Kophie Hulsbosch – Future Proof

Kophie Hulsbosch might be softly spoken, often punctuating sentences with gentle laughter, but it is quickly apparent that she is driven by a desire to use her creative output for good. I was introduced to Kophie when I was preparing for our story about the RAD Collective, and as I got to know more about her, I discovered the diversity of her practice, from her clothing brand, Future Apparel, to illustration, via graffiti and surrealistic painting. In her own words, she isn’t someone who ‘just sits back and lets stuff happen’, and as such Kophie’s output is always entwined with her socio-political and environmental beliefs. But her work also reveals the exploration of identity as a constant theme to be unpacked. This exploration is not solely an act of self-reflection, there is a sense Kophie is interested in identity in a broader stroke, in what it means to be an individual amongst a collection, not just in her quirky characters and portraits, but also in the inherent nature of graffiti, and her vocal concerns about consumption, our complicit involvement and its impact on our surrounding environment. Another example of a young Christchurch creative emerging from the influence of urban art to explore a diverse range of artistic approaches, Kophie Hulsbosch is a reminder of the potential to connect a creative impulse with a desire to change the world, regardless of the scale of such actions. We sat down and discussed how art became a vessel for her beliefs, how these ideas were fortified in her practice, and the dark side of the ‘fast fashion’ industry…

So Kophie, let’s pretend this is a superhero movie, what is your backstory?

I came from Wanaka, surrounded by the outdoors and people skateboarding. Then, when I was about ten, I moved to Christchurch. I never finished high school, I dropped out in year eleven, it just wasn’t for me. I worked terrible jobs and I just kind of figured out what I wanted to do through that. In high school, I had only ever really studied in my art classes (laughs), so after working those horrible jobs, I decided to do the foundation course in design at ARA. I loved the course and decided to continue with graphic design. My goal was to be self-employed, but I also wanted to use art for social commentary, mostly environmental issues. After I completed my Bachelor of Visual Communication, I received a scholarship to do an honours degree in Media Arts. At the same time, I decided to launch a business, making use of the facilities at ARA and combining everything I had learned; drawing, branding and graphic design. I wanted to make some sort of environmental comment with my work, so after discovering that the clothing industry was the second most polluting industry in the world, I decided to re-purpose clothes. I guess I’m not the sort of person to just sit back and let stuff happen! (Laughs)

When did that drive crystallise? Did it take a while for you to realise the direction you wanted to go, or was it engrained in your worldview from a young age?

Well, I enrolled at ARA because I just wanted to get better at drawing. But when I was 11 or 12, I became a vegetarian, and that sort of set off my ethical conscience, because once you start learning about one issue, all these other things pop up that show how so many things are interconnected. I started learning about the impact on the environment of animal agriculture, and the associated social issues, and then when I did a philosophy paper at ARA, I started finding out how the world works and how messed up a lot of things are, and I started exploring how to potentially change it…

Importantly, you have utilised art to engage with those issues. Was that just something that made sense to you, to communicate and explore ideas? Is drawing a way for you to problem solve?

I’ve always known it is one of my strengths, in Maths or English at high school, all I would do was draw on my hands, and I would just constantly get in trouble. I just think it’s the only voice that I have, or at least it’s the best outlet I have to get the message across.

Gig poster for The Settlers x Local Elements, digital illustration, 2016
Gig poster for The Settlers x Local Elements, digital illustration, 2016

One of the first things I noticed with your work is the diversity; illustration, graffiti, figurative drawing and painting, design work, branding… Is it just in your nature to constantly explore different approaches, or is it necessary to express different ideas?

I think I just always want to try different things and learn. But sometimes I think I probably should focus more on one thing! (Laughs) But I just want to be creative in any way, and I mean, you can learn anything off the internet now. I taught myself how to sew on YouTube! There are infinite possibilities…

In some ways, the need to pigeon hole yourself has been broken down by the possibilities of the digital age to explore ideas and cross-pollinate. But would you proclaim yourself to be any one thing more than anything else?

I mean I started everything from drawing and illustration, just weird, obscure drawings and naked women! (Laughs)

There is a definite sense of the surreal or fantastic in some of your work, but there is also often a grounding in some sort of psychological reality, an exploration of identity, or that sense of social awareness that you’ve already talked about. Do you try and find a balance between intentionally expressing ideas and a subconscious approach?

Every project is different. Sometimes I think when it is from my subconscious, I look at it and I’m like, how did that come out of my head? But with graphic design work and commissioned projects, it is more controlled, I know what I’m doing. Most of the free stuff is influenced by hip hop, hip hop music and graffiti and those cultures.

Above the Clouds, ink and pen on paper, 2018
Above the Clouds, ink and pen on paper, 2018

What do you find the most attractive element of graffiti? Is it the creative element, the search for style? Is it the idea of the social communication? Or is it the act, the adventure of graffiti?

I think all three; I love the thrill, I love the idea that you can do whatever you want, whenever you want, and make spaces come alive. You see little areas and you’re like, that could be a face, or that could have a personality. The style is important as well, I mean I look up to people who have a really defined style and I always think of style over spots, personally…

With graffiti writing, obviously the issue of identity is a central concept as well, albeit couched within the expression of style. Do you make the connection between letterforms, style and the idea of identity?

I think my letterforms are probably the weakest element of my art, so I like to practice them a lot. But I try and paint every piece differently, so I never really have a particular style. Some of my stuff is quite creepy, and creature-like, but then other times it can be quite straight and sort of masculine. I like to make it look like a girl didn’t do it, whatever you think girly graffiti looks like, like love hearts and pink colours… I like to make my stuff look not necessarily feminine…

Christchurch, 2017
Christchurch, 2017

The discussion of gender has long been a part of the analysis of graffiti, at least from a scholarly approach, because there is this perception of graffiti being a very masculine pastime. When you think of the likes of Lady Pink, there is an acknowledgement of gender in her moniker. But, your name doesn’t have to be representative of reality, you can mask your identity when you write graffiti. By developing a personal style, that in itself can become the identity, is that your approach?

I guess so, because on my Instagram, and it is just my art Instragram, I never really post selfies or pictures of myself, because I like the idea of people not knowing who I am, if I’m a girl or a boy. People do tend to have a judgement if you’re a girl.

The pursuit of style can be all consuming, and with the digital age, the number of available influences has become so wide-ranging, that it seems harder to develop that distinctive signature in some ways, everything has a danger of seeming derivative, just because more people have seen more things…

The internet! (Laughs) I know back in the day, each town had a certain style, you would know if it was New York graffiti or whatever. Whereas now everything is just a massive collage of everything; every era, every style, and it is harder to find that identity, because there is so much that’s already been done. You have to think outside the box all the time, or just accept the fact that everything’s being re-purposed.

Queenstown, 2018
Queenstown, 2018

How did you become a member of the RAD Collective?

I was making clothes at ARA just before a pop-up shop. I was really stressing out and just running around the classroom getting things done. Becca and Jimirah (founders of the RAD Collective) came in to see one of my other mates, and I just had my clothes on the table and they were looking through them, and they were like: ‘Wow, this is amazing!’ Then a few months later they gave me a message on Facebook and said: ‘We are doing a thing. Do you want to be a part of it?’ And I was like, ‘Yeah!’

What do you personally see as the greatest benefit of the RAD Collective? That type of network, people with different skills, and the energy it generates, must be really helpful in the transition from a learning institution into the ‘real’ world…

They have been so amazing. They have just uncovered countless opportunities for me. They look out for me so much. They are just always so supportive, which is really cool. They are trying to suss out a space, find walls and organise exhibitions… You can’t do all that stuff by yourself…

That story about meeting Becca and Jimirah also introduces your clothing brand, tell us a little bit about Future Apparel…

As I said before, the main drivers of the brand have been the environmental and ethical issues, things like the conditions for workers overseas, and the number of animals killed for materials. The crazy thing that I can’t understand is the environmental and ethical impact of the day to day things that we do. By consuming in the over the top manner we do now, we keep making it worse and worse and worse, but we kind of just accept it. I know people notice things, but we are so used to the consumer culture we live in, it feels like you have to abide by it…

Second hand denim jacket with Future Apparel design, 2017
Second hand denim jacket with Future Apparel design, 2017

There is an unwillingness to explore alternatives because they seem too hard.

Yeah, is it cognitive dissonance? Is that the one? (Laughs) Through Future Apparel, I want to change the mindset. My ultimate goal is to create a different culture around how we buy and consume, to encourage people to think about the actual human aspect of things when you buy. Like, with clothing, most of us probably think it jut appears on a rack by magic, you don’t see any of the process behind the item.

Is it important to find the balance between your creative outlet and the real-world application; to not be dragged down by the realities of the political side, to ensure that you remain inspired by your creative outlets?

Yeah, it’s a constant battle: I want to change the world, but then sometimes I don’t think I can do anything, and that the world’s fucked! (Laughs) Sometimes you feel isolated, because you see people around you and you tell them things, and they are like, oh that’s terrible, but they don’t really do anything, they don’t care enough to make it their life to change the world for the better…

I feel like it is a result of how we receive and process information in the digital age. The internet allows avenues of widespread and instantaneous communication, but we seem to use them for the worst possible things. The potential is so amazing, but the reality can be so mind-blowingly frustrating! (Laughs)

Memes! (Laughs) I think it is crazy how we have all this information at our finger tips, but it is used, I’m not saying by everyone, but it is used by so many people to just watch silly videos. I can post a selfie on Facebook and get 130 likes, and then I share something about the planet, about the extinction of sea creatures, and people give me like maybe two likes! I don’t know…

You must have learnt a lot about the tricks of the corporate world, what things have you discovered that have fed into Future NZ as a concept?

I have looked at the idea of green-branding and green-washing, and how a lot of brands are using these ideas to drive profits, even though they aren’t necessarily a ‘green’ brand, so that was something I wanted to avoid…

Explain the idea of green-washing a little bit…

So, with green-washing, someone like Apple Computers say they recycle their products for new computers, and they have this whole eco-brand called Apple Renew, but they are also bringing out new products every couple of months and trying to push consumerism while also trying to have this other identity of being eco-friendly…

So, they are producing a semblance of a response to an issue they have helped create and are still creating…

Or say toilet paper companies who say they are donating one cent from every sale to help save forests; it is like a pretend persona, just to try and drive sales. One of my lecturers suggested there is a chance to do some further research, he thinks the whole sustainability approach can’t work under the capitalist construct, that it will always be undermined by profit and exploitation, even if it is green-branded or a green product…

It’s not a fair battlefield, right? The field is being created by those who gain most. How do you fit your conception of graffiti and urban art within the issues of sustainability and ethical consuming? Do you see it as a natural way to address that uneven battlefield?

I wouldn’t say my graffiti is eco-based, because I know spray paint isn’t the best for the environment, but I have made paste-ups in the past, and I always have ideas of big signs I can put up everywhere, like guerrilla campaigns around the city. I do want to do that sort of thing, but I’m just figuring out how to get it across. I think it could be a really good form of getting a message out there. You are forced to look at it, with social media you can just scroll past it, like ‘meh’, but if it is in your face in the streets, if you are driving past it every day, you might think about it…

Live painting for The RAD Collective event Under the Influence, Boxed Quarter, central city, 2018
Live painting for The RAD Collective event Under the Influence, Boxed Quarter, central city, 2018

You recently had something of a run in with a well-known fast fashion company, what happened?

My friend sent me a picture of basically my exact design on a fast fashion shop piece. I didn’t really think much about it, but then I was lying in bed and I saw the image I created because I had put it on my wall, and I was like, it is exactly the same, like exactly the same: same colours, same font! I put it on Instagram and my friends got way more worked up than I did, Becca wrote a big post about it, and it got around a bit on Facebook. The New Zealand Herald contacted me, but I didn’t talk to them just in case, you don’t want to get sued. Then I found out about another girl from Australia whose work they blatantly ripped off as well, but she didn’t do anything about it, she couldn’t be bothered. So, I emailed them, I said, I think you’ve copied my design, and they basically replied that it was a coincidence and showed me their process. (Laughs) But they said like, ‘this was done at 11.50’. They gave an exact time something was done. When you’re doing your workbook process, you don’t write the exact time and date when you are doing it, unless there is something strange going on. But, I mean, it is what it is…

I guess in that situation, you have to decide how worthwhile the expenditure is, because it is a lot of emotional energy, right? But at the same time, it must be frustrating to think that as a result, companies probably get away with a lot, because their resources are greater. Did it also make you think about the role of social media? How when you post something, it is visible anywhere around the world and it immediately becomes so public?

I instantly thought of the recent thing with H&M and Revok, the graffiti artist, like they think they can just take anyone’s work because they are the rich big guns and they kind of have immunity because they are so well-known. But yeah, the most frustrating thing was the mass production side; they are making money from exploitation of labour and other ethically dubious practices, where I make one-off designs, re-purposed from fast fashion! (Laughs)

It’s the exact antithesis of what you want Future Apparel to be and to be associated with, which must have made it so much more frustrating than someone who was maybe trying to enter that world. In many ways I would hope it has steeled your resolve to opening people’s eyes to the realities of fast fashion and the alternative options that are available…

Yeah. I also think about how sustainable clothing tends to be elitist in a way, like it is always quite high-end and targeted towards more well-off people. But I wanted to also use street wear, skateboarding, hip hop, and cultures like that, and incorporate them all and make something for youth, because I feel like it’s a missed market. I want to make it affordable for that group and remove the elitism. So, like I know a lot of people my age, they care about this sort of thing, and they want to buy sustainably, but it is out of their price range, they are often studying and would never be able to afford one-off nice items…

Thoughts, acrylic, aerosol and nail polish on wood, 2018
Thoughts, acrylic, aerosol and nail polish on wood, 2018

You obviously have some long-term goals, but what do you have going on in the short term? You’ve got a few things on the go, right?

I’m illustrating a children’s book for the Crusaders (The Super Rugby franchise), it’s going to be in every school in New Zealand, which is pretty cool! But I’m not allowed to make the horses smoke cigarettes! (Laughs) The Under the Influence exhibition was obviously a few months ago, I exhibited two portraits and painted live at the event. Some of my projections were also in the courtyard. I haven’t worked on Future Apparel much, (laughs) but hopefully I will find time to do that. I’m also working with a sustainability company, but I can’t say much because they haven’t got copyright yet…

You’ve got some mural work?

Oh yeah, I’m doing a mural at BizDojo!

With that many things on the radar, have you reached that goal of self-employment? Are you sustaining yourself through your creative outlets?

I’ve got the student allowance at the moment, without that I’d be screwed! (Laughs) I’m doing a business course as well…

As an artist, and being that your ethical concerns are pretty central to your approach, do you find that you are an odd one out in that environment? I am always interested in how ethics and morality are incorporated into commerce-based education…

Yeah, I just can’t mentally justify having a business without making it for the greater good, like not just for profit, I just can’t wrap my head around being driven by making money at all costs…

There are probably a lot of people who are exactly the same way and yet there are those who see business as a by-word for profit-making, so it is an interesting challenge to become comfortable in an environment and reach the goals that you’ve set for yourself…

Yeah, maybe that could be something, changing the consciousness of business, maybe its compulsory to have some profits go to a charity, or help impoverished communities. I mean another big thing I looked at was the idea that profit was just another word for stealing…

‘Making’ money is really just ‘taking’ money…

I still think the majority of people think that if you are not making money, you are not doing anything. That’s something I struggle with… (laughs)

It’s the idea that our value in society is based on the money we make, which is flawed thinking…

Money is evil! (Laughs)

That’s sounds like a pretty good sign-off! Thanks for talking to us Kophie! 

Follow Kophie on Instagram via @kophie or @future_nz, or check out her website https://www.yoitskophie.com/ 

Featured image credit: Handmade Photography

Spread the word about what's happening in the Christchurch urban art scene:

A Tribe Called Haz – Garage Days

A Tribe Called Haz, the pseudo identity of Harry King, a young artist and member of the RAD Collective, is in many ways indicative of the alternative and do-it-yourself approach of a number of Christchurch’s young, urban creatives. A Tribe Called Haz’s twisted, low-brow imagery and raw, low-fi style is reflective of an outsider style; his background as a skater and graffiti writer more important than any arts training.  His strange, playful compositions and juxtapositions, collating his various influences, experiences and even momentary preoccupations, are wrapped in a subversive and often anarchic energy, full of bright, at times acidic colours, applied in swarming washes of acrylic paint. While his work is very much of the digital and internet age, it is also refreshingly hand-made, imperfect and intentionally unpolished. His work may not be pretty, but it is playful and punkish, reflecting his sense of humour and a desire to confront and unsettle unsuspecting viewers; to garner a reaction, good or bad, challenging the viewer’s ability to be in on the joke. After following A Tribe Called Haz on Instagram for many months, I was glad to get a chance to sit down with him and find out more about his work, how various influences inform what he does, and what impact being a part of the RAD Collective, and social media, has had on getting his work out there…

 

So, should I call you A Tribe Called Haz? It’s one of the longer monikers I’ve come across, but I feel like it should be used in its totality! (Laughs)

Yeah that’s all good! (Laughs)

I was recently talking to Becca Barclay, one of the co-founders of the RAD Collective, and she said that the running joke is to describe you painting in head to toe black denim, drinking a dozen Diesel bourbon and cola cans, listening to Bon Scott era AC/DC (which in my mind is being played from the radio of a mid-eighties Ford Cortina). While she admitted it is more a joke about stereotypes, would you say it is a fair description?

Ahh, it is about eighty percent true! (Laughs) Yeah, I do love a bit of black denim and you can’t go past Bon Scott, but I don’t really paint so much under the influence, even though that was tied into the last exhibition name. But yeah, it is mainly just me painting in the garage, so it does seem to fit!

But, of course you are made up of more diverse elements than denim and classic rock; you’ve been a skateboarder since you were young…

Yeah, I started skateboarding about 11 years ago.

And you have a background in graffiti as well…

Yeah, that came about through skateboarding as well.

You also work as a builder, right?

I’m a third-year apprentice builder…

So, amongst all those influences, have you had any ‘traditional’ training, or are you self-taught as an artist?

I did art at high school, so I think the highest I’ve been trained would be level two at high school. But I hated doing art at high school. I didn’t like being told what to do, or how to do it, you know, I feel like it is stuff you can pick up by yourself. I don’t really see the benefit in that type of thing. I think it is good that they teach art at high school, but I think it should be kind of like a free period, where you can experiment more.

So, your experience illustrates how influences like skating and graffiti can be as formative as a formal training, in both technical and conceptual approaches to making art, right?

Yeah, it’s definitely just that I like to follow my own path. I pretty much pull stuff out of thin air, or if I just see stuff that looks somewhat eye-catching, it inspires me to do something. I can’t really put my finger on it, but yeah, it’s a time and place kind of thing, and I kind of think that comes from things like skating and graffiti.

What explicitly do you take from skateboarding? Do you connect skating and making art? Is there a shared spirit between the two for you? Is there something in the physical, practical act of skating that translates, or is there a distinct influence in terms of skateboarding’s visual culture?

For me, skateboarding is just something that is free. There are no rules, no one’s telling you what to do. It’s something that can be taught, but it doesn’t mean you will be good at it. Even if you are taught how to do stuff, everything is different for everyone. But yeah, it’s the sense of freedom, it’s just like a good way to put my mind at peace for a wee bit.

Oscar the Moe, acrylic on paper, 2018

I guess the same could be said for the attraction of graffiti? It’s also about freedom of expression, in both similar and divergent ways. You mentioned that you got into graffiti through skateboarding, so did that mean you came at it with a less traditional approach, more San Francisco than New York? Or were you still drawn to the hip hop tradition of graffiti writing?

Graffiti and skateboarding can go both ways. There’s the punk side, and then there’s the hip hop side, and it all depends on who you are, you know? There are lots of punk skaters out there, and you see the old pentagrams everywhere and the anarchy symbols, that A.C.A.B. kind of stuff (an anarchic acronym for All Cops Are Bastards), and then there’s the hip hop sort of stuff, the bolder letterform-based stuff. In my eyes that’s real graffiti, the hip hop side. So, yeah, I lean towards New York for sure…

Do you think Christchurch has that sort of diversity amongst the local graffiti culture? It definitely seems, outside of some figures, that the hip hop tradition has always been the most prominent.

There is definitely some quirkier stuff out there, but overall the scene is more traditional. So yeah, there is a bit of a gap between the two, people can be set in their ways.

Although there is obviously an inevitable overlap in terms of influence, do you separate your work as A Tribe Called Haz from your graffiti output? Are they ever in conversation stylistically or thematically, or do you keep them distinct?

No, they are two separate things. You see a lot of old school graffiti artists, or graffiti artists in general, go through just being hardcore graffiti writers, and then they get to a point where they start doing exhibitions and they go off in a totally different way, and then everyone who is still about graffiti, who grew up idolising them, they kind of turn on them for doing that, and I think it’s just easier to keep them separate…

It means there’s a fidelity to both as well, you’re not having to worry about those distinctions: one is one, the other is the other. Which means they keep fresh when you jump between them. I guess it also means you can be as experimental as you want to be in each realm, and that each can take really divergent paths.

Yeah, they don’t have to correlate at all, it is kind of like a split personality kind of deal!

How did the name A Tribe Called Haz come about? Is it just a moniker or is it more of a concept?

I’d say it is more of a concept. When I first started out, I called myself Postal Services, it was just something out of the blue, it didn’t need to make sense, I just didn’t want to put my name to what I was doing. That way you can do whatever you want, and I chose Postal Services. I ended up changing to A  Tribe Called Haz obviously because of the hip-hop group A Tribe Called Quest, but also, back when I first started skateboarding, there was a guy and his name was A Tribe Called Steve, and I used to see that written everywhere, so I was like, I’ll see what I can do with this and it has just sort of stuck…

So, there is a lineage there, a reference outside of the obvious one that many people probably aren’t picking up on, a little bit a local/subcultural reference…

Yeah, like I never met the guy, but I could’ve been in the same place, who knows? That’s the cool thing about having a separate identity.

Untitled, acrylic on paper, 2018

Your work clearly has a sense of humour, it’s often a pretty acerbic humour too. It comes through both in the imagery and in the visual style as well. Stylistically, how did you develop that rough, raw aesthetic? Is it a natural direction for you or have you refined it through exploration? And do you see it as an important part of the sense of humour of your work?

I think with my style and stuff, most of it is just natural. I think it is heavily graffiti influenced, big black outlines of stuff and lots of bright colours. I don’t try and sugar coat anything and visually I just try and make it as simple and as eye-catching as possible. Its not even that I’m trying to make other people laugh necessarily, I guess its kind of selfish in that I’m just painting things that make me laugh.

You mainly paint in acrylic, do the mediums you use play a big part in how you conceive of your work? Do you see a specific difference between using brushes and paint from spray cans?

It’s mainly acrylic. I’ve never touched watercolour. I’d like to branch out a little more. I’ve used a lot of Indian ink and I’ve recently started putting gloss finishes and all that kind of stuff on works as well. Yeah, I’d say the mediums I use are an important part of my work. I like acrylic because it is easy. Pretty much every can of spray paint is acrylic, so it goes hand in hand, it dries quickly, it’s easy to use, all that kind of jazz. I guess I also like acrylic because it doesn’t look like spray paint too.

There is a certain colour quality in your paintings, colours that are quite harsh, and applied in a certain way, quite flat and thick, is that all intentional to create a specific effect?

I like to think of my use of colours and how I put them on paper as kind of bulky, I am trying to make the images quite dense I guess.

Untitled, acrylic on paper, 2017

Your images are a real mixture; scenes filled with strange going-ons, juxtaposed objects, pop culture references, phrases, mysterious characters, it seems like anything goes. But there is also a sense that whatever you are depicting, they can seem at once mysterious, obvious and filled with potential narratives that the viewer can unravel. How do you come up with your subject matter?

I like confusing people. I like making people think, and maybe if I can offend people, it would be good as well. I’m not really pushing the envelope at the moment with anything I’m doing, but I like that kind of stuff, I like controversy and really topical stuff. My pictures are just based on whatever comes into my head at the time, so they could be anything really, sometimes from my life, but other times just from crazy thoughts. I often do something and then think, this looks boring, I need to chuck some fun stuff in there, to sort of twist it. So that can make stuff pretty out there…

By working with controversial, confronting or bemusing imagery, are you trying to elicit a response from the viewer? To make them feel a certain way?

Yeah definitely. With controversy and people being offended by what they see, it’s all their choice, it doesn’t have to be what they make it out to be. Everything has got two sides to it, or even a third side coming from someone else’s point of view, nothing is the same to everyone…

If you can offend someone in some way, it also means they at least have to consider why they are offended, right?

Yeah, and maybe they can come around to see it from someone else’s point of view, and be like; actually, it’s not as bad as I think… Or maybe the more they look at it, the more they hate it, which is also fine. I just like getting reactions out of people, whether it is good or bad, you know, it is better than someone just looking at something and having no thought of it whatsoever. I would rather make something that someone looks at it and they might ponder on it, even if it’s in their head for a minute, it is still confronting them.

Does building play any influence in your work? Do you see a connection between the rigorous process of building something and the way you create a painting?

Yeah, well I see everything in layers, like you’ve got all your steps you go through to get a house to where it needs to be, and that’s the same with painting; you do your background, then you put whatever you want on top and then it’s just layering and layering. I think with building, it has made me think about other mediums and stuff, but apart from that I haven’t really taken those ideas too much further…

Have you thought about making three-dimensional work, actually building sculptural objects?

Not really, or at least it’s not on my radar at the moment, although I wouldn’t rule it out. In high school I did sculpture as a subject. I think I was in the last sculpture class that Hagley High ever had. I think I was one of the only students, there were three of us, but I was the only one in my year.

Untitled, aerosol on trampoline, 2018

Untitled, Aerosol on a trampoline, 2018

How did you come to be a part of the RAD Collective?

I met Becca Barclay about a year ago. She was really good mates with my neighbour and one night we were having a party and one of my flatmates, knowing she is a graphic designer, was like: ‘Oh, Harry draws…’ She came and looked through some of my blackbooks and was like: ‘This is crazy!’ I didn’t really hear anything for a while and then we ended up hanging out a little bit, and she said: ‘I’ve got this idea, I want to get this collective going, I want to do something in Christchurch.’ Eventually we moved into a flat, and now I live with her and Jimirah, the other co-founder of the RAD.

Without the RAD Collective, what avenues would you have explored for your paintings? Would your work have stayed in the blackbooks, or were you trying to find ways to get your work out there anyway?

I think I would still be floating around not really having any sense of direction. It’s good having something to work for and towards. It gives you fuel for the fire. I’ve had so many opportunities so far because of my involvement in the RAD Collective. I think I’ve featured in three exhibitions. Without the RAD, my work would probably have still been in the blackbooks…

It feels like in post-quake Christchurch young creative people have been somewhat empowered to make things happen, and I feel like the influence of urban art is part of that too, just as a source of inspiration, or an alternative approach. In the past it seemed like a battle to get things off the ground unless you were exposed to the more traditional networks. Now it feels like there’s more willingness for people to come together and put things on, and people who may not have taken that step are now exploring new ways to get their work out there…

Yeah definitely, especially with the RAD, I see it as having kind of a do-it-yourself mentality. If no-one’s going to put your work out there, then you’re going to have to do it yourself. You are going to have to try a lot harder, but I think that as long as you’re doing something, you know, you can’t go wrong. So, yeah, I guess Christchurch does seem to have sparked up a bit more of a start-up attitude and things are happening that might not have happened before.

Has being in the RAD Collective inspired you to explore any new ideas?

Yeah, I’m starting to dabble in digital art, like everyone! At first, I was a little bit dubious about it all being on computer because you don’t get the same feel, you don’t get the same effects, all that kind of stuff, but it’s a lot more accessible. You don’t have to carry around your paint brushes everywhere, you can be sitting on the bus or whatever and just be smashing stuff out. I’ve been trying to get back into photography as well…

I feel like your work would translate well digitally, but photography is an interesting direction, because it feels a little at odds with your visual style. Are there any particular influences or interests there?

It’s a little bit of everything, just day to day life. I like urban nature as well… I guess I’m mostly influenced by skate photographers and people from that scene, like Ed Templeton, and even Moki (another member of the RAD Collective), I really like how raw his photos are.

In many ways we are all photographers now, not only do we all have access to cameras, but because of social media, we are also a lot more aware of how we compose and publish pictures. But a lot of people are embracing traditional elements of photography, inevitably inflected with the social nature of ‘everyday’ photography, but with more awareness of the process. Are you part of the movement to reclaim photography a little?

I wouldn’t say reclaim (laughs), but I do like the old school 35mm, all that sort of stuff. I think the digital side has helped with that change, because even though it’s pushed it out a little bit, it has also sort of brought it back, the digital technology kind of became a gateway back to the traditional stuff. It’s definitely a lot more popular than it was when they started bringing out digital cameras and all that sort of stuff…

Like millions of others, Instagram is a primary way for you to put your work out there online and to gain exposure. Do you feel like your work is able to operate as effectively within that digital realm as it does in an actual physical presence, or do you still make your work for people to see face to face?

Yeah definitely, I wouldn’t say it is made for Instagram, but I will do a painting, take a photo straight away and try and get it up so a lot more people will have access to it, as opposed there just being all these paintings sitting in my garage and I would have to ring people, and be like: ‘Yeah, come round and see what I’ve done…’

Do you ever hesitate before posting something, or are you pretty quick to put stuff online?

Nah, I don’t really edit my output, but I might give it a day or two before posting, so I’m giving different posts a bit of space, a bit of breathing room. I never use filters either, it is always a case of what you see is what you get.

A Tribe Called Haz painting at the RAD Collective event Under the Influence, Box Quarter, April 2018 [Photo credit: Lindsay Chan]
The RAD Collective recently held the exhibition Under the Influence, and you and a few other RAD Collective artists painted live on the night. I know you had some nerves about painting in front of a crowd, so how did you manage? Did you get your music playlist right?

Yeah, I was really nervous, but it did give me a good adrenaline rush for a couple of hours! I ended up listening to Powerglide by Rae Sremmurd and Juicy J on repeat for two and a half hours, that seemed to work…

So, you didn’t listen to Powerage!

Haha, yeah nah, no AC/DC that night. It was a really good turn out to the show though, I think everyone involved was really pleased with the reactions…

 What else is on the horizon for A Tribe Called Haz?

My books are open! There is nothing concrete, but definitely more paintings and hopefully more walls. I need to hone the A Tribe Called Haz style for my wall work, but I’m keen to explore that…

Cheers man, keep up the good work…

Thanks very much…

Check out A Tribe Called Haz on Instagram:

@atribecalledhaz

Cover image photo credit: The RAD Collective

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Wongi ‘Freak’ Wilson – Travelling Man

Wongi ‘Freak’ Wilson has undeniably been one of the faces of Christchurch’s blooming graffiti and street art scene. From his skilfully rendered large-scale murals, to his presence in festivals, interviews and documentaries, he has been a central figure in the presentation and reception of the culture’s popular emergence. It is a no-brainer that we were going to sit down for an in-depth interview with Wongi, but as they say timing is everything. With an upcoming trip to Nepal on his horizon, a result of his artist series t-shirt design for local adventure clothing company Kathmandu, we thought it would be best to save the long-form interview for his return. But, then we thought, why not catch up before hand as well, just to get some insight into the Nepal trip and how it all came together. Think of it as a primer, the base camp before the summit if you will…

So, Wongi, what is it, six days before you’re off to Nepal?

Yeah, about six days, possibly even less now…

You found out you were going about six months ago…

Yeah, at the end of last year sometime, it was maybe November…

Has that time gone quickly? Have you had an ‘I’m actually going to Nepal!’ moment?

Yeah, it has crept up really quickly. Just in general, you know, life gets in the way. I’m working away and doing things, and then next minute it’s boom, I’m going next week, so…

You have literally just finished a workshop in the last hour, and on top of painting jobs, you were just saying that you’ve got house renovations on the go, so things have been full on as usual, have you had a chance to consider what sort of experience this is going to be?

No, not really. I’ve just been so busy with work and everything going on, I just haven’t had the time to let it sink in. I have had lots of people asking me: Are you prepped? Are you ready? Are you amped? And I haven’t even had time to think about it. A bunch of my Kathmandu gear arrived a while ago and that was really awesome, just pulling it out of the box and everything. But even then, it was more just ‘oohing’ and ‘ahhing’ at the product, not actually thinking: ‘I’m going to be using this in Nepal’…

 

Smash Palace, 2018

Over the last seven years or so, you have had some pretty amazing experiences; painting in front of royalty in Re:Start Mall; painting a large self-portrait inside the Canterbury Museum, being featured in the Rise and Spectrum shows, just to name a few. Amongst all these things that I’m sure ten years ago you didn’t necessarily expect, where does the opportunity to travel to a place like Nepal fit in? It’s not exactly somewhere that you would consider a traditional ‘urban art’ destination, and yet your art has given you the chance to go there…

Yeah, definitely, it’s such an amazing opportunity, but it’s not something I would have specifically saved up and chosen to do. There are many other places I would have chosen, but because of what it is, I’d be foolish to say no. It’s a once in lifetime opportunity to go and do this type of thing, so I’m diving at it. It’s amazing, really amazing.

The Re:Start colab billboards painted by Wongi and Ikarus for the Art Beat programme, 2012

The trip is the result of your relationship with the adventure clothing company Kathmandu, and your role as one of the artists, along with Shraddha Shresthra from Nepal, to contribute to their limited-edition artist t-shirt series. How did the opportunity to design a t-shirt come up?

That all came about because when Kathmandu opened their new branch and offices in the city centre they had already started the process for their limited-edition artist series t-shirts. Shraddha was the first artist to create a t-shirt, so as a part of their opening for their central city location, they flew her in from overseas to paint a mural in the neighbouring laneway as part of the whole event. So, since she was here painting in Christchurch, they wanted a local artist to paint in the laneway as well, so they got me involved, and that’s where my t-shirt came in. I think they just really liked what I had painted and my style, and I think that helped push me into being the second artist in the series. I also think as the Kathmandu brand was originally born in Christchurch, I think being a local artist helped as well…

So, is your t-shirt available yet?

It might be online currently, but the actual official release date is the 23rd or 25th of this month, I think. They are releasing it on the date of the 65th anniversary of Sir Edmund Hillary reaching the summit… so it all lines up…

You have a fair bit of experience designing and printing your own t-shirts, but I would suggest your photorealistic style, especially in aerosol, doesn’t necessarily translate as well into the more graphic qualities of t-shirt designs. Technically, you are a versatile artist anyway, so I’m assuming you are pretty comfortable taking on different approaches, but how did you find the process of creating the design, and how did it come out?

Yeah, it was really fun actually. With a t-shirt design I can’t really go to the in-depth level of the photorealistic stuff, so I pulled it back and went the other way with the more cartoony, raw graffiti style. I chose a big block format and filled it in with graffiti lettering and graffiti-styled characters. It’s got a bunch of things related to Christchurch and Nepal: I’ve got a Kathmandu bubble letter, it’s got Christchurch written in block letters within the brick format, and then I’ve got a bunch of different characters and things in behind it; some related to Nepal, like some yaks, temples, and Buddhists, then some things relating to New Zealand; the hills and ferns and that type of thing, as well as more traditional graffiti stuff; throw-ups and spray cans and all that kind of thing.

Boxed Quarter, 2017

I feel like the inclusion of elements of graffiti culture is important. Obviously the references to the locations, Christchurch and Kathmandu, are necessary, but as an artist with roots in graffiti art, it is also important to represent that culture too, because it is what got you where you are…

Yeah definitely. That creative freedom to celebrate my style and artistic background definitely helps build a good relationship with Kathmandu. They are a lot more understanding of that side of things, but I was also working with the design team there to make sure they were getting a product that they are happy to promote in that sense. So getting to work with their team, the back and forth process, that was really cool as well…

In the past, when you have produced your own t-shirts, you’ve been the designer, the printer, the distributor, you’ve done all of it…

Yeah for sure, that was a cool element, working with another team who specialise in certain products for their brand as well, so that was fun…

Does it make you want to do more limited-edition t-shirts?

I wouldn’t say no! It is an amazing opportunity, but it all just depends on certain factors. It boils down to the imagery that’s wanted, the level of creative freedom that I’m allowed, and of course, the company who I’m trying to work with, and whether or not I relate with them on a personal level. I’m an animal and nature person, an environmental person, so I think that also helped with the whole Kathmandu relationship, knowing that they are quite ethical with their products…

Did you research their ethical stance? Because it is important that artists know who they are working with…

Without a doubt. We had a general idea of how Kathmandu work, but when the proposal came in, we did a lot more research into it, just to make sure, because you don’t want to have yourself aligned with a company that you don’t agree with. So, yeah, we definitely had to make sure that that was the way it was, and that I wasn’t going to be associated with a company that isn’t thinking about the environment and all that type of thing.

As more and more opportunities come up for artists to work with brands, holding companies accountable in a way, making sure your ethics align is so important…

You don’t want to be associated with a brand that is working in a way you don’t agree with. So yeah, anything like animal cruelty, I’m not a fan of, but Kathmandu were really strong around their ethics with their clients…

In terms of the actual trip, what’s on the agenda? Will you get a chance to paint while you are there?

No, I’m not. We looked at it and we were trying to get that sorted, but I guess it just boiled down to the fact that there’s not a lot of time outside of the trek to actually get a painting in. Then there was the whole problem around getting artist grade spray paint into Nepal. We’re trying to tee it up to paint something for one of the schools I’m stopping off at on the trek, but then there’s the whole issue of being in the Himalayas, you are so far up in the air there is a lot of pressure involved and a whole heap of problems around that side of things…

Is there a chance to do something that doesn’t involve cans, like drawing workshops?

Yeah, they touched base on that, so there is still a possibility to have a draw with the kids type of thing, so that’s a potential option, but I don’t think the actual painting itself is going to happen…

To go all that way and not leave a mark in that way seems a shame, but I can understand the logistical challenges. Have you thought about how the trip, and the experience of the trek, might inform your work in a wider sense?

Kind of, it’s been in the back of my mind, just thinking about what the environment is going to be like. I’m really looking forward to seeing some of the villages, and the temples and that type of thing. So yeah, I think it’s going to be quite a new experience and that in itself will give me a whole new angle to my art…

Rauora Park, 2017

I guess that reflects the rise of contemporary muralism and the globe-trotting mural artist, where all these different influences from different environments shape people’s practice, rather than just the specific setting you came up in. I mean it is a hard thing to put a point on, because it is likely to be a philosophical influence, more than a stylistic or technical influence, but still it is sure to be a unique experience and it will be interesting to see how your work evolves as a result…

Yeah, like you said, it’s hard to pin point the whole situation. I don’t know what it will be, but I know something will lend a big impact to that kind of thing…

I remember at Style Walls, you were joking that you will come back as this enlightened soul who always talks about your time in Nepal! (laughs)

Yeah, yeah, ‘that one time in Nepal…’ (laughs) Yeah, as long as I come back wearing shoes you know, not bare footing it around everywhere; ‘I’m just getting back to nature!’ (laughs) So nah, I’m looking forward to it, it is going to be amazing!

Lastly, it is going to be a pretty physically intense experience, I know you got a gym membership in preparation, have you been putting in work?

Yes and no! I went quite hard out for a bit, but then with a lot of work and everything, I haven’t had that time to go the gym and train like I should. I feel I’m pretty active with the work I do anyway, I’m always on my feet, up and down ladders, all that type of thing, so hopefully that is going to be enough to get my fitness level at least up to par. I was talking to one of the head guys from Kathmandu and saying ‘Yeah, I’m going to get my gym pass, I’ve been exercising quite a bit…’ and he just laughed it off and said how one of his mates who kind of helps with the treks, said: ‘Oh you don’t need to go to the gym, you work that out in the first three days!’ So, I’m kind of hopeful that will be the case!

Well, we look forward to catching up when you get back and hearing how it all went and talking more in depth, so go well…

Cheers, man, thanks for your time…

The shirt Wongi has designed for Kathmandu as part of the Artist Series and in honour of the 65th anniversary of Sir Edmund Hillary submitting Everest is now available online or go visit your local Kathmandu store. A portion of each sale goes toward the Australian Himalayan Foundation.

Want to learn more about Wongi?

Check out his website and follow him on Facebook.

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Jacob Yikes – Immersed (Part Two)

When I arranged to sit down with Jacob Yikes, I had a feeling it could be a lengthy conversation; I have long been a fan of his work and here I was presented an opportunity to delve deeply into his approach to making art, his reflections on how his work and life are intertwined, and as I realised as soon as I stepped foot in his studio, the new directions signified by the impressively-scaled works he had been busy creating. I wasn’t wrong, over an hour after we started recording, it was time to catch a breath. We covered a lot of ground, and it was quickly apparent that our interview would be a bit of a monster, necessitating two parts. Here, in Part 2 of our interview, we jump straight back in and pick up where we left off…

You said before that you have felt that some of these works have been speaking to you in some way, not literally, but kind of telling you when the time is right to work on them and when it’s not right. The process of giving them time and stepping back, which you can’t do to the same degree with a wall, does it lead to frustration, or has it been satisfying being able to work in that way?

It has both. There’s definitely frustration, but I guess with the frustration, because I will start multiple works at a certain time, that time has to be right. I think that is when I feel that, not like that painting is talking to me, saying I have to paint it (laughs), but it’s more instinctively, I will make certain marks and certain gestures with whatever materials I’m using and then I get to point and it almost says ‘that’s enough, don’t touch me right now!’ (laughs) ‘You need to move on from that part!’ While you’re in this head space doing that stage of the works, basically, because the paintings are in stages, I can’t jump from stage to a different stage, from another painting, so I find that working on one or two can be helpful, because now working on a bigger scale, it’s a lot harder to set up five paintings. It’s a big space but it’s not big enough for that, I’ll smash things if that’s the case! it’s just not going to work, so you put that stage down and while I’m in that head space, I’ll move to the next one and then it will stop but there will be a while in between sometimes of me going back to that painting because the feeling is not right. Again, I think it comes down to how I’ve approached the works in the first place, of them being really personalised in terms of so many things, like it’s a real sort of expression, I guess, it kind of changes the look of the painting too, to an extent. There’s certain marks there for a reason, I’m kind of like putting those pieces back together, well not putting them back together, but putting them together when creating the other stages of the works. It’s probably my own little consciousness telling me: ‘Don’t work on that right now!’ I do work quite sporadically, one minute I’m doing something then the next minute I’m onto the next thing and it is kind of just how I’ve worked. It’s even how I’ve worked outdoors sometimes, I could be doing something and I’m not having it, so I leave. But then I’ll go and start the rest of the wall at like four in the afternoon, because I’ve found for me, if I try and force it, just too much negative energy comes out, and I’m not having it. The painting won’t go anywhere from that, so those first stages are super important in the studio works, not so much in the big works because there is a different process to painting them, but there is still that erratic quality, I can only work on them at this point in time, I think that’s more doable in the studio, for sure, but I haven’t really felt that I’ve gone too far with any of the works yet, so I’m just going on that initial instinct with them at this point…

Mixed media on paper, 2018

Because of the intense concentration involved in the finer details of your work, I assume it would be easier to know when the time is not the right for that approach, but with the more gestural stuff, which is such a strong element of these works, there’s a real sense of your physical exertion, and in many ways it must be really necessary to have that ability to know when to stop, because it must be so easy to be swept up in that…

Yep, absolutely man.

These works really have that dynamic sense of the movement of your body, but it’s so different from wall work, which will often, and this isn’t specifically about your work, but often it’s the scale and the size that reflects that, rather than the texture, or those kinds of elements, but these works really seem to reflect your physical presence, either above or in front of a work and engaging with that surface. Do you see the differences between the way that your mark making reflects your movements both on a wall and in the studio?

Yeah, well, it’s all very freestyle, even with the walls too. When I would work on a wall that was a little more expressive with marking making and how I used the line work and stuff, as opposed to the more structured ones that had that room element going on, it was all kind of whatever comes up was coming out, and I will deal with it once it’s on there, to an extent, because I can always visualise what I’m trying to achieve with it, but it’s never ever going to look like that, it’s just a blueprint in my head, to get to that point. I’ve taken movements from painting large works and graffiti and put them into how I achieve those first initial marks and sort of bits, and it’s pretty much the same process in terms of how I attack it, it’s just narrowed down in the studio. I don’t have to step back fifty metres and check out what have I done, I can just do it there. Also, it is completely different mediums, so, while I know the technique to get to there, the result is going to be different. And that result, to be honest, has come about by experimenting. I didn’t one day decide I’m going to start throwing it this way and start putting it here, having a wrecked, half dry brush and doing that with it (gestures), it pretty much was just messing around for a long time. And I mean a lot of the stuff in the past especially, I’ve just biffed, it’s never really come out, and there’s a reason for that too. At the time I’d be pissed off and in a foul mood because I’d just wasted a whole day and a whole bunch of stuff, you know, and then that comes back to me doing things at a time in my brain or whatever, in my day, that I shouldn’t be doing it. I’ve always kind of been a workaholic to an extent, not to the point where I would say I’ve neglected any of my responsibilities, but I would sacrifice sleep to do this, so I’m trying to use the time I get, and if it’s not happening , then I pay for it in the end, because I’ve spent that energy trying to do something I shouldn’t have even bothered doing. But that negative energy, not all the time, but sometimes, I’ve been able to channel that into that first process of making the gestural bits on the paper, building it basically. The paintings essentially have been built the way I look at them, I create a background or a distant sort of space for these images to sit in and go from there. They are always at stages, but I can always fix mistakes, by working with them, not necessarily ‘fixing’ them, but you know, and again it comes down to me thinking actually, that’s meant to be there for a reason, that might not be how I want it be right now, but I can actually work with that. It’s not all the time, but there have been times where I’ve been: ‘O.K., I’ve just messed that up, hang on I’ll put it away for now…’.

Mixed media on paper, 2018

In reference to the idea that your works often have these landscapes and environments in which structures and scenes are built, despite how tricky those settings are visually or spatially, they feel like real spaces, like something to inhabit, when you are painting them, do you place yor self in those settings?

I pretty much put myself in there, and I’m still really trying to figure out what they are. I think they are an element of my subconscious, kind of a dream world that I can escape to, and I can have full control over. There’s not that much in life that you can have full control over, so I find them an escape, and I think that’s where a kind of therapy does come into my work. When I get to these certain stages, the final bits in these works, its like, I built the set and now I’m creating everything else that ties that all together. While each one might have similar attributes, they are always different, there is always a different concept behind them too, that’s just part of my style. That probably works with that idea, there are certain images in my work that have become quite popular, but each one has its own feeling when I’m doing it, so I engulf myself in those worlds…

With this scale, viewers will be able to feel like they are being enveloped, which raises the logistics and potential approaches to exhibiting works of this size. Over the years you’ve exhibited in a number of different places; Am I Confused? was at the Art Box, which presented a unique space…

Yeah, it was.

Detail of the on-site work created as part of Yikes’ show Am I Confused? at the Art Box site on Madras Street, 2017

It was quite a tight space in terms of how people were able to filter through, with these works it feels like they need a very specific environment in which to be exhibited…

They do, they do man…

Is that a challenge in Christchurch?

It is really difficult. It’s probably the hardest part at the moment, because in the past I have always done the hard work to try and get these shows happening and I like that, but it is hard. Finding a space in Christchurch is hard for anything, so finding the right space for this sort of show is probably going to present a few difficulties, but it’s so necessary. I have to find the right space because for my works at the moment, I’m trying to really put people in a setting as such, whether it’s in my head or whatever, or it’s a setting controlled by me, because visually I know what I want to feel from these paintings and that’s going to be completely different from anyone else seeing them, but if I can also add in the elements of sound and lighting that I want to, then that’s going to help to build the story of them a little bit. It’s a deal breaker for me, and I’m not going to show them until I can get those elements happening. Because of my process of creating these works and how I approach them, it would be so stupid if I didn’t show them in the complete environment. I would just feel like I didn’t achieve what I set out to achieve, if I can’t put those final nails in…

The ideas that you are talking about; the control of the lighting, the sound, that’s a sign of the maturing practice of exhibiting. It’s not about just finding somewhere that will let you hang pictures, it’s about a whole experience of creating an environment for people to view your work and for you to have more control over how it is received. I feel like, for the growth of the urban art scene in Christchurch, there hasn’t really been that opportunity, or an environment that has allowed that in many ways, so that is, as you say, a big challenge, but it’s absolutely necessary for these works…

So much gets put in behind the scenes too, with getting the sponsorship, getting all the little things, all the logistics of it, so you’re putting in a lot of work just to show them, so for me, it makes sense to put in that work and just push a little bit more. With these works as well, the subject matter, it’s really real this time, not that it ever wasn’t, but it’s something that I haven’t really addressed ever, so I know I’ve amplified that, I’ve amplified the scale, but the scale thing for me is only going to really work with those other elements, with the sound, with the lighting, and that will ensure it all makes sense. It’s a specific thing that hasn’t even probably come to be in my own head yet, but I know where it has to go, and I know what has to happen with it. Like you said, it’s something that hasn’t been able to be done with these sorts of shows. I’m not being offered a mint set-up, a humongous space with all these things, and I’m not even asking for that. To be honest, I kind of like the control I get with not having to deal with that, I’m not saying I wouldn’t, but at this point, I’m trying to build this profile for myself which isn’t just about what I’ve done, but it needs to be different. So, for me to do that, I just have to literally make these ideas that have been pushing at me, come to be, and I think that the easiest way to do that is to have that control. My partner’s really good, we’ve worked together on these shows for a long time, she does a lot of the background stuff as well, because at the end of the day if I can focus on this stuff, it is better…

And it’s going to come out in the work…

Yeah, and we’ve learnt that from trial and error, just from having these shows. I’ve had some good shows and some bad shows, but at the end of the day you learn from each one.

Yikes at work in his studio, February 2018

In terms of your growing reputation, and to some extent the reputation of the Christchurch scene, have you investigated the potential to show these works outside of Christchurch?

I’m sort of in discussions at the moment with a few places up in Auckland, so it’s definitely been discussed. To be honest I was battling the idea of just doing the show in Auckland, not here, but I still I want to do both, I want to make it hard for myself! (Laughs) So I think whether it will be a travelling show or I will produce enough work that I feel I can even have two that are kind of co-existing with each other, I’m not sure on the final details yet, but moving them out of Christchurch is definitely something that I think needs to be done too. It’s a daunting thought because I would feel way more comfortable just going to another city painting a giant wall! It’s different exhibiting works, you have to get people to turn up to these shows, because they are not going to stumble across it by themselves all the time like a wall, and I guess I invest a lot more into these things than I do a wall…

There’s a finite timeframe too, a wall can be there for the next ten years…

Exactly.

You might only have the chance to display these works for three weeks…

It’s about getting the works there too, I’ve not made it easy for myself with the scale, but it’s definitely do-able, it’s just a matter of really making it happen. But it’s in the pipeline for sure, I think I need to make it happen this year. I would like to exhibit a little bit more regularly than I have been, it’s not through lack doing any of the work, it’s just through pretty much having to deal with everything else you have in life. It’s definitely going to happen and I’ve made those first initial relationships with a few places, it’s just about taking it from there, and it’s something I’m going to do.

Without sounding forceful (laughs), I think it has to happen, you deserve that exposure, you’ve put in so much hard work and developed such a unique and impressive style…

Absolutely, I am my own worst enemy. I know that I have put in work, and I always will. It’s not like I’m done now, I’m just going to do this now, it’s not that at all, but I know that I am physically here doing stuff, it’s just what I do. I know that there’s only so much I am going to achieve by not moving it around. I don’t want to just let it all unfold, I need to really push that too. I think for me, I always want to put my best foot forward, it’s a matter of what I take with me, what am I going to run with. It’s about not being so indecisive about what I want to take out of Christchurch. It’s a funny one, it’s definitely something I’ve felt for a while, and not even to the point that I’m going to move away and try and make it away from here, I’m not going to approach it like that, I don’t feel the need to have to move away from everything to just start trying to do things…

With Christchurch’s recognition as an urban art location, it also needs to mean artists can succeed here and thrive everywhere, it’s not about becoming a breeding ground for people then to move away, which is the typical kiwi, Christchurch story, right?

It doesn’t need to happen at all, that’s the thing, it really doesn’t. Even in just the past four years, just by producing works outdoors, it shows that it’s all about what you do to make this place what you want it to be. It’s funny, I mean I think people have their own opinions on how they want to approach it, but if everybody thinks they have to move away, what’s left? And that’s kind of what happened in Christchurch, I know a lot of people who just up and gapped it, and that was their own personal thing, which is cool, but that doesn’t mean nothing’s happening here, it’s all about how you perceive it really, and it’s all about what you’re looking for too.

It feels like there is a growing ecosystem locally, there is more diversity in terms of what people are doing, there are things here that can help make it all more entrenched. I guess as well, it’s also about continuing to attract people here as well, not just with opportunities to paint walls, like festivals offered, but if there’s spaces for people to come here and exhibit work, that can prove important too…

I think it’s important to not just all be floating in the same boat. It’s funny, I think oversaturation of one thing just kills it, and each festival, if that’s what’s happening, needs to bring its own thing to it, because at the end of the day, it is what people who were living here were doing, it’s just painting walls, it’s a do-able thing in Christchurch, it’s probably a lot easier than any other city, so you can’t just come and do that , you’ve got to bring something else to the table…

Exactly, I think that’s a really good point, in global terms as well, festivals pop up everywhere, every week, the biggest challenge and the most important thing now is to be unique, to have an thematic or ethical standpoint in some regard, you know, say ‘this is what this represents’, it’s not just about getting colour photos in the paper, it’s about achieving some other type of goal, which is really important.

Yeah man, I think so.

Thanks for taking the time to talk, I must say, I’m really looking forward to seeing you exhibit these works…

Yeah man, in the next couple of months, or sooner than that, I’ll be releasing dates, but yeah, it’s coming up soon. We are just kind of doing all the finer background work now, bringing it all together. When I get close to a new show I always like to go out and do some public work as well…

Do the PR act!

It’s just a way of saying ‘I’m not dead, I haven’t become a hermit just yet!’

Thanks Yikes! 

Keep an eye and ear out for Yikes’ upcoming projects on Instagram and Facebook, as well as his website: 

@jacobyikes

https://www.facebook.com/jacobyikes.artist/

http://www.planetyikes.com/

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Jacob Yikes – Immersed (Part One)

Jacob Yikes needs no introduction. His distinctive wall work has been a familiar element of Christchurch’s post-quake landscapes, turning walls into vistas filled with intricate, impossible architectural forms and characters who are in turn both playful and nightmarish. But while his large-scale murals might provide a pathway to ‘Planet Yikes’, his studio and exhibited work has shown an artistic evolution that delves even deeper into the themes at the heart of his expression. His works on paper and canvas show an artist coming into full bloom, imbued with personal symbolism and exploring a range of imagery, expressive physical processes, and experimental and expanding mediums and materials. We caught up in his studio, surrounded by a series of still-in-progress new works, evidence of his soon-to-be-exhibited recent output; large paintings pulsing with dynamic energy. And yet, fittingly, our conversation took place just before Yikes’ March trip to Dunedin to paint a large wall, a reminder of his ongoing occupation of public spaces. With the sun shining outside his studio, we discussed the transition between street and studio, his latest body of work and the process of their creation, and how life has a way of keeping you honest…

Yikes, the last few times we have caught up it has been while you were painting outdoors, so it’s a nice change to be here in your studio. Your practice has always had that inside/outside dichotomy, shifting between walls and canvas so to speak, but considering how much work you have put in painting outside over the last five years, it’s easy to assume you have slowed down somewhat on that front! 

Yeah man, yeah… (laughs)

Has that been intentional, to allow you more time in the studio?

It’s a mixture of things really. I guess life catches up, you know, I’ve got two small children, so that’s definitely a factor, and they’re getting bigger, so that’s a thing, trying to fit that in. I think I’ve definitely felt a transition from wanting to produce works outside to being in my studio. Obviously, my studio is at my home, so I’ve got a very good set up now. I can kind of work quite erratically sometimes, so now when it is time to work, I can literally do it. Christchurch is pretty small, and I’ve done a lot of painting here, it’s not like I’m bored, but I am the type of person that has to keep doing new stuff. There’s definitely been a shift, and it’s not like, I’m never going to produce big works outside again, it’s nothing like that, it’s more like a certain tick that I need to itch! (Laughs) I feel like it’s a pretty natural progression as well, I don’t feel like I’m missing out on anything. I’m still here, I’ll still do whatever, it’s good…

Jacob Yikes’ Alice in Videoland mural, 2017-2018, Tuam Street. [Photo credit: Jade Cavalcante]
It’s not that they are mutually exclusive, they are both part of what you do…

Yep, and they always have been, and they always feed off each other. There are only so many hours in a day, and in a week, so putting it all into one thing, it’s really hard to try and find time to do the other. In the past I’ve sacrificed a lot of sleep to get that happening and it works for a while and that’s cool, but it’s not physically possible for me, and you learn the hard way. I’ve learnt that, and having children they will let you know… (laughs)

For sure…

So, yeah, it’s just about what do I want to do? What do I see myself doing? At the moment, I think the studio-based stuff is really where I’m trying to focus. But again, I wouldn’t be doing any of this studio stuff if I hadn’t done certain things outdoors. They always feed off each other, and they always will.

And of course, painting walls is built into your profile as well, right? It affords certain opportunities and exposure…

Absolutely.

From a material point of view, both approaches obviously have different potentials, as well as different challenges. What do you see as the main differences, in terms of what you can do in the studio that you can’t do when you’re working in the streets?

There’s always a certain element of impact that I’m trying to achieve with both, and that’s achieved very differently outdoors than it is indoors in the studio. So, with my outdoor works, I was introducing bold colours with quite wild imagery, wild in the subject matter and often how it is executed, like with a lot going on. And then I brought that into the studio to a certain extent, and I’ve been able to, even though because the works I’m doing at the moment and in the past have been quite large, not massive, for canvas or paper work, or board whatever, they’ve been quite big but they’ve gone bigger, I can focus way more on a smaller scale but still get good impact as well, whereas outdoors, you can, but it is a lot of effort. It’s like, for those bigger works, I tend to just do them myself because of how I work, it’s completely different to painting pieces of graffiti with any of the boys, it’s a different process, it’s a different mind-state. In saying that, while a lot of my work outdoors has been very busy, it has also zoned in on certain areas and really worked them, but to be honest it’s a lot of time and effort and often you’re not really getting to the point of that’s what I was trying to do, so you have to kind of walk away from them, feeling like ‘I could’ve done that’, ‘I should’ve done that’, and that’s come from graffiti too, like every every piece you see, there’s something that you just wish you’d fixed, and you know that’s just part of it, but with the studio stuff, I can’t walk away from it, it’s not a wall in town, I’m living with it. In a bizarre way, it sort of speaks to me when I’m doing it, so that’s reinforced the idea that I can work really hard on these areas of the painting and achieve something where there is more impact.

Mixed media on paper, 2017. Exhibited in Face Value at Fiksate Gallery, November, 2017

When you are painting a wall and you stand back and take stock, there must be a strong awareness of the public nature of the process, simply because of the surroundings, whereas in the studio I imagine you can get really invested in producing work which is increasingly personal, you can be completely focused on it and enveloped by it…

Definitely, because as an artist there’s always, I mean, I can’t speak for every artist, but there’s an element of being self-conscious about what you are doing. When you produce public work, you do pretty much need to wear a hard skin, or you can retaliate, which is also something that I’ve probably done a lot in the past! (Laughs) But that’s just kind of who I am too, I don’t have lot of patience for dickheads in all formats (laughs), so it all just kind of comes with it. But with the studio stuff, it’s me, myself and I, and that can be good and it can be bad, because I can be my own worst enemy. I guess it’s that little voice just kind of kicking you in the ass, it’s good, but outdoors you’ve got your self to deal with and what other people think. But at the end of the day, I’m not really doing it for what other people think. I mean, yes, there’s this massive amount of positivity that’s come with public work, street art, whatever, but I feel like I get away with a lot (laughs), you know I’m not out to paint pretty pictures, I wouldn’t even say I’m trying to beautify things, it’s not the reason I go and do something, if that happens that’s great, but I know not everyone’s going to think that way…

It’s something that’s a problem with the adoption of urban art into the mainstream and it’s perhaps at odds with the roots and the intentions from which it has grown. Essentially urban art is about personal expression going public, it’s not solely, or even explicitly about acts of civic duty or beautification…

That’s right, it’s not community murals…

Yeah, they are a completely different thing. At the heart of it, urban art is about personal style, personal communication, and that’s often the hardest thing to explain. People celebrate and champion these beautiful things, whereas what graffiti and street art are really able to do is take art and put it in the streets, it can be beautiful, but sometimes it can be challenging, or visually unexpected…

Yeah.

Manchester Street, central city, 2016

And that means it is lot of things, and that diversity is really important in retaining relevancy and potency. We are surrounded by a number of your latest studio works, the scale of your studio pieces has been growing over the last few years, and these works are another step up in size…

They are. I think they have to be…

Yet for me, they are still clearly distinct from your wall works as well. Even though the works are getting larger, the things you can do in the studio are still really clear and obvious, from the detail, to the actual style of painting and the material approaches. Is that something you are wary of, that despite the size increasing, they are still going to be honest as studio works, rather than edging towards murals on paper?

Yeah I guess, when I think about it, before I really started focusing on studio stuff, I was painting big work, like not monstrous like it got, but a piece is a pretty large painting, so what I realised, was in a studio I can create completely different feelings with the same materials, but I can’t do that with walls, because it literally comes down to how they are sitting. With washes, and the metallics I add into the washes, which are the things I’ve concocted to make these paintings, they kind of have to be flat, they are always in a very wet stage until I spend the last few days finishing them. Also, like I was mentioning earlier, because I work on so many at a time as well, it works with my erratic personality too, it’s something I have to do, because if I don’t, I’ll ruin a painting. I’ve got all these ideas all going on at the same time, and if I put them all into the same painting, it’s just overkill. But when I paint on the street, I do that, I overkill, because it’s big. But you know this time around, I was more interested again in coming back to that impact, but thinking about how I approach it… In the past the works were big, but what’s going on inside of them was a big amount of work too, this time it’s the same sort of concept but I’ve slowed it down. There is, I think, more of a mystery to them, as opposed to zoning into these other works and getting lost in them, you can still do that with these, but there’s a bit more mystery…

Mixed media on paper, 2018

These works have a dynamic energy that breaks up the focus and sharpness of some of your previous works, there is still a suggestive sense of action going on, but it isn’t as definitive or finite as previous works might have been. That dynamism adds a personal quality, because they are reflections of your physical movements, which are of course relative to your personal state at the time you executed them…

Absolutely man, I think they are the most real paintings I’ve ever made. I’m not really the type of person in the past that would address a lot of things that are in these paintings, you know, and I haven’t, I’ve let it control my life, and I got really unwell with it, so I had to let it out. In a sense I’m kind of showing my demons in a way, but not in a way that is trying to make anyone concerned, it’s a healthy thing for me. It’s a way of me dealing with twenty something years of bullshit, so I really think that these works have their own story behind them. They are a body of work but each one is an individual reference to me. Being that they are a bigger scale too, I don’t know why, it just feels like I couldn’t get that same effect if I didn’t do them on this scale. Even with the paper ones, if they got any bigger it would’ve been too much and any smaller and it wouldn’t have worked. For a while I went through a period, for a good few months, where I was not able to paint anything, to draw anything, I literally reclused and stopped, and then kind of came out of that and this is what came from that. I guess too, there is a very different process to how I’ve worked in the past, where I would just go, go, go, go, non-stop, no sleep, I just went for it. There was a lot of work that came out of it, but a lot of it, man, I was in autopilot for a lot of it. I look at them and I know what they’re about, what’s going on, but I’m like, when did this even happen? But with these ones, they are all so much more relevant and they are all so much more decisive too. There’s no work where I’m like, that one probably shouldn’t be like that. Now there’s a whole different process…

Do you think that’s a combination of the timing being right in terms of what you are expressing, but also of how you are able to express it, through your actual practice? In a way, nothing is wasted if it has led you to a certain point, right?

Definitely.

Do you feel that these works represent an arrival point at how you are able to express these ideas visually?

I kind of have the mind set that things happen for a reason, that you experience things for a reason, like whether you know that when it’s happening, or you know it later on down the line. But I definitely think I’ve always found myself at the right place at the right time, especially with how my career has started to shape itself. At the same time, it hasn’t all been roses, you know, there has been a lot of bullshit as well. But if there wasn’t that bullshit, there wouldn’t be any success. I think it gives me ammunition to actually paint these works like I do. It’s how I process these things, I have certain kind of conclusions with my life and predominantly my art, because my life is my art and that is probably more apparent in these works than I think it ever has been. Again, the subject matter is a more refined me, rather than processes made by me or just stuff. Past shows have talked about stuff, they have been derived from me, but they’ve never really been about me, so it’s sort of narrowed in, and I guess that’s happening now because that’s what was meant to happen. To be honest, painting them is a way for me to try to figure a lot of that out, you know; why? why everything? So, the two work pretty well together, but I think you know, that’s the thing with progression, too, with anything you’ve got to take whatever comes, because you won’t progress. You can’t have it all good and progress to something better, without downfall, because there is no balance…

Yikes in his studio, 2018

That’s an important skill, the ability to understand what is happening, and to figure out that path. If your work is the same for twenty years, then something is probably going wrong under the surface…

Good luck to you, if that’s what you are up to! Because I think as humans, you all deal with things in different ways, based on personality, based on past experiences, based on how you’ve been brought up, based on however. Maybe it’s part of getting older and having kids, but I find myself having to really create my own path, you know, what I mean is, it’s a hard thing, because as an artist it’s quite difficult to live in this day and age, there’s a lot of pressures, financially, whatever, but…

Particularly somewhere the size of Christchurch…

That’s it man, it’s not massive and you know, I think I’ve always known that I don’t want to follow suit, it’s just not me. I just can’t do it. I think too, to be honest, that’s where the studio stuff has become more dominant, because this is truly where I’m supposed to be too. Before I was into doing graffiti or before I was painting large scale works, I was always into drawing, always into making art, so it’s like literally from an early age, it’s kind of my been my forte. But you know, it’s still a battle to make that an everyday thing, to make that a reality, it’s still really difficult. So I think taking a step back from doing walls puts a bit of pressure on things like that, because at the end of the day, painting large scale works is how I make my living, how I’ve made my living, selling paintings and doing commission works as well, it all fits in, but predominantly, the walls like I have always said, they are advertising for me as an artist, so it’s difficult to really put one to a side and then focus on one other thing because at the end of the day I’ve got bills!

Yeah, but that challenge is important to take on as well, right?

Yeah, and again it comes back to the fact that there is nothing to do but roll with it. I can create my path, and I know where I want to go, I don’t know where I’m going to end up, but I know what way I want to go…

Which is as important as anything right? People talk about it’s not the destination, it’s the journey…

Absolutely, because I’m kind of too afraid to arrive at a destination! (Laughs) I’m in no hurry to get there! And I think when you get there, if you get there, good and bad creates where you arrive, it’s all about how you deal with it in that process, and I think for me as an artist, the best way is to just literally keep doing what I feel is best. I have to get it out, because if it’s not true to me, at that point, whatever comes after doesn’t matter because I’ve put something out that’s not fully me, and that’s the battle of being an artist too, you want to produce what you feel is right and where you want to go, but at the same time, you have to make money and things too…

It’s a reality…

Yeah, it’s that reality. But again, in the past I’ve sacrificed sleep to do both, so it’s definitely all learning, every painting I do I learn something from it.

Stay tuned for Part Two…

Featured image photo credit: three-six-six media

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The RAD Collective – All Together Now

In late 2017 I started to notice a new name popping up across my social media feeds. I wasn’t even completely sure what the RAD Collective was; a collection of visual artists? A promotional entity? A clothing brand? Something to do with skateboarding? As I delved deeper into the world of the RAD Collective, the answer didn’t necessarily become any clearer, they seemed to be all of those things and more. Even when I asked people about them, I got a range of descriptions and explanations. I explored the artists, some familiar, others new, and found a range of approaches, often tinged with a rebellious, playful or acerbic edge, but always distinctly independent. The RAD Collective remained something of an intriguing mystery.

Eventually I was introduced to the RAD Collective’s co-founder Becca Barclay. When we finally sat down to talk about how the collective came to be, how it functions, and the group’s goals, her passion and energy for the concept was clear. What also became clearer were the collective’s diverse identities and operations. Made up of a number of young creatives, including artists, designers, illustrators, graffiti writers and street artists, photographers, filmmakers, musicians and writers, the RAD Collective facilitates collaboration and cross-pollination, while also allowing members to retain their individuality and flourish independently. Although not an explicit element of their formation, the RAD Collective in some regards reflects the evolution and influence of urban art. They span subcultures and decline singular definitions, while embracing and celebrating the subversive qualities of diverse street cultures among other influences. Where once it seemed everyone belonged to a ‘tribe’, adhering and dissolving into expected activities and appearances, the RAD Collective might represent an eroding desire for labels, a new willingness to be all things and nothing.

So Becca, the RAD Collective seems like a pretty fresh approach in Christchurch’s creative scene, obviously it is distinct from the likes of graffiti crews, where did the inspiration come from? Was there a specific influence that set an example to follow?

The RAD’s initial idea was born at Design School at ARA. It was originally, and still will hopefully be, a collaborative ‘alternative’ underground magazine, focusing on different creative practices and sub-cultures and how they intertwine with one another.  Within each issue, numerous creatives will work together on one artwork or article. My third-year research project was focusing on how sub-cultures were represented in print media from the 1950’s until now (so that was me diving into A LOT of David Carson’s work on alternative publications Beach Culture and Raygun, but also various culture prints like Monster Children and i-D, and even skateboard magazine Thrasher).  But I wanted the RAD to really reflect the idea that all these ‘groups’, whether they might be skaters, artists, musicians, street artists, don’t conform just to their own sub-culture, and they each feed the others. We have really tried to keep that as the essence of what we do as a collective. We have our main inner group, but with each exhibition or event we collaborate on, we invite other artists or work with diverse businesses to create alternative or urban showcases. I don’t think any of our members would even refer to themselves as a part of only one sub-culture. We are huge fans of Young, Gifted and Broke (YGB) from Auckland, and the idea that all these creative people are among one team, I think is a really awesome and inspiring approach.

 I have been wondering, is RAD an acronym?

 Hahaha, no! I just think it looks cooler and way more ‘oomphy’ in capitals!

I have often wondered if a defined subculture such as hip-hop could come into existence anymore. Obviously there have always been localised versions within subcultures, with distinct elements based on the specific environment in which they are embedded, but in the digital age, it seems that influences and information are so accessible and diverse, that people will not necessarily seek any singular sense of definition. But, with that said, is there something that defines the members of the RAD Collective, or at least a common thread that unifies them? Or is diversity the defining element? Is there a concerted idea around who ‘fits’ stylistically, or is it more a question of who does something conceptually or materially that adds to the group’s potential?

That is a really hard question to answer because I would usually describe the common thread throughout the RAD as ‘urban’ and ‘alternative’, two words not necessarily used together often and probably a bit of a cop-out on my behalf as they’re both extremely broad! I’ve never really seen diversity as our defining element as we truly are one big team. But in saying that, our diverse skill set is why we work so well and can offer value, to not only our members, but also to the community and the events we work on. As I mentioned earlier, I doubt any individual members of our team would conform themselves to one subculture. I love to use Harry King, otherwise known as A Tribe Called Haz, as an example of this. He is a full-time builder, but loves urban art and is a graffiti artist, his ‘crowd’ are skaters, he’s been skating since he was ten. But our running joke within the RAD is that all his paintings and illustrations are made with him wearing black double denim, listening to pre-1980’s AC/DC and sinking twelve cans of Diesel bourbon and cola, because he ‘looks’ like a bogan! So, no, there is no idea around who ‘fits’ stylistically, whether that is the artist or their art. It is definitely more about the person who is involved, who can add value, and who we can help out. A lot of our team now are friends of friends or people who we’ve approached to join with an idea or project in mind that might crossover into their specialty, so that is pretty cool. But not only does that add value by making our team more diverse and skilled, but it also opens the potential for collaboration across creative fields people might have never dabbled in before.

RAD Collective member, Tomoki ‘Moki’ Peters in front of a series of his photographs at the RAD exhibition at Papa Hou at YMCA, late 2017. Photo Credit: The RAD Collective

Who makes up the RAD Collective, and what roles do people play? I know you have a large number, but does it need delegation, or even a consensus around projects, or do people sort of pick and choose what they want to be involved in?

The collective is made up of around twenty people; we have some more involved members than others, but that’s just because we have pushed out a lot of visual art exhibitions so far, so our schedule has suited certain members more than others. We would usually put a call out to the team to come over or meet us for a Bodgie Beer (the famous house brew at Christchurch’s Smash Palace) and from there we discuss new projects and exhibition ideas. We then clean the idea up, present it to everyone else and people pick and choose if they want to be involved and their level of involvement. Some members will only exhibit occasionally whereas others are involved in every exhibition, and the whole exercise, from helping with branding, to setting up and packing down.

You mentioned that the magazine is still a driving goal, and I look forward to seeing how it materialises, but how did some of the other events come to fill the gap, so to speak, from art exhibitions to being involved in the King of the Square event (an invitational street skating competition staged in Cathedral Square)? There are always a lot of necessary tasks behind getting anything done, so are responsibilities shared around, or do people have specialist roles?

Thank you, we are excited to see what comes of it as well! I was very lucky that one of my close friends and influences, Billy McLachlan, is the organiser of King of the Square, and he knew about the RAD and basically encouraged me to get involved and for us to sort it out and get into it. At this point we had a team together but didn’t have too much going on.  Alongside King of the Square, also in November 2017, we staged an opening exhibition at Papa Hou, the arts venue at the YMCA. From there we approached Audrey Baldwin to become a part of First Thursdays and then Ōtākaro approached us about doing something for the Evolution Square launch. It all happened in quite quick succession, so that was a full on eight weeks of planning and organising. Myself and Jimirah Baliza, who is the collective’s co-founder, will usually do most of planning and administrative things, but there are heaps of people in the team who help us out along the way! At the end of the day we’re asking a lot of these creatives to turn around exhibition pieces in the time that they do, so we try keep their workload at a minimum.

Members of the RAD Collective at the King of the Square event in Cathedral Square, November 2017. Photo Credit: The RAD Collective

How do the group shows come together? Is there generally a theme that artists work to, or is there a sense of trying to pin down what members are doing in the presentation? Do you take the lead from a curatorial point of view?

In the past, we’ve been approached to do group shows and there has been very little turnaround, which means it has been a couple of hectic, stressful weeks! With our upcoming show, Under the Influence, we have had full control from start to finish and the idea came from having a catch up at Smash Palace with some of the team. With past shows where we’ve had such a tight turnaround we haven’t asked artists to work to a theme, but we did with this new show. People seem to have interpreted it two ways: looking at their influences in life or art, or from a drinking or party culture point of view. We usually don’t want to pressure the artists into doing too much other than making their exhibition pieces, but with big shows like this one they will probably have a small job on the evening. I would love to say I do take the lead from a curatorial point of view, but usually it is launch day and Jimirah and myself and whoever else is running around, usually Kophie Hulsbosch and Lucia Kux, are all hands on deck getting as much done as we can! For this show Jimirah, Kophie, Lucia, McChesney-Kelly Adams and I will be doing equal parts curating and setting up.

What makes Christchurch, and specifically post-quake Christchurch, the place for the RAD Collective to work? I know one member has recently relocated, that is always going to be a reality, especially for young creatives, but do you think it is now a place that might be able to retain and sustain people and their creative appetites and goals?

 We are so lucky being from Christchurch as the art and design community have really helped us out and welcomed us with open arms! ARA, other creatives, event organisers and even Ōtākaro have all helped us out along the way and really embraced what we are doing. We have been incredibly lucky in that respect, but I think that reflects the sort of environment the RAD was born into. People want to see a more creative Christchurch, people want events and interactivity within the city and, luckily for us, they are stoked when they see young people at the forefront of it all. If it wasn’t for that, The RAD would never have been nearly as busy or successful as what it has been to date.

But yes, we are so gutted Tomoki Peters, who is a really talented photographer, has left for the bigger, brighter lights of Melbourne, he was definitely a team favourite. But we’re lucky we live in the digital age, so he will still be exhibiting with us and will still be a huge part of the RAD. But as you said, that’s the reality of it, of course some of the crew will move and travel. But yeah, I genuinely believe Christchurch is an attractive place to stay or to come back to, now more than ever. There are so many creative opportunities, events to work on and co-working spaces popping up, and that momentum and energy within the city keeps building.

The RAD Collective take over the store front window of Sydenham skate store Embassy for First Thursdays, December 2017. Photo Credit: The RAD Collective

As a collection of young people, how does the RAD serve as an example for others? Will it be an evolving concept with a lengthy life span and constantly expanding roster, or is it a celebration of the now, an embrace of the potential to combine and get stuff done in the immediate environment?

Hahaha, oh man, I’m not sure if I’ve ever seen the RAD being an example for others to follow, but I would hope people see us and realise that with a bit of determination, a good mindset and kindness to others, as cheesy as that sounds, you can almost do anything! I love framing everything I do regarding the RAD within a sort of mantra: Do it with passion, do it with compassion, do it with humour and do it with style. If people can see us out there doing it with a smile on our faces, then that’s all that really matters to me. Again, I know it sounds so cheesy, but it’s true! Also, I like to think a bit of naivety never hurt nobody, ya know?

I do think the RAD will be forever evolving. That’s the beauty of a collective, people will always come and go, but I think the true essence of this sort of rebellion, these alternative ways of presenting art, will stay the same. For me, this is my dream, I will do whatever I can to not only one day make the RAD into our magazine, but also grow the RAD apparel, promotions and events, and even develop a RAD artist fund where we can continue to work with super talented young people through workshops, exhibitions, projects, events and collaborations together. That’s the dream anyway!

The lifespan of the collective and the idea of having goals for the RAD does matter to me and some of the other members, although maybe not all of them, but the main attitude within the group is to definitely make the most of now and get stuff done, most def!

With all that said, what is next for the RAD? What is the long-term plan for world domination and what are the shorter-term projects coming up? You have already mentioned the exhibition Under the Influence coming up… 

Yep, next up for the RAD is our exhibition Under The Influence. The show opens 6pm on Friday, April 13th, at the Boxed Quarter, on the corner of Madras and St Asaph Streets. What we have planned is not your average art exhibition, we have light projections from our motion designers within the courtyard, we have some up and coming DJ’s playing, we have three of our street artists doing live painting, we have a heap of food vendors and a courtyard bar to get yourself a cheeky Friday night beer! And, of course, we have our exhibition, there are twenty artists contributing and we are all so excited! We are also going to be rolling out more winter merchandise. Once that is done, then it’s time to focus on the other exhibitions and events we want to execute for the year. As I mentioned, in the long term we would love to do more event promotion, we’re also aiming to paint some murals around the city, do more pop-up shops, more digital and immersive exhibitions, more collaborations with local businesses, and then about half way through this year we are really going to knuckle down and figure out how we can make a somewhat eco-minded, alternative, honest, underground publication that isn’t half-full of advertising! We are also currently working to find our full-time artists a home to work from, so it truly is all go! We are super excited, so whoever wants to come down and check out Under the Influence, we would all love to have a beer with you!

Head down to the Boxed Quarter (corner of Madras and St Asaph streets in the central city) on Friday, April 13th, from 6pm to see Under the Influence. For more information, check out the RAD Collective’s Facebook page: https://www.facebook.com/events/812991845578842/

 Over the next few weeks, we will be featuring interviews with a number of artists from the RAD Collective, so keep tuned and get to know some of Christchurch’s up and coming talents…

Spread the word about what's happening in the Christchurch urban art scene:

Porta – A Helping Hand

A few years ago, I would have said Porta was one of Christchurch’s best kept secrets. But to make such a claim now would be misleading, his street and studio work continue to gain exposure and opportunities to work with an array of amazing talent and in a variety of contexts. Having known Porta for a good while, it is refreshing to be able to say that such reward is justifiable evidence that good things happen to good people. With his infectious energy, he constantly reminds me that getting ‘amped’ on things, as he would say, is a vital ingredient in enjoying what you do.
His array of images, heavily drawing on pop culture and his magpie-like inquisitiveness, have a strong street style, but also a sophistication that has developed with his sustained practice. Primarily a stencil artist, Porta’s work ranges from walls to found objects, such as skateboard decks, reclaimed thrift store paintings, street signs and even randomly recovered pieces of wood and metal, and even extends to large MDF cut-outs and, of course stickers. His images increasingly juxtapose pop culture references with abstract designs, distressed surfaces, or revealing indications of the aerosol medium. These playful qualities ensure his work is both accessible and attractive, easily shifting between locations, while still seeming authentic in approach. I sat down with Porta at his shared studio space Fiksate Studio and Gallery in New Brighton, and we reflected on the various projects and adventures he has experienced over the last several years, his take on his own practice and why ‘liking people’ is always a good starting block…

Although you never admit it, the last several months, actually, several years, have been pretty busy for you! Recently you assisted Dcypher and Oi YOU! with their project at the Christchurch Airport, and a few weeks prior you helped Flox with her Plymouth Lane mural in the central city. You have worked with Oi YOU! quite a bit, so there is a relationship there, but how did the opportunity to work with Flox come about? And what did you make of the experience?
I basically just put up my hand to help out where I could, if she needed it. So, I ended up buffing out big squares of colour for her and filling in some of the letters, so she could stencil over the top. I was mostly on the brush and roller…

Flox making progress on her No Place Like Home mural in Plymouth Lane, central Christchurch. Photo credit: Porta

As a painter by trade, you have a practical versatility to be able to do different kinds of things and help people in different ways, and that’s given you many opportunities to work with artists on an array of projects, as well as influencing your own work. Did you always see those skills as transferrable, that they would open some doors?
Yeah, I feel like still like I’m more skilled behind a brush and roller than I am with a can, any day! (Laughs)

On the flip side, as a stencil artist, did you take the chance to step back and observe Flox’s techniques and learn from her?
I did, and she is really open when chatting about her processes, like just about the stuff she uses to cut her stencils from, and that sort of thing. She’s really open about it all, which is really cool, because sometimes, you can understand why someone might want to keep it to themselves…

I kind of feel like with stencilling there is a mystique about the process sometimes, but when you can pick up little things, you can take them in different directions. For instance, seeing such a large-scale stencil piece being produced must have been a valuable experience for you…
Yeah! The size of that work blew me away. Seeing a stencil being produced at that scale was really impressive, and seeing that it was actually do-able, it was crazy!

Speaking more broadly, not just from the ‘handy on a roller’ perspective, you have a real willingness to offer a hand wherever needed. As a result, you have worked with a wide array of people. Is that attitude just a reflection of your approach to life? Or is it that you see opportunities when they come up?
It’s important to me, I like people, so that’s a good start. From there, I really like street art and I want to see it do well in Christchurch, so it’s a combination of those two things really.

It has been a pretty amazing few years in the city, and in many ways, you’ve been right in the thick of it. Amongst a raft of well-publicised events, there has been the growth of your own ‘baby’, CAP’D, which has now been staged three times. You conceived of CAP’D a few years ago, so what was the initial idea, how has it evolved, and where do you see it going?
I asked people if they would be keen on a show of local artists who worked on the streets or were influenced by that scene. I put it to a few people, ‘what do you think if I did this…?’, and everyone I mentioned it to was just super enthusiastic and receptive to it. I had friends who wanted to be involved and put art in it. So, next thing, it really took off and it was just, ‘well, I guess I’m doing this…’ Which was a cool way to do it because it got me motivated, and the next thing I knew, I had sorted dates, found a place, and people were just so enthusiastic that there was no way I could back down!

I remember when you first started putting it together, it was originally a much smaller idea, but by the time the opening came around, it had grown into something quite different…
The support was amazing, it was meant to be this small, chilled out thing, but it ended up featuring artists from overseas, not just local artists. On the night, it was quite overwhelming, the amount of people who turned up, the amount of art that was there… Which is why for the events after that I had a wee crew of people, with Jen (Jenna-Lynn Brown), Dr Suits (Nathan Ingram) and yourself. It was definitely a team effort after that, which was a relief! (laughs)

Opening night of the first ever CAPD show, New Brighton, 2015. Photo credit: Abigail Park

I think it showed how Christchurch has an audience that wants to see this kind of art, and these kinds of events, but also it revealed how you can connect with people from overseas, and that those networks are closer than we ever thought. Over the last several years CAP’D has featured artists from Sydney, Barcelona, Japan, Los Angeles and more, but even in the first show, there was work by artists from Melbourne and Brazil, so it kind of set the precedent…
Yeah, that just kind of happened…

It showed you can approach artists from the other side of the world and say: ‘Hey do you want to be part of something?’ and often the response is ‘Yeah!’ Were the positive responses a surprise to you?
It was, because not long before CAP’D, I’d just sort of got into Instagram, and I realised how approachable everyone was, people I considered quite well known, I didn’t expect them to respond to comments but they did, and then I thought, I’ve pushed my luck already, I should ask them if they are keen on being in an exhibition and a lot of them surprised me…

Which must be a good feeling, because that old saying ‘never meet your heroes’, isn’t always true…
Nah, sometimes it’s great to meet your heroes!

So, where do you see CAP’D going? It is now hosted at Fiksate [Design Studio and Gallery in New Brighton], and it has evolved slightly over the last few years, do you think it’s going to keep growing or are you happy for it to keep to a specific scale?
Yeah, I like the size of it. It wasn’t ever anything that was supposed to get bigger and bigger. It was supposed to be pretty small, so now it is the size that it is, and I just want to sort of keep it here, keep promoting new people, new talent, and putting them alongside talent from around New Zealand and the world…

Opening night of the second CAPD show, Fiksate Design Studio and Gallery, New Brighton, 2016. Photo credit: Porta/Abigail Park

That’s the really important part, right? It’s giving a forum for young artists, lesser known artists, artists who come from particular backgrounds, where finding ways to exhibit works can be a real challenge…
Because a lot of these artists are not new artists, it’s just the first time they’ve put their art in this particular kind of environment…

Most of them have been drawing, writing, painting, making in the streets, or some of them in their bedrooms without putting anything out there, and it’s just a case of creating this new forum, so there’s real value there, and it’s partly the response of the artists that reflects that, they appreciate that you’ve created something that gives them the opportunity, so it must feel really good! (Laughs)
It does, it really does.

Talking about CAP’D’s evolution brings up another big development in your artistic life; setting up Fiksate with Dr Suits and Jen. That seems to have provided you with a real stimulus. How did it come about?
So again, I was just yarning with Nath and Jen, and saying I’d be keen on opening a spot, and then we made some connections with people who could make it happen, and all of a sudden, that momentum had picked up, and we had our spot. We did check out a couple of other places around New Brighton, but in hindsight I’m glad they didn’t work out, because our spot seems pretty perfect really…

Do you find being in that collaborative environment has expanded your practice? Does the shared, dedicated setting make it easier to explore ideas than if you were at home in the garage?
Well, I do, but sometimes I think I almost get an equal amount of satisfaction when I’ve been able to help someone get to where they want to be, rather than if I was getting myself somewhere. I think that’s why a lot of the time people want to get together with me, because they know I try to be a willing helper…

When I have been around Fiksate, there is a real feeling of coming together and problem solving, offering advice and feedback. Even when it’s not you making something yourself, that experience of thinking about somebody else’s work can be just as beneficial in the long run… Working with Jen and Nath, who both have quite diverse practices, has watching their different material approaches influenced your stencil making technique?
Yeah, (laughing), and it’s made me do things in a way I didn’t think about and to go in directions I didn’t think I would go. Like, Nath will just be buzzing on something I’m doing, and then I’ll be buzzing off something he’s doing, and then when we are all finished, whatever we have made will usually have a few similarities (laughs) and not on purpose, but we just realise we are both being so inspired by what is happening in the studio that it comes out in our work… Like with the piece I did for Blind Date, which was an exhibition for First Thursdays last year, and probably the series of Donald Duck works that came from that, I think they came together in that way, even though the piece was a colab with another artist, Kara Burrows, we kind of worked separately, and it was at the studio that my part really came together. I feel like Nath had a bunch to do with that, and you were there that night too… I was trying something new and you guys were getting really hyped off the stuff I was doing, and I think that excitement came out in the work, so yeah, I think that is what it’s all about, just getting each other really hyped on the new stuff you’re doing and then you want to do heaps of it and take it further…

Collaboration with Kara Burrows for Blind Date, part of the First Thursdays event, Dilana Rugs, Sydenham, 2017. Photo credit: Porta

Tell me about the development of your stencil style over time, because, to me, your stencils, despite their diverse nature, from the actual images to the material surfaces you use, they always seem to reflect a street vibe, how did you get started?
I think I had been influenced by a stencil I saw in town, on Manchester Street years ago, like in the mid to late nineties, so I tried to make a stencil, I was listening to a bunch of Foo Fighters, and I tried to make a Dave Grohl stencil and I ended up with a bunch of shredded cardboard that didn’t stay together and I just hiffed it away! Then I sort of revisited it, it must have been four of five years later…

It seems like everyone’s first attempt is always some pop culture icon, a musician or an actor… Do you think it has something to do with the medium? Does the technique encourage you to try and produce something realistic, and then we are just drawn in by pop culture through the image saturation of celebrities? Maybe it’s just the association of that type of imagery with street art’s vocabulary and traditions, that immediately recognisable image to grab someone’s attention…
That’s funny when I think about it, I don’t know why that would be, but it does seem true, they are probably the things that are making an impact on your life at the time. Thinking about those early stencils, I used to make stencils from the outside cover of an exercise book from school, and you just sort of made do. I think I had a huckery old craft knife. I think the drawing I did of Dave Grohl, I was pretty amped on it, and then I just tried to make it into a stencil and I couldn’t quite pull it together!

Godzilla, stencil on reclaimed framed print, 2016. Photo credit: Porta

It’s a technique where there is value in just trying and failing, and then starting again. I think there is also a lack of pretense as well, I mean using the cover of an exercise book, using a cereal box, like that approach is entirely fitting, and even now, you’ll know, you have a preferred method to use to cut stencils, but it varies wildly, different people use different things and it’s all about the way they’ve developed their techniques. So, then you picked it back up after murdering Dave…
Maybe four years ago? Maybe more, I can’t pin-point it. I know the next one I did was based on a sketch of R2D2 [the droid from Star Wars] that I’d done, it’s on the rubbish bin at home, that’s the only place it ever went, but I think from there I started messing round with the technique more and more…

Porta!, stencil on reclaimed suitcase, 2015

Who were your influences? Who, or what made you think, ‘Yeah, stencils are for me…’?
Of course, Banksy would have been an influence and I think he’s great. I liked that he was doing things I didn’t expect. I mean everyone likes to be surprised, and when I saw what he was doing, it made me want to try different things. But there were other people too. I like a Mexican artist called Acamonchi. I like his punk style, I was never into punk so much, but his style and that aesthetic just appealed to me, it was gritty and dirty and cheeky, the images were sort of taking a whole heap of ideas and layering them up in a messy way, just making really interesting mash-ups that came together super well, in a really free sort of way.

Can, stencil on MDF board, 2015. Photo credit: Porta

Even though graffiti is so strongly entwined with hip hop, for the wider street art culture, or post-graffiti, and I guess some graffiti writers, punk is a really significant influence, in visual style, material forms, like the influence of band fliers and posters, and of course the anarchic, DIY attitude…
Yeah, there is definitely a strong punk influence in the history of stencilling, it’s an unavoidable influence.

Did you primarily see stencilling as a street technique, or did you also perceive it as something that could transfer from wall to canvas, so to speak?
When I started I just wanted it to be on the street, I didn’t ever want to stencil on something you could keep. But then over time, I started appreciating the time you could spend on a stencil, that you could layer them up. Then I started wanting them to, you know, stick around a bit longer, and just look at them and see what I was going to do with my next one, stuff like that…

Monkey, Melbourne, 2016. Photo credit: Porta

Now you work on a whole range of different surfaces and objects, but in many ways, they retain a sense of street work, at least in their visual style. While stencils are your primary method, your other love is stickers and slaps…
Yeah, definitely!

You have made thousands of stickers; hand-drawn, stencilled, you have even used block printing techniques, when did you start to making stickers? Did that come after starting to cut stencils?
That would’ve come before. I was always trying to draw stuff and I think one of the guys who influenced the sticker side of things for me was definitely [Christchurch artist] Xpres. He’s always been a real sticker guy, he’s always collected them, always made them, always putting them up around the streets, always with really nice hand styles. Eventually I found out the sticker culture was big in America. I was on the internet all the time trying to find out more, and I discovered a magazine called Peel Magazine, that I couldn’t actually get in New Zealand, but I could find stuff about it online, and so I just got real obsessed with that for a bit. I also came across a guy called Chris RWK, doing these designs called Robots Will Kill, and I just thought what he was doing was so cool, and the more I looked into it, the more I liked it. I think stickers, even though I do stencils, stickers will always be my favourite…

Sparrow, hand printed sticker, 2016

Speaking of stickers and Xpres, we were lucky enough to be involved with the ‘Stick ‘Em Up’ room for the first Spectrum show at the YMCA in 2014, and I remember how deep you got into the concept there, which was built on the idea of social media networks and dissemination, which was how we collected so many stickers from all over the world. You were just hounding people for stickers! What are your memories of that whole experience?
Again, I think it was before Facebook and Instagram worked the way they do now, because they play with the algorithms and stuff, but at the time, when people put stuff up, you saw it right away, and so we were messaging all these sticker artists we stumbled across, I was getting in touch with them, telling them about this event and trying to get them interested by name dropping people who were going to be in the show. And so many people, like eight out of ten people, were keen to be in it and then two would be like: ‘This some sort of scam and you just want to get some free art off me!’ (Laughs) Which I understand!

The My Name IS… sticker board from the Stick Em Up room, Spectrum, 2016. Photo Credit: Porta

Yeah, it is understandable because of the nature of social media interaction, but it also shows that if don’t ask, you’ll never know…
Exactly, I remember, I had this book and I had written down, I think there was close to 800 people that I had contacted! Some people didn’t get back to me, but I remember thinking: ‘Man, it would be a crack up if on the day we are able to start the room, we had a big sack of stickers’, and I didn’t see it happening, but that was exactly what happened, like exactly! With that project, the other thing that sticks out was the whole team thing as well. It was Xpres, Nathan, Jen, yourself, and me, and I think it was such a cool team and we were all getting amped, everyday when something new turned up in the post we were just so excited, I’ve never been so amped!

For me, the temporary nature of that project was really cool, the fact that it is no longer there, that you can’t go and see it anymore, it’s an experience that was so ephemeral, and yet completely consumed our little team for so long, and we were so involved in the evolution of that space…
It’s like, was it even real? (Laughs) I walked around the room and made a video and I sometimes have a look at that. It was pretty cool…

You have been exhibiting more and more over the last few years, with CAP’D, at Fiksate, First Thursdays, and recently in some shows at the Welder Collective, are you more comfortable about making work to exhibit, or is it still something you are coming to terms with?
I don’t know if I’ll ever be super comfortable with it, but yeah, I’m more comfortable with it than I was at the start. But I’m a chronic procrastinator as well, so I’m always doing stuff down to the line and luckily a lot of the people I’m working with know me well and are quite patient (laughs), which I appreciate, because I know I always cut it fine! I don’t know why, it’s like if there’s no urgency, there’s no priority. But, I did always say, right from the start, if I ever felt like I was being pressured with this stuff and it wasn’t fun, I would stop. I do wonder if I get a buzz off doing stuff at the last minute…

Porta’s stencils, left, alongside Finn Wilson’s work, from the Face Value exhibition, Fiksate Design Studio and Gallery, 2017

You need the adrenaline?
That could be it, I don’t know, I’m just sort of thinking that i always seems to end up that way!

As well as exhibiting more often, and helping other artists, you have been doing some of your own public work, probably the most noticeable larger public piece you did was the First Thursdays billboard on Colombo Street in 2016. Do you want to do more outdoor legal commissions, or you would rather make smaller stencils and make stickers?
I think that smaller stuff is really my style, but after working with Flox and seeing how she made that larger scale stuff look really fun, I think it would be cool to revisit it. That panel I did for First Thursdays was a bit of a nightmare, it was a bit of learning curve. The stuff I made my stencil out of was too light, and as I went to hang it up the wind came up. I was so stressed out, I didn’t enjoy it so much. I was so relieved when it was all over, which has made me not really want to do that size again, but then again, working with Flox, she made it look like something that can be quite manageable, and that makes it attractive again.

Portas billboard for the Life Aquatic themed First Thursday event, Colombo Street, Sydenham, 2016. Photo Credit: Abigail Park

Making large scale stencils does bring a whole heap of challenges, especially when working in a public space. I guess often it comes down to compartmentalising the process, and that relates back to the stencil process itself: when you make a stencil, you cut layers and build those layers, so in making a larger scale work, it’s sort of the same principle, in that if you make those layers manageable, and build it piece by piece, you can take away some of the problems…
The other person who is great to work with and watch as far as doing large scale stuff, is Joel Hart, just seeing how, I don’t want to say he cuts corners, but I’ll feel like there is a way to do it and he’ll go: ‘Nah, there’s an easier way’, and he’ll just think outside the box and think of something different, and it’s amazing, it’s so cool to watch.

Speaking of local artists, who are you excited about? Who do you always keep an eye out for in the streets?
I am really interested to see what Kill is going to do next. I enjoy him because I never can predict what he is going to do. I sort of feel like maybe he is drifting towards doing more music, but that dude never fails to surprise you, which is great. I remember the first time I ever met Joel Hart, looking back, I was doing a market with these budget as, horrible stencils and he wandered up and his little girl was with him and we just got talking and he said he liked stencils, he didn’t say anything else and I was like would your girl like one of these, and I just gave it to her, and now I wish I had given him a better one! (Laughs) But from there, he took off with his stencils and got all famous and stuff! (Laughs) But it’s funny how things work out. I love seeing his stuff, I get amped seeing his work…

A few months ago, you helped Dr Suits with his piece for the Carnaby Lane event in New Brighton, which Joel was also part of, it looked like a fun day…
It was great! That was so much fun. I had so much fun with that. It was originally supposed to be a collaboration, but just the way things went, we ended up working with one of Nathan’s designs. So, I ended up helping him more than putting my own design up, but I just had an absolute ball. I’ve never been so relaxed working on a big piece, working outside. Nath’s just so chill about everything, and the sponsor was flicking us beers, so we were pretty happy!

Porta at work on the Carnaby Lane mural, New Brighton, November 2017

In a way, that brings us full circle to where we started: you got to use your painting skills, cutting in, masking off, to help someone out…
Yeah, I’m stoked when those skills are useful, I think that’s where my talents maybe really lie!

I think everybody knows you’re a man of many talents! So, what is coming up in the next few months?
I am going to be part of Stoked, which is an exhibition of surf-inspired art as part of the Duke Festival in New Brighton, and then we have a Fiksate show, Visitors, at The Welder on the 16th March, which should be good times, New Brighton comes to the city! Come and check it out!

Cheers Porta!

Visitors opens at The Welder on Welles Street on Friday, March 16, at 5:30pm. Alongside Porta, Visitors also features work by Jen, Dr Suits, Bols and MFC Lowt.

Follow Porta on Instagram

Spread the word about what's happening in the Christchurch urban art scene:

Uncle Harold – Keep Looking

Chances are you know Uncle Harold’s work, maybe from various exhibitions, perhaps from his recent advertising campaign with Amazon Surf and Skate stores. Although his work doesn’t have a traditional street presence, it is undeniably influenced by graffiti, street art, and most importantly, skateboarding, illustrating the infiltration of urban art within diverse contemporary artistic practices, and perhaps the rise of the expansive term ‘urban contemporary’. Uncle Harold, sometimes known as Josh Bradshaw, has quickly gained a profile in the Christchurch scene, his distinctive paintings and drawings melt away our expectations, objects literally drip from the wall, from retro shoes to coat hangers, from urban elements to iconic logos. The bright, flat colours add to the hyperreal quality of his creations, ensuring they are playful but also suggestive of the need to look again, to look closer, to see things in new ways. We caught up with Uncle Harold outside his ‘home base’ of the Welder Collective, to discuss the influence of  skateboarding, street art, his decision to pursue his art full time, the opportunities for creative people in Christchurch, and Consequential, his up-coming show at the Welder…

So, in terms of making art full-time, you are somewhat new to this right? How long have you been totally focused on making art?

Totally focused, like full-time, since mid-October last year, so, like four and a half months now. I think I’ve been taking it more seriously now for a year, but in terms of a full-time commitment, about four and a half months.

How did the Uncle Harold alias come about? Is it an intentional idea to separate yourself from Josh and instead have another identity, or is it just something playful?

It always was intended just to be playful, the name, I was pretty obsessed with old fashioned elderly people names, like Mavis and Edna, that kind of stuff, so that was where the Uncle Harold thing came from. It honestly just makes me laugh every time I see it written somewhere, especially when I see it somewhere quite formal or for a serious art event, when there are lots of fancy words thrown about and then there’s just Uncle Harold, it makes me laugh so much… I try not to take anything too seriously with art, it’s supposed to be fun, especially the drippy style, and the whole Uncle Harold thing just fits really well with that, not taking anything super serious. It’s quite nice to have someone to blame stuff on, that wasn’t Josh, that was Uncle Harold, blame him!

Do you see it having a natural lifespan that you then might reconsider? Or will you keep running with it?

I think I will keep running with it. I was actually thinking about that, I saw something about another artist who went and changed his name and became more serious, but I definitely can’t see that happening anytime soon, I’m still going to run with Uncle Harold for a while yet…

Have you always been a maker of things?

Making stuff has always been there, from back from when I was a young kid making skateboard ramps and stuff like that with my dad. I always liked art and stuff like that at school, but I was a terrible student (laughs) and I sort of lost it for a bit. But there was a time when I was not up to much, so I thought I would pick up the paint brush again and that’s when I started getting back into it fully a few years ago…

So, you would class yourself as fully self-taught?

Absolutely, fully self-taught. I have no formal training at all, it’s all just trial and error for me…

Do you think that makes you more fearless in how you go about things? You’re not beholden to doing things in a certain way, it’s more a case of just giving it a go, taking an idea and running with it…

One of my favourite things is that I don’t have to follow any rules of art, because I don’t know them! So, it all comes down to what I think and feel looks cool and what works. I don’t know if it is technically correct or not, but that’s how I see things, so that’s how I make my work. I almost feel sorry for people who have to watch me make something, it must be frustrating! ‘Mate you’re doing it wrong!’ (Laughs) But that’s what I like about it, it’s cool…

Your other background is skateboarding; how big an influence has that played in terms of that trial and error approach? Has the skateboarding attitude of trying and perfecting a trick over and over again played into your process of making art?

Yeah, absolutely, everything, everything I know, one hundred per cent comes from skateboarding. Like I say, I didn’t know any artists, I didn’t go to any schools or anything like that, everything I know about art and how to do stuff has come from skateboarding. The art I saw was on the bottom of my skateboard. I wasn’t in a gallery looking at anything, it was just what I had under my feet and then that determination of trying something until you do it and not caring about what anyone says or anything, so that has transferred over to my art…

Uncle Harold, Untitled, 2018. Photo credit Uncle Harold

Although you’re not working in the streets explicitly, it feels like your work shares a kinship with urban art and street art, and I’d suggest it ties back to the fact that skateboarding is such a big influence because that is part of that sphere of urban art…

Yeah, I think there are so many similarities between skateboarding and the dudes on the streets painting walls: you’re somewhere where you shouldn’t be, you’re pissing someone off, you’re running from authorities on occasions. You just have to look around Christchurch, I’ve spent hours out in those sketchy abandoned spots skating an obstacle, but there is a whole wall of street art and graffiti behind me, so I feel like that’s a really heavy influence on that street style.

Street skating, like a lot of street art, is about subverting the urban environment, seeing something in a different light and finding a new use for it, does that element come through in the way you make work as well?

Yeah, that is actually the whole reason behind the dripping stuff; seeing something, seeing the potential of something that isn’t anything. You know, some person walks past a bench and it’s a bench, but I walk past it and see the way the ground goes up to it, the angle it’s on, like all that stuff. Everything I paint is about seeing it in a different way than it actually is, subverting these objects…

So, by kind of melting away the façade of objects, you are encouraging the viewer to re-think the object and their take on it?

Yeah definitely, the basic point of it is everyone sees things differently, we can all look at the same thing and everyone will take something different away from it, whether it be the colours, or which parts are dripping…

Uncle Harold, Air Force One, 2018. Photo credit Uncle Harold

Which means you can take any object, right from the smallest, most mundane things, like lighters and pens, things that we handle all the time and we often take for granted in many ways, and by transforming them, we become more aware of our relationship with them…

Yeah, I’m a huge fan of making something interesting out of the most boring, everyday sort of stuff we take for granted. You take something you use every day, and you make it into something cool because no one really sees that stuff, you look at it, but you don’t really see it.

We don’t pay attention to it…

Yeah

So, by subverting it, by changing it, we are forced to reconsider it’s various qualities, both physical and in a sort of associative, experiential way as well…

Yeah

I’ve heard you introduce yourself as the guy who ‘paints the drippy stuff’, which made me chuckle, because it was this really unassuming statement, but it revealed your recognition of how it has become your signature, you must now have a process, do you have a certain way of essentially melting an object?

Once I’ve decided on the object, and it’s usually always an object, I usually think about it in the order that you see it. So, whatever is closest, those drips will be on top. So, basically, I draw it exactly like it would be in real life, but just completely dripped and melted… (laughs)

Do you ever practice by melting objects?

No (laughs), but I’ve thought about it, and I think I’m going to have a play with something like that pretty soon…

You have found a way to apply this visual concept in a whole range of different media, transforming objects in photographs by painting over the top of the image, but then you’ve also created this three-dimensional approach as well, and that’s extended from paper and card to wood. So, how does that differ, working in the two-dimensional and three-dimensional forms?

Drawing on the photos is actually a lot harder, to find a photo that will actually work with it is quite hard. I’m  also very aware that ninety-percent of the time I’m drawing on a photo that isn’t mine, I haven’t taken it, so you have to respect other people’s work, and you have to find a way that it will fit in with the photo and not take anything away from someone else’s work, and yet still allow me to put my touch on it and have it look cool. So, that’s quite hard. The layered pieces, that idea came from my grandmother. She makes Christmas cards and birthday cards, it’s called paper tole I think, and it’s where you basically cut out all the pieces and stack them and they form like pot plants and flowers, and all these delicate, very intricate little things. I was at her house and having a look around one day and I was like, I wonder if I can do that onto my two-dimensional paintings, and I just started cutting them up and layering them and it turned out quite cool…

Uncle Harold, Untitled, 2018. Photo credit Uncle Harold

Obviously with paper or card, the ability to cut and shape is quite straight forward, a scalpel will allow quite a bit of maneuverability, what challenges have come up in using wood, which is literally a much harder material?

My whole family are furniture makers by trade, so I’ve always been around people making stuff out of wood, so naturally as a kid I picked up the power tools and the skills in that department. I always wanted to go to wood, to make something a bit bigger. Definitely, cutting all the pieces out is way more intricate, and you have to be careful because they are quite, I don’t know what the word is, some of the drips are quite tight, so getting the jigsaw in and around there is quite tricky, but it’s the same principle as doing it on paper, except you are using some power tools which I’m pretty comfortable with, so it was a pretty natural thing, I always wanted to go there…

They do present different types of tactility though. There is a delicacy to the paper and there is a different sense of bulk and weight to the wood, does that mean different objects are better for different mediums? Do you find that there is a relationship between the object depicted and the medium you choose to use?

Um, I don’t know if there is, I think if I can generally make it out of paper, I can make it out of wood, but you do have to think about it more structurally. If it is wood, it is going to be heavier, you know the workings behind what you see, the actual structural integrity has to be a lot stronger, so it definitely is way more complex…

Some of those more intricate designs, with intricate bridges won’t work though…

Yeah, definitely, you have to go bigger, the bigger it is the easier it is…

Speaking of going bigger, currently your work is largely studio-based, but it has a style that would translate well outdoors, is transferring your work to the streets a logical step?

I think it is a logical step for me, it’s definitely something I’ve been thinking about and I’m really keen to do. I will go outside and paint some bigger stuff, I’m just very aware of the fact that Christchurch is one of the street art capitals of the world now, and there are a lot of street dudes out here that do it regardless, and I’m very aware that a studio artist going out there and just painting walls…

It can be received in a certain way…

Yeah, you know, there are kids out there doing it because they love it, and you don’t want to step on any toes, it’s a respect thing…

That’s an important thing to acknowledge, people tend to believe that you earn you stripes in the streets, but at the same time, with muralism in particular, it is shifting away from some of the older traditions, and it means it’s a more open field, it is now its own thing, and I think those breaks from traditions are more easily accepted. In terms of that relationship to the streets, your approach, of consistently applying and refining and expanding a visual idea, seems very much akin to street art’s fascination with signature styles; developing an approach and an identity through an iconographic imagery. So, was that idea of repetition and recognition something you were aware of?

It was accidental in the way that I started doing the drippy thing, but I obviously started doing it because I liked it, I still love the way it looks, and I like the idea of always figuring out a way to do it but keeping it new, that you can do the same thing and people will recognise it, and you will know what it is, it might not always be the same thing but still keeping elements of that drippy stuff in there. You always want to progress and try new stuff, but it’s also finding that balance, while keeping that identity that you’ve developed for yourself.

Does choosing to work with a distinct visual theme mean you have been aware of the need to keep it dynamic through intentionally evolving the processes, or have any changes been quite organic, a result of playing around?

I think it is organic, it is that whole skateboarder approach: try until you figure it out. Some might not work out, but some definitely will. I do have a lot of ideas for evolving it, it is a natural progression, so it’s quite organic, but I’m very aware that I have to find new ways to do it. I don’t want to be the guy in thirty years, ‘oh that guys still doing that!’ (laughs) ‘It’s boring now!’ (laughs) And for myself, I don’t want it to be boring, so it’s a very natural progression, but I’m aware that there will be some intentional transitions… It’s quite funny, I feel like I’m getting ahead of myself, I’ve already got all these plans, but because this is so new to me, I’m only just starting, people are only just starting to know my stuff, I’m not holding myself back, but still…

Uncle Harold, Ages 4+, 2018. Photo credit Uncle Harold

There’s a need to establish yourself…

Yeah, I’m trying to set up and establish myself first before going too far and running out of ideas too quickly…

Your work might be considered a reflection of the growing ‘urban contemporary’ field, and how the footprints of graffiti and street art are now really wide-ranging, with more and more people’s work influenced by these forms, regardless of where and how it is being made. In Christchurch, because we have been given this title as a lively site of street art, do you see that urban contemporary influence becoming stronger?

Yeah, I know from being around ‘fine art’ people, at the Welder Collective and doing those shows, that Canterbury has a pretty rich history of Fine Arts students, but after the earthquakes, you can’t deny it, there is so much of it, the low brow art, the street art, there is so much room for it. It is hugely popular at the moment and there is so much support for lowbrow people to be in those galleries and exhibitions, so you can definitely see the influence from the streets that has popped up, you see so many kids coming out wanting to be in these shows…

Your trajectory is kind of a reflection of some of those the changes, the first place you showed your work was Embassy [the iconic skate and street wear store in Sydenham], and now you are part of the Welder Collective and you have a more specific, dedicated place to work and exhibit, so you must be very much aware of the variety of avenues available…

Yeah, and I think a lot of that has to do with the fact that our central city hasn’t had a lot in it for a long time, so people were fed up and were like: ‘so and so wants to have an art show’, ‘yeah, sick, finally, let’s do something!’ There are so many people who want things to happen and want to jump in and support you. So, you know being anything creative; a musician, a photographer, an artist, I think there is a lot of support, and that it is actually quite easy at the moment to get that backing to do these shows…

Uncle Harold, Chuck Taylor, 2018. Photo credit Uncle Harold

So how did your connection with the Welder Collective come up? How did you end up working here and with this array of creative people?

It’s basically just been a natural progression; you meet someone at an art show or something and it grows from there. Like, I was showing some stuff at Embassy and met someone there who was in this exhibition that I was invited to be part of, then I met someone there who invited me to do something, so all these connections eventually led to someone saying: ‘You should come and check out this space that we have called the Welder’… So, I actually showed up and never really left! They are stuck with me now, I just kind of weaseled my way in! (Laughs)

You have a solo show coming up at the start of March at the Welder, what can people expect and what is the idea behind the show?

It is called Consequential, and it is opening on Friday, March 2nd . Like I was saying, I’m still establishing myself, so this show will be all works on paper, the cut and layered style. But in terms of the theme, it’s really about those standard objects that you overlook that we were talking about. But it’s not about the objects specifically, it’s about the attachments people can form, and whether it’s a lesson taught by someone or something and whether there is an object that can be pulled from that, so it is a lot of everyday objects that have a lot of significance to me personally, so that’s what the whole show is about.

How much of that biographical information do you feel comfortable putting out? Is it enough that you put the work out and the audience make their own connections? Or is it going to be more explicit in how you offer the narrative behind those works?

The nice thing about painting very plain objects is that people can form their own attachments to them. Obviously I’m not explaining exactly what the meaning is behind each thing, but I am putting a zine out that will accompany the show and that will have a wee story or something that gives a brief explanation of what the different objects mean to me, so you can choose to read that if you want to know where I’m coming from, but it’s completely up to you. Each object is standard enough that everyone can form their own attachment to it, like we say, we all look at the same thing and everyone has their own take on it…

And I think with really mundane objects, those stories can range from some really memorable experience, to just some incidental moment, with no apparent significance, simply because they are always around. What are the plans for the next twelve months? Obviously, you had the campaign with Amazon, which provided some pretty big exposure, is there anything else in the pipeline?

Yeah, the Amazon job really opened the door for more commercial work. After that job came out, a few businesses have approached me to do some work with them, so over the next few months there are a couple of exhibitions that I’m part of, but then there will be a lot of commercial commissioned work to come out after that. I’m hoping to plan a show in Wellington for later this year as well.

With those commercial opportunities, were you approached, or did you put dome feelers out?

Nah, I definitely didn’t put any feelers out! They approached me and I’m open to it, you know the starving artist thing, everyone knows that story…

An artist’s gotta eat right?

Yeah, I’m not opposed to taking corporate money to let me do my own stuff…

How differently do you conceive of the commercial stuff to what your doing on a personal level, especially having such a signature, recognisable style? Is there an ethical line you draw in terms of who you work with?

Yeah, you know there will be, you pick and choose your battles to suit your own personal views. I quite like getting a job you might not be too stoked on, but it presents the challenge of taking something and making it cool. If I can go into something I’m not one hundred percent on and turn it into something I really like at the end of it, I actually really like that challenge, so, that’s one way I look at it. I’m not like, ‘oh I’m just going to half-ass it’, if I can make it into something cool then I will happily do it.

Consequential opens at the Welder Collective (Welles Street), Friday March 2nd, 2018 at 5:30pm. You can also check out Uncle Harold’s work in Stoked, at New Brighton’s Fiksate Gallery, March 13th – 19th. Follow Uncle Harold on Instagram: @thejournalofuncleharold, and check out www.thejournalofuncleharold.com for more of his work… 

(Feature image photo courtesy of Uncle Harold)

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Shraddha Shrestha – Shared Lines

Shraddha Shrestha is an example of street art’s truly global spread. In mid-September 2017, the Nepalese designer, illustrator and street artist arrived in Christchurch, by way of Glasgow (where she was completing her master’s degree in design), as a guest of local adventure clothing company Kathmandu. Shraddha’s journey to Christchurch signalled her selection as the inaugural artist for Kathmandu’s ‘Artist Series’ t-shirt collection, a project in support of the Australian Himalayan Foundation.

Shraddha’s arrival was marked by a ‘Nepalese street party’, where she and local hero Wongi Wilson painted on shutter doors in the laneway outside Kathmandu’s offices in the ‘Innovation Precinct’. Also featuring music and food trucks, the event provided a lively activation of the inner city area. Shraddha’s t-shirt design for Kathmandu, Yeti meets doko, exemplifies the artist’s distinct style; a mixture of contemporary illustration and pop culture with old world references. Her whimsical imagery and repeated patterns are immediately endearing, drawing on her own cultural identity and love of popular culture, meshing together in a playful, but often poignant synthesis.

I was able to get to know the softly spoken Shraddha as she painted a wall in New Brighton, observing her approach and chatting in between painting sessions. After initially planning to sit down and record an interview, a series of unexpected obstacles instead ensured we conducted a back and forth via e-mail in the weeks following Shraddha’s departure. The result is an interesting insight into Shraddha’s background, her perceptions of Christchurch and the growth of street art in Nepal…  

Shraddha, tell us more about how you came to be in Christchurch. What is the Himalayan Foundation Art Award and what impact has it had on your career?

I was awarded the Australian Himalayan Foundation Artist Fellowship in 2015 by the Australian Himalayan Foundation (AHF). The AHF is an NGO (a not-for-profit non-governmental organisation) in Sydney, Australia, who work towards the improvement of life in the mountains of Nepal through things like education, health and sanitation. Each year the AHF awards fellowships to two artists from Nepal, and I was one of the artists in 2015.

Through this recognition, I was connected with the clothing company Kathmandu, who collaborate with AHF and have been contributing to the education, health and welfare of the communities in the mountains of Nepal. This year (2017) is Kathmandu’s 30th anniversary, and for the occasion they were planning to bring out a limited-edition t-shirt designed by an artist from Kathmandu. So that’s where I come in. In September 2017, they invited me to the t-shirt launch in Christchurch. I was also invited to an AHF fundraising gala dinner programme in Sydney.

The fellowship has allowed artists to create their own bodies of work and exhibit in the very well reputed Siddhartha Art Gallery in Kathmandu, Nepal. Winning the fellowship was a huge deal, as I was supported to create my own exhibition. After the exhibition and the fellowship, I am now one of the contributors towards AHF and it’s social work in my community. The award also helped me build a stronger portfolio and to get connected with many art enthusiasts and art buyers in Nepal.

How did you find working with Kathmandu? For many artists, it is important to know that any company they work with has a strong ethical foundation…

Working with Kathmandu was an absolute pleasure, they have been very supportive. I did not know the company properly before, I just knew that their brand name was the same as my home town. After I started working with them and after I visited the head office in Christchurch, I was surprised by how much work and time they invest in creating their products and trying to make them as environmentally friendly and ethical as possible. I got to meet the team there which was amazing! Most importantly, I observed that the people working for Kathmandu are so motivated and conscious about how the company works and their objective of making ethically manufactured products.

Shraddha’s painting for the Kathmandu laneway party and t-shirt launch, outside the central city Kathmandu offices.

While you were in Christchurch, you managed to fit in quite a few adventures. You spent time in the North Canterbury village of Cust, painted in both the CDB and New Brighton, and you also went surfing and skiing. What were some of your impressions of Christchurch?

I found Christchurch very interesting, unlike other big cities, I felt it was very open and spacious. It must be because of the earthquakes, since there were less high-rise buildings. It felt like Christchurch had a bigger sky! Since I am from Nepal, I am more used to hills and mountains than flat land, so when I saw hills when I was in Christchurch, it felt a little bit like travelling back home. It was so amazing that you could see the mountains and the sea in one day! The sea always fascinates me because we don’t have oceans back home. The first time I saw the sea or touched sea water was just two years ago. I like adventure sport and I like trying out new things. When I was searching the internet for things that I could do during my visit to New Zealand, skiing and surfing were suggested. I had to do both as there is no skiing in the mountains and there is no sea to surf in Nepal. And I did it! and I loved it! I will definitely do it again if I get a chance.

I found the people in Christchurch very friendly and sweet! I especially felt this when I was working on the wall in New Brighton. Many people who passed by the wall smiled and greeted me and talked to me. It was very nice to talk to them and talk about the artwork I was doing. Moreover, they were from different age groups, small kids or old grandmothers, they seemed to be interested in what I was doing in their part of the city and they tried to talk to me which is really nice and heart-warming. Even today I get messages from people from New Brighton in my Instagram, complimenting me about the wall and asking me if I am still there! They make me want to come back again!

It was also interesting to see how the street art scene has become an important part of the city. The people of Christchurch love their street art and the street artists! They have accepted the art form as a way of them rising from the devastation of the earthquakes and a way of rebuilding which is very positive and motivating. I feel that it not only promotes the art form and the artists, it also makes art as a part of life and the city’s development. We need this approach and attitude back home in Nepal as we are rebuilding from the effects of an earthquake too. [Nepal suffered a massive earthquake in April 2015, with thousands of people dead] We are also trying to help people to get over the devastation through art events, workshops and of course street art. Now I feel that we need to continue this process like Christchurch has done.

Shraddha’s mural on Switch Espresso in New Brighton

How did the shared earthquake experiences of both Christchurch and Nepal influence your perception of Christchurch’s ongoing rebuild?

As I explained before, I found it very motivating as an artist and as an art lover how the city of Christchurch has accepted art to re-emerge and rebuild from the natural disaster. But I also think there are other connections between Kathmandu and Christchurch, or even Nepal and New Zealand more generally, other than the earthquakes, for instance, Sir Edmund Hillary climbing Mt. Everest along with Tenzing Norgay Sherpa, a Nepali mountaineer. During my trip to New Zealand, I talked to some people who sadly did not know the place ‘Kathmandu’, they only knew ‘Kathmandu’ as an outdoor adventure clothing brand, so I guess it depends on who you talk to…

You explained that street art is very new in Nepal – there is really only five or six years of history. How did you come to be a part of the culture and how did you start? Did you have any specific influences?

Yes, street art is very new in Nepal. Although, we have traditional and religious murals which are hundreds of years old, the contemporary idea of street art is new. The street art scene started to grow in Kathmandu around 2010. During my Bachelor’s program around 2008, I was very interested in graffiti. I used to see it on television, like on MTV and Vh1 music videos and in magazines and books. Also, in Kathmandu, we have a lot of political vandalism, political writing and propaganda on the walls. If you ever visit Kathmandu, you would see a lot of big writing in red colour. I used to think, if people can do that, then why not do it in an artistic way like graffiti? I started to sketch, make my own graffiti in my drawing book and tried to copy the style of graffiti artists. That’s how I started to explore. At that time, street art was very rare in Kathmandu, and very little graffiti could be found in small alley ways and in some restaurants made by some tourists visiting Kathmandu.

Later, around 2010, a French artist based in the USA, Bruno Levy, produced big pieces in several parts of the city of Kathmandu. His works were very vibrant and provoking. After seeing his work around the city, I felt that if a foreign artist can do it why are not any local artists doing it? I think from his work the young artists of Kathmandu really got into the medium. Me and my other friends then started to work together and experiment in the street. The good thing there was that it’s not illegal to paint on the street like other cities all over the world. We could paint in the broad day light and nobody would stop us, unless it was a private home or property. That’s how I started painting on the street. From there, our group got bigger, we had more artists who were interested in street art like us. We did a lot of collaborative works creating big pieces. Gradually street art projects started to happen which brought in other street artists from other countries, commercial companies, embassies, and NGOs started to recognise the art form and its growing public profile. So, artists started to get support from these types of organisations. At present street art is one of the growing art forms in Nepal and I can say that within these short six to seven years, we have been successful in bringing up many talented artists who right now have been successful in showcasing their works worldwide. Of course, street art is a truly global attraction, so it isn’t surprising that it made its way to Nepal as well.

Is there a graffiti culture in Nepal that is at the roots of street art, or has the culture grown from different influences – travelling artists, online access to the global popularity of street art?

The street art culture has definitely grown from different influences. Travelling artists, online access to the global popularity of street art, media like television and books and magazines, local artists travelling abroad and more.

Did working in the streets influence your illustrative style, or was your street art influenced by your illustrative practice and the art you were already making? And how have these influences evolved?

My street art is influenced by my illustrative practice and my drawings. I was already working as an illustrator and graphic designer when I started with street art. I started with characters and free-style graffiti. I enjoyed how my small drawings of these characters transformed after I painted them on the street. It is like watching a tiny thing grow into something huge, which fascinates me a lot.

I am very much into stories, children books and character designs. I like the concept of monsters and aliens and I am very much fascinated by the iconography of Hinduism and Buddhism. I try to merge the traditional icons with modern styles and create my own characters. I am from an indigenous society from Kathmandu known as Newars, whose lifestyle is heavily influenced by Hindu and Buddhist religion and iconography. Therefore, my art works are inspired by these influences.

I am also into stories and narrations, I do storybooks, zines, comics. One of my inspirations is Herakut, I love their illustrative style and the messages and stories behind their work.

I love the mixture of your local culture with the influence of 90s cartoons, can you explain more about this combination? It also feels like there is a strong narrative element in your work, but it is subtle and suggested rather than too obvious – are there autobiographical details or do they draw from observations, or fables/stories etc.?

I grew up in a very old city called ‘Patan’ in Nepal in a traditional society. It is surrounded by medieval temples and palaces and is famous for its wood and stone carvings and metal sculptures of Hindu and Buddhist deities. As I said, I am very interested in Hindu and Buddhist iconography. For example, Hindu gods have three eyes, ten hands, four heads and blue skin. These are some of the unique physical characters of how we depict religious icons in the Hindu mythology. However, if we look further, some of these characters resemble how extra-terrestrial life, aliens and monsters are portrayed, especially in animation and movies. For instance, animations like the Power Puff Girls, and movies like Monsters Inc., they all have characters which share somewhat similar physical characteristics to our mythological icons.

Hinduism is based in cosmology and spirituality and does not have any fixed governing bodies. It is more of beliefs and traditions that on should follow. Therefore, perhaps, these religious icons too are from the outer space, perhaps, the gods and goddesses reside in the eternal galaxy. This is the idea that I play with when I design my characters. Therefore, these characters look whimsical and often monster-like.

Your process combines stencils and freehand painting, creating a strong, crisp graphic style. How did you come to explore the stencil technique? Particularly the repeated forms that create decorative patterns…

The work is very much inspired by Bruno Levy, the use of stencils and patterns too. Also, Nepali culture has lots of patterns like in traditional clothing and architecture, so I try to bring it into my art work. I like stencilling because it is a very efficient medium. I like my work to be neat, with sharp clean lines and fills, which is another reason why I am drawn to stencils.

Local hero Porta lent a hand for Shraddha’s New Brighton piece.

Watching you paint, you seem both very thoughtful but also very confident in a technical manner – do you feel that combination when you are working? 

I am not that confident technically to be honest! I do not have much experience working with spray cans. Back home we don’t get proper graffiti spray cans. Therefore, whenever I get the chance to use brands like Montana or Molotow, I get very excited and try to learn as much as I can. I used to work with acrylic paints back home. I am more confident using a brush. I have to have a sketch before I paint on a wall. I need to do the basic planning at least before I start. I find it difficult if I do not have a sketch, and get very conscious of making any mistakes. Perhaps that is why I do the outline with a brush as am not confident with free-hand spray paint. Since I have graphic design as my background, I feel that my work is very graphic, using flat colours, patterns, bold outlines and more. I apply this style to my murals too.

Thanks Shraddha, I hope we see in Christchurch again soon! 

Follow Shraddha on Instagram (Macha_73) and online (https://shraddhashrestha.carbonmade.com)

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Cinzah – Something Bigger

Napier artist Cinzah has a calm, relaxed demeanour. But that laid-back manner belies his busy schedule. The artist, whose work spans muralism, fine art, illustration and beyond (in 2012, along with his friend, filmmaker Karl Sheridan, Cinzah produced Dregs, the first feature-length documentary film about the New Zealand street art scene), is a regular in festivals around New Zealand, Australia and further afield, exhibits his studio work, completes commercial commissions, and in addition serves as the regional director for the Sea Walls New Zealand mural festival, working with the international PangeaSeed Foundation, a not-for-profit ocean conservation organisation. Add to the mix a young family, and you get the feeling that you might be able to do more with your time.

I first met Cinzah in 2012 while he was shooting through Christchurch on his way to Dunedin to film for Dregs. I was able to hang out, watching while he painted a wall in a dishevelled post-quake New Brighton well into the night. Some five years later, we were able to catch up as he painted another wall in New Brighton, this time for the event Street Prints Ōtautahi. There was a fitting quality to his Street Prints station, returning to the seaside village, but this time under very different conditions and surroundings. We sat down at a rowdy suburban pub, and between bursts of classic rock cover music, reflected on Cinzah’s varied experiences, his distinctive style, and the street art and mural culture in Aotearoa…

So, Cinzah, like many of the other Street Prints Ōtautahi artists, it has been a pretty busy few weeks, you basically arrived in Christchurch straight from the Street Prints Mauao event in Mt Maunganui. With such a hectic schedule have you had a chance to think about the different environments? Although both events come under the Street Prints umbrella, just from a physical point of view, they seem like quite different locations in which to be painting, have you reflected on the change in setting and the distinct qualities of each event?

We kind of all just arrived and hit the ground running. It’s been flat out from Street Prints Mauao up in Tauranga, straight down to Ōtautahi. But yeah there’s definitely differences, in terms of the geographies. Tauranga, Mt Maunganui, it’s a very beachy town, with summer vibes you know, it is very tourist-orientated, whereas down here,  the architecture’s completely different, the mix of gothic and Victorian English styles and straight up rubble and construction stands apart from the Mount. Obviously, things are still in repair and there’s a lot that’s still going on, it’s also really interesting to see how the quake and rebuild has affected the local graffiti scene, with the last few years of festival-produced works, large scale commissions as well as the juxtaposition with unconventional, un-commissioned, guerrilla works and interventions, like the array of graffiti.  It’s good to see all the different elements of the culture are alive and thriving. There’s basically no graffiti in Mt Maunganui, apart from what we’ve produced over the last few festivals there. (Laughs) So yeah, that’s an immediate difference…

There is an echo for you specifically at least, painting by the sea in New Brighton, you’ve still got the ocean air…

Yeah, exactly, except that it’s arctic! The easterlies are chilling my balls! (Laughs)

Welcome to Christchurch! (Laughs)

Yeah! (Laughs)

There’s also a nice personal narrative for you because in 2012 you painted in New Brighton during a brief stop-over in Christchurch. Looking back, how has the area changed in terms of your personal recollection?

There’s a lot more art. More public works, graffiti, interesting uses of abandoned spaces, some good cafes, and Fiksate Gallery is an awesome little addition to the hood.  When I came through in 2012, there were the odd piece around, the main mall was all just shut shops, there was basically nothing open. I started painting one little semi-abando (abandoned building), which had been partly demolished, and I remember one guy coming out, I don’t know if he had one of the businesses there, but he basically gave me permission to paint the entire street: ‘Oh yeah, you can paint here, or you can paint here, you can do this shop or that shop…’  It’s great to see positive changes here, there’s a lot of potential for this neighbourhood, its good to see people inhabiting these spaces and the community taking ownership.  New Brighton is heading in a positive direction.

Cinzah’s piece in New Brighton, 2012. The building was eventually demolished in 2013.

You have a lot of festival experience; do you have a process for getting to know cities and places? Is it just hit the ground running and get a vibe as you go, or do you like to spend a little bit of time exploring before you start painting?

Definitely, if the schedule and life allows, I like to have a day or so on the ground to acclimatise and adjust to my environment and the surroundings. I like to get out within the community and meet people and talk and get a feel for what’s going to work in that environment, what sort of work would suit, depending on what is going on around there, and also just to get a feel for whether the community is supportive. Is art really going to add to that environment or will it detract from things that might be happening there?  I usually have a preconceived idea, or concept mocked up before arriving, but I like to allow room for this to breathe, grow and be influenced by my surroundings and experiences that may present themselves.

There is a definite responsibility, right? It feels as though within the muralism movement there is a growing recognition of the need to respect and engage with locations and the communities, not just the people, but with the local cultural, social and even spiritual histories and narratives. Have you found your thinking around these issues has had to grow as you’ve been more involved in events? You offer an important perspective as both an artist and as a festival organiser…

Yeah, definitely.  You’ve got to look at the motives behind an event.  What is the purpose of the festival? Is it just a beautification project? Does it have a specific mandate to engage people into deeper discussions socially, politically or environmentally, or is it contributing to an act of gentrification?  More and more cases of this are popping up globally with big developers and corporations that have an ulterior motive behind these events, pushing out homeless to allow for new hospitality hubs and ‘arts’ districts, where artists can no longer afford to live.  It’s important to do your research before getting involved in a project.  I’ve always considered my environment and held this responsibility fairly close to heart, although I’ve been walking this walk a lot more frequently lately with my role within PangeaSeed, working in small communities, with local iwi, tangata whenua and so on. Art can be considered invasive on some notes when a festival rolls into a town, produces a bunch of work and leaves, without following certain protocols or doing the proper research. As a result, the locals can be left feeling startled, without the opportunity to express their unique voices and stories. The work needs to be well considered and thought out, it’s important to engage with the local communities, and create work that is relevant, that acknowledges and speaks to it’s audience.

With that changing ethos, and the strong socio-political foundations of many festivals, it also raises questions for both artists and curators. Do you select artists who already engage with specific concepts that suit a theme, or present a challenge to artists with an interesting visual style to expand their work into new areas? As an artist how do you respond to a brief that is possibly outside of your existing approach?

With Sea Walls, first up, the artists we work with need to be good people, produce good work, and be easy to work with. We often approach artists that dabble in the environmental arena thematically, although it’s a bit of both.  If someone has killer work, and can tackle a massive wall, but hasn’t experimented with work that relates to the mandate of PangeaSeed, that doesn’t limit their opportunity. We have a massive family of over 200 contemporary muralists from all around the world, and this whānau continues to grow.

Personally, I really enjoy responding to a brief, it’s good to have some boundaries to get the ball rolling, to spitfire ideas off.  Working in the public arena artists have an integral role to deliver a message with our work, it’s an amazing opportunity to really say something when you’re thrown a giant canvas smack bang in someone’s town.  It can definitely be challenging at times to work within a guideline in a festival environment.  With these two Street Print festivals, Tauranga’s theme was: ‘He aha te mea nui o te ao / What is the most important thing in the world? He tangata, he tangata, he tangata / The people, the people, the people.’ I think that theme really hit the nail on the head for Mt Maunganui. The works created a really strong identity for the area and paid homage to many important local figures, it really connected with the people that will be living with these works.

Graffiti and post-graffiti have traditionally been about a search for personal style, and that’s where this challenge really becomes apparent: evolving a personal style to make it engage with issues or ideas raised for a specific event or commission…

Tauranga’s theme lent itself perfectly to the majority of the line-up. Portraiture was pretty dominant, there was Fin Dac from Ireland and he paints his female portraits, Adnate was over from Melbourne, his work often focusses on indigenous people with a hyper-realistic kind of approach, Mr G, Askew, who has been going in different directions recently but still has elements of figuration and portraiture within what he does, Claire Foxton, I could keep rattling them off… A huge amount of the line-up were portrait artists, so that becomes a really fitting interpretation of the theme behind the festival. But I think when you throw somebody in who maybe has a graffiti background, like writing letters, or somebody who has more of an abstract approach, or just doesn’t paint figures, then you’ve got a whole other super interesting hurdle, you’ve got to think outside the box as to how you approach things.

Cinzah’s Street Prints Mauao wall, Mt Maunganui, 2017 (Photo credit: Cinzah)

A lot of that comes down to public reception as well, right? Because it is generally easier to understand portraiture, and that human connection, I mean that’s why it has always been such a prominent theme. So, it’s not so much that it’s not possible when you’re dealing with graffiti letter-forms or abstraction, it’s just that possibly achieving that immediate level of understanding is more difficult…

Exactly, it is instantly recognizable or relatable, but art is all subjective, it is all open to the viewer in terms of the interpretation of the work.  People make all sorts of calls as to what my work is about. Sometimes I paint things that are super obvious as I want to deliver a strong, direct message, other times it’s a little more expressive and abstract and that’s when you get all sorts of interesting responses to the work.  In San Diego I painted a 35 metre long wall depicting local shark species, with a massive 100,000,000 type piece in the background, as this is the estimated number of sharks that get killed annually for the global finning trade. I couldn’t really be more upfront and obvious with this work but that was the intention, to be in the public’s face and to educate on the most basic level about this issue.  I still get tagged and messaged all the time on social media about this work, people have spread the mural all around the net and it’s become a really strong conversation starter. The works I’ve created for these two festivals are definitely more abstract or symbolic with their meanings, a little more in line with some of my personal studio works and gallery based stuff.

It really shows the growing maturity of graffiti and street art muralism as public art: the ability to engage with and explore themes that haven’t necessarily been part of the culture previously, so this is allowing that growth and evolution to occur, even if it is challenging some of the bedrocks that people still hold dear…

Yeah, definitely. I feel like it adds a whole other level of substance behind the work, it doesn’t make it so much about the artist, it is about a greater purpose and you are addressing something bigger than yourself and it is not flying in on an ego trip and making work that you think is fucking rad and leaving. There’s a little bit more guts behind it, I think.

With Street Prints Ōtautahi, you are painting in New Brighton, you’ve got others painting in Lyttelton, other artists are dotted quite disparately around the central city, is it strange to be somewhat isolated when you are part of something that is essentially a shared experience as a group of artists? You told me about the amazing programme you put on for Sea Walls artists [including cultural excursions such as sailing on waka hourua with Te Matau a Maui, visits to significant local geographical and cultural landmarks, and even giving artists the chance to swim with sharks in shark tanks, giving them a personal connection with the often misunderstood animals], and with Street Prints Mauao, you all spent a night on Motiti Island staying with Mr G’s whanau, these types of experiences must be important elements now, especially with so many festivals and the need for a sense of legacy and identity…

I guess having an extra-curricular programme pulls everyone together. We are all staying at the same place, we’re eating together, we’re hanging out together, we catch up every evening, so you know there is a real community vibe with what we are doing here, but definitely, the map is kind of dotted out, I’m out here like you said, there’s a couple in Lyttelton, others are more central, which in some ways means you’re kind of pushed off the map, out to the side, although I’m really happy about it, its great the festival curators considered other areas that might kind of get left off the map, because of the geographic lay-out of the city.  Talking to a lot of locals while I’m painting, they’ve been saying: ‘Oh you are out East side, this is great! Don’t forget about us out here!’ People have been saying it is really brilliant you are out here, because New Brighton needs a bit of love, it needs an uplift, so it’s all been really positive, and I don’t mind because it is a well-organised event, I’ve got my own wheels, so I don’t really feel like I’m miles out from everybody else.  It’s a different vibe altogether from Tauranga.  Mt Maunganui was a really close circuit, which creates a really seamless legacy of work after the festival, I’m not sure how this will hold up with the separation of the works…

Fill us in a little bit about what your piece. What is the concept? Paint us a picture with words…

The work that I’m painting has got a large moth that’s migrating towards a big golden sphere which could be read as the moon or the sun or whatever, but the concept I was thinking about was how to translate what has been happening here and the idea of the reconstruction of a city, with basically a new beginning, a new birth, a new undertaking or some sort of transformation. So, I was thinking about different ways to interpret that, I was thinking about the life cycles of insects, from eggs, or larvae, to caterpillar to pupa or chrysalis to adult, it’s more or less about transformation and the symbolism of having the perseverance to push forward, to follow the light side and keep progressing against all odds. Follow the light! (not Jesus, unless you’re into Jesus) I want the work to inspire hope… It sounds cheesy, super fucking cheesy! (Laughs)

Cinzah’s Street Prints Otautahi mural, New Brighton, 2017

That’s the problem with painting with words, right?! (Laughs) Because the wall looks awesome…

Yeah, just go look at the picture! (Laughs)

In terms of your work more broadly, for me there is a storytelling element that is suggested through almost mystical or mythological imagery or iconography rather than overt narratives. For instance, the animals that you depict, like serpents, moths and even manta rays, for me, they have symbolic associations, but they don’t need to be explicit or obvious to the viewer, and when they are combined with the graphic, decorative style, including the use of gold, there’s a really suggestive quality to the imagery, is that a fair reflection?

I think you’re on the money there, I’m naturally really interested in art that has a narrative, is telling a story, often from different cultures’ folklore and mythology.  My works are inspired by life, what ever is going on around me at the time, from physical as well as metaphysical experiences.  Some of my works have an iconographic feel, possible due to the use of gold. In my gallery works I use 21 carat or 23 carat gold leaf and actually I’ve done some murals where I’ve used gold leaf in them as well, although due to budget and time this piece is basically straight fat gold chromies.  I love the way gold catches the light, it has this other quality to it. I like the idea of creating icons, although I wouldn’t say my works are inspired by religious icons… because I’m not religious at all… (Laughs)

I see them as more elemental, more mysterious, almost ancient symbols that are open to interpretation. With that said, I can totally see them on illuminated manuscripts or something…

Yeah, that’s really awesome to hear because I am inspired by mythology and folklore, and I think it is really interesting to see how ancient civilisations have interpreted events throughout history. I like to weave my own little narrative, and create my own little plots within my work…

You mention your use of gold leaf in your studio works and of gold in different forms in your street works, do you feel like the relationship between street and studio is stronger than it was in the past, or are they still quite distinct for you personally?

Yeah, I feel like they are quite distinct, but at the same time they cross over a lot with subject matter, and lately more thematically as well. I think it is getting more and more seamless, heading in a direction where it is becoming more and more entangled between each other, and I do really want to explore different techniques that I use on my paper works, but on a large scale on walls, maybe limiting the colour palette or potentially going completely monochromatic and seeing how that translates to a large scale. I used to paint really loosely and really gesturally, like the piece I did back here in New Brighton in 2012 with all these loose splatters using Astro caps, Blaster caps and home made jobbies, just making a big fucking mess, and it is so much fun! And I guess over the years I’ve become more and more refined with the mural work and got tighter and tighter and tried to apply as much detail as I can, while holding a really strong graphic approach. I really enjoy painting the way I paint now, but at the same time it can become a little bit clinical, so the direction I’m heading probably brings a little bit more of the looseness and freedom of some of my ink washes and gestural studio works, potentially experimenting with using more acrylics. I mean I don’t think I’ll ever really stop using aerosols all together because I just love them as a medium, but from an environmental point of view, and for the body, they’re not the greatest…

Detail of Ethereal Flow, a studio work (Photo credit: Cinzah)

That’s a question a lot of artists are facing right? The paint companies are starting to explore how to combat that, but it is a difficult dilemma because there is a quality to aerosol painting that is really distinct and really attractive, especially when it forms such a strong part of the culture that has raised you.

Absolutely.

When you were here in 2012, you were in the midst of shooting Dregs, your documentary about the New Zealand street art scene. If you were making Dregs in 2018, how would it differ? Do you think the scene has changed dramatically?

It was definitely a snapshot of a time. It’s a little capsule as to where all the different artists were at that time, I mean, I haven’t watched it for years and I don’t know if I will watch it again! (Laughs) But, it was a really amazing experience to produce that documentary, looking back, it is really awesome to have that period and everybody’s views, practices, goals and aspirations documented historically for the New Zealand scene, before Dregs there wasn’t really anything produced in a feature length format. It is interesting looking back and seeing where all the individual artists were with their careers and their projections of their trajectories of where they wanted to go. I remember one of the questions we asked was: Where do you see yourself going in the next five to ten years? Looking back at each and every artist, they’ve pretty much all done it, and that’s really awesome to see! (Laughs) It would be really rad to do a part two, and visit the same lineup, get some proper funding and go and see all these artists internationally to celebrate where all the ‘Kiwis’ have got to…

It is interesting because if you look at the size of the culture in New Zealand, and even the sense of isolation that is still felt, the talent that’s developed here over a relatively brief period is incredibly high…

Absolutely, there’s such a strong scene in New Zealand, we’ve got some incredibly talented artists that are world class, and I think nowadays you’re seeing the rest of the world kind of realising that. You are getting a lot more of us that are working internationally, getting flown out for different events and so on, which is really awesome. When we were making Dregs, I had a turning point, I was internally fighting with the whole Kiwi tall poppy syndrome of ‘you don’t make it until you go overseas’,  I had this huge desire to go and travel and to paint internationally, but at the same time I thought, fuck that! Why do you need to go to New York, or travel to these other places to prove yourself and to prove your talent back home? So I had this idea to flip that and to bring the rest of the world to New Zealand and I didn’t really seriously plan to do that you know, it was just something that I thought would be a really amazing thing to achieve, but I guess that thought stayed with me subconsciously as down the line I ended up being involved with PangeaSeed and bringing Sea Walls out here, and over the last two years we’ve brought some of the top contemporary muralists from around the world to New Zealand.  Recently there have been a number of events that have brought amazing talent to our shores, including this event right now which has a really strong line up of national and international artists.  We’re getting a lot more attention down on this side of the world…

In many ways, the world is, at least logistically, a smaller place, right? From a Christchurch point of view, to think back that the likes of Jorge Rodriguez-Gerada, Tilt, Buff Monster, Sofles, all these artists that you see in book and magazine pages, have all visited the city is amazing, but in many ways, you appreciate that they are just normal people who came up in the same way. And in that way New Zealand is an attractive place to come, because I imagine a lot of them didn’t expect to end up here when they started painting in the streets…

Exactly.  When I started out there was no way I ever imagined I would have been to the places I’ve been with my art, and it still blows my mind, I’m incredibly grateful for the opportunities that have come about my way, and like you said, vice-versa, having these guys come down here and be involved, and meeting these guys and you’re completely right, everybody’s just normal, awesome, regular dudes that are doing the exact same things we’re doing but on the other side of the world. For them, New Zealand is this remote, isolated, exotic island nation at the bottom of the world that a lot of people would really love to visit, so to throw them that opportunity, it’s just as exciting as it is for us to head to America or the Caribbean, or to Europe or whatever…

To finish, there is one question I’m obliged to ask, just to keep up a tradition you started: Potato or Kumara?

Argghhh! It’s still kumara man! Haha, I had forgotten about that question! Awesome!

Cheers Cinzah!

Check out more of Cinzah’s varied projects:

www.cinzah.com

MrCinzah on Instagram

Sea Walls Napier 2017 – https://vimeo.com/216788917

Sea Walls Napier 2016 – https://vimeo.com/172784145

Sea Walls Mexico 2014 – https://vimeo.com/102981926

 

 

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