press in action at Fiksate (photo credit: Charlie Rose Creative).
  6. What is the biggest artistic/pop cultural moment from the last decade? The creation of Instagram in 2010 and its impact on the art world.
  7. Which artist or artists have stood out over the last decade? The 2010s was the decade that ‘Street Art’ became the new ‘Pop Art’. Banksy, KAWS and Shepard Fairey stand out to me as the most prominent street artists who first broke into the mainstream.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? The growth of M/K Press, as I am back to running the business full-time. This includes working on some personal projects and hopefully starting my MFA. In the arts scene in Christchurch, I just hope that the support we are getting from local council and the general public continues to increase. Pay local artists appropriately for their time, buy their work and give full credit when sharing their work, and we should all be able to keep on growing.

Josh Bradshaw (Uncle Harold) – Artist (@thejournalofuncleharold/@joshuamarkbradshaw)

(photo supplied by Josh Bradshaw)
  1. What has been your personal highlight of 2019? A personal highlight of mine of 2019 was the decision to branch out and fully delve into new mediums and explore a lot of new ideas and work that are really breaking away from the style that people would be used to seeing from me. None of this work has been seen publicly yet and that in itself is really exciting.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? My favourite piece by a local Christchurch artist in 2019 was What Do You Write Bro? by Tom Kerr from Face Value group exhibition at Fiksate.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? My favourite piece by an artist outside of Christchurch was I Never Learned To Tie My Shoes by Julio Alejandro from his solo exhibition Apple Eaters at Blackbook Gallery in Colorado.
  4. What exhibition by an urban artist(s) has been your favourite this year? My favourite exhibition of 2019 was the group show Urban Abstract at Fiksate Gallery in October.

    Opening night of Urban Abstract at Fiksate, October, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Some key events of the decade that were super impactful for me were moving from a small rural town with absolutely zero form of culture to do with the arts into the city, which was a pretty big eye opener, then shortly after was the opportunity to start a city all over again with the earthquakes. The city became a playground for any artistic endeavours. From the graffiti and street art that resulted from fallen buildings and newly exposed building facades to the rise of small collectives and exhibitions run by local artists that for the most part were met with great support from peers and the public.
  6. What is the biggest artistic/pop cultural moment from the last decade? I don’t know a damn thing about any art movements or anything but I do feel like the introduction of social media has absolutely had a huge impact on the art world. Anyone and everyone is an artist on Instagram.
  7. Which artist or artists have stood out over the last decade? Michael Reeder is one that stands out off the top of my head. He has produced an incredible amount of work and I’m always impressed how he is able to do so many different variations of his work. Materials and techniques are always being explored to keep it fresh and exciting.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? For me personally I hope 2020 brings a lot more freedom for me to go down different avenues with the work with the work I make and to not just feel restricted by anything that doesn’t seem necessary. For the local scene this year, I hope to see more small, gritty, underground DIY exhibitions being put on by local artists.

 

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For the Love of… Doors

This snapshot ‘photo essay’ of doors from across the city is the first of a series of articles that will be presented by various contributors, exploring their fascinations with urban art and the urban terrain. From doors to ‘bandos’, tags to slaps, the buff to responses to official communication, many people with an ear to the ground find interest in the smaller, peripheral incarnations of urban space. This series, titled ‘For the Love of…’ will reveal these quirks, letting the images talk over words…

I have long been fascinated with the city’s deteriorated and graffiti-covered doors. In the post-quake landscape and beyond, such doors have provided a symbolic quality, exacerbating the raft of aesthetic appearances. Much like fences, they provide a conflation of ideology and physicality. As passages between spaces, they are portals and obstacles, but also flat, defined surfaces that are perfect to be adorned. The humanity of doors as passages is also evidenced by the tags, throw-ups, stickers and characters that represent the presence of those executing them, as if these invaders have been kept at bay, yet defiantly left their mark regardless, like a calling card. In other cases they have been left covered in paint while the surrounding walls have been whitewashed, creating an intriguing juxtaposition. You may simply see a door as a functional element of architecture, but for me, they are infinitely more interesting…

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And That Was… November 2019

There seems to be a renewed energy in the air, although I guess Summer will do that. For me, November was pervaded with a flurry of activity, raising my excitement levels for the coming months. November began with the strange and awkward experience of filming for television and film crews, something I must admit is made easier by the great people I worked with, from international sportspeople to crews who were genuinely interested in the city and its urban art. I then had the chance to work on a project that gained national exposure and showed the reach of urban art as a communicative tactic and embraced an alternative to traditional marketing. It wasn’t all about me though, as plenty of other people around the city were doing what they do best, from sharing knowledge or staging exhibitions, to doing what urban artists should do best, painting and exploring the cityscape. There was plenty to enjoy, so, here are my top five for November 2019…

The Human Torch Was Denied a Bank Loan

John Bateman and Lewis Brown stand beside the stencils they helped paint on one of the giant cans for their segment with Sky Sports in advance of the match between the Great Britain and Kiwi rugby league teams in early November.

November brought a bit of wide-ranging exposure for Christchurch’s urban art scene, and I was placed in the position of film and television personality (OK, perhaps too strong a term!). Filming for both Sky Sports and an overseas film crew producing a video for Tourism NZ, the chance to show off our city was only marginally tempered by the awkwardness of being in front of a camera. We showed Great British Lions rugby league player John Bateman around the city and were joined by former Kiwis player and Christchurch-raised Lewis Brown, each spraying a stencil of their team logos on one of the giant spray cans. The video was then featured on the pre-game build up of the Kiwis Great Britain game on November 9th. Keep an eye out for the other production if you fly internationally!

Ruby Jones – All Of This Is For You

One of the Ruby Jones paste-ups found around the central city. Photo Credit: Rachel Eadie

You all know the iconic post-Terror Attack image of the two women hugging, one wearing her hajib, accompanied by the wistful declaration: “This is your home, you should have been safe here.” It was viral, and it gained its creator, Wellington-based illustrator Ruby Jones the opportunity to design the cover of the iconic Time magazine, the first kiwi to be given the platform. Ruby has recently released a beautiful book of her illustrations, All of This is for You through Penguin Books. To celebrate the release, and to recognise the role of Christchurch’s experience in Ruby’s work, the amazing Rachel Eadie from Penguin Publishing approached us to work on a unique campaign. Initially, the concept was perhaps a painted mural, however, the nature of the illustrations, their messages and the way they were to be experienced in the book, led to a new idea, a street art-inspired paste-up campaign that offered small engagements around Christchurch. In early November, we posted the range of images at various locations across the city, including the brick work exterior of Riverside Market, Market Square at the Arts Centre, Little High, City Mall, the Boxed Quarter and Tū The interventions provided the chance for reflection, for the chance to stop and take stock amid the bustling surroundings. Some have already disappeared, but that was inherently part of the beauty…

DTR Workshop and Painting Jam

Dcypher whips up a skull character on the day of the DTR workshop.

In mid-November, the city’s leading graffiti crew, DTR, hosted a one-day workshop and painting jam at the Lichfield Street Youth Space. Participants were supported by the talents of Wongi, Dcypher and Ikarus, and after a drawing session, painted the giant cans with an array of designs, from traditional letter forms to characters and even pencils. The energy and good vibes of the day were evident, with artists of various experiences colluding. I spent the afternoon just observing, seeing people figure things out and pieces coming together. As cheesy as it sounds, events like this are a reminder of the potential power of art.

Urban Abstract at Fiksate

Fiksate really knocked it out of the park with the impressive Urban Abstract, a show that brought together local, national and international artists who are united by their investigations of abstraction. Featuring Elliot O’Donnell (Askew), Levi Hawken, Togo, Tepid, Melinda Butt, Pener, Bols and Dr Suits, Urban Abstract showed the diverse range of abstract approaches, materially and conceptually, while also drawing on the roots of graffiti and street art as an inspiration for this interest. Graffiti’s reconfigured letter forms but tradition-heavy emphasis provides a conflict, while post-graffiti’s focus on accessibility and iconographic visual language means it has often been more marginalised, yet, of course, contemporary muralism’s increasing diversity has seen the emergence of abstraction on a grand scale. Togo’s photographs and video, Pener’s electric, angular sketches and O’Donnell’s painterly urban landscape work were personal highlights among a strong collection.

From the Rooftops

The newest addition to the Christchurch skyline, an abstract piece by TOGO.

I absolutely love this new rooftop piece by our favourite urban adventurer TOGO. A perfect tie-in with the focus of Urban Abstract, the work is a hazy, drippy contrast to the sharpness of other pieces around the city, disrupting the pristine white building. The fresh colours (notably not in the TOGO’s iconic pink and black) give a radiate a summer feel. It’s placement also ensures it is an surprising treat, appearing unexpectedly on the city skyline, distant from so many other examples. Works like this always renew my energy, cutting to the heart of urban art’s presence.

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And That Was… October 2019 (with Kophie)

Kophie (a.k.a Meep) is busy. Actually, that could be an understatement. From her art, including her increasingly large mural productions, to her clothing brand Future Apparel, and a number of other projects in between that are born of her social and environmental conscience and activism, she always has something on the go. So, when I asked her to compile this month’s And That Was… it was a bit of a double-edged sword – I knew she would have plenty to share, but the challenge would be finding time to put it together! Luckily, Kophie is the type of person who is always willing to help people out, and she was more than happy tell us some of her October highlights…

Flip Out

In October I finally completed a massive mural at Flip Out, the trampoline park. It was a BIG project, covering 45 square metres, and taking five months to finish! The concept was drawn from a graffiti comic book called Hip Hop Family Tree by Ed Piskor, which documents the early history of hip hop culture. I used this inspiration to make a mural highlighting Christchurch’s culture, including pre- and post-earthquake graffiti writers as a sort of homage to local graffiti history.

Shaka Bros at Riverside Market

I also recently helped with the fit out for Shaka Bros, which is the new Bacon Bros’ burger restaurant in Riverside Market. I painted murals and added typography all through the restaurant (as well as a little guest outside…). I was really impressed that they used a lot of local suppliers and artists in their build, including Brendan Ryan, CW Works and Dale and Tanya, who made all the furniture from scratch.

Conscious Club Market

I have been organizing a Christmas market with The Conscious Club. The Conscious Club are a collective of four locally-based women (including myself) who run sustainable and ethical events in Christchurch. The Christmas market will be a five day event hosted in the ‘hack circle’ (where all the Emo kids used to hang out pre-quake in City Mall) surrounded by all the corporate businesses and fast fashion giants. We will have workshops by Rekindle, entertainment, food trucks and 25 rotating stallholders each night, all selling eco-friendly products. It will be a much better alternative to going to the monolithic malls for your Xmas shopping!

Future Photo Shoot

I worked with the amazing photographer Federico Corradi and awesome models Lucy, Ruby, Selina, Callum and Lucas at a super cool building in Lyttelton, taking some great photos for my sustainable clothing line Future Apparel. They look amazing! Future is all about up-cycling clothes to save them from waste, as the environmental impact of the fashion industry has long been a massive concern. I will be releasing the photos in conjunction with my website launch! So watch this space…

My Favourite Song

British rapper Ocean Wisdom’s mix tape Big Talk -Vol 1. was released in October and I have been listening to the song Voices on repeat for the last couple of weeks! I was inspired to make a graphic for the song, I loves it so much!

Follow Kophie on Facebook and Instagram to keep track of all her upcoming exploits…

Also follow Future Apparel and keep an eye out for the website launch!

 

 

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Urban Abstract at Fiksate, Friday 25 October

This Friday sees the opening of Fiksate’s latest group exhibition, Urban Abstract. A long time in the making, the show represents something of a passion project for the Fiksate crew. An exploration of abstraction within the urban art realm, the show will bring together a diverse roster, including Poland’s Pener, Aotearoa heavyweights Elliot O’Donnell, TOGO, Melinda Butt and Levi Hawken, and local artists Tepid, Bols and Dr Suits. These artists represent a number of approaches and interests in abstract work, from Hawken’s concrete sculptural forms, to TOGO’s photographic and videographic documentation of his in situ practice, as well as a wall painting by Fiksate’s own Dr Suits. Other artists explore gestural painting, collage, stencils and more, all with distinct signatures. While abstraction has long roots in urban art, it has not been explored locally to any significant degree, a fact that Urban Abstract seeks to address, celebrating the emergence of urban contemporary’s diversity. As with all Fiksate shows, the drinks and atmosphere will be supplied and with a few surprises in store, it is most definitely worth marking the date in your calendar…

Urban Abstract opens Friday, October 25th, from 5pm. The show will run until November 29. Fiksate is located at 165 Gloucester Street.

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And That Was… September 2019 (with Dr Suits)

This month I asked Fiksate’s Dr Suits to look back over the month of September. While normally this series highlights events and additions to the streets, guest contributors continue to bring a fresh perspective to the experience of living in Christchurch as a creative city. Dr Suits is a compulsive creator, with a prodigious output. His paintings serve as progressive studies that track his ongoing visual evolution. His abstractions are entwined with the surrounding urban environment, and as his list illustrates, he is hyper aware of the intriguing details of the cracked concrete and applications of paint around Christchurch. The direction of influence is unclear, as he suggests: “I’m not sure whether the urban photos inspire my work or my work dictates what I shoot. But I use images of buildings and textures to help with compositions, shapes, forms, textures, line and colour in my work all the time. And when I take photos, I’m looking for content which translates back to my work, so it’s a bit of a circular process.” It is no surprise then, that his list is a collection of intimate snapshots of urban surfaces and how they influence his work, reflections on how we can perceive and recontextualise the aesthetics around us. With that said, in true Dr Suits fashion, he declares dryly: “I try not to over think it to be honest.”

The Contrast of Concrete

I’m into looking at surfaces and seeing how others have interacted with them. I get satisfaction from the angle of line someone made when they cut and fixed the concrete footpath, the contrast of the old and new surface material really interests me. It’s not something I usually talk about with my mates though: “Yo, check out the change of the angle in that line in the concrete, that’s nice!”

The Buff Squad

As much as I love urban art and graf, I really do appreciate how layers of buff form abstract compositions on buildings. The different shades of grey that never match, often in square or rectangular arrangements. They are often accidentally beautiful. The buff squad should have their own Instagram feed. If they do can you send me the tag? I’m literally checking now to see if they do…

Diagonal Lines

Then there’s diagonal lines, I love them. In the physical world they are everywhere. They are designed to stand out and grab our attention. I have used them quite a lot in my work over the past few years and I’m constantly exploring the dynamic impact they can have in a composition.

Yellow All Around

Yellow is super visible, and from a long distance. Yellow cuts through. I like yellow lines. Yellow traffic poles, yellow road markings, yellow lines. Yellow is bloody great. It appears in my work regularly, especially in combination with black.

What is This Wizardry?

I was down at the Thompson Park skate bowl in North New Brighton. It had recently been buffed out PEEEP grey (if you know, you know). Some absolute fucking genius had used a black spray can to mark out all the seam lines in the concrete to highlight the wizardry behind the intricate shapes used to form the skate bowl. Now this is urban abstract art at its finest…

Dr Suits will be featured in Fiksate’s upcoming exhibition Urban Abstract, which will also feature Elliot O”Donnell, TOGO, Levi Hawken, Tepid and Pener… Opening October 25th (more to come on that!)…

Follow Dr Suits on Instagram

Follow Fiksate on Instagram and Facebook, and check out their website

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Jessie Rawcliffe – Close the Door When You Go at LUX Gallery

Jessie Rawcliffe’s figurative works are immediately alluring. The painstaking brush work, the flat blocks of colour that focus the finer detail, and the tight photographic cropping are all recurring effects that combine to explore both the medium of painting, as well as the sense of the ephemeral, the subjects in a state of flux. Figures are coloured with gestures, poses and expressions that serve as tools for communication, notably challenging the submissive female figure historically located in portraiture, confronting the viewer’s intrusive presence. Close the Door When You Go, Rawcliffe’s first solo show, continues the exploration of these themes, the title taking on a passive or aggressive instruction dependent on inflection, either way imploring respite from the outside world.

Oh, and then there are Jessie’s skulls, which come in all sorts of apparitions, including the fruity, revealing the underlying mortality of all life. The sticker versions that find their way onto the streets are definitely some of our favourite slaps going. They may not form part of Close the Door When You Go, but we couldn’t not bring them up!

We can’t wait to see this show!

Close the Door When You Go opens on Friday November 11, from 5:30pm, and will run simultaneously with Tyne Gordon’s show Visitor in CoCA’s Ground Floor Gallery.

Follow Jessie on Instagram

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Highlight – Street Art Street Party

If you follow us on social media, you will know by now that we are super excited about Saturday’s Highlight street art party! That excitement is for good reason, as Highlight is shaping up as one of the most impressive urban art events the city has seen in several years. Hosted by a number of SALT District businesses, and occupying SALT Square and nearby locations, the one-night only party is a result of the collaboration between a number of entities, including Oi YOU!, the masterminds behind the massively popular Rise and Spectrum festivals, as well as the recent SALT mural produced by Dcypher and Paul Walters of Identity Signs.

Dcypher and Paul Walters, with Oi YOU!, SALT Mural, SALT Square, 2019
Dcypher and Paul Walters, with Oi YOU!, SALT Mural, SALT Square, 2019

Speaking of Dcypher, the recently relocated artist (having returned from a decade long stint living and working in Los Angeles) will be joined by his DTR crewmates, Ikarus, Wongi and JacobYikes in painting live at Highlight and producing a pop-up gallery of their work. Another pop-up gallery space will be created by the city’s leading purveyors of urban contemporary art, Fiksate, who will present work from their impressive collection. On top of that, Nelson’s Shady Collective (of Spectrum infamy) will present demonstration stalls for screen-printing, t-shirt and stencil-making, giving punters the opportunity to both make and take pieces!

Ikarus and Dcypher, Christchurch, 2019
Ikarus and Dcypher, Christchurch, 2019

Being that urban culture extends beyond graffiti and street art, there will also be live music (thanks to Bassfreaks and RDU DJs), food and drink (from the Little High Eatery and surrounding restaurants) and retail pop-ups of street wear from some of the city’s leading urban fashion masters, including Hunters and Collectors, Curb and The Recycle Boutique. Oh, and did we mention that once the official street party winds up, there are multiple after party options, from The Retropolitan to Smash Palace, The Slate Room and Dux Central.

Fiksates 2016 show CAPD, photo credit Charlie Rose Creeative
Fiksate’s 2016 show CAPD, photo credit Charlie Rose Creative

And of course, another of the ‘Highlights’ will be the live video projection animation of the SALT mural, the first of it’s scale in Ōtautahi. This is sure to be an impressive, eye-catching activation of one of Christchurch’s newest pieces of street art muralism.

Highlight will kick-off at 5pm on Saturday at SALT Square on Tuam Street and is free entry. For more information, check out the event page on Facebook.

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Hello 413 Local Gallery!

I recently caught up with Jay ‘Daken’ Skelton in advance of the opening of his new exhibition space 413 Local Gallery, based out of A.J. Creative Glass on Tuam Street. We sat down at Switch Espresso in New Brighton as he took a break from painting a wall in the café (featuring a gnarly giant octopus no less) to give us the low down on his vision for 413 Local, how it came about and what has inspired him in the process. The new space will open on October 4th with a group show of local artists, Hello Christchurch, a celebration of connections to and reflections upon the Garden City…

Jay, you are in the process of opening a new exhibition space, 413 Local Gallery, how did that opportunity come about and what approach will you be taking to shows?

I work with my parents, they own their own business, A.J. Creative Glass, and they came to me about three or four months ago and asked if I wanted to take part of the big showroom at the front of the store and turn it into a gallery space. They know that I have always wanted to do something like this, and like anyone in my position I guess, I jumped at the chance. So, now we are in the process of building walls that will make up this exhibition space and building towards our opening show. As the name suggests, I want people to represent their local, wherever they are from, whatever represents them as a person or as a community, and to show it through their art, whether that’s painting, drawing, sculpture, or any other medium…

Does that mean showing artists whose work explicitly deals in those themes, or encouraging artists to engage in such ideas through the shows the gallery will host?

I think it is a little bit of both. In the beginning, I want the first couple of shows to focus on local artists and to give them a stage to show their work, representing Christchurch obviously. But as we grow I would like to bring in people from other countries or different parts of the country and the work itself doesn’t have to be focused on where they are from, but I feel like any artist who makes art, there is a little bit of them that goes into it, you know what I mean?

That creates an interesting platform, what people or spaces have informed the gallery’s identity, because that idea of community might share a kinship with certain types of galleries, while your own experiences might suggest connections to other ‘art worlds’, particularly the rising kind of urban/low-fi scene that is growing in Christchurch…

There are a couple that come to mind straight off the bat. One is Fiksate obviously, everyone there has been super kind to me, and I’ve been part of shows there with so many different people from so many different backgrounds, it has been inspiring. Also my time at ARA, formerly CPIT, is still important to me, especially the experience of being in a classroom with really diverse classmates, like being one of only three males and the rest of the class were female, as well as the fact that people were all from different countries and backgrounds, that was definitely inspiring in terms of my relationships with people. I think people’s stories impact me a lot, and knowing what makes someone ‘them’ is so important…

You have a graffiti background, and I think you would also pretty proudly fly your ‘pop culture nerd’ flag as well…

Yep!

Do you think that those interests will influence the type of artists and work you show? I know we all like certain things and gravitate towards them in our expressions, so will your passions inform the identity of 413?

Definitely, but I’m actually looking at this space as a bit of a transformative moment for me. I have always done very bold, very colourful, graffiti, comic book, cartoonish stuff. I want to keep that, or at least keep some elements of that, but also, I want to add some more aspects, to try and bring my graffiti background into a more refined process. So yeah, I’m kind of like a butterfly, you know, I want to try and evolve…

 

Switch Espresso cafe table painted by Jay "Daken" Skelton, 2018.
Switch Espresso cafe table painted by Jay “Daken” Skelton, 2018.

To emerge from your cocoon, wings spread out! (Laughs)

Exactly! (Laughs)

There is a sense that there is much more freedom for artists to engage with a wider array of things. Are there any particular artists who have inspired that desire to evolve? For example, I’m such a fan of Revok and the directions he has gone in over time, from graffiti to process driven abstraction, is there anyone like that who has been an influence?

It’s funny that you say that, because Revok is someone I follow closely on Instagram, because I find it so interesting how far he has taken it, from being such a hardcore graffiti person to pretty much now doing straight up abstract art. Also, Chimp’s show Aliases at Fiksate, the jump that he talked about, how he was just a graffiti guy and now trying to go more into the contemporary area, I found that quite interesting. Off the top of my head though, it’s really hard to name people, there’s are heaps of people who influence me in that way!

Yeah, like, here’s a million things, pick three! (Laughs)

Yeah!

So, tell me more about Hello Christchurch, which opens on the 4th of October, who is involved and who are you excited about?

We have thirteen different artists, I think. We’ve got the likes of Porta (Clint Park), Uncle Harold, Josha Holland, Morepork, Louann Sidon, oh, and my dad’s in it! My dad growing up did a lot of art projects, but he never really committed to being an artist. He doesn’t consider himself an artist, but I think he is an artist. There is a whole bunch of people, and I’m looking forward to seeing all of them. They are all going to bring something different and exciting to the table.

The show’s title, and its expression of a connection to place, reflects what you talked about in your vision for the gallery. When you developed the idea for this show, what were you hoping to encourage artists to think about?

Hello Christchurch, it’s an opening, so it’s literally a ‘hello’. I guess I wanted people to look at where they live, and how it makes them happy, to think about the things that they see around and feel about Christchurch and how they put into those things into their art. I told everyone that they could do anything they wanted, use whatever material, as long as it relates back to Christchurch in some way, even if it is the smallest thing, just something that relates to Christchurch and what it means to them.

Have you had any previews of work yet?

Funnily enough, no! I have no idea what anyone is doing, except my best friend, who works at A.J. Creative Glass with me and is in the show, and my dad, they have kind of given me a rough idea of what they are doing, but I haven’t actually seen it! The only person’s work that I’ve seen is my own…

You are going to have about three weeks to hang everything from when you get the work, is that right?

Two weeks, I think…

What approach will you take to curating the show? A group show means you must honour individual works and give them space, but at the same time try and expose interesting links, even though the artists haven’t necessarily thought about how their work relates to others in the show, especially since you have given them such a broad allowance.

Yeah, I feel like it will be a bit of both really. You want the work to make its own statement, but at the same time it is a group show. But because I haven’t seen any of the work yet, I obviously don’t know how its going to work together. That’s kind of the challenge, it’s kind of the fun for me, finding out how things fit together. Figuring out how people connect, it’s the same thing as making the works connect, but on a visual level, you know what I mean? Colours really affect me a lot, I think about them all the time, so they will definitely affect how I group the work; what colours complement each other, which fight with each other…

I look forward to the show and to the gallery getting up and running and being a new voice in the city. It’s great to see a new space and a new energy, I can only assume you feel excited for the journey to begin…

Definitely, you know being part of the Christchurch art community has always been a really amazing feeling, it has always felt really supportive. I want to make someone else feel that, I want to be the support for someone else, and that I’ve been given the opportunity to do that is beyond awesome. A lot of people don’t get that opportunity, so I plan on making the best of it. I have been struggling at times, it has its ups and downs, but again, it is all part of the fun, it’s part of life!

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Hello Christchurch opens at 7:00pm, Friday October 4th, at 413 Local Gallery, 413 Tuam Street.

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Nick Lowry – The faster you go, the bigger the mess… (Part Two)

In the second part of our interview with Nick Lowry, we continue with a free-flowing dive into the physicality and urgency of painting, the influence of music, the process of collage and the need for creative diversity within tight-knit communities…

Talking about some of the formal elements, your letterforms seem to have become increasingly abstracted. The dissolution of letters into blocks or blobs or half circular forms, is that the result of thinking about letterforms, or moving away from letters?

I think when I paint graffiti, I’m using my arms a lot and I’m gesticulating a lot and I think my letter structure mirrors that…

They mirror the physicality?

Yeah, like a dance. I’m really wiping the wall, or I’m doing some crazy contemporary dance in my head and I’m articulating that with my hands. I try to be as fluid as possible. I hardly spend any time on my sketch, usually it’s just my fill colour. Why would I go back over my sketch and change up my letter structure if that’s my impulse? What I’ve just sketched is how I’m feeling obviously, so I’m just backtracking over my own emotional involvement by touching it up.

TEPID piece, central Christchurch, 2019
Tepid piece, central Christchurch, 2019

It comes back to that urgency and violence, and if you are redoing it, you are losing a lot of energy, right?

Yeah.

Having an idea beforehand and trying to replicate it is a very different approach to trying to make something that reflects a specific moment and emotion.

I don’t premeditate. I’ve chucked away all my sketch books, even from when I started. I chose to throw them away. I have photos on my computer of recent pieces, but I’ve lost hard drives of stuff from up until 2016. I feel like I want to get to a point where I don’t want to take any photos of the graffiti at all.

That would really make it about the singular experience of doing something in that moment, right? It’s no longer about a catalogue or a body of work…

I think that’s why I did it. Most people would cry if they lost their books, because they really love them, but for me, they are just collecting dust and getting eaten by rats. They are a ball and chain…

There’s a freedom in letting go?

Yeah absolutely.

In so much of your work there is a dynamic quality, a sense of action and movement, from the lines whipping across the plane, to this lovely flickering quality that your more recent works have, and even white highlights, which seem to be a recurring, enduring fixation.

That’s why I paint as fast as I can go, because I don’t want to lose that. I’m scared that it’s going to float away again.

TEPID and Hambone colab, central Christchurch, 2019
Tepid and Hambone colab, central Christchurch, 2019

Is it an interest in the use of shimmering light, of reflections and movement?

That’s a good word, shimmering. That’s precisely what I’m trying to create in my pieces, movement and the feeling that each piece is its own entity. I used to try and paint with traditional colour schemes, but now I’m looking at soft gradients, not even reflections, I’m just trying to create an emotional response through the colour palette, and I think by doing that I can try and put life in these pieces, and a sense of movement and electricity.

Those soft gradients have become definitive, or at least distinctive, and they often set your work apart from others around them, kind of dissolving the harshness and angularity of some other styles. There’s something about those soft gradients and transitions that ties to those wavering outlines and organic letter shapes as well, all of which make your work stand out…

Man, that makes me really want to paint again! (Laughs) Yeah, I guess those wavering lines are the gradients I’m trying to create, these beautiful soft gradients. I’m trying to be as clean as I can with the fill, as fast as I can, but as dusty as I can, and I think the wavering lines add to that sense of motion…

"Heron" mural, Christchurch, 2018
“Heron” mural, Christchurch, 2018

It seems to me that a lot of these qualities are related to the nature of aerosol, or the possibilities found in aerosol. There is a high level of can control obviously to get those effects, but there is also a freedom and that comes about through aerosol having certain characteristics, right? Is that something that interests you?

It did… I think it did, but now I feel like, especially with my outlines and details, my gradients, I need decent paint, because you can only achieve that with certain levels of paint, and colours that hold well to the wall. Although all the blacks and whites are generally acquired from wherever, just cheap brands that I’ve scabbed. Actually, a lot of my pieces are roller fills. I’ll do the base, you know, if it’s an orange with a softer yellow or lime green gradient over that, or whatever, and generally the heavier colour is a roll fill. And I find roller filling fun because it adds to the element of really smashing and grinding something down. I look at graffiti as sculpting as well. I think it is quite sculptural, you can start with a base shape and you just kind of chisel and shape it down with detail really.

Being that you have worked across so many fields, what experiences really stand out for you?

I guess with all the art forms that I engage with, there’s at least one or two things that stand out. When it comes to graffiti, a fond memory of mine is painting a piece in the open during the day illegally on the side of a dam in Margaret River and then hearing the alarm going off as I’m painting, finishing it, scrambling off, climbing out and then watching that thing wash down! With graffiti, I like the element of getting yourself into crazy situations, not that I focus on getting up or hitting the craziest spots, but the situations that I put myself into and walking around in really obscure places you wouldn’t usually go. It’s not so much to find a place to paint, it’s more the idea of exploring. You go out with the intention of painting because you have paint with you, but painting is only twenty percent of the time, the experience and everything else is what you are taking in visually and is filling the senses, filling that void of whatever I have! I don’t know what that is, but obviously I have one and I need to fill it! I think that’s eighty per cent of the reason why I do anything. With set design, I’ve had some pretty amazing jobs recently and looking back, I think it’s probably doing kids shows, anything for children. If you can deliver something to children that is going to stay in their minds forever and inspire them, I think that is so important. I still think about shows my parents used to take me to, shows at the Mill Theatre and all that, and I can still remember every detail. I do a lot of music videos as well, and I’ve had really good responses to the stuff I’ve been producing with some really good crews. I think the satisfaction of that and seeing yourself in another format is really satisfying and doing it all to music I like as well.

Still from the Aldous Harding music video for The Barrel, from her album Designer, art directed by Nick Lowry, 2019
Still from the Aldous Harding music video for The Barrel, from her album Designer, art directed by Nick Lowry, 2018

When you are working on music videos, that relationship between the visual and the musical, does that make you reflect more on the influence of music on your visual arts practice? Music has been an enduring influence, right?

Forever, yeah…

You talked about the influence of punk and metal; can you define that influence visually?

I think it’s like when you are eating food and you kind of see with your nose. So, for me, with music, you can visualise certain energies in your mind. Music has always been this driving force for anything creative I’ve done, subliminally…

Is music always playing when you work?

Or not. Sometimes when I listen to music for days and days and days on end, just constantly, when it comes to making art, I try and tone down the amount of music or just don’t listen to it at all and just let that energy just come back out because I’ve done all the thinking and I just have to kind of let the process flow…

Which suggests reflection on the experience of listening. For some people listening to music becomes a background accompaniment, it fades into the background. It’s there and is driving action but not necessarily reflection. It sounds like for you it is actually a reflective thing as well…

Yeah, we are sponges, right? Whatever we expose ourselves to exists within us, and I think sometimes it’s nice to have that negative space and have nothingness around us and I think that’s when we can be in our most creative space.

That energy of the act of painting that we were just discussing, there’s obviously an echo with the energy of music, do you kind of see you paintings as musical in a sense, not overtly, like painting a song, but in terms of the rhythms and energies…  

Absolutely, and I think for most people it’s the same, most people that paint or have some sort of visual expression, also love music and need music around them, and I think that is probably one of the driving forces of what I do.

Having talked about the why your interest in certain forms fluctuates, what has captured your energy currently? Are there any significant developments you see on the horizon?

Yeah, I mean I’m drawing a lot more now and I haven’t painted in a while. When I was in Perth five or six years ago, I used to paint a lot, and I was also painting graffiti, but I think I’ve kind of let painting go and now I’m trying to get back into it. I feel like I’m on the brink of dropping my guard on that again. Because I do put up boundaries, like I have with graffiti right now, I’m just like, I want to do something else. I think the painting one is about to come down, I’ve slowly started just playing around with stuff, heinous stuff, it’s not good, but it’s a start! (Laughs) I’ll just keep painting over and over until I feel like I’m juicing up again, you know?

Untitled, mixed media on canvas, 2019
Untitled, mixed media on canvas, 2019

Are those elements of the gradients and colour schemes, the line work, are they still as strong?

Absolutely, I’m exploring the loose lines, and the very brushed fast geometry that doesn’t have to necessarily make sense but just exists, because if it did make sense, what’s the point of looking at it? It’s like watching a TV show that is not interesting, when it’s easy to watch and it has just been laid out for you.

You are not challenged…

But if you create something that doesn’t exist or shouldn’t exist or something that doesn’t even make sense, I think it’s more interesting because it’s up to the viewer to make sense of it…

What about your collage practice, do you see that as distinct to painting and more akin to your experience in film?

For me, collage is a very fast, quick way of expressing myself but also setting boundaries, you know? You are playing around with images that already exist.

Untitled, collage on board, 2019
Untitled, collage on board, 2019

Do you apply the same element of urgency that we were talking about with your graffiti? Are you chucking them together quite quickly?

It’s all false perspective. I like the idea of having minimum images but creating the maximum depth possible. I think emotionally they are so fucking aggravating, and I really like that. They are really harsh to look at, they don’t look right, but… It’s hard to describe. Because I do them so fast and because I’m doing them with a blade, there is a physicality and I’m really having to scratch myself and grind into it and rip and tear, and there’s that element of violence that I really enjoy, that we all have in us, and it’s very human, it’s just how you get it out.

Like graffiti in a way, right? The need to get something out, and to do so in a certain way, it is lost on some people who shut themselves off from it, but it is an outlet for a very human need…

It’s very primitive.

Which is why I still find it strange that people are so emotional in their response to and vilification of graffiti…

I kind of like the idea that it is vilified, if it was loved by everyone, what would be the point?

True, and that’s often overlooked by people who don’t get that side of it, channelling it into positive directions is good in some cases, but it also means that it is not what it was. Is there anything you want to tell people about?

I have recently provided art direction for three music videos about to come out, so people should see them. But, mostly, I think I just want people to get off Instagram and see the art for themselves, to be in front of it and smell it and touch it. I just want to try and promote that, to promote that regaining of the sense of uncontrolled-ness, and how we should all be less homogenised. Socially we should be forming a greater sense of community, but creatively we should be pulling away from each other, if that makes sense…

We can be together and unified as communities, but creatively, the more diversity the better for those communities…

Yeah, and I think this is the time to do that in Christchurch as well. We’ve had to band together and now we have to create a split, to form new dynamics within our communities and cultures so we can then really start to get the ball rolling and become a creative powerhouse as a city. Also, I think, in Christchurch, get on your bike! Like literally, get on your bicycle and roam around and check it out, because there’s a broader part of Christchurch that people don’t explore or don’t know exists, or they do, but they are too scared to get out there…

TEPID and Dove colab, central Christchurch, 2019
Tepid and Dove colab, central Christchurch, 2019

We often avoid getting outside of our comfort or routine, and that’s the beauty of walking or cycling, you can easily verge off down a side street, go down an alleyway, do things that will lead to experiences that are unexpected, but can be quite life affirming.

Definitely, and it’s a slow down as well, it slows you down to be able to accept everything that you come across. I love Christchurch, it’s sometimes hard to live here, but it does have these beautiful aspects about it that are undeniably so good!

Follow Nick on Instagram or visit his website www.nicklowry.co.nz

 

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