And That Was… May 2020 with A Tribe Called Haz

This month we asked Harry King, a.k.a A Tribe Called Haz, to fill us in on his month. During the lock down period, he seemed busy; painting, drawing, DJing (apparently all in his kitchen)… But for a pretty social guy, we were sure it was a challenge to not be out and about enjoying his wide network of crowds. With May finally seeing the lifting of the stricter lock down conditions, A Tribe Called Haz seemed a perfect fit for our latest And That Was… He told us: “I spent a large majority of May painting in my kitchen. I’m usually out every weekend but as we’re starting to re-learn how to interact with each other in a post lockdown era, I’ve been in the kitchen a lot more.” So, what has A Tribe Called Haz found exciting outside of his kitchen? Here are his five favourite things from May…

Celebrating Level Two

A crowd of friend gather outside a bar as people can return to small public gatherings.
A Tribe Called Haz and friends catch up at Dux Central as the lock down ended (photo credit: Becca Barclay)

May 14th marked the day we could hang out as a group of ten, so a group of us headed to Dux Central for a beer, some good food and some atmosphere. The best way to use our newly granted freedom.

DTR production for the New Brighton Outdoor Art Festival

The freshly painted DTR crew production for the New Brighton Outdoor Art Festival, May 2020
The freshly painted DTR crew production for the New Brighton Outdoor Art Festival, May 2020

My new favourite wall – The DTR wall for the New Brighton Outdoor Arts Festival! These guys (Ikarus, Dcypher, Freak and Yikes) keep killing it…

Collab tees with Notion Touring and Brand + New

A Tribe Called Haz's collab t-shirts with Notion and Brand+New
A Tribe Called Haz’s collab t-shirt with Brand+New (photo supplied by Harry King)
A Tribe Called Haz's collab t-shirt with Notion
A Tribe Called Haz’s collab t-shirt with Notion Touring (photo supplied by Harry King)

I released two collaboration t-shirts in May, one with the Christchurch House boys, Notion Touring, and another with a big player in the Christchurch Drum & Bass scene: Brand + New. Collabs that bring to together my favourite things are always a highlight.

Drum & Bass: The Movement at Hide Club

The poster for Drum & bass: The Movement, which screened at Hide Club in May
The poster for Drum & bass: The Movement, which screened at Hide Club in May

We ventured to the watch party for Drum & Bass: The Movement – The D&B Documentary at Hide Club on May 29th. There were beers, burgers (Black Burger to be exact) and Drum & Bass. Three of my favourite things! It was strange being back in a place I’ve spent many a night dancing & celebrating without having a thought about social distance, now under these new conditions. The documentary was informative, showing part of the history of the music I love.

Empire Chicken to the rescue…

Empire Chicken at Riverside Market, a lifesaver for A Tribe Called Haz
Empire Chicken at Riverside Market, a lifesaver for A Tribe Called Haz

Trying Empire Chicken down at Riverside Market for the first time on a rather dusty Sunday afternoon was an absolute life saver. Sometimes it’s the little things that make the difference.

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And That Was… April 2020 (Isolation Bubble special)

Last month I ruminated that March was a strange month, of course, April was no less so, almost its entirety experienced in lockdown here in Aotearoa (only moving to ‘Level 3’ with two days to spare). The rest of the world was in a similar position, and with limited space within which to spread our arms, it felt like we started to notice things differently. Our immediate environment became unavoidable (those dirty windows, peeling paint or leaking tap), and the digital realm an escape where physical flee was impossible. As a result, this month’s list is compiled of those things I encountered in the suburban streets directly within my ‘bubble’, and those I enjoyed online. Surprisingly, in a month where the world essentially stopped and hunkered down, who would have thought a list of cool things would be so easy to compile!

Dr Suits gets slap happy…

A sticker made from colourful geometric shapes stuck on a textured background.
One of Dr Suits’ many collage slaps produced during the lockdown. (Photo credit Dr Suits)

The most ubiquitous presence of my suburban bubble has been the subtly diverse array of stickers and paste ups created during the lockdown by Dr Suits. Both tiny and oversized material variations on his abstract studio works on board and glass and his mural works, they are unmistakable, yet distinctive enough to make you stop and look closer. While they have a slick look from distance, their handmade qualities, pulled ink and vinyl cut-outs compiled together to form geometric and gestural collages, make them incredibly interesting to investigate.

Jen_Heads asks what time it is…

A large circular head with an array of speech bubbles asking questions such as 'Is it beer o'clock?' and 'Is it coffee time again?' and
Jen_Heads’ large Lockdown Jen Head paste up.

It wasn’t just Dr Suits representing Fiksate during the lockdown, Jen_Heads was also busy producing her iconic faces, including a large stay-at-home version featuring the questions we have all had swimming through our heads for the last five weeks… Surely it is beer o’clock, because I’m sure coffee time was like an hour ago, right?

Home –  A stay at home mural festival…

Cracked Ink's poster for HOME: A Stay at Home Mural Festival
Cracked Ink’s poster for HOME: A Stay at Home Mural Festival, organised by Pangeaseed, Sea Walls, Alternative Arts Initiative, Whanganui Walls and Stay Home.

Speaking of staying at home (and how can we not at this time?), the good folks at PangeaSeed and the Sea Walls events, along with Alternative Arts Initiative and Whanganui Walls, created a unique response to the pervasive conditions, staging a mural festival where participants painted their own homes and shared across digital platforms. Alongside the ecological concerns at the heart of Pangea Seed’s spirit, this was also a consideration of how to unify artists and utilise art in this strange time. It proved popular, with hundreds of artists spread across the globe painting murals in their backyards and studio spaces. The programme also included conversations with artists and panel discussions, one of which I was happy to be part of, connecting with artists from far afield…

Artists share the love…

The right side torso of a Star Wars Stormtrooper
A section of Mark Catleys Stormtrooper paste-up print out he made available during the lockdown period

Lots of artists have been using their digital platforms to share their work, and some have even made their work, or specifically made things to be, available for people to use, a gesture of community. From Tom Kerr‘s lino cut sticker tutorial (see our post here), to Daken’s colouring in templates, and Mark Catley’s download-able Stormtrooper paste-up, artists have been sharing their talents and encouraging people to get cre-active (yes, I just coined a new term).

Kids take to the streets…

A suburban fence is adorned with an Easter message in chalk.
A suburban fence is adorned with an Easter message in chalk.

I have always believed in the human inclination towards public expressions and the lockdown, much like other periods of distress or great change, has seen people taking to the streets to leave their mark, express themselves of communicate with others. And I’m not just talking about the graffiti and urban art that I am normally fixated on. Footpaths have been commandeered by chalk wielding children, writing and drawing and subverting their function. Likewise, fences have been adorned with messages and symbols, symptomatic of the recognition of the potential of public space as a shared environment.

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What Are You Watching?

Graffiti and street art have evolved into more than just the writing on the wall. Leaving alone the problematic expansion into commissioned work and mural festivals and the questions around authenticity and even gentrification, urban art has long been tied to other realms of expression. Of course, the documentation and discussion of graffiti culture as it emerged in the seventies and eighties by academics, writers and, perhaps most notably, photographers, ensured a symbiotic relationship between the art and these orbiting parties. Alongside these forms of investigation and documentation, filmmakers have had a strong presence (Manfred Kirchheimer’s Stations of the Elevated of 1981 an early ‘graffiti film’). Both outsiders and those deeply entrenched within the culture have explored, expanded and told the stories of graffiti, street art and the artists who now defy catergorisation through moving image. While some films have attempted to expose many to the mysteries of urban art, others have preferred an informed audience and remained stoically more niche. Some have celebrated the superstars, others have used little known figures to reflect upon more intimate, yet accessible themes. As a result, urban art films reach from mainstream popularity (think Exit Through the Gift Shop) to less grandiose platforms like YouTube and Vimeo.

Following on from our ‘Book Club‘ a few weeks ago, we thought this time we would rope in a couple of friends to give us their favourite graffiti and street art films. We asked TOGO and Berst, both figures with their own experience of producing video content, to name the urban art films that have left the biggest mark on them. If you follow TOGO on social media, you will be familiar with his video productions; embracing chaos, exuding a sense of playfulness and yet always with a thoughtful philosophical beat at heart. It is no surprise that his selections also exhibit those traits. Berst’s Real Time series is a growing documentation of Aotearoa graffiti history, and is surely influenced by the films he has consumed. His picks reflect numerous personal revelations that have fed into his own philosophies and understanding of graffiti culture.

So here, in our opinions and in no particular order, are fourteen urban art films you should check out, starting with a few of our own our picks…

Watch This Space Picks…

Vigilante Vigilante: The Battle for Expression (2011)

Vigilante Vigilante , directed by Max Good (who co-wrote with Julien de Benedictus), tells the story of guerrilla buffers, those figures who exercise a self-imposed mandate to eradicate graffiti from city streets. The central premise is that their silencing of the streets is as ideologically problematic as the art they are removing. While it starts as a sleuth-like investigation into the identity of a mysterious buffer in Berkley, it soon expands to highlight other figures and the story only gets stranger and the characters more bizarre.

Martha: A Picture Story (2019)

When I saw Selina Miles’ documentary about famed photographer Martha Cooper, it was with an audience of people around Cooper’s age. However, as the film began, it became clear that Cooper was not your average 70-something. The film is not strictly urban art-focussed, but Cooper’s role in documenting one of the high eras of graffiti and the decades since has made her a beloved figure in the urban art world. And at its heart, Martha is a love letter to a determined, inspiring artist who refuses to submit to expectation and has no desire to slow down.

Beautiful Losers (2008)

Beautiful Losers is another film that isn’t strictly a graffiti or street art film, but in following the scene that emerged out of nineties New York around Alleged Gallery (the film is co-directed by Alleged founder Aaron Rose, with Joshua Leonard), it is tied to the anarchic spirit and influence of urban street culture, and of course features the likes of Steve ‘ESPO’ Powers, Barry McGee and Shepard Fairey. It is whimsical and funny, while also heartfelt, highlighting a time that continues to be so influential upon art and visual culture today.

Inside Out – The People’s Art Project (2013)

While Faces, Places, made with iconic Brazilian filmmaker Agnes Varda, won French artist JR more critical accolades, this HBO documentary, directed by Alistair Siddons, about the Inside Out project that won JR the TED Prize in 2011, is personally preferred, covering of one of the most enduring urban art projects of the last decade. It extends from the rioting streets of Paris to the earthquake stricken favelas of Haiti, exposing the community-centric concept of JR’s work.

TOGO’s Picks…

Dirty Hands: The Art & Crimes of David Choe (2008)

It’s all or nothing for the wild David Choe and this film, the result of director Harry Kim’s multi-year trailing of the artist, is a case for living unrestrained and defying suppression. It profiles the artist’s life over seven of his most crazy years from big commercial success to a long stint in prison. The film offers a rare insight into an interesting individual who will questionably entice you out of that comfort zone.

The Antics Roadshow (2011)

A look at ‘famous pranks and acts of activism’, this documentary film directed by Banksy and Jainie D’Cruz, affirms all our unruly behaviour and questionable habits. Artists such as Mark Roberts, who streaks at major international sporting events, and Noel Godin, who throws cream pies at celebrities and politicians, are praised and celebrated in this thought-provoking piece of work. Bad intentions can bring good results. And remember, you can always rely on a golfer for a reaction…

Momo Bad Murals (2016)

In this short film, abstract artist MOMO travels around Italy in an attempt to paint bad murals. Illegal, fun and free, his aim is to care less about the outcome of the work and more about the experimentation. It’s an enjoyable and amusing film that reminds us to occasionally take a step back in order to move forward.

The Price of Everything (2018)

Nothing makes you want to paint the streets more than watching auction houses sell paintings for squillions of dollars. The Price of Everything delves into the contemporary art world, examining the relationship between creativity and commodification in today’s money-driven society. While the film, directed by Nathaniel Kahn, reveals how absurd the art market really is, it also provides a fascinating look into what makes art valuable.

Infamy (2005)

Yes, it’s commonplace on lists like this, but none would be complete without it. Go watch it again and tell me otherwise.

Berst’s Picks…

Style Wars (1983)

What can I even say about this documentary that probably every single writer in the world hasn’t already said? It’s a timeless classic. It’s a documentary that captured a beautiful moment in history and gives us some insights into the early contexts of graffiti and hip-hop culture. This is definitely a documentary that I have watched quite a few times and happily watch again. Each time I watch it, I learn something a bit different about the movement. The quotes in this are also really memorable particularly the segments from the likes of Seen (“never mind probation…”), Cap (“Blood wars, buddy…”), Skeme (“You do doodle”), Kase 2 (Yeah, I vandalism alright…”), and Min One (“That’s never forgive action”).

Infamy (2005)

The cover of the graffiti documentary Infamy

I remember watching this for the first time and being blown away by the individual vignettes of each writer. There was a really good cross section of writers doing different things and for the first time, it gave me an insight into the writers’ lives. During this time, I was only tagging and just being introduced to piecing, so Earsnot is a notable standout with his daylight tagging and stories about racking. I was also particularly drawn to Toomer and Saber’s stories. They are examples of two writers who had dedicated themselves to the game and had made some major sacrifices to get up. There are also so many quotes that came from this documentary that my friends and I still say to each other today.

Piece by Piece: The History of San Francisco Graffiti, Documented (2005)

From memory, Piece by Piece was the first DVD I actually purchased and still have. It was accompanied by a little booklet which profiled a couple of main writers from the San Francisco scene. I read this book so many times during my part-time call centre job. I recall reading the Revok, Norm, Saber, and Reyes profiles many times over. It was the first time I actually got to see a city’s graffiti scene through so many different perspectives because they had interviewed so many people. Piece by Piece introduced me to a lot of ideas about inner city bombing, territory, catching high spots, and productions.

Kings Destroy (2006)

I watched this documentary at my friend’s house. I’m not sure how we got it but GBAK had more or less just formed as a crew and after a house party we went out bombing because we were so hyped. The message of this video was to go all city, and this really planted the idea in our minds of how to get up. It’s also one of the first videos that profiled one singular writer and had so many people vouching for him that it instantly gave him this kind of celebrity status. It was interesting because he also showed his identity but at the same time was also painting trains and bombing illegally on the streets.

Dirty Handz 3: Search and Destroy (2006)

The third of three Dirty Handz documentaries, Search and Destroy is definitely the most refined and well put together. The narrator behind the video gets you hooked the moment he starts speaking. It’s almost a video diary of a train writer. Crews like WUFC and SDK lead the way in this video for hardcore train painting in Europe and it is just jam-packed with action. It really showed me what was possible with teamwork and it had a bloody awesome soundtrack as well. It had some hip-hop music but mostly electro and techno vibes which was quite a different to the American representation of graffiti.

That’s our list, what have we missed? let us know…

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And That Was… March 2020

March 2020 will be a month that won’t be forgotten in a hurry. There were a number of things happening, from art-related shows and projects, to the anniversary of the Christchurch Terror Attacks (and the perpetrator’s guilty plea), all with the hovering threat of the Covid-19 pandemic spreading around the globe. Then, in the final few days of the month, the country, along with much of the world, was sent into lock down. Social distancing became the catch-cry, and with it, social events and occasions were postponed, cancelled or digitised (Houseparty anyone? No, maybe Zoom?) With such an overbearing event casting a long shadow, in the coming years it may prove hard to remember anything else from this month, but we thought it was best to reflect on the things that still excited us and share that goodness, from projects that brought communities together, to small moments caught unexpectedly, this was March 2020…

Halves on an Exhibition – Harry King and Reece Brooker

A watercolour painting on paper of a snake wrapped around itself with tattoo styled elements and bright colours
Snake by A Tribe Called Haz / Harry King from the exhibition Halves in an Exhibition? at Outsiders

 March started with a sense of normality (despite what was happening around the world), when Friday nights meant you could go out and socialise. On March 6th, we headed down to Outsiders, the St Asaph Street skate store that for one night became host to Halves on an Exhibition?, a show by A Tribe Called Haz (Harry King) and Reece Brooker. King’s acidic and surreal style has developed over the last year, and his pop-up shows have an endearing anarchic and anti-traditional energy to match his work. Some of this newer body of work depicted seemingly post-apocalyptic landscapes that combined low-brow with decadence, devoid of presence and looking like the vacant scene of some horrific act, while others illustrated the clear influence of tattoo and skate culture with simple imagery. King’s art is proudly chaotic and laced with humour, but also shows an increasingly refined technical approach, his handling of line and watercolour notable in its confidence. Brooker was a new name for us. An arborist, his work added a different sense of materiality; painting circular panels cut from trees to frame his motley, at times fantastical characters.

Welcome to Ōrua Paeroa

A long block wall is painted black, with the words Welcome to Orua Paeroa painted in bright colours.
The Welcome to Orua Paeroa mural produced by the Fiksate Crew, the first event of the New Brighton Outdoor Arts Festival (Photo credit: Gavin Fantastic)

The day after Halves on an Exhibition, the Fiksate (Dr Suits, Jen_Heads, Porta and Bols) crew joined forces with the organisers of the New Brighton Outdoor Art Festival and members of the local community to produce a massive mural welcoming people to New Brighton. The graphic mural, with a bright segmented colour palette against a black background, drew on the Maori name for the area; Ōrua Paeroa (the name covering both the New Brighton and Travis Wetlands areas and referring to the place where the Easterly winds and the ocean meet), recognising the history of the suburb beyond its European call-back. The mural acted as a paint-by-numbers affair, the huge letters gridded out and people invited to paint sections. The result is an impressively bold addition to the neighbourhood. Unfortunately, while it was supposed to signal the upcoming NBOAF, the Covid-19 pandemic has seen the rest of the programme postponed indefinitely.

Urban Nipple

A sticker of a nipple is stuck to a lamppost
An Urban Nipple sticker outside Te Puna o Waiwhetu – The Christchurch Art Gallery

One of my favourite things about urban art and particularly smaller urban additions, such as stickers, is the ability to make you double take and look closer. Those small interventions that make you think you recognise something, asking yourself, surely that isn’t… is it? In doing so we are surprised and made more aware of our environment, often left with an urge to investigate, or at least a nagging wonder about what we just saw and who might have been behind it. I had that experience in early March, casually strolling past Te Puna o Waiwhetu – The Christchurch Art Gallery on Montreal Street. As I passed the Bunker and Jess Johnson and Simon Ward’s video arcade game inspired piece, a small circular sticker caught my eye. I did the double take as I passed, then stopped, back tracking. I was right, it was a nipple, an urban nipple on the lamppost. The sticker is one of a number of interventions under the Urban Nipple project (Instagram: @UrbanNIPPLE), intended to encourage the return of the banned nipple into our shared lives through humorous interactions, getting people to think about sexism and discrimination.

FOLT Skull Collabs

One of the FOLT x Bols collab skull cut-outs

I first started noticing FOLT stickers a few months ago, from the handwritten tags and deconstructed skateboards to the block printed, angular graphic versions, and they have been a personal favourite since. Recently, that sticker profile has expanded to sculptural installations, with an array of wooden skull cut outs appearing around the city. In March, the skulls were fixed to various sites, inviting people to hunt out the various incarnations. The skulls include both exclusive FOLT productions and several collaborations, including with local artists Bols and Jen_Heads. Hopefully we can see more in the future, because if the attention of the lady while I was photographing one was anything to go by, they are intriguing additions to our cityscape…

TOGO – Toy Stories

The pink cover of Toy Stories, with a plain white text
The cover of TOGOs Toy Stories publication

On a personal level, my month was made by the arrival of TOGO’s Toy Stories publication on door step. I was lucky enough to get a copy of the limited run, and I am glad I didn’t miss out. It is a beautiful thing, the understated cover concealing the funny anecdotes and intimate photographs inside. It is full of humour and importantly exhortations and revelations, celebrating graffiti’s compulsive rebellion. A combination of specific stories of memorable nights and close-shaves, mantra-like prose detailing the realities of graffiti life and photographs of urban space from the creases (a sense of the embrace of the perihperies permeates the grainy images), Toy Stories jumped the pile of books I have been meaning to read and has already been digested…

These were some of our favourite things from March 2020, what made your list? Let us know in the comments…

 

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Book Club

The Covid 19 enforced lock down period will have an undeniably massive impact on all facets of our lives, potentially permanently altering our routines. It is important maintain our mental health, and, for me, making and consuming art are vital aspects of my personal balance. I have been promising to catch up on the growing stacks of books at home for months and now I have this unforeseen time to finally make a dent. Urban art has a long relationship with the written word and documented image (graffiti itself is typographical, and slogan-based street art has a long lineage including The Gorilla Girls and John Fekner), from the early classics to the increasingly flashy publications of today. For an initially underground art movement, new publications (not to mention online content) emerge regularly, from big publishing houses or independent sources, echoing the complex (and at times contradictory) nature of contemporary urban art. Graffiti and street art books have spanned a range of approaches: seminal explorations of emerging creative cultures, academic studies, artist monographs, historical documents, surveys of themes and specific geographic locations, photographic collections and publications accompanying exhibitions and events.

We figured this was a perfect time to discuss some of our favourite urban art books. This is not a ‘best of’ compilation, nor are these entries reviews as such. It is intended to show an array of books, each with something that grabbed us; from the conceptual content to the pure beauty of the physical object, or even historical importance, these are the pages we love. There are also plenty more not included here, books we plan to share with you in the coming weeks on our Instagram page (think of it like a book club), so please let us know which books you would include on your list…

Subway Art – Henry Chalfant and Martha Cooper (Thames & Hudson, 1984)

The cover of Subway Art, which features train painted with graffiti

What else could start this list? Perhaps the most revered graffiti book of all time, Martha Cooper and Henry Chalfant’s 1984 documentation of the rising force of New York graffiti is responsible for inspiring waves of future writers. Tatty copies, sometimes photocopied, are regularly cited by graffiti artists as their introduction to the culture, used as a guidebook for early attempts. Part of the success of Subway Art comes from its accessibility, avoiding overwrought analysis and focussing on the visual images (Cooper and Chalfant are primarily photographers), but it was also perfectly timed, coinciding with the seminal documentary Style Wars (of which Chalfant was a co-producer with Tony Silver). To put it bluntly, if Subway Art isn’t in your collection, you aren’t doing it right…

Getting Up – Subway Graffiti in New York – Craig Castleman (MIT Press, 1982)

The cover of Getting Up a book, featuring the effect of spray paint

Craig Castleman’s 1982 tome on graffiti culture may not have quite reached the popular status of Subway Art, but it is, for some, equally as important. A sociological study of graffiti culture, Getting Up surveys the youthful graffiti subculture blossoming on New York City subway trains, documenting and explaining many of the concepts that remain central tenets of graffiti today. This might be more of a specialist read due to its academic nature (although it is concise and straightforward), but ultimately it is a reminder of graffiti’s extension beyond art or crime, and into something representative of an entire culture that has spread across the globe. Castleman’s candid interviews revealed the self-constructed community of graffiti and positioned it as a more complicated network than it was considered at the time.

The Faith of Graffiti – Norman Mailer and Jon Naar (Harper Collins, 1974)

The cover of The Faith of Graffiti, featuring a graffiti-ed train in New York

To keep the theme of important early writing going, The Faith of Graffiti is another example of how graffiti writing was capturing the public imagination in the early-to-mid 1970s. While many dismissed graffiti as a plague that was breaking down civil society, others were fascinated by its mysterious nature and practitioners. Norman Mailer, the well-known writer and social critic, brought his own flair to photographer Jon Naar’s images of the infant graffiti culture. Mailer takes on the role of aesthetic investigator (or A1 as his tag moniker in the style of his subject), and interviews members of the subculture before considering the city of New York’s political response to the youthful art movement and even making art historical comparisons. In a sense, Mailer’s stature gave graffiti a legitimacy it was never seeking. The words though are only part of the book, Naar’s photographs providing the necessary visual vibrancy that give Mailer’s writing life and context.

Wall Writers – Graffiti in its Innocence – Roger Gastman (Gingko Press, 2016)

The cover of the book Wall Writers, featuring a 1970s wall heavy with graffiti and posters

Roger Gastman’s Wall Writers accompanies a documentary of the same name about graffiti in its early days. It features an impressive number of interviews with key figures, including Cornbread, Taki 183, LSD OM, Snake I, Cay 161, Junior 161 and Cool Earl. It brings together the keys places, figures, groups and documentarians from the early phases of graffiti writing culture, including dalliances with the art world. Wall Writers unveils the social and historical climate that birthed graffiti as a subculture, including the birth of aerosol, the phenomenon of Kilroy Was Here, and advertising and social messaging. The fascinating social ephemera, along with the personal stories and photographs, make Wall Writers a beautiful production that comes close to what it was really like in those early days, perhaps just with cleaner pages.

The History of American Graffiti – Roger Gastman and Caleb Neelon (Harper Collins, 2011)

The alternate cover of The History of American Graffiti, featuring an array of vintage spray cans

Roger Gastman and Caleb Neelon’s thick survey of American graffiti essentially takes on an impossible task, the authors even admitting as much, recalling one interviewee declaring that: “Anyone who tries to tell you the history of graffiti is either a liar or a fool.” But while it can never be definitive, it is most certainly exhaustive, with stories and images from cities and regions from coast to coast, and including more specific offshoots of the culture (including freight train painting, graffiti inside galleries and the rise of street art). With images sourced from a huge number of contributors, it is a fascinating insight into how graffiti has mutated in different areas, and yet how consistent influences remain central. Its compartmentalised format also makes it more easily digestible, allowing readers to jump into different cities rather than following a traditional narrative.

The World Atlas of Street Art and Graffiti – Rafael Schacter (Yale University Press, 2013)

The cover of the book The World Atlas of Street Art and Graffiti, featuring a painting by Anthony Lister on a brick wall

Rafael Schacter’s compendium of Independent Public Art (a term he adapts from Javier Abarca) is a globetrotting survey of the new school of public art practices that have emerged out of graffiti and post-graffiti. From ephemeral interventions to technological approaches, the litany of terms considered is intriguing: emotional advertising, symbolic figurative graffiti, conceptual vandalism, hacktivism, bibliographic bombing, and existentialist graffiti to name a few. A reminder of how far these interventionist practices have come, it is thoughtful and yet approachable. Unlike The History of American Graffiti, which attempts a similar, albeit more defined, geographic scope, Schacter’s Atlas does not seek to recount a history, but to take a snapshot of these artists and their diverse practices, and in doing so, reveal the growing maturity of contemporary urban art as a form of new public art. Schacter also includes a selection of maps made by artists to represent their hometowns, with favourites including Momo’s New York journey and Lush’s typical caustic cartography of Melbourne. For good measure it includes Askew and BMD in the ‘Rest of the World’ section.

Trespass – A History of Uncommissioned Urban Art – Ethel Seno, ed. (Taschen, 2010)

The cover of the book Trespass, featuring a yellow and black design and stencilled font

Edited by Ethel Seno and featuring contributions from Carlo McCormick and Marc and Sara Schiller from the Wooster Collective, Trespass is a more cerebral exploration of the rebellious aspects of urban art. Less pictorial (although still a good looking book), it is the essays that consider the various strands of un-permissioned art (even the distinction between terms such as illegal, uncommissioned and un-permissioned is an interesting discussion) within the urban landscape that take centre stage, from legal status, public space, and counter-consumerism, to urban folk art and environmental approaches. Trespass importantly reminds us of the importance of transgression in urban art, a fact that can sometimes be downplayed in blockbuster shows, crowd friendly festivals and commissioned (and especially commercial) projects. To celebrate such aspects is not an easy task in a published book, where external forces may require concession, but Trespass is able to build an interconnected history of urban art’s disruptive potential.

We Own the Night – The Art of The Underbelly Project – Workhorse and PAC (Rizzoli, 2012)

The cover of the book We Own the Night, featuring an aerosol painting of the title as par tof the Underbelly Project

Workhorse and PAC’s documentation of the secretive Underbelly Project, which saw artists invited to paint an abandoned network of subway tunnels in New York, is like a ticket to an exclusive party. The project itself was so clandestine that even artists were blindfolded as they were taken underground. The book is a revealing insight into an inaccessible gallery now closed forever (or at least until a new generation of urban explorers finds the tunnels and its painted walls). The eerie setting is perfect for a book, silence is a key quality and reinforces the isolation of the project, while the spot-lit images, darkened in the corners, provide a sense of being amongst the creepy surroundings, unsure of each strange creak and crack. Spanning several years, The Underbelly Project saw an impressive array of talent paint the aged concrete, from Logan Hicks, Ron English and dabs Myla, to Dan Witz, Lady Aiko and Remi Rough. Much like Trespass, We Own the Night celebrates the rebellious and outsider qualities or urban art.

Flip the Script – A Guidebook for Aspiring Vandals and Typographers – Christian P. Acker (Gingko, 2013)

The black cover of the book Flip the Script with the title in blue

Christian P. Acker’s typographic text is similar to a number of font-inspired books, but is also a fascinating insight into regional hand-styles across the U.S. It is sweeping in locations and time periods, painstakingly recreating letter forms to create a database of styles, revealing the various folk inspirations behind little details. Contributors present full alphabets of their signature style, while Philadelphia’s Wickets are a uniquely specific example explored in depth as well. As the styles pile up, it becomes impossible to not start imitating as the intricacies are revealed and the reason behind those little details become apparent. Acker presents graffiti hand-styles as folk-inspired calligraphy, type designer Christian Schwartz comparing his field recording approach to ethnomusicologist Alan Lomax’s work with folk music in the 20th century. Flip the Script is also a beautiful book, bound in black cloth and restrained in a blue and grey palette, it is clearly a passion project.

InForm – New Zealand Graffiti Artists Discuss Their Work – Elliot O’Donnell (Reed, 2007)

The cover of InForm, with the title written in light in an urban environment

Elliot ‘Askew’ O’Donnell is not only one of Aotearoa’s most revered artists (let’s be honest, he is a global powerhouse now), he is also a key voice in the discourses around graffiti and urban art. After founding Disrupt with Pest5/Johnny 4Higher, Askew was already acknowledged as a leader of the New Zealand scene by the early 2000s, and InForm, produced in 2007, was another string to that bow. A combination of a snapshot of the scene and a process guidebook, it features the country’s biggest names, interviewed and then photographed painting, their pieces documented at each stage from outline to complete. It is an impressive undertaking for its time and reaffirms the primary status of graffiti in New Zealand urban art culture. While Auckland is heavily featured, and as expected the heavyweight TMD crew, Ōtautahi is well represented by Dcypher, Lurq and Pest5 (who had relocated to Auckland by that time).

Toy Stories – TOGO (137k Gallery, 2020)

The pink cover of Toy Stories, with a plain white text

The newest book on this list, TOGO’s recently published Toy Stories might be one of my favourite things from 2020. The minimal cover, in TOGO’s signature pastel pink, conceals the energy that the nomadic artist is known for. Mischief and compulsion are central themes, captured in TOGO’s en scene photography and anecdotal writing, all based on real experience. Toy Stories makes apparent the feelings and sensory realities of graffiti and urban exploration, all with a combination of zine-like zest and elegant production. In many ways, this is a manifesto, part written word, part visual image, yet all direct, including the documentation of paint splattered garments and shoes, brushes, a balaclava and bolt cutters in a manner akin to a museum catalogue. Toy Stories is an impressive analogue addition to TOGO’s digital documentation of a graffiti artist’s life on the peripheries and a unique addition to Aotearoa’s urban art scene, a beautiful object as an artist book, and yet undeniably authentic.

So, that’s our list, what have we missed? Let us know in the comments and follow us on Instagram for more book club entries…

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And That Was… February 2020 (with Jen Heads)

February flew by, right? I mean, it literally seemed like I blinked and it was over. But if there is anyone who can fit a lot into what seems like a little, it is Fiksate’s Jen Heads. The artist, MC, gallerist, and mother is always juggling a range of projects. So it was natural for her to compile And That Was… for February, after all, she has hosted international artists, been the creative force behind a cool festival presence, and taken in some sights and sounds. In no particular order, here are the things that made Jen’s February… 

  1. The honor of hosting international artists Robert Seikon and Anastasia Papaleonida at Fiksate was a highlight of January and February. Alongside watching them produce such high-caliber art, hanging out and getting to know them was awesome. We introduced them to faces and places around Christchurch, including our local beach, to which Robert responded: “super beach, very nice, very nice” (His accent was pretty epic!). They were the best people. <3

    Seikon and Anastasia (R) enjoy the beach with Jen (behind the camera), Dr Suits and their son Frank.
  2. As part of their residency, I was able to facilitate a large-scale mural for Robert and Anastasia on private property for a pretty well-known local company. You can see the mural from the street if you are down Lismore Street (just respect their private property). It’s an amazing mural and using such bright colours pushed them out of their comfort zone. I feel Christchurch really lacks abstract murals, so this is an important addition to our city’s collection. I loved watching their process from start to finish. They work together so well, they are incredibly precise and fast. Inspiring.

    Anastasia and Seikon in front of their massive mural with some of the Cosmic crew and Jen.
  3. RDU 98.5fm had stages in three festivals this summer – Beer Fest, Nostalgia and Electric Ave. I was asked to realise the design concept for their crew and stages, based around the star of the show, Ziggy Starlet – a 1987 Starlet with a full sound system and DJ booth installation, it had a retro race vibe. In a pretty massive task I produced signage, banners and props for them. I am pretty stoked on the results!            

    The RDU installations at various festivals over the summer.
  4. On a smaller scale, I found an aged Jen Head in New Brighton. It was like looking into the future…

    A faded and deteriorating Jen Head in New Brighton.
  5. As an MC, getting to meet and watch an idol of mine, Stamina MC, was a huge highlight! He performed live at the Sun & Bass BBQ gig at FLUX, Christchurch’s newest bar and venue, along with DJs Asides, Tbone and Patlife.
    FLUX logo via Flux Facebook (@FLUX)

    Follow Jen Heads on Instagram, and follow Fiksate on Facebook, Instagram and online

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And That Was… January 2020

The first month of 2020 has raced by, but not without a heap of activity. The month started with an ominous red sun hovering above us with an almost artificial energy, and ended with some lovely summer weather. In between, there were BBQs, drinks, returns to the real world, and a flurry of activity within the world of urban art. From some overseas visitors, to established powerhouses and rising profiles, there was plenty to reflect on…

Long Trip of the Kokos

On the final day of January, the culmination of Robert Seikon and Anastasia Papaleonida’s residency at Fiksate was unveiled with the exhibition Long Trip of the Kokos. The collaborative works capture both a cohesive harmony, with subtle gradients and tiny details, while also proudly displaying each artists’ signature style: Papaleonida’s microbiological dots, squirming and humming, and Seikon’s crisp diagonal lines and spiky geometric shapes, providing optical illusions and paths of surveillance. From the clustered canvasses to the wall painting directly encountered when you enter the gallery, the show is filled with intriguing touches and impressive effects, washing over you without overwhelming. Long Trip of the Kokos is open until February 29th, 2020

Hip Hop Evolution – Season 4

I have a soft spot for Canadian rapper Shad, see his Pharcyde-inspired video for Rose Garden, and his likeable, intelligent, yet reverential nature has made him a perfect host for the Netflix series Hip Hop Evolution. As a fan of the culture’s history, he is never an overbearing presence, allowing the subjects to tell their stories. Hip Hop Evolution’s fourth season dropped in January and it quickly continued to dive into the various scenes and threads, including the rise of Bounce in New Orleans, and the emergence of super producers, which led me to nostalgically revisit N.E.R.D’s Lapdance from 2001

Aaron P.K. in the Boxed Quarter

I was able to work with the BOXed Quarter and Aaron P.K. to install two large scale photographs, finally completed in late January. P.K. might be known for other street interventions, but his photography has always been eye-catching, capturing a slice of life in various settings, including those peripheral spaces that make the viewer aware of their isolation. The two images at the Boxed Quarter are distillations of urban exploration and graffiti culture, rooftop shots where the distant city glows, but the surrounding industrial fixtures remind of the precarious yet claustrophobic position of the photographer.

Seikon on Manchester Street

Alongside the exhibition with Anastasia Papaleonida, Polish artist Robert Seikon also produced a subtle, obscured wall painting, one that rewards more inquisitive viewers. Tucked away on Manchester Street, the square image uses Seikon’s signature barbed shapes to create an abstract composition that seemingly draws on the history of graffiti’s transformation of letter forms. The subtlety of the colours also seems perfectly harmonious against the blocks of buffed grey surrounding the painting.

Yikes and Dcypher pay tribute to Terence McKenna

With a spruce up of the Tuam Street carpark that has become an open-air gallery, Yikes and Dcypher added a tribute to American ethnobotanist Terence McKenna, whose advocacy for naturally occurring psychedelics is evident in the mushrooms and molecular structures that populate the image. The image combines many of Yikes’ signatures, while Dcypher’s mastery of the spray can is also evident in the portrait, a reminder that these two are right at the top of their game…

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And That Was… 2019 (Actually, That Was A Decade…)

With 2019 now wrapped, we decided to round up a number of our friends to take stock of the year that was. But then we realised it is also the end of the decade, and to be fair it has been a pretty challenging, fascinating and memorable ten years, especially for the residents of Ōtautahi Christchurch. We asked this selection of artists and creatives about their own experiences, the people and work that inspired them, the events that mattered and their hopes for the future. The results were wide-ranging, although, of course, there were a number of events, artworks and ideas that came up repeatedly, highlighting the impactful events and developments that have coloured our collective consciousness since 2010…

Reuben Woods – Writer (@bolsamatic)

  1. What has been your personal highlight of 2019? There have been a few, from working on Urban Abstract, to curating Dr Suits (Nath Ingram) and Josh O’Rourke’s projects in New Brighton, but probably top of the list was having work published in the Nuart Journal…
  2. What piece of someone else’s art in Christchurch has been your favourite this year? It may be that they are fresh in my memory, but TOGO’s rooftop piece to the South West of the city is a favourite, the angular FOLT slaps are rad, and pretty much anything by Vesil over this year.

    TOGO, central Christchurch, 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Aryz’s work has been stellar, Selina Miles’ Martha: A Picture Story was great, I love Elliot O’Donnell’s new direction with the glitch studies of urban surfaces, and Bond’s graffiti pieces are super fresh as well. I also really enjoyed Nike Savvas’ Finale: Bouquet at Te Papa…

    Nike Savvas’ Finale: Bouquet at Te Papa, 2019.
  4. What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was the culmination of a long process and it was so great to see it well received, as it wasn’t clear that there was a massive thirst for that style locally…
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Obviously the earthquakes, and I think the March Terror Attacks signalled a change in the city’s psyche as well. More widely, the increasing division across the world, politically, economically and ideologically, cannot be ignored.
  6. What is the biggest artistic/pop cultural moment from the last decade? When Childish Gambino released the video for This Is America, it felt like a really impactful conflation of pop culture, art and social commentary that captured the zeitgeist. Locally, I don’t think I can go past what George Shaw and Shannon Webster of OiYOU! pulled off with RISE here at the Canterbury Museum…
  7. Which artist or artists have stood out over the last decade? Internationally, Vhils, Aryz, Revok, Stoop Kid, Nina Chanel Abney, Askew, Dside, Katsu, Steve ‘ESPO’ Powers, Timothy Curtis, Deconstructie, Connor Harrington… So many. And of course, locally there have been so many people who have left their mark in the streets, from little tags to big walls, I couldn’t possibly name everyone…
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I really hope the energy that the city saw for a sustained period can be recaptured, with things happening not just within commissioned frameworks, but also more organically, especially as the city evolves into a ‘finished product’ to contest. To see local artists continue to gain wider profiles and in turn to see exciting visiting artists come here and leave their mark.

Tom Kerr – Artist, Musician (@ditchlifetattoos/@_nervousjerk/@toyota_bleeps)

(photo supplied by Tom Kerr)
  1. What has been your personal highlight of 2019? Quitting my job as a builder and becoming a full-time tattoo artist. It’s been a goal of mine since I was a teenager.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? I just love seeing a nice tag to be honest. I haven’t really been involved in the graffiti scene since I started putting all my artistic energy and time into tattooing. However, once you’re in the graffiti culture you never stop turning your head when you go past a tag that has something special about it. My favourite tags are the cheeky ones done with a paint pen or a big marker.

    A drippy FUZE tag, captured 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m a big fan of Josh Solomon from Auckland, both his tattoos and his ‘fine art’.
  4. What exhibition by an urban artist(s) has been your favourite this year? Rory Grant had an exhibition [Babylon is Burning] at Spooky Boogie in Lyttelton last month and I think his paintings are super impressive.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes, it goes without saying, haha! Starting a punk band (Nervous Jerk) and being welcomed into a whole new world and experiencing kindness from strangers like never before. Putting out a record with that band five years later. Becoming a qualified builder. I learnt so many things, but most importantly it taught me to never give up on something and to always have a crack at taking that broken thing apart and trying to fix it or whatever. What’s the worst that can happen right? Buying a house with my girlfriend. So many things. I was 15 at the start of the decade so I’ve been through a lot of first times and probably shaped by a lot of things I’m not even aware of yet!
  6. What is the biggest artistic/pop cultural moment from the last decade? Smartphones, I think. I hate everything about them and love them for the same reasons! But you can be so creative with them and write things down and brainstorm on them and I think so many creative things were probably started as just a note on a phone…
  7. Which artist or artists have stood out over the last decade? To be honest I think over the last decade all the big artists I’ve gotten into haven’t been doing anything this decade. I just really like older music and most of the art I’m into is more traditional stuff too, I guess.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Less people being fussed about how many likes they get for whatever they’re making and just making it for the sake of self-expression. Hopefully by then everyone will be over that shit and just enjoy being themselves.

Ikarus – Artist (@highdoctornick)

  1. What has been your personal highlight of 2019? I quit smoking cigarettes after close to 25 years, does that count? Relating to art stuff, it’s hard to say, there’s been a few cool projects but nothing that blew me away…
  2. What piece of someone else’s art in Christchurch has been your favourite this year? I’m not even sure. For big murals, the photographic piece Dcypher and Yikes produced with OiYOU! looks like a real banger.
    Dcypher and Yikes at work on the OiYOU! curated photo roll mural in Colletts Lane in the SALT District, December 2019.

    As far as traditional graffiti, which obviously is what I’m most interested in, this year has to go to Vesil, that dude is producing some dope work in high profile spots. An honourable mention to Dofus as well, he’s been killing the streets and yards with tags, pieces, throws. A solid all-rounder. The AOC crew have been putting in the heavy efforts and definitely produced some of the rawest graffiti this year.

    AOC by VROD, central Christchurch, 2019.

    Even though he’s been quiet this year, I’ve got to mention WeksOne (IMK), his 2017- early 2019 run is one of the heaviest and most impressive examples of all-round graffiti mastery in Christchurch history. Dude had the streets, yards, rooftops and more crushed, with everything from tags to throws to chromes to pieces to characters and straight up burners.

  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m super ignorant about what’s going on outside Christchurch most of the time. Everything Odeith does is insane though. 1UP’s coral reef project is on some next level shit. I really have no idea honestly. I can tell you all the current 2020 releases for Hasbro’s Marvel Legends line though, if that helps at all.
  4. What exhibition by an urban artist(s) has been your favourite this year? Ahhhh, I see. This is all an exercise to expose how little I actually know about art, well played. OK well, I didn’t actually go to it, but I’m gonna say TOGO’s work in the Urban Abstract exhibition at Fiksate Gallery (see what I did there, guys? You’re welcome). I didn’t see the show but his mix of abstract paintings both on canvas/gallery and on walls/public, coupled with his raw traditional illegal graffiti work and his eloquent descriptions of his experiences lead me to assume I would have very much enjoyed the exhibition.

    TOGO’s video and photographic works from Urban Abstract at Fiksate, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? That’s a brooooad question. Part of me wants to just say ‘Thug Life’ and move on, because thinking and talking too deeply about graffiti and/or street art sometimes feels stupid or falsely high-brow, too forced. But part of me also takes it all really seriously. So, I dunno what to say to be honest. Grow and evolve but don’t change. When you work out what that means and how to do it, lemme know, it might be the key to the struggle.
  6. What is the biggest artistic/pop cultural moment from the last decade? The Internet. The exponential rise of social media and its various platforms to some extent make every moment the biggest moment for artistic/pop culture. Everything has the potential to be the next big thing. Marketing and branding overtook advertising as the true modern art form.
  7. Which artist or artists have stood out over the last decade? There’s too many dope artists and writers to name and I’d be afraid to forget somebody. On some level everybody is an influence but it’s really only my crew and the writers and artists from my city that I think about though, without them I couldn’t exist. Two people I will mention though, are George Shaw and Shannon Webster from OiYOU! While perhaps not the traditional definition of “artists”, they have been incredibly important to the growth of public appreciation towards graffiti and street art in Christchurch. From organising the biggest graffiti and street art exhibitions/shows/festivals in New Zealand, including the historic RISE at the Canterbury Museum, to their continual support behind the scenes, these guys have been a huge factor in the growth of graffiti and street art in post-quake Christchurch.

    OiYOU!’s Spectrum at the YMCA, 2016.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I’ll just keep doing what I do. We have workshops and the Blackbook Sessions starting up again in the new year, as well as a festival or two pencilled in for 2020 already. I’d like to see traditional graffiti art represented more at the many street art festivals and shows that are happening now. It’s great to see the art form evolve and see events that support the new wave of art/artists, but it would also be great to have traditional graffiti art represented in that positive light. Locally I’d like to see the implementation of more legal walls and evolving art spaces where novice artists can practice freely, and more funding toward workshops and tutorial classes for at-risk youth.

Jacob Yikes – Artist (@jacobyikes)

(photo credit: three-six-six media)
  1. What has been your personal highlight of 2019? I’ve had a somewhat quiet year with painting outdoors for various reasons, however, a highlight of mine was displaying some works at Chambers Gallery. I felt those works were a shift in the direction I see my work heading in 2020.
    One of Jacob Yikes’ works from his Chambers Gallery show with Hamish Allen and Steve Birss, October 2019 (photo via Jacob Yikes).

    Another highlight would be getting a solo show in a local gallery that I have been visiting since I was young, I can’t release any info about it yet, but the show will be towards the end of 2020…

  2. What piece of someone else’s art in Christchurch has been your favourite this year? Hmmm, that’s a hard one, personally I feel that overall it’s been super quiet in Christchurch this year… I’ve been locked away in my studio for a lot of the year so I’m not sure I’ve really seen anything new from anyone that’s really stood out, and that’s not a negative thing at all but nobody is really being that active. I guess I need to get out more, haha!
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Yeah, again, I’ve not being paying attention enough to what’s been going on, so I really couldn’t say, hibernating in the studio for the cold months will do that!
  4. What exhibition by an urban artist(s) has been your favourite this year? No answer.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Easily the influx of street-based work in Christchurch, the events that have opened up doors for me and helped me progress as a full-time artist. I quit my job as a house painter about 6 years ago, took the leap to be a full-time artist and it’s not been easy, especially trying to keep my work original and true to my vision and not just to please the masses. That can be hard, but it’s all been worth it.

    Jacob Yikes, Manchester Street, 2019 (photo via Jacob Yikes).
  6. What is the biggest artistic/pop cultural moment from the last decade? No answer.
  7. Which artist or artists have stood out over the last decade? That’s a tricky one, a lot have stood out in their own way, I really couldn’t say, I really should pay more attention!
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that in 2020 we will see our local Council actually contribute to keeping the street scene alive and to stop using the work we do to promote the city but not putting anything into it, but we’ll see…. I personally have some things in the works for 2020, but I’ll keep that close for now, haha!

Jacob Root (Distranged Design) – Artist (@distrangeddesign)

  1. What has been your personal highlight of 2019? My personal highlight of this year was definitely my trip to Los Angeles. The work I was able to do there and the contacts I’ve made from it is still surreal.

    Jacob Root painting in Los Angeles, mid-2019 (photo via Jacob Root)
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Ahh, I haven’t actually seen a whole lot. But Dcypher’s Seagull was dope!

    Dcypher and Ikarus in New Brighton, 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? All of Triston Eaton’s murals!
  4. What exhibition by an urban artist(s) has been your favourite this year? Chimp’s Aliases at Fiksate.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The last decade has really been the start of my life, finishing high school, then being able to work for myself and do what I love every day is a major factor!
  6. What is the biggest artistic/pop cultural moment from the last decade? I really don’t think I’m fit to answer that as I’ve really only been painting for the last couple of years.
  7. Which artist or artists have stood out over the last decade? Triston Eaton, Martin Whatson and Alec Monopoly.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? For me, I’ve got a few festivals planned and quite a bit of travel, so I’m really hyped to be able to have my artwork outside of NZ! For the local scene, I really hope there is a street art festival curated for Christchurch…

A Tribe Called Haz – Artist (@atribecalledhaz)

  1. What has been your personal highlight of 2019? Being invited & participating in a roughly six month long art exhibition with Burger Burger.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? The walls of New Brighton.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Gareth Stehr’s Have a nice day.
  4. What exhibition by an urban artist(s) has been your favourite this year? Joel Hart’s Dopamine at Fiksate.

    Joel Hart’s Escaping Reality from Dopamine at Fiksate, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The Rad Collective’s Under the Influence, the ‘Graffiti Quake House’, my first A Tribe Called Haz exhibition.
  6. What is the biggest artistic/pop cultural moment from the last decade? Ilma Gore’s painting of Donald Trump with a small dick.
  7. Which artist or artists have stood out over the last decade? Locally, Uncle Harold, Hugo van Dorsser, Vesil & anyone I’ve painted with. Outside of Christchurch, it would be Askew, Sofles, Dside, Valentin Ozich, Pablo Dalas, Neckface, Jeremy Fish & Haser.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, more Inspiration, hopefully pull together another exhibition or two. Locally, more legal walls & more art collectives.

Jessie Rawcliffe – Artist (@jessie.e.r)

  1. What has been your personal highlight of 2019? Finally having a solo show, an opportunity which encouraged me to get away from working digitally and experiment with my preferred medium.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Dude, I suck at favourites… I really enjoyed Evangeline Edilson’s show Melpomene and the Sock at CoCA in August. There are some similarities in our work, so I probably related to it stylistically, which being a surrealist figurative artist I don’t get often. But honestly there’s been so much good stuff I can’t remember. Last week is hard enough. And I accidentally deleted my camera roll the other day, so I can’t even look back at visual cues.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Too specific. But in general Michael Reeder had a stellar year (last few really) and I’m constantly seeing his stuff and thinking “fuck you”. His development and refinement is such a pleasure to watch.
  4. What exhibition by an urban artist(s) has been your favourite this year? Fiksate’s Urban Abstract is the most memorable for sure. The range and standard of work was really great and that opening had such a good atmosphere. I think the space has worn in a little, there was such a nice crowd, I dunno, it was the warmest opening in recent memory.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Moving to Wellington at the start of the decade and realising that there were weirdos out there just like me. I’ve moved cities and started gaining some momentum with my practice that was non-existent near the middle of my post-university years. Christchurch has been home for four years now (woah!) and I think it takes at least that long to either get comfortable or figure out how that new environment affects you. Working from The Welder Collective in 2017-18 either directly or indirectly introduced me to everyone in the Christchurch art scene I now know, with a few in particular being a vital influence on my current motivations and interests. The explosion of social media and its relationship to art really stands out. For better or worse. It can be pretty numbing being bombarded with imagery all day, every day, it’s often demotivating to go out and see art in person. The flip side though, is that I’ve connected with artists all over the world because of it and think it can be used as a tool for making art friends and expanding your art business wise. I’m inspired as much as I’m crushed by looking at other artists work (lol). Social media is probably a contributing factor to why I can’t remember what the fuck I’ve seen or done in the last decade.  This might seem mundane, but I was given a copy of Young, Sleek and Full of Hell to read in 2017, which documents all the wild shit that went down and the careers that launched at Aaron Rose’s New York gallery ALLEGED in the 90’s (Mark Gonzales, Chris Johanson, Rita Ackermann, Susan Cianciolo, Barry McGee, Margaret Kilgallen, Harmony Korine, Mike Mills, Ed Templeton…), and it is so memorable and jumps out at me, because it fucked me up for a solid week. I was convinced that I was born in the wrong place/era. The sentiment of this time and place really resonates with my inner punk who wants to be allowed out, except, well, I’m too nice. And it got me worried that what went down there won’t or can’t ever happen here, because Christchurch for the most part is the cultural equivalent of a loaf of pre-sliced white bread.
  6. What is the biggest artistic/pop cultural moment from the last decade? Yeah, maybe it’s still the hangover from the decade before. ALLEGED crew and affiliates are everywhere. Or maybe more generally, the sentiment that came out of that time, all the good stuff of the late 90’s – skateboarding, art, graffiti, film, fashion, photography – has been polished, monetised, derivatives on derivatives. We’ve been in this post-postmodernist depression. And look what’s in again, the 90’s! But did it ever really go away? Another thing that stands out is the multidisciplinary artist/creative – the lack of needing to specialise in one field, like the the skateboarder/artist, or not needing to stick to one artistic medium. Also, the collab. OMG the collab! Big companies approaching (big or small) artists, as they try to capitalise on underground cultures and just basically commodify anything cool.
  7. Which artist or artists have stood out over the last decade? HUGE question, I’m avoiding it! Every year my attention has been drawn to different stuff depending on what I was up to. During university it was magazines like Juxtapoz and Hi-Fructose where I was getting inspiration from – lowbrow pop surrealism. 2009/10 was really my introduction to graf, hanging out at Manky Chops gallery in Wellington and with various members of Pirates crew (who are now graphic designers, tattooists, fine artists and the likes), very much the new gen of graf meets fine art, and the rise of the mural/street artist. The last few years in Christchurch it’s been a mix, which isn’t surprising given how varied the art scene is here, with the very traditional and more low-brow often right next to each other. There’s been a lot of looking back going on, at CAG for example, so many of the stand-out work has been old work from artists I should probably have known. Maybe we’re in a lull?  Otherwise it’s a bit blurry. Specifics are hard. It feels like it just happened and I need a little more distance to work it out.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope the art scene can get a bit more momentum and general support from the wider community. There’s a cultural divide that I find really evident in Christchurch, with rich white people who want to buy landscapes and tell their friends they went to an art opening, then a bunch of super skilled and hardworking artists who will never see any of that support. The underground scenes are supported mostly by the people in them, and this city is too small to sustain that. A bit more overlap and progression of the traditional and contemporary art worlds.I’d like to keep painting, but also not be fucking broke for the 11th year in a row. I have way more focus and direction (and Ritalin) than I ever have before, so we’ll see where this new motivation takes me. It’ll likely be reaching out to galleries in the States to better connect with my audience. NZ has little fucks for figurative work, but the US love it, so I’ll be exporting goods!

Dcypher – Artist (@dcypher_dtrcbs)

  1. What has been your personal highlight of 2019? My personal highlights for this year would have to be working on the Salt wall designed by Paul Walters (I added the additional ‘Otautahi’ piece beneath it), it was a fun collaboration and I learned a lot of new techniques. Also, the more recent negative film strip mural depicting historical photographs of the SALT District was fun, again working with the Oi YOU! team.

    Paul Walters and Dcypher’s SALT Otautahi Mural, curated by OiYOU!, 2019.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? It’s a biased viewpoint, but all of Yikes’ new work, murals and artworks, would have to be my favourite in Christchurch for 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Internationally, I would say Sainer from ETAM crew and Aryz from Spain would be my two favourite artists of 2019.
  4. What exhibition by an urban artist(s) has been your favourite this year? I haven’t had a chance to attend many shows this year but based on what I did see Levi Hawken’s sculptures from Fiksate’s Urban Abstract stuck in my memory.

    Levi Hawken’s Mini Graffiti Cube 2, from Urban Abstract at Fiksate, 2019 (photo credit: Kirsty Cameron).
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I spent the last decade living and working in Los Angeles so that has had a massive influence on my work.
  6. What is the biggest artistic/pop cultural moment from the last decade? I think for Christchurch it would have to obviously be the earthquakes and the mural festivals that proceeded it and put the city on the map as a cultural hub of New Zealand.
  7. Which artist or artists have stood out over the last decade? Internationally there are so many amazing artists that stand out in my mind. And the mural art movement has been pushed in lots of amazing directions but someone who really stands out I would have to say is Vhils, his work is super impressive.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I’m looking forward to 2020 being super productive. Hopefully producing more and more murals and having more mural festivals and bringing in international artists to add to the already extensive public mural catalogue.

Jenna Lynn Ingram – Artist, MC, Gallery Owner (@jen_heads/@fiksate_gallery)

(photo via Fiksate Studio and Gallery)
  1. What has been your personal highlight of 2019? In 2019 Fiksate came to the central city and we’ve so many had great exhibition openings, the highlight was probably the latest one, Urban Abstract, for sure. Also, I quit my 9-to-5 and am focussing on being an artist and running Fiksate full time, that is definitely a highlight!

    The opening of Urban Abstract at Fiksate, October 2019 (photo credit: Kirsty Cameron)
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Levi Hawken has blown my mind with his sculptural work. It was so good to have it in Urban Abstract
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? There are too many to name! I have really enjoyed Remi Rough, the abstract urban artists coming out of Poland, all the female mural artists out there. I have to say that I’m constantly amazed by the stuff that comes across my Instagram feed. I don’t always take in who it is by, but there are so many artists out there that are so talented. I’m blown away everyday by urban art culture, it’s a huge vast ocean of talent.
  4. What exhibition by an urban artist(s) has been your favourite this year? Every single Fiksate exhibition opening! We have had such great vibes, the other exhibitions this year that have stood out have been Jessie Rawcliffe’s shows at CoCA and now at Absolution.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? In 2010 I met Nathan and we fell in love. Then in 2011 the earthquake struck, you can’t not mention that, but that’s also when our street art journey began and we became a team and since that day when we made paste ups of Band Aids or Nath’s Dr Suits character, that energy has never faded away.
    One of the Band-Aids by Jenna Lynn Ingram and Dr Suits, c.2012.

    With Fiksate, we are here to give a leg up to artists who don’t get that from other contemporary art galleries, we are here to give urban artists the prominence they deserve because they are a talented bunch of people. We want to give local artists the chance to show alongside international artists, showing the standard here.

  6. What is the biggest artistic/pop cultural moment from the last decade? Man, it’s a long decade! I’d say the emergence of Anderson Paak.
  7. Which artist or artists have stood out over the last decade? I really enjoy Gary Stranger. Every time Cleon Peterson puts out something it blows my mind, his latest work, it’s so dark and dirty. I’ve got to say that the artists who have been part of our shows at Fiksate, like Askew One, Pener, Joel Hart… And of course Dr Suits, he blows my mind every time and I hate it because he makes it look so easy!
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that I will become a full-time artist and that Fiksate will become a solid grounding for urban art in the city, a mural agency is part of that plan too, working to get more murals around the city. I also hope urban art is given more education and acceptance of all its aspects.

PKAY – Artist (@aaron.p.k)

  1. What has been your personal highlight of 2019? Shooting Steven Park’s 6×4 summer collection.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Vesil’s entire output this year.

    VESIL, 2019 (photo via PKay).
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? No answer.
  4. What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was great.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I feel like I’m giving a very obvious answer but the earthquakes have been hugely impactful, particularly for people like myself who were in their early teens, as it changed the way people my age experienced the city (or lack of one) during our formative years.
  6. What is the biggest artistic/pop cultural moment from the last decade? Mass meme culture (and muralism).
  7. Which artist or artists have stood out over the last decade? Consistently over the whole decade DTR have pulled it off.

    DTR crew colab (detail), Embassy, Colombo Street, Sydenham, 2014.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? More creative opportunities and some failed rebuild projects to retain the city’s spicy ‘bando energy

Dr Suits – Artist, Gallery Owner (@_dr_suits/@fiksate_gallery)

  1. What has been your personal highlight of 2019? The basketball court [Forces] in New Brighton was a big highlight for me. Just making it through to the end of the year is also a feat.

    Dr Suits’ Forces, New Brighton, 2019 (photo credit: Millie Peate-Garratt).
  2. What piece of someone else’s art in Christchurch has been your favourite this year? TOGO all day, without a doubt.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I don’t think I have even left the city! I looked online a couple of times, probably Remi Rough. He’s fucking killing it.
  4. What exhibition by an urban artist(s) has been your favourite this year? I wouldn’t want to be biased, but Urban Abstract was off the chain for us. That was a mammoth project and something that we worked on for a long time. I love urban abstract artwork and I just like to push my agenda! It’s like I love this so you should at least consider it, because I don’t even know if people even knew it existed. It’s really exciting the direction urban abstract art can go. I mean abstract art has been at the forefront of driving contemporary art for a long time, it naturally fits, but the murals and the scale and the insane concepts that can be translated, even stickers, paste ups and graffiti as well murals, it is all so exciting. Graffiti is essentially an abstraction of letter forms, but now artists are just completely letting go altogether.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Meeting my wife Jenna and forming a whanau with her.
  6. What is the biggest artistic/pop cultural moment from the last decade? Over the last decade rap music has just become so mainstream and dominated the music industry, I have to wonder if rap going to become rock? All the good rock songs are by artists from the 60s and 70s, is hip hop now just people reinventing the wheel, with the best hip-hop artists from the 90s? It’s gone so far from its original roots, it seems like the pure reason hip hop music came to the foreground is so contradictory to where it is now, where it used to be about the little guy, now its all about celebrities and big names. What’s next, what’s the next new music?
  7. Which artist or artists have stood out over the last decade? Anderson Paak, TOGO, Leon Bridges… Polish abstract artists are bonkers, they are just driving it. I don’t know if it’s just my preferred aesthetic, but they are so amazing. They are next level. Maybe it’s the Soviet influence of propaganda. Living in New Zealand, I can’t even picture what a day living in Poland is even like. You come across an artist 5 years ago and they take it somewhere even better, what is in the water over there?!

    Pener’s Deconstruction 03 from Urban Abstract, 2019 at Fiksate.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I need to spend some more time with my family, that’s a personal goal. As for urban art and the city, I’m obviously an advocate for abstract art and I want the city to embrace more abstract murals. Sanctioned works need to celebrate the artists, rather than give them a brief. In those situations artists can show their technical ability, but they can’t always show their voice. We need to have that diversity. The public will then become more aware of the issues artists are confronting, whether it is process driven or socially-minded. The process currently is dictatorial and often driven by people who lack an understanding of art.

Wongi ‘Freak’ Wilson – Artist (@wongi.wilson)

  1. What has been your personal highlight of 2019? Painting the second stage of Boxed Quarter was cool because it was nice to be back again to add to the first round of works I did there. They give me full creative freedom. It’s great to have clients like that who know my work, trust my process and let me do my thing. I’ve had lots of positive feedback on the greyscale portraits and photo real paintings that I did. One painting is of a photo I took of one of the foster pups we had which makes it personal.
    One of Wongi’s works at the Boxed Quarter, 2019.

    Teaming up with DOC and the Godley Heads Heritage Trust who commissioned me to paint the Godley Head gun turrets was pretty cool too. The paintings are based on historic photos of men and women who were the soldiers that manned the turrets during WW2. It was an amazing site to paint as was the subject matter. Another highlight were the pieces I painted for the Fresh Produce exhibition in Auckland. I never get the time between commissions to paint on canvas but I really wanted to include some work once I was invited. I got into the studio every chance I had and painted still life images of my wife from my personal collection and they turned out great. Finally, the Rollickin Gelato commission was a great way to end the year because I’d been wanting to paint a hand holding an ice cream for some time and it fit perfectly with their brief. They wanted it to represent their employees and they had a photo shoot of one with the tattoos and jewellery and sent me a few dozen photos to choose from. It was nice to be painting in Cashel Mall again, which I haven’t done since the first few years after the quakes.

    Wongi at work on the Rollickin’ Gelato piece in City Mall, 2019.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? My favourite pieces this year were any and all Jungle pieces that were done, but specifically Weks did two mean ones and Lurq did a dope one too, on top of that the bro Elias did a great portrait of Jungle which was awesome.
    One of the many Jungle tributes across the city following the graffiti legend’s passing in 2019.

    Although, if I needed to point out a specific piece of work, I really liked he UV/Aztec styled characters that Sirum, Linz, Dem189 and Bryan Itch did at the Ten Pin Bowling spot. Mad cool stuff.

  3.  What piece of someone else’s art outside of Christchurch has been your favourite this year? The artist Royal Dog did some outstanding portraits this year and Bust’s graffiti/cartoony combination styled work has been awesome too. 1UP’s boat piece or their underwater reef piece were ground breaking, and Blesea One’s character steez was also mad cool, specifically, I thoroughly enjoyed his Dragon Ball Z series.
  4. What exhibition by an urban artist(s) has been your favourite this year? Two shows from this year that would have been amazing to see would have to be Tilt’s exhibition Future Primitive, and, without a doubt, Martha Cooper and 1UP Crew’s one night exhibition in Melbourne. Such a mean team up from some heavy hitters in the scene.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes were obviously a huge part of the decade, as well as the abandoned buildings/graffiti playground that they left behind. Getting married to my wife and having an amazing partner and best friend. The RISE exhibition was also a memorable part of the decade, being part of a street art show in the Canterbury Museum was crazy and with all the artists that the show brought through.
    Wongi and Ikarus Blackbook Wall (detail) for Rise in 2014, featuring a number of artists who visited the city for the event.

    A huge event from the last decade was getting the chance to travel to and hike to Everest Base Camp as part of a commission for Kathmandu. It was an absolutely amazing experience that was an adventure of a lifetime and extremely memorable. Baby Yoda.

  6. What is the biggest artistic/pop cultural moment from the last decade? The end of Breaking Bad, Game of Thrones, street art becoming mainstream, the final season of Samurai Jack, Baby Yoda, memes of Baby Yoda, Dragon Ball Super
  7. Which artist or artists have stood out over the last decade? There’s been so many amazing artists from the last decade, but Pichi & Avo’s paintings and sculptures really stood out to me, 1UP Crew’s work was also high impact, and Insane51’s portraits were great, his red and blue 3D-style murals also stood out. I’d also like to mention Tasso and Case from Ma’Claim Crew, they were the first photorealistic painters I saw back in the 2000s, but their works from the past decade have stood out as far as skill levels go.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, I’d like it to be a positive, progressive and prosperous one, full of love, laughter and learning with lots of highlights and happiness. Specifically, I’d like to push my work further and further, expanding on my skill level and developing my pieces, processes, portraits and photorealism to new levels. As for the local scene, I’d love it to be more active on all levels, more cohesive across the board, as I feel it’s quite disconnected and disjointed at times, and for there to be more large scale murals painted, more fully themed productions, and more festivals and artist events to help grow and push the scene.

Jane Maloney (M/K Press) – Designer (@mk.press)

  1. What has been your personal highlight of 2019? Travelling to Europe again for the first time in 5 years. It felt like a long time away so I was very happy to go back. Also making the decision to quit a great job that didn’t serve me well mentally and emotionally.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? All of the works in Playing the Drums by Bill Hammond at Christchurch Art Gallery, with notable mentions for the works Volcano Flag (1994), and Eating, Drinking, Smoking (1972).
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Nature Lovers (2003) by Tony de Lautour  which I saw at NMG Arrowtown, Snakes (1969) by M.C.Escher, a coloured woodcut from the Escher and Nendo show Between Two Worlds at Melbourne’s NGV, and Nan Golden’s photobook The Ballad of Sexual Dependency (1986), which I saw at the Tate Modern.
  4. What exhibition by an urban artist(s) has been your favourite this year? Face Value, the group show at Fiksate Gallery, and Convo by Tom Gerrard, Matthew Fortrose and Elliott Routledge at Stolenspace Gallery, London.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Starting my business M/K Press in December 2013, becoming self-employed full-time in December 2016, having my first art studio space (The Welder) in September 2017, and becoming a part of Fiksate Gallery and Studio in April 2018.

    M/K Press in action at Fiksate (photo credit: Charlie Rose Creative).
  6. What is the biggest artistic/pop cultural moment from the last decade? The creation of Instagram in 2010 and its impact on the art world.
  7. Which artist or artists have stood out over the last decade? The 2010s was the decade that ‘Street Art’ became the new ‘Pop Art’. Banksy, KAWS and Shepard Fairey stand out to me as the most prominent street artists who first broke into the mainstream.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? The growth of M/K Press, as I am back to running the business full-time. This includes working on some personal projects and hopefully starting my MFA. In the arts scene in Christchurch, I just hope that the support we are getting from local council and the general public continues to increase. Pay local artists appropriately for their time, buy their work and give full credit when sharing their work, and we should all be able to keep on growing.

Josh Bradshaw (Uncle Harold) – Artist (@thejournalofuncleharold/@joshuamarkbradshaw)

(photo supplied by Josh Bradshaw)
  1. What has been your personal highlight of 2019? A personal highlight of mine of 2019 was the decision to branch out and fully delve into new mediums and explore a lot of new ideas and work that are really breaking away from the style that people would be used to seeing from me. None of this work has been seen publicly yet and that in itself is really exciting.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? My favourite piece by a local Christchurch artist in 2019 was What Do You Write Bro? by Tom Kerr from Face Value group exhibition at Fiksate.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? My favourite piece by an artist outside of Christchurch was I Never Learned To Tie My Shoes by Julio Alejandro from his solo exhibition Apple Eaters at Blackbook Gallery in Colorado.
  4. What exhibition by an urban artist(s) has been your favourite this year? My favourite exhibition of 2019 was the group show Urban Abstract at Fiksate Gallery in October.

    Opening night of Urban Abstract at Fiksate, October, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Some key events of the decade that were super impactful for me were moving from a small rural town with absolutely zero form of culture to do with the arts into the city, which was a pretty big eye opener, then shortly after was the opportunity to start a city all over again with the earthquakes. The city became a playground for any artistic endeavours. From the graffiti and street art that resulted from fallen buildings and newly exposed building facades to the rise of small collectives and exhibitions run by local artists that for the most part were met with great support from peers and the public.
  6. What is the biggest artistic/pop cultural moment from the last decade? I don’t know a damn thing about any art movements or anything but I do feel like the introduction of social media has absolutely had a huge impact on the art world. Anyone and everyone is an artist on Instagram.
  7. Which artist or artists have stood out over the last decade? Michael Reeder is one that stands out off the top of my head. He has produced an incredible amount of work and I’m always impressed how he is able to do so many different variations of his work. Materials and techniques are always being explored to keep it fresh and exciting.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? For me personally I hope 2020 brings a lot more freedom for me to go down different avenues with the work with the work I make and to not just feel restricted by anything that doesn’t seem necessary. For the local scene this year, I hope to see more small, gritty, underground DIY exhibitions being put on by local artists.

 

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And That Was… November 2019

There seems to be a renewed energy in the air, although I guess Summer will do that. For me, November was pervaded with a flurry of activity, raising my excitement levels for the coming months. November began with the strange and awkward experience of filming for television and film crews, something I must admit is made easier by the great people I worked with, from international sportspeople to crews who were genuinely interested in the city and its urban art. I then had the chance to work on a project that gained national exposure and showed the reach of urban art as a communicative tactic and embraced an alternative to traditional marketing. It wasn’t all about me though, as plenty of other people around the city were doing what they do best, from sharing knowledge or staging exhibitions, to doing what urban artists should do best, painting and exploring the cityscape. There was plenty to enjoy, so, here are my top five for November 2019…

The Human Torch Was Denied a Bank Loan

John Bateman and Lewis Brown stand beside the stencils they helped paint on one of the giant cans for their segment with Sky Sports in advance of the match between the Great Britain and Kiwi rugby league teams in early November.

November brought a bit of wide-ranging exposure for Christchurch’s urban art scene, and I was placed in the position of film and television personality (OK, perhaps too strong a term!). Filming for both Sky Sports and an overseas film crew producing a video for Tourism NZ, the chance to show off our city was only marginally tempered by the awkwardness of being in front of a camera. We showed Great British Lions rugby league player John Bateman around the city and were joined by former Kiwis player and Christchurch-raised Lewis Brown, each spraying a stencil of their team logos on one of the giant spray cans. The video was then featured on the pre-game build up of the Kiwis Great Britain game on November 9th. Keep an eye out for the other production if you fly internationally!

Ruby Jones – All Of This Is For You

One of the Ruby Jones paste-ups found around the central city. Photo Credit: Rachel Eadie

You all know the iconic post-Terror Attack image of the two women hugging, one wearing her hajib, accompanied by the wistful declaration: “This is your home, you should have been safe here.” It was viral, and it gained its creator, Wellington-based illustrator Ruby Jones the opportunity to design the cover of the iconic Time magazine, the first kiwi to be given the platform. Ruby has recently released a beautiful book of her illustrations, All of This is for You through Penguin Books. To celebrate the release, and to recognise the role of Christchurch’s experience in Ruby’s work, the amazing Rachel Eadie from Penguin Publishing approached us to work on a unique campaign. Initially, the concept was perhaps a painted mural, however, the nature of the illustrations, their messages and the way they were to be experienced in the book, led to a new idea, a street art-inspired paste-up campaign that offered small engagements around Christchurch. In early November, we posted the range of images at various locations across the city, including the brick work exterior of Riverside Market, Market Square at the Arts Centre, Little High, City Mall, the Boxed Quarter and Tū The interventions provided the chance for reflection, for the chance to stop and take stock amid the bustling surroundings. Some have already disappeared, but that was inherently part of the beauty…

DTR Workshop and Painting Jam

Dcypher whips up a skull character on the day of the DTR workshop.

In mid-November, the city’s leading graffiti crew, DTR, hosted a one-day workshop and painting jam at the Lichfield Street Youth Space. Participants were supported by the talents of Wongi, Dcypher and Ikarus, and after a drawing session, painted the giant cans with an array of designs, from traditional letter forms to characters and even pencils. The energy and good vibes of the day were evident, with artists of various experiences colluding. I spent the afternoon just observing, seeing people figure things out and pieces coming together. As cheesy as it sounds, events like this are a reminder of the potential power of art.

Urban Abstract at Fiksate

Fiksate really knocked it out of the park with the impressive Urban Abstract, a show that brought together local, national and international artists who are united by their investigations of abstraction. Featuring Elliot O’Donnell (Askew), Levi Hawken, Togo, Tepid, Melinda Butt, Pener, Bols and Dr Suits, Urban Abstract showed the diverse range of abstract approaches, materially and conceptually, while also drawing on the roots of graffiti and street art as an inspiration for this interest. Graffiti’s reconfigured letter forms but tradition-heavy emphasis provides a conflict, while post-graffiti’s focus on accessibility and iconographic visual language means it has often been more marginalised, yet, of course, contemporary muralism’s increasing diversity has seen the emergence of abstraction on a grand scale. Togo’s photographs and video, Pener’s electric, angular sketches and O’Donnell’s painterly urban landscape work were personal highlights among a strong collection.

From the Rooftops

The newest addition to the Christchurch skyline, an abstract piece by TOGO.

I absolutely love this new rooftop piece by our favourite urban adventurer TOGO. A perfect tie-in with the focus of Urban Abstract, the work is a hazy, drippy contrast to the sharpness of other pieces around the city, disrupting the pristine white building. The fresh colours (notably not in the TOGO’s iconic pink and black) give a radiate a summer feel. It’s placement also ensures it is an surprising treat, appearing unexpectedly on the city skyline, distant from so many other examples. Works like this always renew my energy, cutting to the heart of urban art’s presence.

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And That Was… October 2019 (with Kophie)

Kophie (a.k.a Meep) is busy. Actually, that could be an understatement. From her art, including her increasingly large mural productions, to her clothing brand Future Apparel, and a number of other projects in between that are born of her social and environmental conscience and activism, she always has something on the go. So, when I asked her to compile this month’s And That Was… it was a bit of a double-edged sword – I knew she would have plenty to share, but the challenge would be finding time to put it together! Luckily, Kophie is the type of person who is always willing to help people out, and she was more than happy tell us some of her October highlights…

Flip Out

In October I finally completed a massive mural at Flip Out, the trampoline park. It was a BIG project, covering 45 square metres, and taking five months to finish! The concept was drawn from a graffiti comic book called Hip Hop Family Tree by Ed Piskor, which documents the early history of hip hop culture. I used this inspiration to make a mural highlighting Christchurch’s culture, including pre- and post-earthquake graffiti writers as a sort of homage to local graffiti history.

Shaka Bros at Riverside Market

I also recently helped with the fit out for Shaka Bros, which is the new Bacon Bros’ burger restaurant in Riverside Market. I painted murals and added typography all through the restaurant (as well as a little guest outside…). I was really impressed that they used a lot of local suppliers and artists in their build, including Brendan Ryan, CW Works and Dale and Tanya, who made all the furniture from scratch.

Conscious Club Market

I have been organizing a Christmas market with The Conscious Club. The Conscious Club are a collective of four locally-based women (including myself) who run sustainable and ethical events in Christchurch. The Christmas market will be a five day event hosted in the ‘hack circle’ (where all the Emo kids used to hang out pre-quake in City Mall) surrounded by all the corporate businesses and fast fashion giants. We will have workshops by Rekindle, entertainment, food trucks and 25 rotating stallholders each night, all selling eco-friendly products. It will be a much better alternative to going to the monolithic malls for your Xmas shopping!

Future Photo Shoot

I worked with the amazing photographer Federico Corradi and awesome models Lucy, Ruby, Selina, Callum and Lucas at a super cool building in Lyttelton, taking some great photos for my sustainable clothing line Future Apparel. They look amazing! Future is all about up-cycling clothes to save them from waste, as the environmental impact of the fashion industry has long been a massive concern. I will be releasing the photos in conjunction with my website launch! So watch this space…

My Favourite Song

British rapper Ocean Wisdom’s mix tape Big Talk -Vol 1. was released in October and I have been listening to the song Voices on repeat for the last couple of weeks! I was inspired to make a graphic for the song, I loves it so much!

Follow Kophie on Facebook and Instagram to keep track of all her upcoming exploits…

Also follow Future Apparel and keep an eye out for the website launch!

 

 

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