Jacob Yikes’ latest offering, Escapism, opened at Fiksate at the end of March. Yikes has been consistently producing a coherent and yet constantly evolving body of work for the last decade, each new show adding elements and refining his methods and concerns. Escapism, a series of 8 paintings, feels like the work of an artist who is at the top of their game. The paintings, full of gestural flashes, subtle touches and haunting imagery, are alive, directing the viewer further into the realm the artist has been diligently constructing, created with an undeniable confidence. Our friend, the talented Lydia Hannah Thomas, was there on opening night to capture the crowds and the sublime body of work, enjoy!
Photo Credits: Lydia Hannah Thomas
If you have a show coming up, let us know – we would love to cover it here on SHOWTIME!
Friday, 18th February saw the opening of the collaborative exhibition Liminal Beings – a collection of work by Jonny Waters, Dark Ballad (Joe Clark) and teethlikescrewdrivers at TyanHAUS. While the mix may not seem like an obvious one, the infusion of pop and urban culture – from Dark Ballad’s skateboard decks referencing iconic cinema (the carpet of the Overlook Hotel a particular favourite), to Waters’ remixed album cover paintings and, of course, teethlikescrewdrivers’ treasure trove of repurposed objects, from old maps to place mats, cricket bats and more, provided a sense of chaotic unity. The placement of each artists’ work interspersed rather than delineated into separate sections added to the overall effect. With aspects of typography, punky, gestural expressionism, and clean, graphic design work, Liminal Beings had something for everyone. We headed along to check it out…
Nothing like a doodle board when you are inspired…Rather than each artist having a defined space, all three artists’ works were intermingled through the space…teethlikescrewdrivers, 2023teethlikescrewdrivers, The Kaikouras, 2023Jonny Waters, Electric Warrior, 2023Jonny Waters, London Calling, 2023Dark Ballad, The Terminator, 2023Dark Ballad, The Shining, 2023
If you have a show coming up, please let us know – email [email protected] or contact us on social media @watchthisspacechch and we can share your creative goodness!
The fourth and final artist in the Paste-Up Project is Mark Catley – one of the city’s longest tenured paste-up artists. Mark’s nostalgic vintage toy paste ups have been a familiar site across Christchurch for many years and as such he was a natural contributor to this project. For his installation, Mark continued his toy parade, this time with huge images of Barbie, G.I. Joe, He-Man and more circling the bollard like a line-up awaiting identification. Catley’s work evokes nostalgia, warm recollections of childhood favourites, but it also illuminates the darker side, from the ridiculous body shapes and reinforced gender stereotypes to the problematic materials used in production. We chatted with Mark and dived into his experiences pasting art around the city and the Paste-Up Project specifically, and, of course, a specific Star Wars character…
It seems like you have been pasting art up around Ōtautahi for a long time, do you remember when you started?
Well, according to my Instagram page, it was 2015. I only worked that out based on when the photos were taken of the big Batman and Robin faces opposite Victoria Square, it’s some fancy restaurant now…
The Permit Room…
Yeah, that’s it!
So, what was the inspiration?
Well, a lot of people were doing it at the time. After the earthquakes, things had changed, and I just thought I’d give it a go. I honestly don’t even remember now. I would’ve had a friend print them out for me. I was doing my insurance work at the time, and I would get emails about toy figures and I would open them up and put them on my computer monitor and I just started taking photos of the faces of Batman and Robin and then I went home and made them bigger and I just pasted them up. At first, I didn’t actually know anyone doing it personally, so I just had to Google how to do it myself. I remember going to one of those Instructables websites about how to make wheat-paste glue. I just used the first recipe I found and I pretty much stick with it even now…
Did it always make sense as the medium to use to put your art out in the streets?
Well yeah, I mean, I’d never tried using spray cans or anything like that and I figured this was the quickest way to get it up there. Then by chance, the first time I put them up, I think it would have been the Batman head, I remember walking back to my car and turning around to have a look, thinking that’s pretty cool, and there’s some guy yelling out to me: “Hey you!” I was like, oh shit! I mean, it wasn’t that late, it would have been daylight savings, so it had only just got dark, and this guy shouted out to me. I turned around and I just replied “Yeah?” And he asked me: “Did you just do that over there?” I said “Yeah”, and he said it was pretty cool, but he wanted my details, and I just gave them to him. I told him my name, I gave him my cell phone number, and then nothing happened. It wasn’t until six months or a year later that The Press ran a story about this mysterious street artist and it turned out the first guy was a reporter and after the first story was posted on Stuff, that reporter spoke to another reporter and they knew who I was straight away. So, someone from The Press phoned me and said: “Oh, so was this you?” And stupidly I just said, “Yeah it was”, being the good boy I am. I remember hanging up and thinking, shit! So, I rang them back and said: “Hey, why don’t you just not put that it’s me and have a bit of fun with this?” But he was like, “Nah, it’s too late.” So my dream of being a mysterious artist was washed away…
You were never able to become the Banksy figure of mystery…
Exactly, I never really had enough time to give myself a cool name or anything.
I don’t think I’m creative enough to come up with a good name…
I’ve got a good name now, a podcast gave it to me: BosskCat, because Bossk is my favourite Star Wars character and my last name is Catley, so BosskCat. They even made a picture of TopCat, but with Bossk’s head stuck on it. That was some guys in England who thought of it…
You have become known for your annual May the 4th Star Wars bonanza, has that become something that you look forward to each year?
I really like to do it. It’s just a bit of fun and I imagine even if no one else cared, I would just put them up for myself for fun. It must have been a few years ago now, but I remember it was hosing down on the night of May the third, it was stupid weather, you know, there was no way anyway should have gone out putting up paste ups, although some of those pieces have lasted for years. Anyway, one of them was over in Lyttelton, on the old fire station, it was a Princess Leia paste up, but there were about 10 or 12 Russian sailors all hiding under that spot, with bottles of vodka and a plastic bag of cooked fish. They were just drinking and pulling out bits of fish meat to eat. The smell was revolting. I was annoyed because that was the spot, you know, I’d worked out a few days earlier that was the spot, and because it was raining I thought no one would be there. Anyway, I half tried to explain what I was doing but they had no idea what I was saying, they just laughed, so I just quickly did it and got out of there, looking back it was pretty funny…
Interestingly enough, other people started to add to that piece, right? Was that cool to see?
Yeah, they put like little pockets and a big mouth on there, that was cool…
It gave the piece its own life after you walked away, and that’s a good lead-in actually to the Paste-Up Project, because although you haven’t got any Star Wars figures, obviously the vintage toys are a central element, so explain the concept that you’ve installed…
I really wanted to do something interactive and get the public involved. I was treating it along the lines that it’s going to be pretty hard just to keep it updated, let alone with people playing with it, so I just thought I will have some larger figures up there from generic toys from my memories; I really wanted to have a massive Barbie from the 80s, a Sport Barbie in an 80s leotard, showing how crazy the body shape was. I also wanted a He-Man up there too, because I’ve been talking a lot with my friends about how it is so weird that He-Man is such a macho figure, but he’s always in his underwear. It’s the same with fantasy novels like Conan, it’s always fighting monsters in loin clothes, it’s very weird to me. Anyway, I added Raphael, a Teenage Mutant Ninja Turtle, and a G.I. Joe from the 60s. Back in the 60s, all the boys were taught to go to war and fight and kill, this very macho thing, and all the women were taught just to stay home and look after their man and the family, that was the lifestyle, so I wanted to question that. Then I just asked the public to send me photos of the toys that they had as kids. I’ve still got quite a few to put up as well…
The thing with toys is that they have such a powerful sense of nostalgia for us and yet they are often highly problematic and that was one of the things you said that you were wanting to illuminate. But it’s not just the questions of gender identity and body image, there’s also actually the literal toxicity of older toys…
Yeah, it’s crazy when you look into all the plastics that they used, especially back in 50s and 60s, right up to the 80s and 90s and probably still now a little bit with the mass-produced toys especially, all the knock-off toys. They’re getting better now, but its the hidden stuff like all the glues, the paints. I think Fisher Price is one of the first companies to actually come forward and say publicly that you can still collect these vintage toys, but by all means do not let your children use them. It’s quite interesting because a lot of people just really don’t want to hear that. A friend told me that this local Salvation Army store posted that they had all these great toys from the 80s and someone replied saying, hey, this company’s actually come out and said that these are to collect, not for kids to play with, which is a hard thing to hear. Right now I’m holding a 1980s plastic figure, I love all this stuff, but I will wash my hands after playing with something like this, and I don’t really like letting my daughter play with some of these toys. It’s not because they are collectible, they are toys that are meant to be played with, it’s more that we try to get her toys that aren’t toxic. It’s hard, because I still buy vinyl, but ideally, they should be using recycled plastics to make records. It’s just bewildering, it’s crazy…
You have actually worked quite consistently at a reasonably large scale, some of the previous Paste Up Project artists haven’t worked at such a size. Was this project less daunting because of your previous experience?
Yeah, it was good. Really the only issue was the curve of the bollard and learning about the materials, like soaking the adhesive paper for half an hour. But it went up so easily, I couldn’t believe how fast it was. It was really good how it adhered, so it went well, and I enjoyed working at that scale…
That sense of scale seems quite important for your work because that nostalgic element takes on more emphasis when it is larger. As you get older, things seem smaller, so to make them bigger again plays on our memories of them, it brings back that sense of magic. When you see something after a long time and you’ve gotten older and bigger, it never seems as impressive, so recreating them at this massive scale, it brings back that wonder. It gives them a sense of agency as well; it makes them seem like they can talk back. The large size seems to be a good fit with the concepts that are being teased out in your work…
Yeah, I mean it does make a lot of sense. I mean, I like Ghostcat’s tiny builds, his small stuff, with surprises that you have to look out for, the detail’s just amazing. But then I love things that are just stupidly large, oversized and just really like: Bang! There’s Barbie, standing on Manchester Street. I love the fact that everyone just knows what they are straight away, yet it’s still a surprise.
It automatically attaches people to something familiar, right?
They go in for a closer look and they go, oh it’s He Man! I remember that as a kid! It starts all the conversations about what their childhood was like. Hopefully it makes people smile…
You talked about a few people commenting as they were passing, have people been responding to the work?
Most of it has been positive. I’m always personally surprised that more people don’t stop and have a chat. I’m the sort of person that if I saw someone doing that, then I’m always like, wow, that’s cool, and I’ll go ahead and try and find out what someone’s doing. But you know, most people just live in their own worlds, looking at their phones. Big groups of drunk people are the worst to be honest, that’s why I try not to do it on a Friday or Saturday night. There’s nothing worse than a whole bunch of drunk people, going “what are you doing?” With this work, when people asked, I could tell them that it’s an official project, and they like to hear that as opposed to just putting something up, but then it’s a bollard, you are not just going to put things up on it are you?
That’s the other thing with your installation, the connection with the bollard. Because they are toys, it automatically raises the idea of advertising, so it starts to become an interesting interplay because it’s not advertising and it’s actually doing the opposite because it’s raising some of the issues of consumption. The way you have composed the work, that large-scale parade going around the bollard, was that in some ways to stop it looking too much like advertising posters?
Yeah, it was. At one point what I wanted to do was like a line-up, like The Usual Suspects mug shot. But then I realised that the heights were all different, and it wouldn’t have worked. I mean, I’ve sort of done that, but not really. I just wanted to make something that you walked around, a big continuous piece to look at, and then to add to it over the weeks. I’ve been there a few times and added stuff to it…
I have one last question and this one is probably pretty hard to answer, you’ve mentioned that you’re a toy collector, what’s the one toy you would buy if price was no object?
I’m a Bossk collector, so there is the famous toxic-limbed Bossk from Spain. There are about 50 of them in the world, some say 29. I’m really into the Spanish Star Wars stuff. Basically, they’ve made like 600 million little tiny figures, mainly in China or Taiwan, places like that, but then Spain got a contract, and started producing some Star Wars figures, but the company that produced them, the quality of plastic they used wasn’t as good and so for some reason the Bossk figure’s plastic has degraded and has turned his limbs, his arms and legs, a green colour. They call it the toxic green Bossk and this figure is sought after all over the world, it goes for stupid money. It’s not like the Boba Fett Rocket Launcher, but…
That’s the famous one, right?
Yeah, but it really annoys me, and I’m getting my geeky hat on here, there are fewer figures of the toxic Bossk, but because it’s Boba Fett, it’s given more cred. But Boba Fett is just a dude in a space helmet, he is literally just a guy in a space suit! He’s a cool figure too, but the Bossk is the one! I know that if I ever got it, it wouldn’t be that amazing, I would have it in my hands and it would be, ahh, its OK, but that’s the one I would buy.
Did you want to give any shout outs?
Thanks to yourself and Phantom, JZA, Cape of Storms, and teethlikescrewdrivers, he’s always handy with his advice and he is so enthusiastic. I love the fact that he is all over everything…
That sense of community is driven by a lot of people, but he is right at the heart of it…
If I was younger, I would hang out with them all the time. But I do kind of like working by myself. I have so much work, but it just takes time. It always looks so cool and it’s great when there are new fresh walls. I often think what would my mum think? But she would probably drive right past and that’s alright.
Thank you to Phantom Billstickers and the Christchurch City Council for their support of The Paste-Up Project!
The Christchurch Hip Hop Summit kicked off for 2022 with a day of painting and tunes as the oldest of the four elements took centre stage. Organised and curated by Ikarus of the DTR Crew, the Summit’s Graffiti Jam featured two productions; one by a collection of local artists at the re-activated Dance-O-Mat site on Manchester Street and the other, a collaboration between the DTR and FILTH crews, along Spark Laneway between Hereford Street and Cathedral Square. While the two jams had starkly different atmospheres; DJs played music as crowds gathered at the Dance-O-Mat, the DTR and FILTH jam more low-key, they both celebrated the traditions of graffiti and resulted in impressive productions.
The DTR X Filth production gets underway…While the Dance-O-Mat setting amplified the activityAnd crowds gathered to watch, listen (and dance)…It was a Simpsons X Masters of the Universe mashup by DTR and FILTHWhile a B-Boy and B-Boy theme unified the Dance-O-Mat siteWhich also saw the new paste-up wall get a good covering…
Gapfiller’s Dance-O-Mat, a relocatable urban dance floor, is one of the city’s most enduring post-quake place-making icons – a status cemented when the now King and Queen Consort, Charles and Camilla, cut some shapes on the floor when they visited the city in 2012. When the Dance-O-Mat needed a new home, GapFiller found the vacant space next to Paddy McNaughton’s Irish Pub on Manchester Street. The process of installing the dance floor was undertaken and soon, the washing machine discotheque was sending rhythms out across the city and limbs were moving (some more elegantly than others).
The Dance-O-Mat’s new setting was a typical Ōtautahi lot, vacant but for rocky shingle, weeds and bright graffiti painted on the surrounding walls. Now with support from GapFiller, Resene Paints, the Christchurch Hip Hop Summit and a range of artists, the paint covered walls have been given a facelift to match the Dance-O-Mat’s activation. The first addition was a simple black and white declaration of the site as a Gapfiller ‘Place of Play’ – part of the urban play initiative. The mural, completed by Nick Lowry and Bols, simply deploys the graphic Place of Play logo, designed by Ariki Creative, running along the upper section of the Northern wall, boldly declaring the site as a destination. The painting spanning 18 metres in length and starting more than three metres up the wall, was completed in just two days, and set the tone for further activations.
If the Place of Play mural served a practical purpose, the next wave of creative work was brighter and exemplified the Place of Play intentions. On the first weekend of October, the 2022 Christchurch Hip Hop Summit kicked off with graffiti jams – including at the Dance-O-Mat site, where a selection of local graffiti artists refreshed the walls with characters and pieces. The activity, bolstered by DJs playing music, drew sizeable crowds (and dancers), making the most of the (almost) summery weather. Across from the graffiti artists, members of Slap City decorated the dedicated paste-up wall (which already featured a bold ‘Dance-O-Mat’ painting in red and yellow by teethlikescrewdrivers) with paper-based additions big, small and everywhere in between.
The flurry of activity was a perfect introduction for a site that now celebrates various creative outlets, a new must-see destination in the heart of Ōtautahi. The Dance-O-Mat is back and it looks fantastic!
More The Show returns this week with One More, More the Show– once again celebrating local wahine artists and raising funds for The Period Place. One More, More the Show will fill the walls of Clubhouse Creative on Southwark Street with art by a wide range of Ōtautahi creatives, painters, illustrators, makers and more. As organiser Lydia Thomas explains, More the Show came from the lack of wahine art at local art shows: “I haven’t been in Ōtautahi long, but I can already see and know of extremely talented females and I wanted to create someone just for them.” The More shows are short and sweet with a playful energy, intended to function like a gig or a festival (music will be supplied by talented local female DJs), a limited window to experience the event. This time, Thomas has a selection of almost 30 artists, featuring returning creatives like Robbi Carvalho, Kyla K and Harriet Murray, but also new contributors, including Emma Turner and Lily Wenmoth. Whereas previous shows have allowed artists to present multiple works, this show is more focused, with each artist contributing just one work, giving each a more unique value. The show will also donate a minimum of 10% of every sale to The Period Place, whose mission is ensure every person with a period in Aotearoa can have access to period education and products. As Thomas declares: “People should come to see the show because the talent of wahine artists in Ōtautahi is out of the gate – we are so lucky be able to head out and enjoy it, to drink wine, eat cake and celebrate!”
One More, More the Show opens Thursday 6th October, 5:30pm – 7:30pm at ClubHouse Creative, Southwark Street.Drinks and food will be supplied by from Buzz Club, Good Sh*t Soda, Young & Co Wines and Full Time Tart.
I became aware of Hostile Body, an exhibition of digital art produced under the identity of Auspicious Victory, through somewhat cryptic social media buzz. I had recently been grappling with the rising profile of digital art through the lens of crypto currency, skeptical of the way digital art was being represented as PFPs and 8-Bit illustrations. But Hostile Body was presenting a much more considered, conceptual and interesting approach, layered in intense visuals and tied to reality in haunting way, it suggested the best of digital practice. With the exhibition opening approaching, I was fortunate enough to talk to Auspicious Victory and find out more about the concept…
How would you describe Auspicious Victory – is it an identity, an alias, is it something more conceptual? How has Auspicious Victory evolved over time?
Gender neutral and identity fluid (they/them), Auspicious Victory can be anyone or no-one. Auspicious Victory comes from Amarapura “The house of the immortals” and preaches simulation theory as fact. Part designer, marketer, performance artist, techno prophet, visual artist, and activist all in one. Auspicious Victory’s true identity is irrelevant as they will tell you. Auspicious Victory will eventually be “guided” by a collective of individuals who wish to support their cause, this format is a DAO, a De-centralised Autonomous Organisation, breaking new ground, with the crypto world coming together with the art world to create the first de-centralised artist.
Hostile Body is described as a “multi-sensory” exhibition of various digital mediums, how long has Auspicious Victory been exploring digital art and what approaches are most interesting to them?
Auspicious Victory in this simulation was given their first PC in 1983. They learned to code in BASIC, their first program was an animation and they have created digital art ever since. In the exhibition, there is a piece of artwork created in 1999 that has never been seen before.
Auspicious Victory responds to stimuli of all kinds and likes to collaborate with other artists. Working this way brings new perspectives and builds community along the way. The approach they are currently taking is to de-centralise as much as possible.
Deep State IX 2 E, 2021, stretched canvas, 1200mm x 1700mm
The rising profile of digital art has been tied to the cryptocurrency movement, but that unfairly obscures the longer histories of digital creativity, what does Auspicious Victory see as the biggest benefits of digital art making?
Yes, crypto is responsible for a lot of things but digital art is not one of them. Digital art was made before Auspicious Victory even entered this simulation. Digital art is anything shown on a digital screen. It’s that simple. Whatever screen you are looking at, a media professional or artist created it. There is so much media to choose from at present that we don’t even notice art when we see it.
Wow, the benefits… there are so many, where do you start? The benefits for oneself are instant gratification but this can also become a distraction. Digital art is easily shared and can be much more affordable than traditional fine art. Also you can weave deep messages and interactive experiences into digital art. You can express yourself in ways previously unimaginable. It’s corny but true, with digital art the only limit is your imagination. Digital tools are much more accessible, soon to be a commodity/service and allow anyone using a digital device with a screen to make art.
Hostile Body presents the experiences and extremes of chronic and mental illness, has it been conceived as a very personal story or a more universal exploration? What threads have come out most clearly and how have they been explored through the digital mediums deployed?
Auspicious Victory’s experience in this simulation is not exclusively unique. The themes are universal. Auspicious Victory encountered trauma on their journey, from this they sensed emotional and mental injuries, the data could be called pain.
In many of the pieces, the floating objects represent an aspect of an extreme emotional state, both low and high. These floating objects are held in stasis effectively freezing the emotion in time to observe and interpret.
The mood is largely determined by the colour palette; sometimes warm, bright and vivid colours suggest the high of a hypo-manic episode and conversely the darker more turbulent palettes allude to darker states.
The abundance of colour and texture in these works are a facsimile for mental over-stimulation.
The landscape quietly or violently makes its presence felt in the background, reminding the viewer and the artist that storms are always brewing. But as all things, these too shall pass.
Deep State VIII U, 2021, stretched canvas, 1200mm x 1500mm
The exhibition is to be staged at the XCHC, how much of a challenge was ensuring the venue could successfully host the range of art? How vital was it that the venue was right?
No challenge at all. Auspicious Victory is not alone, there is a team of believers investing their time into similar projects and crossing paths with those talented people has been serendipitous and has led to creative and practical solutions. Auspicious Victory is grateful and acknowledges those who have gracefully stepped into the fray.
The venue is essential as most galleries wouldn’t do what Auspicious Victory want’s to do. XCHC is the perfect venue for this show. It’s a flexible white box. It’s intimate. It’s authentic and connected to a vibrant creative community. And its not afraid to try something new.
MOTUTAPU, a collaborative project by Tāmaki Makaurau artists Benjamin Work and Brendan Kitto, is the conclusion of a four-year exploration of the shared histories of Motutapu, or sacred islands, throughout Moana Oceania, including Tongatapu, Rarotonga and at the entrance to the Waitematā Harbour in Tāmaki. These sanctuary spaces, gateways for voyagers departing from and arriving at the mainlands, were where the lifting of tapu and making things noa (free from the restrictions of tapu) occurred, connecting navigators with their ancestors and kainga. For the artists, who travelled to three of the Motutapu locations and engaged with key knowledge holders, the journey became deeply personal, connecting to their own genealogy, centering on reconnection and reconciliation, joining communities across Moana Oceania through time and space.
The exhibition, built around the juxtaposition of Work’s evocative paintings (including the hanging Piha Passage and free-standing Mata Pā screens) and Kitto’s photographs of Motutapu ki Tāmaki Makaurau, Motutapu ki Tongatapu and Motutapu ki Raraotonga, is currently on show at Te Uru – Waitakere Contemporary Gallery (11 June – 11 September 2022), and includes the launch of an accompanying publication MOTUTAPU.
Vacation from Reality – Pener, Fiksate Gallery, 15th July, 2022
Polish artist Pener’s mid-Winter residency at Fiksate culminated with a stunning show at the Sydenham Gallery. Despite the cold and wet weather, Vacation from Reality was irresistable, with the artist’s striking abstract paintings spilling subtly onto the walls behind, extending the impact of the bold lines, colours and forms. The combination of bright and muted colours, along with the dynamic compositions wowed the crowd, who were treated to the sublime work of an international visitor with a refined practice…
The entrance to Vacation from Reality was impressive, the walls painted to work with the canvasses
The beautiful canvasses envelop the viewer in new planes
The artist (L) was all smiles, as was Fiksate’s Jenna Ingram
Our pal Ghostcat pulled out the blue steel…
And he had created a new miniature wall installation
The crowd came out despite the cold and wet weather weather
Pener (R) chatted with Distranged Design recently back from a spell in Los Angeles
Back in June, we were lucky enough to work with local aerosol legend Wongi ‘Freak’ Wilson, Toi Ōtautahi and the Ministry of Culture and Heritage to deliver the free masterclass workshop Exploring Aerosol. Hosted at the iconic CoCA on Gloucester Street, where the white-walled upper gallery provided a stunning setting, attendees were given the chance to learn from Wongi’s mass of accumulated knowledge. Learning about the building blocks of graffiti as a gateway to can control, from the simple tag to the more developed three-dimensional effects of a larger piece, guests were let loose to explore techniques as Wongi presented his insights. The afternoon session dived into Wongi’s approach realism, from landscapes to his mastery of hands, the crowd in silent appreciation of how his images came together.
The free workshop was one of the first of a series of classes targeting practicing artists and providing the chance to expand technical skills. In developing Exploring Aerosol, the goal was to enable artists to develop aerosol techniques while also exploring how the spray can might be used for a variety of forms and styles, elevating the tool to a broader perception. With an energetic response (with limited spaces, not every applicant was able to attend), we hope this was just the first of future workshops that might explore the toolbox of urban art…
The workshop started with blank canvases…
But soon the cans were in use as Wongi showed off his knowledge.
Using graffiti to exemplify a range of techniques, Exploring Aerosol was a practical history lesson.
Workshops require a range of tools…
Wongi’s work started building up as he showed off his versatility…
The afternoon session providing the chance for people to watch as he rendered more realistic effects…
The master finally signed off after an epic day.
We want to hear from more people interested in these types of workshops and initiatives – let us know in the comments or via email to [email protected]
