For the September recap we reached out to our pal Teeth Like Screwdrivers, sticker aficionado, purveyor of pencils and host of Slap City, a fortnightly creative collab session held at Fiksate Studio and Gallery. As a figure who has brought people together to share, make and collaborate on creative projects, it was no surprise his highlights from last month reflected the communal, from photographic projects to conscious exhibitions and, of course, the Slap City events on the road to Ōtautahi Zinefest. Take it away Teeth Like Screwdrivers…
Is it the new normal now to talk about how weird each passing month is? It is? Ok, I’ll continue, with our normal. Welcome to September 2020.
September seemed to ramp up with ‘happenings’ in Ōtautahi. Maybe it was watching what was going on up north and knowing how lucky we are down here, maybe the feeling that summer is just around the corner, but there certainly seems to be a buzz around the city and the stuff I’m interested in…
Slap City on the Road to ZineFest
A regular event for me has been hosting (I turn up!) a fortnightly sticker and paste-up workshop at Fiksate Gallery. For the month of September the workshops took on a new, busier, more awesome direction when we were joined by Ōtautahi Zinefest, Ride on Super Sound, M.K Press and The Physics Room. Suitably called ‘Road to Zine Fest’ the evenings saw people trying their hand at zines, Riso printing, sticker collabs and the ever popular badge-maker. Then of course there was Zinefest itself on the 26th, which was a huge success and really great to see it happening at Tūranga smack in the middle of the city.
Green Lane Market
Markets of all sorts seem to be kicking off across the city, especially markets based around sustainability, recycling and re-purposing. Green Lane has been host to some great events in the past couple of months (King of the Forest was insane) but every Saturday it opens its doors as a market. The last few weekends have been really busy and it is great to see spaces like Green Lane pop up and cater to something other than the mall shops and international brands.
Down Below Print Co.
Living in Lyttelton I am pretty biased towards anything portside. Down Below Print Co. is a Lyttleton-based screen printer with strong ties to the Dunedin scene. Every month they are releasing a collab t-shirt with a different graf artist for a limited time and run. For the month of September it is Agroe, and it is a good one!
Maybe it is that whole post lock down thing and a need to get out and about but the city seems to have been overrun with stickers and increasingly paste-ups. It has been great to see Christchurch is catching up with Dunedin with heaps of international artists getting pasted up. My particular favourites have been seeing YAYA, Vez’s spoons and more recently Cape of Storm’s tongue-in-cheek art works popping up across the city.
SDG Art Exhibition at the Milton Street Substation
Having been involved in the very first Conscious Club event I am always stoked to see what they get up to. Not only have they recently opened their headquarters in the Boxed Quarter but the last few days of the month saw the opening of SDG Art Exhibition at the Milton St. Substation. The exhibition showcased the work of 17 different artists, each work representing one of the 17 United Nation Sustainable Development Goals. Highlights of the show for me were the works by Jessie Rawcliffe and Lisa Ovington.
Justyn Rebecca’s Together: Apart: Lyttelton
Right at the end of the month there was a rad show at Te Ana Marina in Lyttelton. Together: Apart: Lyttelton is a huge installation of photos taken by Justyn Rebecca of people from Lyttelton during our Lockdown. All the photos were taken through windows, for social distancing reasons, and had to be within walking distance of Justyn’s house. Marlon [Williams] played some songs, people hung out on the grass with picnics and there were kids running about, skating and on scooters.
Welcome back to normal, Christchurch.
Follow Teeth Like Screwdrivers on Insta, and become part of the Slap City family on alternating Wednesdays at Fiksate Studio and Gallery…
Spread the word about what's happening in the Christchurch urban art scene:
For the latest entry in our photo essay series, we reached out to Befaaany, a Christchurch photographer whose work showcases the urban and concrete landscapes of the city. After being impressed with her striking pictures on Instagram, we knew she would be a perfect fit. Befaaany’s response was a beautiful collection of black and white images that run the gamut of urban expression, small stickers, bold graffiti, abstract paintings produced in perilous environments and the ephemera of a eradicated presence. In compiling these photographs, Befaaany is able to highlight the issue of street art’s gentrification and mainstream popularity, a process that has in many ways clouded our recognition of street art’s subversive and disruptive potential…
Local street artists are constantly finding new ways to create art in a city filled with council-funded installations from international artists. These have included challenging gentrification of graffiti directly, blurring the lines of ‘legitimate’ and ‘illegitimate’ street art, disguising their art into the city, and leaning into the temporary nature of their art form. – Befaaany
Follow Befaaany on Instagram to see more of her amazing work…
Spread the word about what's happening in the Christchurch urban art scene:
This month we asked designer and DJ Beccie B (Becca Barclay), the force behind Imposter posters, to let us know what she got up to in July. Knowing Becca, the cold clime was never going to be a hindrance, especially not with the array of activities gracing the post-lock down calendar. If anyone knows what’s up, its Beccie B, so here is her And That Was… July 2020:
We’re in August… WHAT?!
July was kind to us all! For a wintry month usually filled with rain, bed and Netflix, the post-lock down positivity and happening of events was all around us. It was so awesome to see so many people making the most of artistic opportunities and things happening around the city. What have been my highlights? Heaps! Let me tell you some more… July started with two huge events that meant so much to me…
Haz Called a Tribe at Outsiders
The first was Haz Called a Tribe, the group exhibition organised by Harry King (aka A Tribe Called Haz, aka my best pal). Held at Outsiders skate shop, the show featured 15 young Christchurch-based urban artists.
Like any A Tribe Called Haz exhibition the energy was electric with a massive amount of people (of all ages) showing up to support and respect the art from our local community. I was so honoured to be involved, to help curate and to have my artwork included among this line-up of artists. Some of my personal favourites were from local legends R.Weaver, Meep, PK and Bren. Bren’s piece, affectionately named Mark, featured a dog and had me in awe as it was so different from his usual output. PK, R.Weaver and Kophie (Meep) all delivered too, with pieces in their more classic styles.
Sugar & Spice at Flux
All good exhibitions have an after-party, right? Some of you may know that for the last couple of years, under the alias Imposter, I have been creating marketing and posters for many different promoters in the Christchurch electronic music scene. A long-term goal of mine has been to hold a gig and here it was, my first-ever! Sugar and Spice was compiled of a full female line-up of local wahine DJs from all different genres. Myself, Rosa and Tinny played alongside headliners, Texture, Fyretits (Dream.r & MC Jenna Lynn) and Mr. Meaty Boy.
This event showed Flux its biggest night yet and the energy was unreal! Watch this space for Sugar & Spice Summer…
CHCH is LIT Festival
A local event that is always highlighted in my calendar is the Botanic D’lights (Yes, it is a part of Kidsfest. Yes, I am a child at heart). But due to this year’s COVID interruption, Botanic was postponed and CHCH is LIT made for a very honorable replacement. A total of 20 lighting installations were scattered throughout the CBD and New Brighton, including Tim Budgen’s Reflections, which was my highlight. A galactic-inspired piece along Oxford Terrace reflecting into the Avon River, it made for a real ‘wow’ moment.
Art Social: Art for Equality at XCHC
My dear friend Shannon Kelly hosted yet another incredible Art Social at XCHC. In light of the Black Lives Matter movement, this Art Social was a little different and hosted a group exhibition made up of 12 local artists with 50-100% of profits going toward artist’s chosen racial equality causes.
With each artist taking inspiration from black culture, this exhibition was such a beautiful collection of inspired works. A personal favourite was the trio of miniature ‘Jen Heads’ by Jenna Lynn Ingram.
And with opening night featuring Roscela from the 03 Pineapple Club, and the usual art supplies scattered throughout the XCHC, it made for such a good night filled with incredible art, delicious cocktails, and a real sense of togetherness.
Winter Night Market at Te Puna o Waiwhetu
I must admit, I don’t go to the Christchurch Art Gallery as much as I should. And every time I do, I remember what an incredible asset it is to our artistic community.
The Winter Night Market was no exception! If you didn’t go, you truly missed out. Everyone was there. The place was packed, and the energy was incredible. The highlight for me was the exhibition Louise Henderson: From Life, which included her late career masterpiece, The Twelve Months (this exhibition is running through to October and if you find yourself bored in the CBD – please go!). That is not to mention the origami, the jewellery, the crate digging and all the familiar faces! What an evening!
Spread the word about what's happening in the Christchurch urban art scene:
When Aotearoa entered the level 4 lock down as we faced the threat of Covid-19, many of us took to a daily walk within our bubbles, nominally for exercise, but if we are honest, as an escape from the confines of our homes, to remind ourselves that the world around us was still there.
Luckily for me, my suburban surroundings provided plenty of points of interest, and chief among them were the constantly expanding series of stickers and paste ups produced by the prolific Dr Suits.
Dr Suits’ output over the last few years has shifted to a process-centric fixation with abstraction. As he has investigated materials and techniques, he has also grappled with the transference between street and studio. While he has produced a range of outdoor works (including commissioned murals and even a basketball court), the lock down period saw perhaps the most cohesive body of street work he has created. From small vinyl stickers to large-scale paste ups, sweeping textural waves and various geometric forms of flat colour were juxtaposed to create items of intrigue. To learn more about this flurry of creativity, we caught up with Dr Suits to talk about the inspiration and motivation for these (sub)urban additions and how extraordinary times have inspired his work…
The notable thing about this body of work was just how quickly it seemed to come to fruition and appear on the streets, was it something you had already considered, or were you specifically inspired by the lock down?
It was spontaneous really. I think a lot of my work happens like that, when I find a delicious tasting fruit, I feast on it, until there’s no fruit left.
When we entered lock down, we just raided the studio for a bunch of materials and resources with no clear plan of what we were going to do with them. We just wanted to make sure we had stuff to work with at home. The stickers were great because they were small, and I could just mess around in the lounge.
The stickers led to the much larger paste ups, a form that you have a bit of experience with…
They were something that just came out of the stickers. It was a similar process, I just wanted to do the stickers bigger. I had the materials, the paint, the paper, the glue. The beauty of paste ups is that you can work on them at home, and then it only takes ten minutes to install them, which was great for lock down. It reminded me of the post-quake period, when I first started doing paste ups, but I adapted them to my present artistic approach.
A lot of your previous paste ups were illustrative. These works are a clear reflection of your more process-driven abstract direction of the last few years…
I thought of a few ideas to do some illustrative paste ups with more on-topic commentaries, but I couldn’t find the motivation because I was too distracted with the process of making these stickers and just doing what seemed natural…
Do you connect these works in any outward sense to the Covid-19 pandemic?
I could probably think of something more specific if I wanted to, but they are a direct response to that situation because if I didn’t have that situation they wouldn’t have been created, so in some ways they are a direct response.
The paste ups and the stickers both use a collage technique, but they can be experienced very differently because of their materials and size. Were you interested in how people would respond to the different works?
It’s more driven by the process of creation. I know people are going to respond to them in their own way and that’s what I like about abstract art. People always see something that you don’t see or think something that you don’t think. Even though they use the same process, I wasn’t really thinking about it. Obviously, the paste ups don’t demand as much inspection because they’re so big that you can see them from afar, you may or may not notice that it’s collaged. I was just really enjoying the process of cutting the shapes and overlapping them and exploring different compositions. That is really similar to the way I previously would do it, but I would use Adobe Illustrator or something like that to play around with shapes and I would just pick the ones that I liked. But with the stickers, each one was a development, and I would just keep each one, it wasn’t just picking the ones that I liked and then using those as a composition to make into an artwork…
When you’re putting the paste ups on the wall, are they constructed with the final image in mind? I’m assuming they are applied on the wall in sequence…
Yeah that’s right. With the stickers, I’d start with the background, with the brushy effect using the wide-tip Molotow marker, and then I would just cut shapes out of colorful vinyl, some which I’d spray painted first, and I’d play with compositions. Then I used those stickers to inform the larger paste ups.
Were you thinking about spots for paste ups in a different way to the stickers? I assume there was less planning around the stickers, whereas the paste ups would require some forethought…
There’s an abundance of spots out in New Brighton, so it’s not hard to find a spot. And during lock down it was so quiet, no one was around, I mean I could have painted them if I wanted to. At the time, I was more interested in the collage approach and finding those small imperfections where they are slightly offset and seeing the depth between the layers, the paper sticking on top of another layer which is on top of another layer and building up. The paper ripples and it creates little shadows and as it gets wet it shrinks and it might warp a bit, the stripe might move off to the side a little…
In terms of placement, what makes a perfect wall? It feels as if your works like to have room to breathe, but also it seems that geometry is an important consideration…
Definitely, I really like a wall to have similar or reflective elements that are going to make it relatable to the work. I like to have contrast, but I also like it to have some sort of unity. That balance is what I like in my work more generally anyway. You want it to stand out, but you want it to fit in, so I try to find texture or line or some shape or something in the composition of the space that’s going to contribute to the overall composition on the wall, like a box or a down-pipe, a color or a paint change or a set of windows.
Do you feel this has taken your studio work in a new direction?
Definitely. The stickers started developing with more curves and softer lines and the collage approach to the process is something I’ll take forward.
Your work seems to evolve in quite a fluid progression, with certain elements recurring and coming into focus, does it feel that way to you as you are working?
think with abstraction, it can be very sparse in terms of the elements you’re working with, so the changes are noticeable really quickly when you do change an approach or technique or some process behind how you make an image. I can really latch on to something just by changing that one thing and that change becomes a solid basis and everything else around that can change but you are still kind of keeping a consistency within the work.
There’s an anchor…
I like to have an anchor, especially with colour or shape or composition or texture. The anchor’s a link, you could look at it two ways; it’s a safety thing, I don’t want to jump too far away from what I’ve been doing, possibly because of fear, but also it keeps it recognizable from previous work so you can see a progression, that connection between where you are going and where you’ve been.
Has this series made you think about the street/studio balance?
I’d like to do more of the paste ups. I’ve got lots of ideas for those, but I can see them influencing my paintings as well. I want to take that same process, just do a little collage sticker and then maybe do a paste up or a painting directly from that, maybe try to do both, and just push that image out in more than one way…
This month we asked Harry King, a.k.a A Tribe Called Haz, to fill us in on his month. During the lock down period, he seemed busy; painting, drawing, DJing (apparently all in his kitchen)… But for a pretty social guy, we were sure it was a challenge to not be out and about enjoying his wide network of crowds. With May finally seeing the lifting of the stricter lock down conditions, A Tribe Called Haz seemed a perfect fit for our latest And That Was… He told us: “I spent a large majority of May painting in my kitchen. I’m usually out every weekend but as we’re starting to re-learn how to interact with each other in a post lockdown era, I’ve been in the kitchen a lot more.” So, what has A Tribe Called Haz found exciting outside of his kitchen? Here are his five favourite things from May…
Celebrating Level Two
May 14th marked the day we could hang out as a group of ten, so a group of us headed to Dux Central for a beer, some good food and some atmosphere. The best way to use our newly granted freedom.
DTR production for the New Brighton Outdoor Art Festival
I released two collaboration t-shirts in May, one with the Christchurch House boys, Notion Touring, and another with a big player in the Christchurch Drum & Bass scene: Brand + New. Collabs that bring to together my favourite things are always a highlight.
Drum & Bass: The Movement at Hide Club
We ventured to the watch party for Drum & Bass: The Movement – The D&B Documentary at Hide Club on May 29th. There were beers, burgers (Black Burger to be exact) and Drum & Bass. Three of my favourite things! It was strange being back in a place I’ve spent many a night dancing & celebrating without having a thought about social distance, now under these new conditions. The documentary was informative, showing part of the history of the music I love.
Empire Chicken to the rescue…
Trying Empire Chicken down at Riverside Market for the first time on a rather dusty Sunday afternoon was an absolute life saver. Sometimes it’s the little things that make the difference.
Stickers perhaps have the broadest reach of any form of urban art, ranging from handmade to commercially produced, and extending from branding to political to purely aesthetic. Anyone can make a slap and anyone can apply a sticker, increasing their ubiquity in our urban environments. When we need to know anything about stickers, our go-to is Teeth Like Screwdrivers, sticker maven and founder of SlapCity. When we invited him to compile a photo essay, it was always going to be a collection of stickers, but what we didn’t realise was how wide-reaching his iconic pencil slaps have become…
We all love stickers.
From our childhood visits to the dentist, the skate shop, our international luggage or even a daily piece of fruit, stickers are part of our everyday life. For me it started when gazing into the cabinet of my local skate shop and spending what seemed like hours, and all my change, deciding which sticker I wanted. Then after buying ‘The One’, the agonising decision of how and where to stick it would follow. It probably only lasted one session before being destroyed, but that wasn’t the point.
Stickers are simple in every way. They may be the quiet, annoying, street art step-brother to graffiti, stencils and paste-ups, but their simplicity is undeniably appealing.
Stickers are cheap (or better still, free!). They are clean, discreet and you can make them by the hundreds. They fit into your pocket, they are visually compact and can be slapped up with the sleight of hand, quickly and in large numbers. This is their appeal.
Repetition works, and stickers are a perfect medium to demonstrate this principle. As long as stickers are being put up faster than they weather or are cleaned, they are accumulating. – Shepard Fairey
Stickers are the perfect medium for characters, typography, graffiti, illustrations, tags, politics or personal messages. Sometimes a sticker is just made to disrupt your eyeline, hidden in plain sight, fighting against the blandness of the modern cityscape, making passers-by search for a hidden meaning. Stickers are also temporary; the elements and scrapers making short work of their papery fragility.
The sticker family is a close-knit, friendly one. Sticker art started local; getting out and slapping up your own, spotting and recognising other’s work. Packs started being posted internationally; traded, swapped and collected. Now it is easy to get your stuff up in places you would never visit alongside artists you will never meet. You are able to collaborate on pieces and put up combos from artists from all over the world in your hometown. Stickers have made it into galleries and sticker-specific art shows continue to multiply.
Graffiti and street art have evolved into more than just the writing on the wall. Leaving alone the problematic expansion into commissioned work and mural festivals and the questions around authenticity and even gentrification, urban art has long been tied to other realms of expression. Of course, the documentation and discussion of graffiti culture as it emerged in the seventies and eighties by academics, writers and, perhaps most notably, photographers, ensured a symbiotic relationship between the art and these orbiting parties. Alongside these forms of investigation and documentation, filmmakers have had a strong presence (Manfred Kirchheimer’s Stations of the Elevated of 1981 an early ‘graffiti film’). Both outsiders and those deeply entrenched within the culture have explored, expanded and told the stories of graffiti, street art and the artists who now defy catergorisation through moving image. While some films have attempted to expose many to the mysteries of urban art, others have preferred an informed audience and remained stoically more niche. Some have celebrated the superstars, others have used little known figures to reflect upon more intimate, yet accessible themes. As a result, urban art films reach from mainstream popularity (think Exit Through the Gift Shop) to less grandiose platforms like YouTube and Vimeo.
Following on from our ‘Book Club‘ a few weeks ago, we thought this time we would rope in a couple of friends to give us their favourite graffiti and street art films. We asked TOGO and Berst, both figures with their own experience of producing video content, to name the urban art films that have left the biggest mark on them. If you follow TOGO on social media, you will be familiar with his video productions; embracing chaos, exuding a sense of playfulness and yet always with a thoughtful philosophical beat at heart. It is no surprise that his selections also exhibit those traits. Berst’s Real Time series is a growing documentation of Aotearoa graffiti history, and is surely influenced by the films he has consumed. His picks reflect numerous personal revelations that have fed into his own philosophies and understanding of graffiti culture.
So here, in our opinions and in no particular order, are fourteen urban art films you should check out, starting with a few of our own our picks…
Watch This Space Picks…
Vigilante Vigilante: The Battle for Expression (2011)
Vigilante Vigilante , directed by Max Good (who co-wrote with Julien de Benedictus), tells the story of guerrilla buffers, those figures who exercise a self-imposed mandate to eradicate graffiti from city streets. The central premise is that their silencing of the streets is as ideologically problematic as the art they are removing. While it starts as a sleuth-like investigation into the identity of a mysterious buffer in Berkley, it soon expands to highlight other figures and the story only gets stranger and the characters more bizarre.
Martha: A Picture Story (2019)
When I saw Selina Miles’ documentary about famed photographer Martha Cooper, it was with an audience of people around Cooper’s age. However, as the film began, it became clear that Cooper was not your average 70-something. The film is not strictly urban art-focussed, but Cooper’s role in documenting one of the high eras of graffiti and the decades since has made her a beloved figure in the urban art world. And at its heart, Martha is a love letter to a determined, inspiring artist who refuses to submit to expectation and has no desire to slow down.
Beautiful Losers (2008)
Beautiful Losers is another film that isn’t strictly a graffiti or street art film, but in following the scene that emerged out of nineties New York around Alleged Gallery (the film is co-directed by Alleged founder Aaron Rose, with Joshua Leonard), it is tied to the anarchic spirit and influence of urban street culture, and of course features the likes of Steve ‘ESPO’ Powers, Barry McGee and Shepard Fairey. It is whimsical and funny, while also heartfelt, highlighting a time that continues to be so influential upon art and visual culture today.
Inside Out – The People’s Art Project (2013)
While Faces, Places, made with iconic Brazilian filmmaker Agnes Varda, won French artist JR more critical accolades, this HBO documentary, directed by Alistair Siddons, about the Inside Out project that won JR the TED Prize in 2011, is personally preferred, covering of one of the most enduring urban art projects of the last decade. It extends from the rioting streets of Paris to the earthquake stricken favelas of Haiti, exposing the community-centric concept of JR’s work.
Dirty Hands: The Art & Crimes of David Choe (2008)
It’s all or nothing for the wild David Choe and this film, the result of director Harry Kim’s multi-year trailing of the artist, is a case for living unrestrained and defying suppression. It profiles the artist’s life over seven of his most crazy years from big commercial success to a long stint in prison. The film offers a rare insight into an interesting individual who will questionably entice you out of that comfort zone.
The Antics Roadshow (2011)
A look at ‘famous pranks and acts of activism’, this documentary film directed by Banksy and Jainie D’Cruz, affirms all our unruly behaviour and questionable habits. Artists such as Mark Roberts, who streaks at major international sporting events, and Noel Godin, who throws cream pies at celebrities and politicians, are praised and celebrated in this thought-provoking piece of work. Bad intentions can bring good results. And remember, you can always rely on a golfer for a reaction…
Momo Bad Murals (2016)
In this short film, abstract artist MOMO travels around Italy in an attempt to paint bad murals. Illegal, fun and free, his aim is to care less about the outcome of the work and more about the experimentation. It’s an enjoyable and amusing film that reminds us to occasionally take a step back in order to move forward.
The Price of Everything (2018)
Nothing makes you want to paint the streets more than watching auction houses sell paintings for squillions of dollars. The Price of Everything delves into the contemporary art world, examining the relationship between creativity and commodification in today’s money-driven society. While the film, directed by Nathaniel Kahn, reveals how absurd the art market really is, it also provides a fascinating look into what makes art valuable.
Yes, it’s commonplace on lists like this, but none would be complete without it. Go watch it again and tell me otherwise.
Style Wars (1983)
What can I even say about this documentary that probably every single writer in the world hasn’t already said? It’s a timeless classic. It’s a documentary that captured a beautiful moment in history and gives us some insights into the early contexts of graffiti and hip-hop culture. This is definitely a documentary that I have watched quite a few times and happily watch again. Each time I watch it, I learn something a bit different about the movement. The quotes in this are also really memorable particularly the segments from the likes of Seen (“never mind probation…”), Cap (“Blood wars, buddy…”), Skeme (“You do doodle”), Kase 2 (Yeah, I vandalism alright…”), and Min One (“That’s never forgive action”).
I remember watching this for the first time and being blown away by the individual vignettes of each writer. There was a really good cross section of writers doing different things and for the first time, it gave me an insight into the writers’ lives. During this time, I was only tagging and just being introduced to piecing, so Earsnot is a notable standout with his daylight tagging and stories about racking. I was also particularly drawn to Toomer and Saber’s stories. They are examples of two writers who had dedicated themselves to the game and had made some major sacrifices to get up. There are also so many quotes that came from this documentary that my friends and I still say to each other today.
Piece by Piece: The History of San Francisco Graffiti, Documented (2005)
From memory, Piece by Piece was the first DVD I actually purchased and still have. It was accompanied by a little booklet which profiled a couple of main writers from the San Francisco scene. I read this book so many times during my part-time call centre job. I recall reading the Revok, Norm, Saber, and Reyes profiles many times over. It was the first time I actually got to see a city’s graffiti scene through so many different perspectives because they had interviewed so many people. Piece by Piece introduced me to a lot of ideas about inner city bombing, territory, catching high spots, and productions.
Kings Destroy (2006)
I watched this documentary at my friend’s house. I’m not sure how we got it but GBAK had more or less just formed as a crew and after a house party we went out bombing because we were so hyped. The message of this video was to go all city, and this really planted the idea in our minds of how to get up. It’s also one of the first videos that profiled one singular writer and had so many people vouching for him that it instantly gave him this kind of celebrity status. It was interesting because he also showed his identity but at the same time was also painting trains and bombing illegally on the streets.
Dirty Handz 3: Search and Destroy (2006)
The third of three Dirty Handz documentaries, Search and Destroy is definitely the most refined and well put together. The narrator behind the video gets you hooked the moment he starts speaking. It’s almost a video diary of a train writer. Crews like WUFC and SDK lead the way in this video for hardcore train painting in Europe and it is just jam-packed with action. It really showed me what was possible with teamwork and it had a bloody awesome soundtrack as well. It had some hip-hop music but mostly electro and techno vibes which was quite a different to the American representation of graffiti.
That’s our list, what have we missed? let us know…
The lockdown has given us time to get busy making and doing, and with the magic reach of social media and the digital realm, we have been able to see what some of our favourite folks have been doing to pass the time whilst stuck in a vacancy.
We came across Tom Kerr’s (DitchLife Tattoos) Instagram lesson on how to make lino-cut slaps (using his playful, deadbeat riff on the iconic, punk-ish aesthetic of Shepard Fairey’s ‘Andre The Giant Has A Posse’ as the example) and had to share. Enjoy…
How to make a lino-cut sticker in 5 easy steps:
Step One: Find an idea to copy (nothing is original anymore and all good ideas have been taken, so just rip something off and claim you are doing it as a reference to be cool)
Step Two: Do a draft first, either by hand or digital (when lino cutting, it’s best to go big if you want more detail, especially when first starting out. I went really small with too much detail because it was the last piece of lino I had)
Step Three: Transfer your design onto lino. I do this by drawing the design with pencil then placing it on the lino and tracing over the back of the paper, pressing the pencil from the other side onto your lino (this will also invert your design which is crucial if you’re including type)
Step Four: Cut out the design and cover it in paint or printmaking ink if you have it/can be fucked buying it (it’s really good so I recommend it).
Step Five: Get a sticker and press it face down onto your lino (use a rolling pin or your hand or whatever you want, tbh). I also use masking tape to mark our where the edges of my sticker should be to get ’em roughly in the centre.
Final tip! Don’t give up! If they look shit that’s kinda cool anyway and you get better every time! Happy sticker making ya’ll…
Josh Bradshaw’s Arcane Connection is the second in our series of photo essays, and for the man occasionally known as Uncle Harold, it is, at first glance, something of a departure. This series of photographs signifies Bradshaw’s exploration of a range of new artistic and creative directions, visually distinct and yet still connected to the established body of work produced under his well-known pseudonym.
For the artist, the similarities are both apparent, yet hard to define. Josh explains his struggle to define his expanding approaches: “I often find myself tripping over my words and struggling to make sense when explaining anything about my work or why I make it to anyone. It’s all the same thing to me, my photos, my paintings, my writings, my drawings, they are all the same. It’s all very obvious in my head, although I’m not sure many others would think the same.” However, despite his dismissive shoulder shrug, the connection between Bradshaw’s wider body of work becomes apparent through reflection.
The images collected for Arcane Connection are not just a survey of urban experience and immersion, they also reveal a deeper consideration. As Uncle Harold, Bradshaw has constantly transformed the ordinary, melting familiar icons and objects and forcing us to reconsider our attachment to the mundane. These images similarly explore the overlooked. Not only does Bradshaw re-contextualise the functional aspects of the urban landscape through a stark black and white geometry, he also reveals his interest in their suggestion of connectivity, movement and exploration. By repetitively documenting the ‘urban white noise’ of human constructions such as pipes, vents, drains, hurricane fencing and architectural forms, Bradshaw attempts to make sense of his surroundings and our increasing disconnect in the digital age. Arcane Connection is an invitation to do the same…
All photos are credited to Josh Bradshaw
Thanks to Jessie Rawcliffe for her help on this piece!
February flew by, right? I mean, it literally seemed like I blinked and it was over. But if there is anyone who can fit a lot into what seems like a little, it is Fiksate’s Jen Heads. The artist, MC, gallerist, and mother is always juggling a range of projects. So it was natural for her to compile And That Was… for February, after all, she has hosted international artists, been the creative force behind a cool festival presence, and taken in some sights and sounds. In no particular order, here are the things that made Jen’s February…
The honor of hosting international artists Robert Seikon and Anastasia Papaleonida at Fiksate was a highlight of January and February. Alongside watching them produce such high-caliber art, hanging out and getting to know them was awesome. We introduced them to faces and places around Christchurch, including our local beach, to which Robert responded: “super beach, very nice, very nice” (His accent was pretty epic!). They were the best people. <3
As part of their residency, I was able to facilitate a large-scale mural for Robert and Anastasia on private property for a pretty well-known local company. You can see the mural from the street if you are down Lismore Street (just respect their private property). It’s an amazing mural and using such bright colours pushed them out of their comfort zone. I feel Christchurch really lacks abstract murals, so this is an important addition to our city’s collection. I loved watching their process from start to finish. They work together so well, they are incredibly precise and fast. Inspiring.
RDU 98.5fm had stages in three festivals this summer – Beer Fest, Nostalgia and Electric Ave. I was asked to realise the design concept for their crew and stages, based around the star of the show, Ziggy Starlet – a 1987 Starlet with a full sound system and DJ booth installation, it had a retro race vibe. In a pretty massive task I produced signage, banners and props for them. I am pretty stoked on the results!
On a smaller scale, I found an aged Jen Head in New Brighton. It was like looking into the future…
As an MC, getting to meet and watch an idol of mine, Stamina MC, was a huge highlight! He performed live at the Sun & Bass BBQ gig at FLUX, Christchurch’s newest bar and venue, along with DJs Asides, Tbone and Patlife.