Ikarus – Guardian of the Name, Part 1

He won’t remember, but I first met Ikarus in the early 2000s. I was a University student and as part of a course on hip hop culture I was taking, Ikarus was painting a demonstration piece as part of a ‘hip hop summit’, as the lecturer called it, at the old student’s association bar. I had taken every opportunity in my studies to write about my fascination of graffiti and street art, and I spent the afternoon intently watching Ikarus paint. I meekly mentioned my interest in graffiti, but understandably, Ikarus seemed non-fussed by some student type’s attraction to a culture that he lived and breathed in real life, not in essays, only serving me a nodding acknowledgement. Close to ten years later, I was re-introduced to Ikarus for a project in the central city Re:Start Mall , affording me the chance to work with him and Wongi ‘Freak’ Wilson. Since that re-introduction, I have been able to get to know Ikarus as the funny, acerbic and insightful personality he is. Fortunately, now I consider him a go-to figure for advice and opinions on graffiti matters. I even joked with him that when I have to reflect on any writing or statements, I use the phase ‘What Would Ikarus Think?’

While he laughed my motto off, Ikarus is deserving of his place as a true legend of Christchurch graffiti art. From his early days getting up in the streets, his place in the mighty DTR crew, working as a mentor and tutor for Project Legit, and his involvement in the Rise and Spectrum shows alongside countless independent productions, he has earned respect. Over the years he has forged strong opinions on graffiti’s traditions and history, as well as the rise of the mural art movement that he finds himself part of, despite never holding such goals as a young graffiti writer, reflections that show a deep understanding of his, and the culture’s roots and potential futures.

In early December, we sat in a loud, windy laneway in the Central City and over pizza slices, discussed some of Ikarus’ recent projects, his take on graffiti and street art, and his own work’s development over a long and winding path…

So, Ikarus, you have a couple of busy weekends ahead, this weekend is the opening of the East Frame youth space, where you, Freak and Yikes are painting three of the Oi YOU! donated spray cans (with other selected artists painting the five other cans), and then next weekend you’re off to Auckland for Berst’s Forum event, which will have you painting, giving an artist talk, and are you part of the event workshop?

No, we go home before the workshop, but we’re painting a couple of walls. They got us one wall that we have to paint and then there’s a couple of optional ones during the weekend as well, which we can do…

As for this weekend, give us a little bit of background as to how you guys came to be involved in the youth space project and the idea behind the giant spray cans…

Basically, we were approached by Oi YOU! and GapFiller regarding the installation. Oi YOU! donated the eight large spray cans, and GapFiller along with Fletcher Living, have created this youth space. The whole youth space itself is going to have a basketball court, a café, a little youth centre area, and of course the spray cans. The way that it’s going to work is that three of the cans will be sectioned off and will be for semi-permanent to permanent works, and myself Yikes and Freak will be painting those tomorrow, and the other five grouped together will be what they’re calling an evolving art space, which will be an open space where young artists can practice and not worry about getting into trouble. It’s kind of the first spot actually in the city that’s been officially declared for young people to come and practice their stuff, so that’s really good…

The DTR cans in progress at the East Frame Youth Space opening day event. Left to Right: Jacob Yikes, Wongi ‘Freak’ Wilson and Ikarus

You’ve been pushing for this kind of concept, as an alternative to kids ending up in other spaces, for quite a while and yet you’ve always met some resistance, so what do you think has made this possible now?

Part of it would have a lot to do with the amount of different graffiti art and street art that’s been popping up over the last few years. Public perception towards it has changed a lot than, you know, ten years ago. People see it as a much more positive thing after the earthquakes when the city was really destroyed. A lot of people started to appreciate the splashes of colour and pictures and stuff everywhere. But also, Oi YOU! donating the spots and then GapFiller having done so many different projects over the years, I guess those two names and the results that they’ve shown over the years for projects that they’ve done, I think that probably helped sway the Council towards them giving it a shot. And yeah, like you say, I’ve been trying argue the point for legal walls for a few years now because obviously kids are going to go and practice somewhere and you may as well structure a place where they can do that without fear of getting into trouble, because you know it wastes a lot of tax payer money just to have the Police called and they’ve gotta go down there and chase it up and whether they end up arresting them and charging them, I mean it’s all those things, it’s counter productive and also leads that kid to have a bad attitude about the community, about the Police and you know about the Council and stuff. Even symbolically, having eight giant spray cans in the middle of the city is a crazy thing in far as it being a statement on Christchurch’s part that they now view graffiti and street art as forms of art. So now it’s really good to have a spot where kids can actually come and practice and try and hone their talents and turn it into something more positive than it has been in the past.

Spray cans have had this sort of stigma attached to them for a long time, so as you say, symbolically, these objects show a shifting of the guard. I also remember you saying quite often that what authorities are doing, what they have been doing, is not working, that it’s time to change and try something new…

Yeah, exactly, I mean it’s that classic saying: the definition of insanity is to continue doing something that isn’t working, and expecting a different result. For years the policy or the stance has been anti-graffiti, anti-tagging. It’s been catch a kid tagging and whether they arrest them, charge them with wilful damage, give them community service, or on a couple of occasions people have done small prison sentences for it, but like I say, all that does is foster negative energy and it’s a lot easier for a young person, if they are interested in the art form, it’s way easier for them to get one can of spray paint and go out and write their name on a bunch of stuff than it is for them to be able to gather half a dozen to a dozen cans of spray paint and then find somewhere that their allowed to go and practice. It’s sort of like the proactive vs reactive measure you know, there’s not much point just continually catching kids that are doing it, punishing them and then having no real change. I haven’t seen the statistics, but I’d be surprised if graffiti ever went down based on that approach…

It’s important to reflect on whether the culture of today would exist if there wasn’t that history of having to react against the institutional response. I mean there’s now this really big divergence in how artists come to be defined as ‘street artists’, but a lot of the roots of what is now this immensely popular culture, have to be acknowledged as coming from the resistant nature of graffiti right? It’s born from the need for people to express themselves and to get out and do it. You’re a traditionalist around this in some regards, and it’s going to exist either way, but as you say, just giving a space like this which is going to remove some negative energy is a positive move…

Yeah, one of the things I would always try to explain if I was having this conversation with Council members or just general members of the public that don’t understand the whole art form, is that graffiti and vandalism is going to exist because its so easy. It’s always existed you know, people have written their name on things before spray cans and before graffiti as the culture we know it today was born, people were still writing their names on things. When we were young and there was nowhere for us to paint, the only reason that we got to learn the things we did was because people we knew gave us places to paint. There were a couple of walls you were allowed to paint, like we’d gotten through, not public ones but through owners of buildings and places. So we would have our own spaces to paint, and without that we would’ve, I would’ve just kept on the same path without ever probably evolving into anything else.

Graffiti also suggests that you can understand urban space in a different way through commandeering areas. Graffiti writing is kind of symptomatic of the ability to navigate a space whether you are given permission or not. A graffiti writer will go to those places that a normal member of the public shies away from. I think there is something interesting in that, and particularly in Christchurch, where we’ve had so many spaces that have been empty or available, but now these spaces are being redefined. There will always be a need for people who head out and explore the city and actually illustrate to other people that there are spaces we ignore or forget or don’t know…

Yeah, absolutely, a lot of that has to do with the fact that originally and historically graffiti has that stigma attached to it, and oftentimes it is forced into those areas because they are the spaces that the general public aren’t paying attention to, you know like an abandoned building, your train lines, your rooftops in the middle of the night, your alleyways, stuff like that where regular people aren’t going to be as much, so it was sort of a necessary thing. Plus there’s that aspect that graffiti and street art are, or in the past have been, largely youth cultures, and as a teenager you’re always out exploring a city, through skateboarding or graffiti, or whether it’s just through being among friends. Like when I was young, long before we were even thinking about graffiti, we used to climb a lot of rooftops around the city just because it was accessible, and we wanted to see what’s there and you want to be there. Graffiti became that thing where like I will make a small mark so that the next person that comes will know that I was here as well. It has all grown from that.

Post-quake there is a new generation that have experienced this really unique landscape where there has been so much access to the myriad damaged and abandoned places, so it will be interesting to see where these creative impulses lead a newer generation who have grown up knowing a city that is basically a giant playground…

One giant playground for that sort of thing, absolutely. We’ve definitely had that conversation among ourselves that if we were younger and still in our earlier destructive phases (laughs), when this all happened it would’ve just been like the biggest playground! It has, not necessarily created, but spawned a lot of extra graffiti and vandalism and art because things were in such a state of disrepair, because youth are going to go out and explore these areas, they really blew up. But then also because it had such a huge visual impact, because there was so much, you started to get more and more regular people taking notice of it, and now you know there’s a lot of areas, and I’m not talking about large scale murals, I’m talking about like some of the car parks and alleyways around the city that have just traditional graffiti characters and name pieces where like no matter what time of the day you’re there, you’re generally going to run into people who are there taking photos, whether it’s people who live here, or tourists that have come to see the city in the way it is. I feel like we’ve got a lot of earthquake and graffiti and street art tourism in the last few years, so there’s just constantly people in all these areas now. But ten years ago, even if we were painting a legal commissioned wall, people would see us and call the Police. People would think we were doing something wrong until we spoke to them. Now, 95 to 98 per cent of the feedback you get from your average pedestrian or onlooker as they come past is all super positive and especially from Christchurch residents, you know a lot of them have told us stories about how seeing a certain work really uplifted their spirits in times when everything was super bleak around here…

Ikarus in the Hereford Street carpark

That broken environment exacerbated the impact that those sorts of expressions can have. The interesting thing now is how people reconcile the shiny glass facades that have popped up everywhere against the knowledge that there are all these other types of expression that can make a city lively and vibrant as well. It will be interesting to see how those reactions evolve…

Yeah, definitely, I feel like during the rebuild there has been a really great amount of integration of art and large-scale mural work alongside the rebuilding of the city. It’s becoming a focal point. People see these big walls they have and see there’s an opportunity for a good piece of art or a large-scale work. I think that’s possibly going to continue until it bottlenecks, and everything has something large scale on it… (laughs)

I think the interesting thing is how the different types co-exist, because, as you say, the large-scale murals are generally going to bottleneck, there are only so many walls. But there will always be other smaller spaces for people to leave a mark as well…

There’s only so many artists as well…

Especially wen it comes to artists who have the experience to work on a larger scale, the chance to get to that level is, at least traditionally, tied to those smaller spaces…

Yeah.

So, the Forum event in Auckland is a good chance to connect with other well-known graffiti artists, which must be pretty exciting. Berst has organised the event and he is a pretty key figure in the New Zealand graffiti scene, what is your relationship with him like?

Yeah for sure man, it’s exciting but also just fills me with dread and anxiety! There will be a couple of top tier guys there, but we know these dudes, we’ve met them and painted with them several times over the years. We met Berst in like 2006-07, and back then he was just a super active graffiti writer. He was really amazing, literally the first time we went painting with him I was amazed, but he was just a regular cat man, painting a bunch of freights. But he was super motivated though, that’s the difference. He’s a bit of a super human you know, and he’s really active in trying to widen, I mean similar to what Freak and myself have been doing for years, just trying to widen the general public’s perspective on what graffiti is, what street art is… The event is called ‘Forum’ and maybe half a dozen to ten artists are coming from various places around the country, a couple from Wellington, some Aucklanders. Everybody who is doing it is coming from a different avenue, some are graphic designers for example. Myself, I’ll be speaking about my time with Project Legit, back in 2008-10, as well as some of the stuff we’re doing now, like the youth space project, the workshop stuff we do. Freak  [Wongi ‘Freak’ Wilson] is going to talk about his business. It’s sort of a talk about the various offshoots that graffiti has led a lot of people to. There is a lot of stuff that I never would’ve imagined doing or even that I was aiming towards when I first started out, so it’s good to give people an idea about this, about what is behind it, and what can come of it as well…

How you see the traditions of graffiti fitting into what is now commonly referred to as the ‘street art’ movement (which is a problematic term anyway). Specifically in a formal sense, because the formal elements of graffiti, the letterforms, even the elements like character work, the techniques that are important for graffiti writers, they’re distinct and street art has sort of opened this big bag of other approaches which are not perhaps faced with the same stigmas that graffiti writing has had to deal with. As someone who is a graffiti writer and a constant defender of it…

Staunch defender, advocate!

How do you place it within everything that is going on and how have you managed to maintain your roots as you’ve been part of it as well?

The bottom line of all of it is, I feel like with this new wave of street art, and this isn’t to bag any particular image or artist or anything, in regards to the large-scale murals, but a portrait of a face, paint a giant bird, you know, paint a nature scene, give them a pukeko and some native fauna or flora, and it’s an easy sell, you know what I mean? It’s easily digestible and palatable to the public. It’s a commodity and it’s able to be commercialised in that respect. While all of those things are great, a lot depends on where an artist has come from and their general stance on various aspects of it. Like you say, traditional graffiti in the way of name-based colourful pieces, cartoon style characters, bright cartoony colour combos, stuff like that, is often, I feel, driven to the wayside in the wake of this new emerging style of street art and street murals and large-scale work. They are all great together, but I personally would hate to see the traditional stuff pushed all the way out of the way for the new stuff. As anybody who has sort of invested in the history of any movement, the new stuff couldn’t exist without the old stuff, and I feel like it has to have some sort of precedence, it has to have some sort of importance.

Ikarus, Christchurch central, 2017

Talking about lineage and legacy, I’m thinking about some street art imagery and some of the imagery you’ve talked about, and you know often it’s coming from people commissioning work rather than artists. Because if you think about some of the imagery that would have defined street art at the turn of Millennium, it was those subversive riffs on popular culture, and you don’t really see those images turned into murals either. Likewise, it can still be hard for artists to get the chance to do something abstract when it comes to commissioned work (at least in Christchurch), and with letterforms there’s a lot of the same qualities as abstraction as well, so many artists have to exist within this compromised, dichotomous approach: “this is what I want to do, but this is what I’m going to have to do…”, and reconciling that becomes a real challenge…

Yeah absolutely, I find it the same. I do a certain amount of commercial work and from time to time the subject matter is going be something you’re not the most stoked about, but as long as you can keep it true to your own style and the definition of what you’re doing, then you can basically do it. Like I say, the bottom line with graffiti, and the whole idea of it as an art form, is that you do what you want to do, but with that said, within a defined set of rules and guidelines, an as much as you can bend and break those guidelines you do need to know them, to know the history. I mean it’s the same as any culture, you’ve got to learn to walk before you can run and you’ve got to know something of the history of the thing you’re interested in and where it came from…

Like you said earlier, some of the defining characteristics of graffiti, it doesn’t seem like people should have such an antipathy to things like bright colours, names, cartoony characters… We all write our names thousands and thousands of times over and over again, we use signatures in our day to day business, and we take pride in our signatures, so there’s not that much difference, but that affront to private property overrides any aesthetic enjoyment…

Yeah and that’s it, traditional graffiti in its name-based, character-based cartoony form, is of course derived from tagging and vandalism and destruction of property, so it is always going be tied in with that. Newer street art, like with a bird, or scenery, or a portrait, is very far removed visually from the idea of writing a name. Often as well, the mediums the new artists are using, it’s paint rollers, brush work, there are still cans involved, but it’s not the same thing, and I think that lends to the palatability of the new forms of street art and mural work. Whereas traditional graffiti as an art form is always going be difficult, and so it should be. But they are branches of the same tree, it’s an evolution. Graffiti as an art form is an evolution of a basic signature, it’s all based around a name and around having your name known, manipulating letters, the structure of letterforms, working with different colour palettes to create something unique and visually appealing. But yeah, like I say, the main problem it has as an art form and the main reason it is held back is that vandalism side. Plus, a lot of people that are practitioners, traditional graffiti-style artists are perhaps not the most personable people (laughs). You know they are not always the most eloquent, they don’t always want to explain themselves. We’ve gotten good at it because we’ve spent years at the forefront of it, trying to change people’s perception of it, so there’s sort of like a bunch of go to phrases and references, that I can draw on.

Check in next week for Part 2, where we talk about the public perception of graffiti and the technical qualities people don’t necessarily see, Ikarus’ own stylistic development and influences as well as some of his experiences in Christchurch’s post-quake explosion of art in the streets… 

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Can Do – Reflections on an evolving art space…

Saturday, December 2nd, saw the official opening of the new ‘Youth Space’ in the central city’s East Frame. The space, a project facilitated by GapFiller, Ōtakāro and Fletcher Living, combines a basketball court and a rock climbing area, with perhaps the most forward-thinking element: an evolving art space that allows artists to freely paint in public without fear of repercussion. This is a first for the city, a step further than those spaces where painting is tolerated or ignored, but not technically allowed (those peripheral spaces that have long served graffiti and street art’s development, such as alleyways and train tracks). This is an innovative move that has been pushed for a long time by those from the cultures, but has too often fallen on deaf authoritarian ears.

The space contains eight giant spray cans which have become literal objects for art. The eight cans are physically split in two groups, with three cans intended for more established artists to produce long term works that will be refreshed sporadically, and five serving as ‘free-for-all’ surfaces, as evolving canvasses. They will operate on a first come, first served basis, and as artist Wongi ‘Freak’ Wilson has noted, people should be prepared to document their work, as any contribution may last a week, a day, or a minute, as is the nature of such a space, and of course, is an undeniable aspect of guerrilla street practices anyway. On the opening day Wilson, Ikarus and Jacob Yikes, from Christchurch’s famed DTR crew, painted the three ‘permanent’ cans, while local artists Beksi, Dove, Bore, Smeagol and Drows were given the opportunity to give the five other cans their first layer.

The ‘permanent’ cans with works in progress by Jacob Yikes, Wongi ‘Freak’ Wilson and Ikarus

Notably, the surfaces on which people are invited to paint are part of the lineage of the city’s ongoing love affair with urban art: the giant spray cans were fabricated as part of Oi YOU’s Spectrum shows, and if they are aware of history, the city’s youth can now paint on surfaces to which artists such as Jorge Rodriguez-Gerada, Sofles, Berst, Seth Globepainter, Tilt, Flox and many more are historically connected, even if no longer visible. That these objects are in proud place in the inner-city streets is testament to a shifting opinion around the art with which they have an unavoidable kinship. It is also important to note that the cans are not buildings, they are specifically in place as surfaces for art and that is both unique and partly why the concept works; their decoration is not an affront to private ownership, not even by association.

Of course, such a concept is not without risk, and it should be admitted, it will not prove a cure-all for vandalism (which is not the explicit goal of the space, but will surely be read as such by some). Vandalism, which is not a by-word for graffiti, and exists without a pen or a can of paint, is driven by a desire to fracture physically and symbolically, and a permissioned space will not attract those who are interested purely in transgression. But it will importantly provide an opportunity for artists to develop, to experiment, and to grow and that is no small thing. Indeed, the potential this space provides should be celebrated as a significant shift in thinking around these artistic cultures. Also, it should not be expected to rival the sheer scale and cohesive appearance of the grand murals dotted around the city (and notably nearby). The space will instead produce an aesthetic more akin to urban art’s natural state, a visual quality that many find infinitely fascinating, created in layers over time and representative of thousands of voices, but admittedly, others find harder to comprehend. This is always at the heart of such an undertaking, the various positions and desires of contributing factions will be at odds, a microcosm of the city at large.

The future of this innovative approach will of course be in some way determined by outcomes authorities are interested in, regardless of whether such desires are realistic. But with planned workshops and other events, it will become an important and fascinating location for the city’s ever-evolving graffiti and street art cultures, an important step in the city’s creative evolution, potentially unearthing new stars and providing a continuing reminder of the potential found in opportunity.

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Jacob Root – So Much Fun

As part of a new ongoing series of interviews with young (and young at heart) local artists who have been a part of, or influenced by graffiti and street art, we caught up with young stencil artist Jacob Root, aka Distranged Design. The diversity of the city’s young creatives is notable, but the influence of urban art is undeniable in the work of many, either evident in techniques, material approaches, conceptual ethos, or of course, although not exclusively, by the explicit act of working in the streets.

Jacob’s work has been undeniably influenced by the global rise of urban art and locally by the emergence of graffiti and street art’s popularity and visibility. While he does not have a background in graffiti writing, his work illustrates the way urban art has become an established visual language and gateway for young creatives both inside and outside, raising questions about the notions of ‘authentic production’ and highlighting the evolving landscape of this cultural phenomenon. His choice to use employ stencils is fitting, as the technique is a microcosm of sorts of these winds of change, the guerrilla political roots are still inherent, but they now exist alongside intricately detailed studio productions and large-scale murals.

Jacob’s eagerness is infectious and refreshing. When we sat down to talk, his responses were littered with phrases like ‘it was so much fun’ or ‘it’s awesome’, signs that he is enjoying making art and the experiences it has afforded him so far. In a world where cynicism is often too easy to embrace, Jacob Root is busy having ‘so much fun’…

So, Jacob, introduce yourself, let people know who you are and what you do…

My name’s Jacob Root and I’m a 17-year-old design student at ARA. I’ve been teaching myself recently how to do my own artwork, like I can’t really hand paint or things like that, so I’ve gone with the whole stencil approach and it’s kind of kicked off a bit, I’m pretty stoked on how it’s been looking…

You’ve definitely been visible, you have recently had work in several exhibitions, you’ve been busy painting Chorus boxes, and you’ve also been assisting some other artists on their projects, so give us a bit more information on what has been keeping you busy…  

Recently its been the Chorus project, which are the big cabinets, the green boxes around the place. I got asked to do two of those to spruce up an area in Gayhurst Road. I was pretty stoked to get asked to do that, I wasn’t really expecting anything like that to come along, but yeah, its been awesome doing bigger pieces, bigger stencil works. It’s so much more fun to work on that bigger scale.

‘Legends’ Chorus box, Gayhurst Road, 2017

And you’ve worked with Joel Hart on a couple of his pieces, how have you found that experience?

That’s awesome aye, it’ so cool, Joel’s such a nice guy. It’s so much fun learning different approaches to things that I wouldn’t have thought about doing, different ideas on stencil work. So yeah, it’s so cool.

Jacob and Joel Hart at work on Joel’s Welles Street mural, 2017

And of course, you have been exhibiting your work, you have been in a couple of shows at the Welder Collective [Jacob was part of the Welder shows Unframed and Throwback], and you’ve got some work in a show coming up in a show at CoCA, tell us about that show…

The CoCA show is run by Bounce, by the Red Cross [Bounce is a website focused on youth well-being], and it’s a youth exhibition, so it’s for 25 year olds and under, and I’ve got a couple of pieces that will be exhibited there, I’m pretty happy to be asked to go in there…

Are you from Christchurch? Are you born and raised in Christchurch?

Yep, born and raised in Christchurch, I’ve been here my whole life…

So you’ve obviously been here through a pretty chaotic but fascinating time period, and especially for the rise of urban art. So, at your age, the experience of the city being rebuilt, it must have been a pretty formative period for you right? How much of an influence has this post-quake landscape and the visibility of urban art had on your work?

I love like, just going through town now, everywhere you look, there’s so much street art. It’s just such a bright, vibrant kind of place to come through, even though like its had its dark toll on the city, there’s been a spruce up with the art and I reckon that its kind of like bringing it back to life, it’s been awesome. It’s such an impact seeing top artists like Owen Dippie, I love his big ballerina piece [the now obscured piece on the rear of the Isaac Theatre Royal], seeing that kind of stuff in your own city, it just gives you a bit of a kick to keep going for more.

Do you have a background in graffiti or street art in a traditional sense?

Nah, I can’t write graffiti or any thing like that, I’d be pretty keen to learn, for my backgrounds and stuff…

That’s an interesting point because urban art is now so widespread and ubiquitous, that it’s influence is becoming more diverse, or at least it is showing itself in more ways than just the traditional ways of getting up, and you are kind of an example of that…

Yeah, exactly, I like seeing the pop in the background before a work develops, I like seeing how it just kind of gives it that push forward and then that final piece over the top.

And the urban landscape is an influence? The backgrounds in your work, to me, echo urban environments…

Yeah absolutely, I love the style of SAMO, Jean Michel Basquiat, even though its writing and mine’s not like that, just seeing that out there, just different types of stuff.

There’s an expressionistic quality, right?

Yeah, and I just go with what I feel in my backgrounds, so it’s not going look the same each time.

It’s interesting that with a lot of your work, your pop culture references seem to predate your age. Have you always been fascinated by other generational icons? The likes of Bowie, Basquiat, Monroe, Warhol, these types of figures are influential for everyone I guess, but I would suggest that you would be receiving their influence through different filters…

Yeah, I love seeing the people that have made a mark on cultures in what they’re trying to do in their life. I think that’s a major push for me, just doing icons and things like that, like with the Chorus boxes I decided to go with legends, I did Michael [Jackson] and Elvis [Presley], I thought that was pretty fitting, its my type of style.

Jacob’s ‘Warhol and Basquiat’ piece for Unframed at the Welder Collective, 2017

Actually I had a conversation with someone not too long ago, about how stencil artists often seem to begin by producing images of pop culture icons, and you appear to be another example of that. Why do you think that sort of imagery suits the stencil technique and aesthetic in particular?   

I think it is just like photographs that are iconic and things like that that people turn into art, I think that’s why people sort of turn to that style, or at least that’s why I’ve approached it because it’s cool bringing those photos back into perspective for other people.

There’s a transformative element too when you are creating a stencil, you are essentially reducing the image and then recreating it, so there’s a different approach than a photograph…

Yeah, it’s kind of like working from the background, back to front. It’s been fun learning stencils and learning all that process and trying different things.

Any particular influences in terms of stencil techniques or the aesthetic you’ve developed?

I’ve only just really started looking at other people’s work that has influenced mine, but it has been people like Alec Monopoly and Tristan Eaton, and Rone, even though some of them aren’t stencil artists, their kind of work is what I look at and I think, that’s awesome, that’s sick. Tristan Eaton’s work is just so intricate, just the pop, that’s kind of what I look for in street art, brightening up a certain area, if that’s what you’re getting asked to do…

So your goal would be to start doing bigger walls?

Oh yeah, I’d definitely be keen to start doing some bigger pieces, it’s so much fun working on a bigger scale…

Obviously it produces a lot of challenges, and working with Joel [Hart] would help to start to overcome some of those, or at least to think about challenges that come up. What challenges has the stencil technique already thrown up and how has your mindset developed the ability to problem solve?

Even just doing the Chorus boxes, printing the stencil plates to the right size was a challenge, connecting the pieces of A3 paper to get them the exact same scale and stuff for each layer, because otherwise its gonna throw the piece out. But Joel’s taught me a lot, doing the Welles Street mural and it has been awesome kind of putting that to use in my own work, it’s been sick, it’s been so much fun.

How do you break down the process from cutting to spraying a stencil? Do you always start with the image, or is the actual technique of putting an image together in an almost mechanical approach sometimes a stylistic influence?

I love doing it because when you see the finished piece it kind of makes it worthwhile, it’s like, you spend all that time cutting, and get hand cramps and all that, when you do smaller pieces, intricate cuts like that, it is worthwhile when it comes together and starts forming a realistic image

In some ways it’s a blind faith right? You are cutting and cutting, and then, at least in the beginning, you are kind of hoping that it comes together…

Yeah, you’re cutting and it’s like, I don’t know why this piece is like this, what’s this piece going look like when it’s cut out, but when you spray it, it’s like ‘oh, I get it now’…

In one of your recent pieces, you experimented with your background layer, where it actually forms part of the central image rather than just a backdrop…

I’m experimenting with that technique because with my backgrounds they can start to look really similar, so I’ve tried to pop stuff to change it, so you know it’s still my art work, but its just different. So, I’m looking at doing a Jimi Hendrix with his suit being that kind of background pop…

Jacob’s ‘Marilyn’ piece for Throwback at The Welder Collective, 2017

Do you know of Martin Whatson? I assume he is an influence with that approach…

Yeah, he is definitely an influence, his stuff is awesome, his prints and his street stuff, with the graffiti layering and street art style stuff over the top is definitely an influence on why I’ve gone in that direction. I’m keen to do some other pieces like that…

On a personal level, who has been particularly helpful in your development?

My parents have been the best, they’re awesome. I’ve turned Dad’s brewing shed into my studio and basically that’s where I go and spray and do all my painting and things like that. And definitely Joel, he has helped a lot. He’s such a cool guy, I’m just thankful that he has taken time to come and help me, like it’s so cool just being able to work other artists, like even going into the Welder and everybody’s like so genuine, they like what they are doing and they are happy to help other people, it’s sick.

What does the future hold for you? What are your goals and how do you see what you’re doing now progressing?

My goal would definitely be to try and turn my art into a career, I’m pretty keen to do my Bachelors (Degree) so I have a back-up if that doesn’t quite go to plan, but it’s definitely what I want to go with because I’ve started to lose a bit of interest in studies as I’ve been doing so many different projects, it’s been so much fun. But, I’m definitely keen to start doing some walls and picking up the scale.

Any plans to travel?

I’m going to Vietnam next year, so I’m pretty keen to arrange something over there while I’m going so I could do a piece there, that would be pretty sick.  I’ve never done something out of Christchurch. In Venice Beach [in California] you can just go and paint the walls and things just right next to the skate park, and I’ve heard that there’s apparently this beach in Vietnam that’s the same kind of thing, same kind of situation, you can just go and anybody can paint them, so that would be pretty cool, going and chucking up a piece there…

Anything else that you want to add?

I’m loving anybody that has anything to do with my art over the last eight months or so, I just want to say thanks, its been so much fun, everybody’s been so welcoming. That’s what I’m loving about Christchurch, all the genuine people who are keen to see you keep pushing yourself…

Thanks for chatting to us

Thanks for having me…

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Carnaby Lane Party Recap

New Brighton’s Carnaby Lane got an impressive facelift over Canterbury Anniversary weekend, with several notable artists producing an array of works along the bright green wall that frames the small laneway. With the sun beating down and DJs Ruse and Nacoa providing the musical backdrop, Wongi ‘Freak’ Wilson, Joel Hart and Dr Suits (assisted by his Fiksate crew-mate Porta) captured the imaginations of the passing crowds. Throughout the day the artists, all working in close vicinity, provided intimate insights into how their work comes together. The relaxed but vibrant atmosphere, created by the mixture of music, food, drinks and art, as well as the ideal summer conditions, made for a perfect storm. We were there throughout the day and captured the artists in action…

The Carnaby Lane Party on Saturday, 19th November.

Wongi ‘Freak’ Wilson: Wongi’s work, the largest of the three, depicts a monotone female figure, with her hand thrust forward, two fingers raised in a peace sign, the hand bursting to life in colour and sharp detail. A segmented disc of translucent yellow, orange, pink and purple separates the figure and the hand, framing the image and popping against the dark grey background. Wongi noted that he had chosen the image to play with a “beachy vibe” in honour of the location, but without the usual cliché, instead of seagulls or surfers, his character has a summery, music festival feel. The image is another example of Wongi’s ever impressive photo realistic technique, highlighting his aerosol mastery, an expertise that was made apparent to the crowds that stopped and watched the Christchurch legend in action, gaining insight into the sketching and refining process with which he builds form and brings his images to life.

Wongi’s wall buffed and ready to go
Wongi refers to the original image on his phone, an example of how technology plays a part in his working process
Wongi starts to bring the detailed hand to life with colour, while his toolbox lies in the foreground
Nearing completion, Wongi makes some final touches
Wongi ‘Freak’ Wilson’s finished piece

Joel Hart: Joel’s signature work, titled ‘The Shadows’ was an impressive sight coming to fruition, highlighting his swag bag of techniques and sure-handed processes, from his large stencil plates to the use of screens to print directly on the wall. The female portrait, her hand extended outward and three butterflies fluttering above, is indicative of Hart’s current body of work, where he is experimenting with “more-multi-layered” details of patterns and embellishments that reward inspection. Assisted by young up and comer Jacob Root (Distranged Design), Joel’s greyscale subject is brought to life by the violet backdrop and flashes of pink and green that all deftly play off the garish bright green wall behind his work.

Joel’s stencil plates lay in wait
The plan, and the necessary tools
Joel Hart works with one of his large stencil plates
Joel applies a screen to the wall
Joel Hart’s finished work, ‘The Shadows’

Dr Suits: Dr Suits’ geometric abstraction provides a unique example in the context of Christchurch’s mural scene, suggesting an exciting direction for the artist. The work draws on Dr Suits’ ongoing exploration of printmaking and mixed media techniques, here transferred to a wall and the colours heightened and flattened out to create a crisp, vibrant composition that pops off the wall and draws the eye in multiple directions. Detail is added in a section where the black paint is pulled, rubbed and scratched to mimic printing techniques. For Dr Suits the piece is indicative of his preoccupation with creating works that can be “translated by the individual but have no certainty”, instead evoking more visceral or emotive responses fed by associations of memory.

Dr Suits’ wall, marked out with blocks of colour being added

 

Dr Suits at work with the roller
Porta takes on the technician role and tapes up an area of Dr Suits’ work
And the tape comes off…
Dr Suits’ finished work
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Mr G – Faces and Places…

Mr G’s David Kidwell mural, intersection of Tuam Street and High Street, central Christchurch

Mr G has had an adventurous few years to put it mildly. His monumental portraits, such as his Prince tribute in Minnesota, and his depiction of Kiwi hoops icon Steven Adams in Oklahoma, have raised his global profile. While his 100 Portraits project has seen him paint up and down New Zealand (including a stunning portrait on a vertical cliff face). His refined style has adorned surfaces in an array of locations far outside the normal resume of a New Zealand mural artist. He was recently commissioned to paint a large portrait of Kiwis (the New Zealand Rugby League team) coach David Kidwell here in Christchurch, building excitement for the Rugby League World Cup by honouring a local lad ‘done good’, while also adding to the city’s collection of murals. The work illustrates Mr G’s dazzling technique, and his ability to imbue a sense of personality in his subject’s likeness. Kidwell’s portrait exudes a warmth, even as the grey-scale palette perfectly plays off the exposed concrete surface. We caught up with Mr G at the site of this new work, the intersection of High Street and Tuam Street, to chat about the mural, his technical approach and his connection with the communities in which he paints.

RW: So Mr G, first things first, how are the Kiwis going to fare in the Rugby League World Cup?

Mr G: (Laughs) Yeah, you know, I’ve always backed them and stuff bro, and I guess for me I’ve kind of been a league fan off and on throughout my life. I played league for a bit when I was in Intermediate in Kawerau, for the Kawerau Raiders. There was a period there where I was a full-on follower. I’ve just come back from Sydney as well, living there for 5 years, and you know, it’s like a religion over there…

Especially in Sydney right?

Yeah, I followed the Doggies (the Canterbury Bulldogs club) over there, and I have done some work for them, and the Wests Tigers as well. Friday nights were pretty customary to stay home and watch the games!

Well, after such a controversial build up, the Kiwis made a good start last night anyway against Samoa… [The rest of the tournament did not bode so well, but that’s another story…]

Yeah, it was a good game!

But let’s get back to the main reason we are chatting, you are here in Christchurch painting this tribute mural to the coach of the Kiwis David Kidwell, how did that come about?

I got approached by ChristchurchNZ, they were looking at doing something quite unique to help as an activation for the Rugby League World Cup. They were aware of what I’ve done in the past and stuff and so they approached me. I’m pretty fussy when it comes to doing any kind of commercial gigs and all that, they need to align true to what I’m about as well, and who I am as a person. I’m all about supporting people that I respect, so I though, I’m keen for that. It’s a good opportunity for me.

And this is the only piece being painted? There are no other murals being painted around New Zealand for the World Cup?

Yeah, it’s just this one.

Being quite particular with commercial works, I would suggest that after the last couple of years and the amazing projects you’ve been able to undertake, you now have the profile where you can be a bit more selective, or has that always been something that you’ve been careful about?

Yeah, I guess for me, I’ve chipped away at it to a point where I’m able to do that you know. I’m grateful for that. But obviously its hard work and all that, but as an artist you know, for me,  I’m always just trying to keep my work honest, and authentic and as a reflection of what I’m about really. I kind of filter any jobs or enquiries that come through, through that filter first man, and just go from there.

I read recently that you don’t necessarily agree with your work being pigeon-holed within the term ‘street art’. For me, I think your work is indicative of the contemporary mural renaissance that is going on around the world, which should be acknowledged as providing a different context to the complicated narratives of ‘street art’, would you agree? I mean obviously artists are always wary of being placed within restrictive definitions, but the muralism movement provides some breathing room, do you see yourself more as part of that emergence?

Yeah, for sure man, but the thing is I’ve got a body of work that I’ve been chipping away at on the downlow really for a while, that as an artist I feel is, you know, an accurate representation of what I’m about. So you know I’m getting into whakairo, which is Maori carving, and incorporating some of those elements that aren’t anything to do with street art. You know, actually my background is strong drawing and portraiture and you know, I’ve done a lot of acrylic painting, and a lot of canvas work prior to doing street art per se, but the thing is with the street art medium and the scale and you know I guess the way everything’s heading right now, it just gets everyone’s attention and just because you’re holding a spray can people think, oh wow, you’re a cool funky street artist! I don’t get caught up in all that man. For me I prefer to paint in really remote rural locations, where no-one’s around, it’s just cows and just peace and quiet and just me and the wall.

That’s something I’d like to come back to actually, but first I wanted to ask, because you mentioned your multi-disciplinary background, obviously people recognise how refined your aerosol technique is, is it almost like drawing now with a spray can for you? It certainly looks like it is…

Yeah, for sure, it’s the same approach you know, for me drawing is the foundation. Like there are a few street artists out there that sometimes I think they think the work that I do I’ve got like one secret trick that just makes it look really cool. But the reality is that it is just a lot of drawing, a lot of sketching and understanding principles like value, form, shading, lighting, all that sort of stuff, you know chroma, which comes into play with lighting, and how that effects realism in general, and all that sort of stuff man. If you have a well-rounded holistic understanding of all that stuff, I guarantee that will take your game to the next level, when it comes to photo realism anyway. I’m always learning, I’m always studying different artists’ approaches, learning from some of the old school masters and all that…

Do you find that there is always something to pick up regardless of the medium, that there is always something to explore in other artists’ diverse approaches?

Yeah, absolutely.

One thing I’ve always appreciated with the spray can, much like with a pen or a brush, or a pencil I guess, is that it is an extension of the body. When you’re working at that larger scale as well, do you find that it is a important to actually be in tune physically to be able to paint a work…

Yeah, absolutely, for sure man. You know, for me using cans, sometimes I feel like a little kid with crayons, because you’ve got a fixed palette, you can’t really mix colours with the freedom of oil painting, but it is quite playful in a sense for me as well.

When you are up on a scissor lift, you’ve got that time to think a lot, you must be reflecting a lot about how you are going about your process…

For sure, I think for me the learning is in the doing, with all this stuff, or with life in general really, the learning is always in the doing. You can only read text books so much, or whatever, or tutorials. But yeah, it’s like, it might just be little things but the learning is in the doing man.

In some ways, that relates back to the urban art movement, which is very much a DIY movement right? It’s not about being shown something in a class room first, it is about being out there and doing it. But then it sounds like your learnings come from lots of disparate places, which I feel is really valuable.

One of the things I have noticed, on your social media posts in particular, is how much you engage with the communities in which you work. There always seem to be group photos of you with members of these communities. It seems like I’m always seeing photos of you involved in different things, like I saw you tasting oysters down in Bluff!

Yeah! (laughs)

That obviously is really important for you, and is that…

Yeah, tasting oysters is really important!

(Laughs) How has that become more and more a part of your working process? I would suggest you need a certain profile to be able to do that, although social media helps with that, but is that social engagement something that has slowly evolved to become really important and central, or has it always been there…

For the community side of things my wife and I, our hearts have always been involved in community work, in some way, shape or form. When we first got married, which was sixteen years ago, we were youth pastors, so we’ve done a lot of street outreach and stuff. When we were in Sydney we would help feed the homeless in Parramatta. We believe, well we don’t believe, we know bro, through experience that there’s just a lot of hurting people in this world, and we’ve been through stuff as well, and so we’re able to connect with people, especially in smaller towns. I was brought up in Kawerau bro, where the population’s 5000 people, and it has had a bad rap for most of the last twenty, thirty years. My wife was brought up in Te Puke. We love people, and that’s a genuine aroha for people in general I guess, and I think it is just a natural overflow of who I am as a person, the type of person I am you know, they’ve got to be mingled and intertwined with art in some way shape of form, and my art making as well.

That portraiture is such a central theme in your work (obviously not the only theme, but a key theme) reflects that as well, right?

Oh yeah, portraiture can touch people’s hearts in a way that nothing else can really, you know, because you’re representing a person’s life and story. In some moments its been very powerful, you know, I painted one in Ruatoria, of Moana-nui-a-kiwa Ngarimu, he actually received a Victoria Cross, for his service in the Maori Battalion in World War Two. I painted his portrait on his homestead in Ruatoria, and his family were just so honoured and overwhelmed. Ruatoria is a small place, so yeah, the family just came together, they put on a big feed for me as well, sang a few waiata, gave me a koha as a gift. I was overwhelmed bro, deeply touched, and for me that’s the stuff that does it for me, using my art to touch people’s hearts in a real way. I don’t care if no-one knows about that stuff but it’s just very meaningful.

Coming back to the point that you brought up earlier, specifically the opportunities you have to paint in smaller, rural townships, do you feel the difference in terms of the relationship to place when you are painting in those types of areas, as opposed to an urban space like Christchurch? Is it quite a marked difference?

I guess for me, a lot of the small towns in New Zealand, they feel kind of left out, you know, by a lot of big gigs, or events and stuff, so you know, they get me rocking up there, painting a Farmlands mural and they treat like I’m a big celebrity or something you know, and it’s quite funny! But it’s beautiful bro, I love connecting with the young kids who like getting you to sign their scooters and all that. When I was in Paeroa, I signed an old lady’s walker, so you know, there are so many stories, there are so many characters you come across. I think for me, my type of art is a real adventure, like the cliff stuff (Mr G painted a vertical cliff face in Parawera near Te Awamutu) as part of painting a hundred portraits around New Zealand (Mr G is painting a hundred New Zealand portrait murals around New Zealand with the intention of producing a book documenting the experience and works), it’s all part of the adventure of what I do man, it’s not just painting a portrait, it’s the location…

It’s tied into the experience…

Yeah, it’s who it is and how that connects to the people there and all that sort of stuff, so I just try and be purposeful with what I paint and who I paint, and respectful as well.

I know you’ve got the dedication of the mural coming up soon, so to finish, you’ve mentioned you’ve come to Christchurch a few times, but this is the first large scale piece you’ve painted here?

Yeah, my first large scale, decent piece that I’ve done. The last couple I’ve done here were just like free time, play around pieces, so this is the first decent one I’ve been able to do here man. It’s been cool, like given how much Christchurch has been through and is still going through, you know, I guess for me it’s a cool opportunity to be able to come down and paint Kiddy (David Kidwell).

What’s you take on how the city has changed over those visits, and in particular, some of the artwork that has appeared over that time, is there anything that has really captured your attention?

I just love it all man, you know, I think it is great using the art to bring some zest and life back to the city, and encouragement back to the community. Art’s really good at doing that. I think, if the artists and their motive is to do that, then all power to them man and you know it’s a great thing.

It is important to take the time to really understand where you are, which is obviously something that is really important to you, and it’s the mark of the best artists, being able to gain a sensibility of the environment in which their working and embrace that and represent that in their work as well…

I think that is important bro. I think that even for myself, like in Maori culture if you go to another region, you’ve got to acknowledge the land and the people and all that, respectfully, and not just do whatever I want. But, it has been cool here in Christchurch, I’ve had an awesome time meeting everyone as well, and you know a lot of (David Kidwell’s) family and friends as well, so it has been cool.

Thanks so much for your time Mr G, I better let you get to the mural dedication…

Postscript:

As we walked around the corner to the site of the dedication I was witness to a fleeting interaction that exemplified Mr G’s approach. Two rugby league jersey wearing fans wandered into the lot surrounding the mural. Immediately Mr G greeted them, my first impression that he had known them for years, until they asked if he was the artist, to which he replied: “Yeah, I am…”, before formally introducing himself and beginning a conversation.  This willingness, indeed eagerness, to engage with people, to make sure both he and his art connect with the audience, a sentiment that rang throughout our conversation, was here evident in his actions, heart-warming proof of Mr G’s attitude and approach.

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Carnaby Lane Party, New Brighton

Local businesses have been busy transforming New Brighton’s Carnaby Lane, and on Saturday, November 18, the lane will host a party to celebrate! While the event will feature DJs, live music, food and drink, and Lego (don’t worry, this will make sense on Saturday!), perhaps most notably, several of Christchurch’s leading street artists will be painting live throughout the day. Wongi Wilson, Joel Hart and Nathan Ingram (aka Dr Suits) have each been allocated a wall space to adorn in their signature styles, adding some colourful vibrancy to lane. John Collins, who alongside his wife Alesha owns BearLion Foods in Carnaby Lane, explains that when he developed the idea to revamp the popular but downtrodden laneway, street art was always a key component to his vision. While the laneway has seen the addition of landscaping, lighting and other amenities, the murals will provide a unique element, especially since the participating artists are some of the most prominent in Christchurch’s urban art and mural scene. Collins grew up in Melbourne and witnessed the rise of that city’s impressive street art reputation, even painting in the famed city’s streets himself. This interest extended to his global travels, and sparked the recognition that what was painted on walls often had a transformative effect on the surrounding spaces. Collins notes that while his painting days have finished, he is excited to see what effect Wongi, Joel and Nathan’s work will have on the laneway:

“When we took over the lease for a shop in Carnaby Lane, my wife and I had always agreed how ugly that bright green wall (facing our door) was and how great it would be to get some street art to create some vibrancy for the lane. Three years later the opportunity has now been handed to us and we are super stoked to have three pieces being painted by three awesome local artists. I can’t wait to watch the boys complete their pieces and the impact it will have on the lane.”

For New Brighton local Nathan Ingram, who is a founder of Fiksate Studio and Gallery in New Brighton Mall, the laneway event was an immediately attractive opportunity. Ingram jumped at the chance to paint one of the wall panels, both to expand his own practice outside of his paste-up and studio work, and as a way to contribute to his community. He has been excited by the range of events hosted in New Brighton this summer and sees the Carnaby Lane Party as another occasion for the seaside village to celebrate the local community’s positive and creative spirit.

The Carnaby Lane Party kicks off on Saturday 18th November at 11am, and runs through to 6pm, so get along and watch some of the city’s best execute their craft live. More details can be found at the event’s Facebook page: Carnaby Lane Party, New Brighton.

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Face Value at Fiksate Gallery

Fiksate Gallery is busy gearing up for Face Value, the New Brighton studio and gallery’s latest exhibition. Face Value features an array of artists from diverse backgrounds and locations, each tied together by an interest in portraiture, or perhaps more specifically, the depiction of faces. The selection of work illustrates the attraction of portraiture for so many artists, including those with street backgrounds, and how such explorations are incredibly varied both in conception and their reception.

We caught up with Fiksate artist and Face Value curator Jenna Lynn Brown (a.k.a. Jen) to find out what inspired this exploration of portraiture and how she pulled it all together….

Hey Jen! How are you?

Hey! I’m great thanks! My partner Nathan and I have been very busy getting Face Value ready and of course juggling this with our new four month old baby Frank!

Yes congratulations on Frank’s arrival! To be fair you two are not known for being idle, you have always had an impressive work ethic, but I’m guessing at the moment down time is really at a premium!

So, how did the concept for Face Value come about…

The concept of Face Value came about through my own exploration into portraiture. There are so many ways to interpret the most familiar and important aspect of our humanity and individuality, our face, and this fascinates me. I work with a really abstract version of a face which communicates a self-portrait styled look into my own psyche, and by following several other artists who use portraiture in totally different ways, I really wanted to put together an exhibition that shows this amazing variety of representations. After throwing a few lines out about this concept a couple of months ago, I’ve had a great response and can happily say Face Value has a great line up with a huge variety of styles.

Your ‘Jen Heads’ have become an iconic element of your work, taking on both your own inner psyche as you say, but also a life of their own, showing the rich potential found in faces as subjects. You have a range of artists involved, how did you select specific contributors and was this variety always an intended element of Face Value?

There are a few ways I selected artists for this show. There are artists that Fiksate knows and have shown before and whose works already show portraiture themes like Jacob Yikes, who is, in my opinion the most prolific and exciting artist in Christchurch. Joel Hart is also an exciting artist whose multi layered, pop-art inspired works are gracing large walls, magazines, news articles and TV shows. I also used Instagram to find artists, I feel like Instagram has revolutionized the way we see art in this generation. Through Instagram I’ve been able to research, contact and communicate with artists of different backgrounds and mediums all over the world. And then there’s good ol’ word of mouth and people getting in touch about taking part in the show. However it wasn’t an open call for artists this time around. I guess the key is that each artist I selected shares an affinity to portraiture in their own unique and individual style and each will bring a different flavour to the show.

Jacob Yikes, 2017

You definitely have a diverse line up, and the local and international flavour shows both the growing scene here, but also the way social media, and technology generally, has made it easier for communities to engage and connect. Do any of the works or artists stand out to you for any reason, maybe exposing some key themes or unexpected revelations within Face Value?

There are certain artists who I feel embody to theme of Face Value one hundred per cent. Voxx Romana is an international street artist who has just had a solo show in Paris and his work can be seen around the streets of Europe and the USA. His work is always focused around a strong and powerful image of a person, and very frequently a well-known figure or celebrity. Voxx creates portraiture that speaks of strength, power, mystery and his works make you think, which I believe is a key theme in Face Value.

Voxx Romana, 2017

Importantly, alongside those with a background in street art, there are some stand out illustrators in this show, one from Australia who goes by Lusidart, and four NZ based artists; A.K. Illustration, Hibagon, Jessie Rawcliffe and L.A Buckett. Their works are powerful, intricate and have a slightly mysterious quality about them which draws you in, like there is something deeper behind the subject’s eyes.

Luisdart, 2017

We also have a surprise for our followers and any street art connoisseurs! A very special artist is up our sleeve from the USA, who, if his work arrives on time, will be shown for the opening, otherwise, keep an eye on our Fiksate social media for news on the impending arrival of some seriously great work!

Face Value opens at Fiksate Gallery, 115 New Brighton Mall, on Friday 17th November at 5:30pm. Face Value will run until December 17th 2017, but opening hours and viewing times will vary, so check the Fiksate website for more details.

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