SDG Art Exhibition @ Milton Street Substation

On the 25th September, The World Economic Forum Global Shapers Christchurch Hub proudly opens an exhibition to bring awareness to the UN Sustainable Development Goals (SDGs) and raise funds for the charities that align to those goals. Bringing together an impressive slew of artists, including a significant number with urban art pedigree, the exhibition marks the beginning of the ‘decade of action’, the ten year span culminating in the 2030 deadline for achieving the goals and in doing so, create a world that can serve future generations more fairly. The exhibition reflects the belief that creativity can play an essential role in bringing awareness to and creating discourses around these causes.

The exhibition, staged at the Milton Street Substation, is made up of a diverse line-up of talent, including artists from Christchurch and around New Zealand: Pops Art, Nick Lowry, Iann An, Séku Skandan, McChesney-Kelly Adams, Ira Mitchell, Hannah Jensen, Kophie Su’a Hulsbosch, Bee Weave (Selina Faimalo), Dr Suits, James Durcan, Flox, Jesse Rawcliffe, Sally Mae Hudson, Lisa Isbister and Jen Heads. Each of the seventeen artists will present work reflecting on one of the seventeen SDGs, providing a response to the relevant issues in their own distinct styles.

The Global Shapers Christchurch Hub is composed of a small number of exceptional young professionals. Members come from diverse backgrounds, united by a passion to influence positive change through meaningful projects and to harness the collective power of active citizenship. Hub members Bridget Williams, founder of Bead & Proceed, and The Conscious Club’s Selina Faimalo and Kophie Su’a Hulsbosch have taken on curatorial duties for the SDG exhibition, drawing on their backgrounds in creative realms, social enterprise and the shared desire to empower, educate and inspire towards a sustainable future. We asked Bridget, Selina and Kophie a few questions to get the run down on the exhibition…

People may not know much about the SDGs – what are some of these goals?

The seventeen SDGs include important goals such as achieving zero hunger, eradicating poverty, supporting good health and wellbeing, climate action and ensuring access to quality education, to name a few.

How did you decide art was the lens through which to bring awareness to this cause?

The SDGs are all interconnected, and in order to leave no one behind, it is important that we achieve them all by 2030 which is only ten years away, so raising awareness that these goals even exist is one step closer to achieving them. Art and creativity send such a strong message that really resonates with many. It doesn’t just send a message, but also creates a powerful statement.

How did the curatorial group select the artists?

Kophie has an arts background and she selected people in her network that she thought would represent the SDGs well. The result is a great mix of artists and people.

Were you looking for artists who were already interested in social and sustainability issues, or was it a case of allocating the concepts to artists?

We looked for artists that could represent these issues, but it was an opportunity for them to learn more about the SDGs and become more acquainted with these issues. We got each artist to choose the three SDGs that resonated most with them, and from there we sorted through them and allocated them each a specific goal.

There is a strong presence of artists with ties to graffiti and street art, despite all the change surrounding those cultures, do you feel that they still display a social consciousness both outwardly and inherently?

As Kophie was the curator she definitely has a bias to selecting urban artists but tried to select a diverse range of artists in other fields. She believes graffiti and street art is one of most free, political and subversive forms of art, so I would say the consciousness of this art form is definitely strong enough. Also, it provides more representation to underground artists, when traditionally the SDGs would mostly be associated with a more highbrow aesthetic.

Tell me more about the venue, what has it presented in terms of the possible lay out of the show?

The venue is an industrial converted substation, a large old brick building, two stories high, with three distinct areas. On the ground floor, where the exhibition will be held, is a large rustic brick room, with a foyer out the front. Upstairs there is an overlooking floor with retro wooden floors and a balcony facing the courtyard outside. It is going to make for a really unique venue.

What other projects does the Global Shapers Hub have lined up?

The Hub is looking at other long term projects such as a Climate Dollar for Christchurch and collaborating with other organisations to help address the negative effects of Covid-19 (regarding the future of sustainable work experience) and, importantly, supporting other hub members who are working on impact projects.

THE SDG Art Exhibition opens September 25th at 6pm, with drinks, nibbles, talks, interactive art and an auction. Funds go towards supporting charities aligned with the SDG outcomes. For more information to the event page on Facebook.

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Tom Bell – Adoration @ Absolution

With everything that has happened in 2020 (so far), it seems like a long, long time ago that artist and designer Tom Bell told me he would be staging a solo show at Absolution this year. But while what seems like an age has passed, I have maintained a level of excitement about the exhibition Bell has come to call Adoration. The show features a body of work that combines both the artist’s established interest in the imagery and themes of Japanese art and culture, but with a new material approach, his digital rendering replaced by hand-painted cut-outs. The sense of reverence for the subject matter (the show’s title a reference to that debt) is empowered by the evidently pain-staking process of manual brush strokes. Bell’s works, whether paintings, stickers, digital prints, tiny enamel pins, t-shirt designs or illustrations, are alluring, their soft pastel colours and dynamic yet sparse compositions combining with the loaded symbolism of Japanese visual culture to feel both traditional and contemporary.

I met Tom a few years ago, he was with his ‘art fam’ as he calls them, at an exhibition opening at Fiksate. Since then his face has become a familiar one at places like Fiksate, Supreme and Smash Palace, always up for a yarn. But when we sat down to chat for this interview, I learned a lot more about him, from the Wellington-raised artist’s relationship with Christchurch, his interests in stencils and tattoos, and his journey to opening Adoration. Part of what made the discussion so engaging was Tom’s energy, he flew between thoughts, earnest and honest, clearly excited and invigorated by the upcoming show and what he had learned as an artist and a person over the last year.

I remember almost a year ago, or at least it feels like that long because of everything that has happened, you mentioned that this show is a farewell to Christchurch because you were planning to move back to Wellington…

Yeah, that’s still the plan [in August]. I’m originally from Wellington, but I have spent almost four years down here. It’s crazy because a lot of people have asked where I was hiding for those first two years! I moved down from Wellington for my graphic design job. At the time my now ex-girlfriend was from Christchurch, all her family were here, so I made the move. I really struggled making connections with people down here. Throughout my twenties I’ve struggled with social anxiety and that really put a big hindrance on me going out and going to shows and other social situations. For two and a half years the idea of going to an exhibition opening by myself, even if I knew people who would be there, would make me really anxious. I would think people are going to look at me and be like, who’s that dude? At the end of 2018 I decided I needed to face some of my weaknesses and get a control of my anxiety.

That social anxiety was a big obstacle for you obviously…

Yeah, the social anxiety was a big hindrance to me. I had people in Wellington say to me: ‘Dude, you should be getting out and trying to make connections in the art community, you’re a designer, you love your art, Christchurch has a really good scene, just start doing it…’ So, when all that happened, I just said, alright, I’m going to put myself out there. I reached out to Jessie [Rawcliffe] because we had started building a connection through Instagram, so I hit her up out of the blue and said you do a lot of collab work, would you be keen on doing one in the new year? She was like: ‘Hell yeah, that would be sick!’ We met up at Smash Palace and started talking about our creative interests. I remember her saying: ‘I paint skulls and girls, am I pigeon-holing myself?’ I said, nah, skulls and girls are ******* badass, and you can tell you really enjoy painting them. From there I was introduced to Josh [Bradshaw] and we’ve been hanging out ever since. I call them my ‘art fam’ and they have been great sounding boards for my creative journey over the last eighteen months. After attending a few exhibitions at the start of last year I started to meet everyone and it was great because it just happened organically.

I remember a conversation I had with Jessie and she asked me if I had painted before, and I said, yeah, but I was trash! She said I should get into painting and get away from the computer. So I did and I just got addicted to it, I was all in. From January to March I was painting every night after work, but I wasn’t showing anything to anyone. For me, a painting had to turn out the way I wanted, if it didn’t, it was trash in my mind, so I would put it under the bed and leave it. I think it was about April last year I finally did something I thought was pretty decent. I was comfortable enough to post it on social media and I had a lot of people reaching out to me saying they thought it was great to see me get away from the computer and to be working with another medium. I was like, well, my digital stuff is better than this, but I think people like this because it has more of a human element to it.

I think we appreciate that hand-painted quality in art, there is an evident authenticity…

I started realising that imperfections on a painting actually make it better because they show that human aspect. It doesn’t always have to be perfect, so what if you paint over lines or whatever, it gives it more character…

So that kicked off your re-acquaintance with painting?

Yeah. Last year for me was just a lot of trial and error. I was doing everything. I got back into using spray cans, because when I was studying, I started doing stencils, but it had been a while. I remember I did a life drawing class; I was terrible at figure drawing, but it was a requirement. I remember the tutor asking me if I painted stencils and I was like, yeah, how can you tell? He said he could tell from the way I drew with solid outlines. I had no concept of tone or shadow. When I was at high school I didn’t do anything creatively, I was quite sport-centric, rugby, rugby league, and my community in Wellington didn’t see art as a career path, you try to be the next All Black or rugby league star or you get a trade, that’s about it…

I see little difference between sport and art. They are both performances. Sport, at its heart, is about skill, technique, a type of aesthetic beauty, so the total partition between the two is strange, people from the arts world often hate sport, people from the sports world think of artists as weirdos…

In my early twenties, when you discover what you like and what you want to do as a career, I was into sports, but I was also really into art and creativity, and it felt like you couldn’t be associated with both. I got really hung up on that idea, because everyone from high school was like, ‘Oh dude, we hear you’re into graphic design and art and stuff, what’s all that about?’ I think now I totally resonate with friends from high school who were really good artists and they would say: ‘Our school sucks, sports get all the funding.’ I had quite a lot of friends who did art at high school, and they would always be moaning that the art resources were terrible, teachers would have to bring in a lot of their own stuff because they just didn’t have the funding for it…

There is a divergence in the way sport and art develop people, I think. In sport, people are eventually trained to follow rules and stick within structures and systems, whereas with the arts there is more willingness to break free. But as I said before, it’s not necessarily an inherent difference. If you think about sport at a more pure level, like pick-up games of basketball, or kids playing soccer in Brazilian favelas, or cricket in the streets in India, those instances are not official, it’s just the love of it and that’s where all the amazing skills and showmanship develop. It’s only once all those other aspects and structures come in, and a particular personality type is preferred, that the focus changes and that freedom is impinged. The same thing can happen in art schools as well. One of the amazing freedoms of urban art is that you are not beholden to convention. I assume your interest in stencils was at least to some degree an interest in what was happening in the streets outside of the institutional world, but there was also a clear connection to the aesthetic of graphic design…

When I first started studying, I came to Christchurch in 2010 and enrolled at the Design and Arts College to do a foundation course. The year before, I decided I wanted to do something creative, but I’d never done anything, so I looked into it and the foundation course in Fine Arts sounded pretty sweet. You did a bit of everything, photography, architecture, graphic design, life drawing, textile design. If you did well enough, you were offered a position the following year. Originally, I wanted to do photography. But when I took the digital media component of the foundation course, which really was an introduction to graphic design, the tutor said to me: ‘What do you want to do next year? I said photography, and he said I should consider graphic design because he thought I had an eye for it. So, from there, I was like alright, maybe graphic design is what I should do. At that time Exit Through the Gift Shop had just come out, and when I saw it my mind was blown! I watched it like four times over a week, and I was thinking, this is rad! These guys are doing stuff on the streets around the world, they are breaking rules, it’s controversial and it’s right in front of people. They’re not going to a gallery to see this, it’s out in the open, so I was like, it could be cool to start experimenting with stencils. I just started looking at YouTube tutorials to get the basics and then I went off on a tangent for like a year doing that. That was in 2010, and at the beginning of 2011 I met Zach Hart who was working at Ink Grave Tattoo at the time, I started getting tattooed by him and I learnt that he had a graffiti background. That grew my interest and I found out there are a lot of tattooists who have graffiti backgrounds. I’m also really into hip hop and there’s that association with graffiti also.

Since I was eight or nine, I’ve always been into tattoos. No-one in my immediate family has tattoos, but I just had a fascination with them. When I was eleven or twelve, I was at the library and I came across a book of Japanese woodblock prints from the early 1800s, and then I found a tattoo book and the images were pretty much identical. I kind of put my interest of Japanese art to the side when I was studying at university but in my mid-twenties I fell in love again with Japanese art and architecture. Since then it has just fully consumed me. My best mate is a tattoo artist in Wellington, he specializes in Irezumi [Japanese tattoos], and I have learnt a lot from him. I think the reason why I like Japanese art so much is that it’s very graphic, it’s designed to be big and in your face with bold outlines and flat colours, but there is still a sense of refinement that gives it a timelessness…

There is an important balancing act when you adopt a historical visual influence, you need to respect that lineage, but also make it fresh and not derivative. How do you approach that challenge?

It is about knowing the subject matter. For instance, a koi fish swims up stream and turns into a dragon, so if I was ever to draw a dragon or a koi, I can’t draw a tiger with it because they don’t go together. It would be easy for people to look at my work and think it’s just Japanese tattoo flash, so my contemporary take on it has been my choice of colour palette. I think my interest in Pop Art has contributed to my use of pastels, there’s a David Hockney piece, A Bigger Splash, it has flat colours, blues and caramels, and that was a big influence. It was painted in the sixties, but it still feels very fresh, so taking that and playing around with colours has allowed me to develop my own take on Japanese art while still sticking to the belief systems. I think some people try to reinvent the wheel and they forget about the fundamentals. My graphic design work is very minimal and with minimal design you’ve got no room for error, if you have one little thing that’s off, it’s going to stick out like a sore thumb, so I focus on the fundamentals with just smaller, subtle changes.

You were telling me earlier that it is only the last six months or so that you’ve become comfortable calling yourself an artist. That background in graphic design and digital work, how do they feed into your painting work, because they must be very different approaches…

When I first started painting again last year, it was tough. With design, when you don’t like something, it’s the classic ‘Command-Z’, undo, so I was very thorough in preparation. I would do a colour study and draw it on screen, colour it, print it out and then from that, paint it, doing like for like. It was very uniform. But eventually I started to just do a quick colour study on screen and then started painting, and now I’m at the point where I don’t do the colour study I just paint it.

Sometimes things look good on screen, but when I’m actually painting it, it doesn’t work. So, I think the last year has really taught me to be looser and freer when I’m working with my hands, to not be such a control freak. Normally I’m a perfectionist, especially with my graphic design work, it’s like, that’s terrible! Back to the drawing board! But when you make a mistake on a painting, when an outline has smudged, there’s a human element to it, and that’s something that I have probably learnt to appreciate. I went to a tattoo convention in New Plymouth last year and there was an artist whose paintings I love, and he was selling prints. I could see there were little imperfections in the print, and it was fine, I realized I’m just too much of a control freak. I think that freedom is why there’s been no ambition at the moment to go back to the digital side of things, because I like the fact that if you screw up a painting, you’ve got to problem solve on the spot and work with what you have…

I’ve always loved the idea associated with Margaret Kilgallen’s work, the wavering line. I think we need to attach to something human in an increasingly technologically-driven world, we become hyper aware of when something is perfect, and we recognize imperfection from another human and I think that is really important. You were talking about that idea of going back to painting being inspired by conversations with friends, that idea of community must be a really important part of where you are, is losing that when you move back to Wellington a daunting thought?

It hit me this week that I’m moving soon. I’ve got my two best mates coming down for the opening of Adoration, Mike Todd, a tattoo artist, and Jerome Taylor, who I went to high school with, who is a fashion designer. They are my creative community up there in Wellington. When I started getting tattooed by Mike, he knew I was painting on the side and he was giving me tips, like how tattoo apprentices learn, you trace a rose fifty times and by the twentieth time you should know how to draw a rose. He’s been a big part in me fundamentally learning how to paint the way I do. But in terms of what I’ve got here with Jessie and Josh and everyone else, I don’t have that. It’s a bit daunting, but I did it here, I just have to put myself out there. I’m from Wellington, so I should be able to connect a bit more if anything just because I’m local. I think having a show here will help open some doors up there. It’s funny, I already know I want to do another solo show in Wellington next year. I’ve already got ideas bubbling about what I want to do for my next show. It’s contagious, I reckon, it consumes you, but I’ve really enjoyed the process…

How did the show come together conceptually?

When I confirmed this show last year, I was still working at my old job, in a corporate structure, getting paid to do a job, and I just really felt like I was being controlled by the man. I didn’t want to sound like a temperamental artist, but I really struggled with being told to be creative within a certain framework or it wasn’t of value. So when I was coming up with themes for my show, I was thinking about basing it on entrapment and having conflicting thoughts in my head, and just lacking self-worth in a way, but then in January, I drew out my whole show in a wall plan to see if it was going to tell a story, and I realised it doesn’t have to, screw that! I’m leaving town soon, I just want to do something that I’m passionate about. It is filled with traditional Japanese influences but with a contemporary take. There are a few pieces where I have dissected objects and have incorporated other objects with them. Textures play an important part in my inspiration so I wanted to bring them in also. The show is about paying homage to Japanese art and culture, and that’s why I named the show Adoration, it’s about devotion and how I hold it dear to my heart.

We talked briefly about artists being pigeon-holed, do you ever think about that in terms of the Japanese influence in your work?

Totally, I always think to myself, am I pigeon-holing myself with my interests? The one positive to come out of lock-down was new ideas I want to paint when I move back to Wellington. It’s abstract, with no Japanese themes at all. I haven’t told anyone about it, I don’t know if I want to push this, I don’t know if I want to show anyone, I’ve done some real rough sketches and I don’t think anyone would expect it.

I assume they will likely see the light of day in Wellington, which means that while this show brings this chapter to a close, this new body of work might start the next chapter…

As much as it’s been a really good time painting the work in this show, I think this is the perfect time to start some more experimental stuff. A lot of people have asked why I don’t get into tattooing, because it makes sense with my subject matter currently. But I don’t want to keep exploring the same themes and imagery and that’s the connection people seem to make, that my Japanese- influenced work would translate to tattoo. It’s something I have warmed up to in the last six months as I’ve become more confident with the hand-rendered stuff, but tattooing is completely different from painting, it’s a whole new technique. Once I’m back in Wellington, I’m going to use the rest of this year to have a play around and try some experimental stuff, do more freehand work, which is something I have been working on for the last six months. I guess there has been a lot of personal growth down here in the last two years as well…

So, this is an important milestone…

It is an important milestone. About six months ago I realized that it makes sense to have my first show here in Christchurch, because this is where my creative journey really started. Obviously, I went back to Wellington after the 2011 earthquake and relocated to continue my studies up there, but really making things all started here, so it all makes sense. It’s like a goodbye gift, my time here is up, but this is where it all started for me. I never thought I would have a solo show, I never thought I would have my work in a public space where people would want to come see it. I think we all get a little nervous, like are people going to show up? I’ve had a lot of people reaching out to me saying they are looking forward to seeing the show. Getting messages like that has been really humbling.

That must be cool because as you have mentioned, the process of creating work and then the step of putting them out in the world can be scary. It’s a long and constantly changing road, the process and development, the failures, the changes of direction…

Yes, it’s a vulnerable position because you work on something for so long and then you think you are comfortable to show people, but once it’s in a public space, once it’s out there, then it could be well received or it might not be. It’s all part of it and I look forward to seeing how people interact with the show on Friday.

Adoration opens at Absolution in the Arts Centre on Friday, 7th August, 2020 at 6pm.

Follow Tom on Instagram and Facebook and check out his website

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Urban Abstract at Fiksate, Friday 25 October

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

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

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

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

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

We can’t wait to see this show!

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

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Hello 413 Local Gallery!

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

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

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

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

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

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

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

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

Yep!

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

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

 

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

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

Exactly! (Laughs)

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

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

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

Yeah!

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

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

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

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

Have you had any previews of work yet?

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

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

Two weeks, I think…

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

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

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

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

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

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