Reuben Woods – Page 23 – Watch This Space

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…

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 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

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 Hart works with one of his large stencil plates

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

Porta takes on the technician role and tapes up an area of Dr Suits’ work

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.

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 18^th 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.

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.

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.

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.

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 17^th November at 5:30pm. Face Value will run until December 17^th 2017, but opening hours and viewing times will vary, so check the Fiksate website for more details.

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