And That Was… May 2021

They say good things take time, and this edition of And That Was… is cutting it fine! It has been a busy few weeks with lots happening and as such it seemed like the months have melded into one. But when looking back over images from the month of May, it was quickly apparent that those four weeks had their own flavour, a flood of memories came rushing back…

For this recap, we run back some our favourite paste ups, wall paintings, slaps, shows and even a doorway! We have largely stuck to urban art this month, temporarily returning to our formative roots, but that doesn’t mean we have forgotten the fact that all of these things are also entangled with our broader experiences of Otautahi’s central city, and in particular the food, the bars, the music, the people and all the vibrant things on offer. All of these things make up our urban culture and it is vital we celebrate and support these events, occurrences and interventions to keep our city lively!

So, after much delay, here is your And That Was… for May 2021…

Gary Silipa’s UFO Slaps…

I have been a fan of Gary Silipa‘s work and simplified iconography for years, especially his skulls and spaceships, which I found all over Wellington’s streets on a trip to the capital in April. The orbiting red UFO’s then appeared here in Christchurch in May, a legacy of the artist’s brief trip here. The ubiquitous presence in spaces high and low suggest the idea of exploration and observation, our strange contemporary customs intriguing to these small visitors…

Mark Catley’s Ascending Freak Angel

Mark Catley added a couple of fresh paste ups to the Boxed Quarter‘s ever-expanding collection of urban art. Taking his poor sack girl toy (pasted on Manchester Street) and twisting the image into a strange new appearance, the girl becomes a three-eyed ‘freak angel’ as the artist described, her outstretched hand now seemingly elevating her into the sky. Lit by a coincidental spot light, the seemingly celestial being is a trippy sight!

Jessie Rawcliffe’s Marriage of Figaro Mural

Jessie Rawcliffe‘s mural for the NZ Opera’s production of The Marriage of Figaro (which will be staged at the Isaac Theatre Royal here in Christchurch as part of a national run) was completed in May, with the artist’s stunning dry brush style giving the piece a stunning beauty against the smartly used graffiti-ed wall on which it was painted.

More: The Show

Back to the Boxed Quarter for More: The Show, an exhibition and event featuring talented Otautahi wahine artists. With a slew of our favourites and some new talent to explore (such as Sofiya Romanenko, who recently produced a beautiful photo essay for us), the show was a convergence of amazing talent and featuring a range of activity – unfortunately we forgot to take quality pictures! It was a one-weekend show so you had to be in quick!

Our favourite doorway…

Last, but definitely not least, we just had to include this doorway. OK, so it technically isn’t something that ‘happened’ in May, but we took this photo then, so it counts! Just look at it, it is a thing of beauty and couldn’t be left out!

Let us know what would make you list in the comments and if you know someone who would be a great guest writer for And That Was… – drop you suggestions there too!

 

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Street Treats, Vol. 5

This edition of Street Treats is eclectic and varied, ranging from playful whimsy to blunt anti-establishment messaging. That ultimately is the beauty of guerrilla practice (or in the case of some of these works, permissioned but free from curatorial censorship), the opportunity to say what you want, how you want. As contemporary muralism has taken over the popular image of ‘street art’, it has also transformed the imagery and ideology deployed. While this still results in some pretty stunning works occupying our skylines and there are, admittedly, different levels of input and freedom, it is left to the smaller interventions to speak in an unfiltered voice. The content is not always explicitly political, but the act itself is, always. So whether it is a beautiful surreal flower sprouting from a concrete pillar,  a constantly recurring pencil, playfully collaged scenarios, vibrant names or scrawled messages that question the colonial history of our city, look and listen, they are speaking to you and about us…

If you have submissions for upcoming Street Treats volumes tag us on Instagram or email your pictures to hello@watchthisspace.org.nz!

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Benjamin Work – Motutapu II at the Canterbury Museum

When the Canterbury Museum’s hugely popular Rise exhibition finished in early 2014, the walls of the main exhibition hall were covered with long black curtains, the murals from the show obscured with only teasing snippets still visible for more inquisitive visitors. With Hakē: Street Art Revealed; the Museum has drawn back the curtains, allowing the public the chance to revisit the Rise legacy, while also encountering a new floor-to-wall mural by Tāmaki Makaurau artist Benjamin Work.

A member of the celebrated TMD crew, Aotearoa’s most notable graffiti collective, Work brings urban art credibility, but his involvement also ensures a wider discourse that extends beyond the focus of Rise. Work’s evolution exemplifies the new trajectories of artists reared on graffiti and urban art, while also explicitly exploring the complexities of both cultural institutions and the Pasifika diaspora. Drawing on his Tongan heritage, Work has pushed his art in new directions over the last decade. Inspired by the iconography found on cultural treasures such as ‘akau tau (war clubs), his refined, graphic paintings have sought to find new spaces and ways for audiences to engage with Tonga’s visual culture, both inside institutions and on the streets.

Over the span of a week, Work created Motutapu II, a massive mural that sprawls across the floor and walls of the main exhibition hall. Inspired by the Canterbury Museum’s collection of ‘akau tau, the painting extends outward from two orange diamond shaped mata, or matapā (eyes of the pā), a vertiginous pattern of interlocking black and white lines leading the viewer toward more sacred symbols framing the work. Work explains Motutapu II as a metaphorical representation of ancient gateways marking arrivals and departures of voyaging vaka. ‘Motutapu’ is a name used across Polynesian cultures for sacred or sanctuary islands, neutral spaces for visitors before arrival at the mainland.

In the museum mural, the black and white lines create pathways, leading the viewer to each end of the hall; a hovering māhina (moon) glows in mottled orange to the east, while to the west, a soaring Tavake (Tropicbird) accompanies three figures symbolising Tonga’s chiefly lineage. Inviting viewers into the painted space, while maintaining a reverence for sacred imagery, navigating the complicated task of maintaining traditions and engaging a contemporary audience. After observing the creation of Motutapu II, I had the opportunity to sit down with Benjamin Work to discuss his experiences in Ōtautahi Christchurch, the future directions of his practice, and the experience of working at the Canterbury Museum…

It’s been a busy month for you! It started with the TMD: An Aotearoa Graffiti Story exhibition at The Dowse Art Museum in Lower Hutt, then you arrived here in Ōtautahi to paint a mural for the Etu Pasifika Health Centre with (fellow TMD Crew member) Charles Williams before starting work on your floor-to-wall mural at the Canterbury Museum. Is such a busy lifestyle still enjoyable or do you miss your own bed?

We were talking about this the other night, I have friends whose practice often works at this pace, but I think this has been one of the busiest periods I’ve experienced, including the work prior to my month away. I’ve noticed it’s easy to move from project to project and not take time to be present, to really be in the moment, so that’s something I’m focusing on. And once I’m home, I will have time to process what’s happened.

Work's piece for the TMD: An Aotearoa Graffiti Story at Lower Hutt's Dowse Art Gallery. The unfurling piece is dark blue and depicts a moon glowing at the top of the section on the wall, there are figures on the section rolled along the floor.
Work’s piece for the TMD: An Aotearoa Graffiti Story at Lower Hutt’s Dowse Art Gallery.

It must have helped to have had friends and family alongside you for these projects…

Definitely! I can’t function without friends and family. I am a relational person. Most of my life has been experienced in a collective environment, whether it was TMD crew, church settings or amongst my Tongan family. I’m at a point in my life where I have a greater understanding of the way I am, and that’s to help others navigate their way as I find my way.

I assume that is also an influence from your graffiti background, a culture that has a strong sense of collectivism and collaboration, which brings me to the Museum project. The opportunity came from the Museum revealing the wall works from the 2013-14 Rise street art exhibition. The idea was to add a floor mural to extend the narratives around that exhibition. Your work has moved beyond description as graffiti art or street art, both stylistically and contextually, highlighting the evolution of artists who may have roots in those origins. How do you respond to people designating you as a graffiti or street artist?   

They are different practices which I want to navigate how and when I want. This is hard for many people to understand inside of their boxes. I don’t want to be referred to as graffiti artist, street artist or a Tongan artist, simply an artist who is telling stories both old and new.

The floor space inside the Canterbury Museum as the artist prepares to install Motutapu II.
The floor space inside the Canterbury Museum as the artist prepares to install Motutapu II.

You mention that you have become more comfortable in the studio, but the idea of bringing Tongan iconography to public spaces and giving them a new visibility was a central aspect of your work, how has that intention changed?

It has been an important part of my process but there has been a shift of late due to migrating back to Aotearoa, Covid, time alone and making new work. I have seen a shift in style, painting techniques and even using loose canvas. There was a period where I engaged with a lot of institutions, between 2015 and 2019, and it was important for me to engage with our Tongan treasures and bring them out into the public space. But I’m not sure if that’s going be a focal point going forward. What I’d like to do is use those connections and my platform to connect other Tongans that are searching for those answers with those institutions. Many communities don’t realise that they have access to all the museums that hold our treasures.

Working within cultural institutions you must have to consider the colonial history of such spaces. Do you see yourself as challenging that history from the inside, or are you more concerned with opening doors for people who have not had a relationship with these institutions previously and as such have not been exposed to the treasures they contain?   

I hope that the way I move and the way I am, and the work that I make does challenge those places. Naturally I’m a bridge-builder, so for me, engaging with an institution such as the Canterbury Museum, one goal is to reconnect our people with our treasures, but if there are challenges that arise, I have to face them. I don’t go looking for confrontation, but if I come face to face with it, I have to say something because I’ve got the privilege of being in that space and if not me, then who?

Work adds some final touches to the massive mural.
Work adds some final touches to the massive mural.

Looking back to some of your previous work, like the mural you painted here in Christchurch for From the Ground Up in 2013, there was an explicit narrative unfolding in a relatively conventional pictorial format, but your work now feels much more evocative and suggestive without that overt storytelling, a quality that is evident in the Museum piece.

Graffiti was quite literal, it’s a letter-based art form and I painted my chosen name over and over again. This is me! Know me! Read me! I’m famous! Transitioning away from a graffiti aesthetic in 2011, I realised I didn’t have to be so blatant which led me to engage with the more abstract iconography found on our traditional ngatu (bark cloth). The inspiration for that particular mural came from reading Olaf Ruhen’s book called Minerva Reef, a true story of Tongan boxers on their way to Aotearoa for a tournament who were shipwrecked on the Minerva Reef for four months. I used iconography to communicate this story on the wall. It was a little strange at the time painting it in Christchurch but that shifted when I found out descendants of some of the survivors lived in Christchurch and visited the wall.

Work's mural for From the Ground Up in 2013. The image in red, black, grey and white, features figures escaping from a ship wreck with a bird flying above them.
Work’s mural for From the Ground Up in 2013.

Did that evolution come about as your exploration of Tongan artefacts such as ‘akau tau (war clubs) and tapa cloth deepened? What were your experiences with those types of objects growing up?

Ngatu bark cloth, fala (floor mats) and ta’ovala, the mats we wear around our waists, are filled with mostly abstract motifs which are embedded with ancient knowledge, we engage with them from birth. We have an intimate knowledge of them, of their texture, and even their smell. We had ngatu bark cloth and mats folded under our bed, most Tongans do, that’s where you store them, where else do you store these humongous things? Ngatu bark cloth was my first point of reference when experimenting with other mediums, but the war clubs were love at first sight. I was first introduced to them in a book called The Art of Tonga by Keith St. Cartmail, I was instantly intrigued by the iconography carved into them. I wanted to work them into my practice, especially the warrior figures.

I was lucky enough to join you when you were examining some of the ‘akau tau in the Museum’s collection, and I was struck by the small scale of the carved designs on the clubs, possibly because I was familiar with your work’s larger scale, which has been an intentional shift to make them more visible…

I wanted to use my platform to tell the world about our Tongan iconography. I wanted the scale to be impactful and for our people to be proud once they had learned that these are our designs, that they come from our ancestors for us. What better way was there than public murals? I feel I’ve started something that other Tongans will continue with bigger and better murals.

The finished Motutapu II, surrounded by the revealed Rise paintings in the Museums main exhibition hall.
The finished Motutapu II, surrounded by the revealed Rise paintings in the Museums main exhibition hall.

You said that living in Tonga you noticed young Tongan men seem to physically engage with their surroundings, constantly touching or hitting surfaces. That kinesthetic or tactile tendency becomes important in the context of your work as you have to think about how people engage with artefacts and art within institutions. I know you had to grapple with the idea of people potentially walking over the floor mural and that influenced the design, especially the elements drawn from more revered sources. That question of how to treat objects of culture and how we engage with them must be a central concern for you, especially as you shift between sacred cultural objects, utilitarian objects, public spaces and white cube galleries…

My process evolves slowly, I’m OK with it, as long as I’m still exploring different ways to communicate through my work, the speed of change doesn’t matter. Living in Tonga has challenged me to think differently when it comes to materials and the way I present my work. I’ve seen my people touching and desiring to hold my work rather than simply viewing it in a gallery, and I’m now OK with that, but if you asked me five years ago, I would have had a heart attack!

The floor-to-wall mural has become a striking element inside the Museum, while also adding a range of fascinating discourses.
The floor-to-wall mural has become a striking element inside the Museum, while also adding a range of fascinating discourses.

What was the process for the Museum piece, from exploring the collection of Tongan artefacts to producing this massive floor to wall mural? What are you looking for as inspiration in those objects and how do you then translate it to a massive mural work?

An important part of this project was me coming down to Christchurch viewing the space. I was emailed the specs for the floor and walls, but if I’m able to see the physical space, I’m able to respond to the space better. Likewise, with the ‘akau tau, I’ve seen many throughout my years of research but I’m always looking for unique motifs within each museum’s collection. I had a similar experience at the Metropolitan Museum of Art in New York with Dr Maia Nuku (Associate Curator of Oceanic Art at the famous museum). She took us into the collection of Tongan treasures, which is small, but there was a club there with this small motif of two warriors reaching out towards each other, their hands above their heads. That motif then triggered the idea for a mural which she organised in Spanish Harlem. In the Canterbury Museum’s collection is a beautiful abstraction of a Tropicbird which I included in the mural.

By coincidence, the mural you painted with Charles featured a tropicbird as well…

It was meant to be. There was no prior communication on that. Even though it was a Pasifika Health Centre, it would go against Charles’ kaupapa of painting foreign birds in Aotearoa. The Tropicbird is known as an Amokura in Māori and Tavake in Tongan and is a sacred and significant bird that can still be sighted from time to time in Aotearoa. It is said some elders would cry as it was a tohu or sign reminding them of Hawaiki.

The collaboration between Work and TMD crew mate Charles Williams on the Etu Pasifika Health Centre, 2021. The mural features diamonds of blues oranges and yellow, with a realistic tropicbird fllying upwards from the left. On the right, a massive stylised Tongan Chief figure .stands rigidly
The collaboration between Work and TMD crew mate Charles Williams on the Etu Pasifika Health Centre, 2021.

You have admitted your connection to Christchurch is rather limited, but some of your Scottish heritage does trace back here. Being born and raised in Tāmaki Makaurau Auckland and also living in Tonga, what have you made of your experience in Ōtautahi?

I’ve enjoyed Ōtautahi, but I definitely love Tāmaki! No, I visit a place and try to feel the environment, watch and engage with people of that place. Both Māori and Pakeha have been shaped by the landscape, seascape, mountains, and rivers. My great-great-grandparents migrated from the Shetland Islands to Christchurch and are buried in Linwood Cemetery – something I’m learning more about recently. I’ve engaged with the land and people down here, wondering if there are any attributes of that generation in the people I’ve met. I have questions: Why did they choose Ōtautahi Christchurch? Did they walk these same streets? Did they learn the story of this land?

Have you had the chance to engage with members of the Pasifika community here in Ōtautahi during this project?

Associate Curator Hatesa Seumanutafa went above and beyond her job description in supporting this project. Having a person from Moana Oceania with our treasures in the Museum is vital! Not only for our material culture but as a lighthouse for our people to connect with within the institution. Ōtautahi has a unique Pasifika story, one that is sometimes dominated by the Pasifika stories from Auckland and Wellington. I was able to connect with some of the amazing community here and make space for us around a kava session in the Canterbury Museum indigenising space to talanoa and tend to relationships – the first of many.

Hakē: Street Art Revealed is on display until June 7, 2021 at The Canterbury Museum.

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Dr Suits – Crossings @ The East X East Red Zone

Dr Suits’ bright abstractions have become notable over the last few years as he has eschewed the tendencies towards representation in favour of blocks of colour and dizzying diagonal lines. We were recently lucky enough to support the Fiksate-based artist as he produced Crossings inside the East X East red zone in Burwood. Applied directly to the now unused road of the green space, the work plays on the natural shadows and road markings to coat the concrete in bands of colour. Created over several days with fellow New Brighton legend Porta, the work buzzes with colourful blocks – yellow, pink, blue, black and white stacked and interlocked. With subtle details such as small yellow lines extending off the main body and slightly offset lines, the work is both rewarding of inspection and striking from distance. Dr Suits intended the work as an invitation to play, a work that people can explore from inside rather than gaze at from outside, adding another interesting element to the red zone environment and suggesting the possibility for more interventions…

The red zone road was prepared with a little notice of what was to come…
Dr Suits rolls out the paint

The finished Crossings in the East X East red zone

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And That Was… April 2021

April has come and gone and while the year moves at a steady pace, there has been plenty to keep us entertained. Although the weather is getting a little less predictable, it is providing a late flurry of sunshine (at least after the inevitable chilly mornings), extending the window for outdoor activities like painting murals! While there have been a number of new outdoor works to explore, there have also been some very cool things going on indoors as well. Exhibitions like Ghostcat’s Shadow Town at Fiksate Gallery and the Canterbury Museum’s Hakē: Street Art Revealed, have provided popular experiences. As always, we have a recap of what tickled our fancy, compiled as an easy-to-follow list! So, without further ado, here is our And That Was… April 2021

Ghost’s Shadow Town @ Fiksate

Ghostcat’s Shadow Town was packed for opening night… Photo credit: Charlie Rose Creative

Ghostcat’s Shadow Town was highly anticipated and the crowd that showed up for the opening night at Fiksate were not disappointed. The collection of miniatures drawn from Christchurch’s urban environment were hot tickets, with people drawn to the beautiful intricate details and the associated nostalgia. With just a few days left at the time of writing, if you haven’t made it to Shadow Town, hurry!

Benjamin Work @ The Canterbury Museum

Benjamin Work’s Motutapu II was produced for the Hakē: Street Art Revealed exhibition at the Canterbury Museum

When the Canterbury Museum were presented with a window to reveal the legacy works from the massively successful Rise exhibition, they also wanted to add a new work to the main exhibition hall. Enter Auckland artist Benjamin Work, whose massive, striking floor mural Motutapu II draws from the iconography  found on the Tongan ‘Akau Tau (war clubs) in the Museum’s collection. The work adds a new element to the surrounding wall paintings from Rise, highlighting the diverse trajectories of urban artists over the last decade.

TMD x DTR x Ysek X Chile One in New Brighton

A collaborative jam with members of TMD, DTR along with YSEK and Chile One in New Brighton

On a cold Saturday morning (the night after the Shadow Town opening), a heavyweight collection of artists got together in New Brighton for a painting jam. Local artists Dcypher and Ikarus of the DTR crew, Christchurch-based Chilean artists YSEK and Chile One, and Auckland’s Phat1, Diva and Dyle of the legendary TMD crew, freshened up a popular New Brighton wall with traditional graffiti pieces and characters, creating a legacy of the meeting of some of New Zealand’s biggest talent.

Charles Williams and Benjamin Work @ Etu Pasifika Health

The mural on the side of the Etu Pasifika Health Centre. painted by Charles Williams and Benjamin Work

In the wake of the launch of the TMD: An Aotearoa Graffiti Story at The Dowse in Lower Hutt, crew members Benjamin Work and Charles Williams arrived in Christchurch to paint a mural on the new Etu Pasifika Health Centre. The work combines the signature styles of the two artists with a design conceived by fellow TMD member Janine Williams. The background is coloured in a bright blue, black, yellow and white pattern, with Work’s Tongan warrior chief figure on the left couched within the architectural framework, while Williams’ depiction of a Red-tailed Tropicbird soars upwards from the bottom right. The harmonious combination of styles creating an impressive new work for Christchurch.

TMD: An Aotearoa Graffiti Story @ The Dowse

A straight letter roll-call on the wall of the flat recreated in the TMD exhibition at Lower Hutt museum The Dowse

It may not have been in Christchurch, but I couldn’t leave out my trip to Wellington for the opening of the TMD: An Aotearoa Graffiti Story at Lower Hutt’s The Dowse Museum. Combining history and installations that spoke to the culture and roots of New Zealand’s most iconic graffiti crew with a group show of crew members’ contemporary practice, the exhibition struck all the right chords. The additional benefits of seeing the crew members painting murals around Lower Hutt and then as part of a panel discussion topped off the weekend. I highly recommend – go see it!

And That Was… April 2021 – what would you add to the list? Comment below to let us know!

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Postcard from Wellington…

Wellington. It’s a personal favourite. The capital city is perfect for an urban weekend away, with it’s cool bars, vibrant street life and innumerable cafes for mornings after (personally, no trip to Wellington is complete without a breakfast burrito from Sweet Mother’s Kitchen). While Ōtautahi will always be home, a trip to Wellington always leaves me planning a return, looking for reasons to make my way back soon. The beauty of the city for me is that the main event (Wellington is a favourite gig venue personally) is supported so well by the city’s additional charms – I always take a day to simply wander, up and down Cuba Street, along the waterfront, up the hills, and in doing so, catch the urban art that marks its walls and alleys. From big murals by well-known local artists, to the array of smaller additions, Wellington’s urban art is always fun to explore and seems a good fit with the city’s lively profile and physical layout. From painted boats to schools of sharks, piles of skulls to bicycle rides, playful to meaningful, what follows is a postcard from Wellington’s streets!

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Ghostcat’s Shadow Town @ Fiksate Gallery

Shadow Town, an exhibition of the work of local artist Ghostcat, opened at Fiksate Gallery on Friday 9th April, marking the gallery’s first show at their new Sydenham premises. There was excitement surrounding the show, with print and radio interviews and a flow of social media posts drumming up interest in the artist’s miniature creations. Ghostcat’s first exhibition, as the opening date approached the artist confided that he really didn’t know what to expect, but in his endearingly enthusiastic style, he was keenly enjoying the journey.

Photo credit: Charlie Rose Creative

Ultimately he had nothing to worry about. That nervous period when doors open and nervous doubts that anyone will show up creep up never had the chance to ferment. Almost immediately the Hawdon Street gallery was buzzing with an excited audience. In the smaller gallery the works were spread across shelves on the walls and a network of plinths, making use of the available space to accommodate the impressive number of creations (Ghostcat produced more than 40 miniature builds for Shadow Town). The plinths and shelving created the effect of a gridded network of urban blocks for viewers to navigate and provided multiple vantage points. A large roller door opens the Fiksate space onto the street, further connecting the show to the pervasive influence of Christchurch’s urban environment, explicitly in the case of the miniature replica wall placed in full view of its real-world inspiration just outside. The miniature version re-imagined with a mural by Dr Suits in a suggestive ‘will-it-to-life’ strategy.

Photo credit: Charlie Rose Creative

Other references may not have been as physically close, but were no less recognisable. As people leaned in to inspect the intricate and loving details on Lyttelton icons the Volcano and Lava Bar (with a tribute to the late Bill Hammond inside), the façade of The Ministry nightclub (including flashing ‘M’ neon sign), the ‘Stairs to Nowhere’ from the Hereford Street carpark (each step painstakingly cracked), The Staveley Market (surely a highlight, the status of corner dairies in Aotearoa childhoods may not be as strong in 2021 but for those of a certain age, we all had a local dairy for $1 mixtures and single cigarettes) and the Berlin Wall segment painted by Jessie Rawcliffe, sparks of memory and recognition flickered. That attachment to the real and lived is central to the success of Ghostcat’s work, a necessary addition to the intricate details. People sharing stories and admissions was a constant chatter amongst the bustling crowd.

Photo credit: Charlie Rose Creative

Alongside the memories and associations of experience and place, Shadow Town also revels in healthy doses of humour and collaboration. Watching people scan the dirty toilet stall, replete with over-flowing bowl and obscenely graffiti-ed door, or the bags of rubbish filling the Selwyn Street skip, it was clear that art can be both resonant and charmingly low-brow. The row of miniature objects (cans of Double Brown, discarded coffee cups, stick mags) centered on square canvasses along the entrance wall served to lampoon the expectations of the white cube and set the tone for the show’s gritty and playful focus.

Photo credit: Charlie Rose Creative

The collaborative element was clear as well. The doors and windows hung on the rear wall, the small utility boxes, window frames, walls and replicas of the giant spray cans on Lichfield Street all displayed the artist’s willingness to share the process of creation – Ghostcat’s builds adorned with downsized tags, pieces, throw-ups, stencils, stickers and paste-ups by local artists including Ikarus, Tepid, Dr Suits, Morepork, Teeth Like Screwdrivers, Jessie Rawcliffe, Rubble City, Dcypher and more. Reinforcing Ghostcat’s belief in community, these authentic embellishments, along with the artist’s insistence on hand-crafting, imbue the pieces with a distinct status as unique creations.

Photo credit: Charlie Rose Creative

Despite the obvious challenge of where to put a scale model of a toilet in your house, the pervasive red dots throughout the exhibition were evidence that this labour of love by a talented local artist struck a chord with a diverse audience. Shadow Town presents a new element in the city’s urban art scene, drawing on the power of urban spaces and harnessing the familiar (of both architecture and art), Ghostcat’s work is worth your attention and inspection. While the enthusiastic crowd undeniably added to the atmosphere and therefore the work on opening night, the contrast of the quiet, clean gallery space with the broken, dirty landscapes adds a certain charm as well and ensures you can truly immerse yourself wandering the streets of Shadow Town.

Shadow Town is on until May 8, 2021 at Fiksate, 54 Hawdon Street, Sydenham.

All photos by Charlie Rose Creative.

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And That Was… March 2021 with Ghostcat

Ghostcat’s first ever solo show Shadow Town opens at Fiksate’s Sydenham gallery space on Friday, April 9th. While we figured March would have been a busy month for him, we thought it was worth checking in to see what kept him going throughout this hectic period as he prepared for the exhibition. Ghostcat’s exquisite scratch-built miniatures are intertwined with our surrounding spaces, inspired by our personal and communal experiences, so sharing a list of what he has doing seemed a fitting exercise. Knowing Ghostcat’s love for the quirky and grimy things of life, we were also aware it would likely be an eclectic list, surely infused with his love of schlock horror movies, quirky discoveries and of course, as a man after my own heart, pizza… We weren’t disappointed. So, here are the five things that helped Ghostcat along the road to Shadow Town and made his March more colourful…

Alligator the Movie:

I love eighties horror movies and this month I saw Alligator for the first time, its about a baby alligator that gets thrown down the sewer and feeds on dead dogs and rats that have been biffed down there by a lab. It grows about 60 feet long and fucks everyone up in town, it was incredible! I love how everything is handmade in that era of movies, from the posters to the effects…

Alligator the Pizza:

Image from https://alligator.pizza/

This is pure coincidence, but I also had Alligator Pizza for the first time from Riccarton this month. Pizza is life for me, I love it. Sal’s is normally my go to, but Alligator’s pizza’s are massive, like truly they are ginormous man! I had a whole cheese pie, it was the biggest thing I’ve ever seen!

Radiohead – How to Disappear Completely:

I started listening to Radiohead’s Kid A again this month and I had forgotten how beautiful the track How to Disappear Completely was… It is Thom Yorke’s favourite, I think. It reminded me of how we all feel at some point in our lives. Shit, that sounded really depressing, haha. But music takes you places though, eh? It evokes all sorts of wondrous things. Its an incredible song.

Edward Gorey – The Gashly Crumb Tinnies:

I had a conversation with Bongo the other day and he showed me some art from someone that jogged my memory of an artist I love so much, Edward Gorey. I have been meaning to get his book The Gashlycrumb Tinies. Its such a sinister and macabre illustrated book showing the running alphabet alongside the strange deaths of children, like, “E is for Ernest who choked on a peach.” Its delightfully twisted. Check it out, it is a stellar coffee table book. I love the scratchy heavy dark use of colour and the depiction of death is wonderful. Death should always wear a top hat and carry an umbrella. It doesn’t take itself too seriously but by nature it is pretty twisted. It’s fascinating, I recommend checking it out.

Preparing for Shadow Town:

Collectively working and collaborating with Bols, Teeth Like Screwdrivers, Ikarus, Vez, Tepid, Dr Suits, Bongo, Rubble City and Dcypher has been such an all encompassing experience, from seeing a vast range of styles of art to all having the same goal, which is to be part of anything that represents who you are as an artist. It’s been amazing and I am truly honoured to have had so many interesting and talented people get on board with what I’ve been doing. I’m really excited about this show, it can’t come soon enough!

Shadow Town opens 5pm, Friday April 9th at Fiksate, 54 Hawdon Street, Sydenham

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And That Was… January 2021

Someone reminded me just the other day, we are a twelfth of the way through 2021…

2021 has a lot to live up to, it seems most people have been placing a lot of hope on this year making up for the challenge that was 2020. Surely that is an unfair expectation, largely due to the fact that the mess 2020 inherited has likewise been passed on to this cycle of the sun. So while these shadows will loom, this series is all about finding the things that makes us laugh, dance, swoon and explore, so let’s dive in to that things that made January 2021! The weather has bloomed, there are plenty of events to enjoy and there is lots of arty goodness happening…

The Riverside mural gets underway

The DTR crew (Dcypher, Ikarus, Wongi Freak Wilson, Jacob Yikes) have been working away in the hot sun on a massive new work on the rear wall of Riverside Market. Working with OiYOU! Street Art and creative agency Made Known, the huge mural depicts an illusionistic patchwork of architectural history…

Joel Hart in the BOXed Quarter 

Joel’s newest work, at the entrance to bar and music venue Flux in the BOXed Quarter, is a striking addition to an area already blessed with a significant array of urban art.

Dawn Raid: The Movie 

We were lucky enough to get tickets to the Christchurch premiere of the new Dawn Raid documentary (Thanks Hoyts Lux!). The film, directed by Oscar Kightley, explores the fortunes of iconic Kiwi hip hop label Dawn Raid, from their beginnings selling t-shirts at the Otara Markets to their mega success with the music of Aaradhna, Adeaze, Mareko and Savage. The Q&A that followed the screening, with Kightley and Brotha D and Andy Murnane, the founders of Dawn Raid and stars of the film, was insightful revealing the strong connections the audience with the music of that era (and included a few words from local hero Scribe).

Fiksate get ready to open…

Photo supplied by Fiksate Studio & Gallery

Fiksate have now made the move to their new Sydenham premises (54 Hawdon Street) and while the doors did not open to the public until early February, watching Jenna Ingram and Dr Suits pull it together has been exciting…

Those Summer feels…

It’s January and while it has been inconsistent (rain and blustering winds still paying visits), we have had some amazing weather – exactly what you need to drag those holiday vibes on for just a little bit longer! And a great reminder of the benefits of living so close to the ocean!

Let us know what we missed! New art, events, hospo spots, exhibitions… What made your top 5?

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Ōtautahi Christchurch Urban Art Video Series

During the Covid-19 lock down, with our guided tours unable to run, we applied to Creative New Zealand for funding to create a virtual tour – a video series where you could learn more about some of the city’s most beloved graffiti, street art and murals from the artists who created them, all from the socially safe distance of your couch. With our friend Centuri Chan manning the camera and the editing desk, we talked to 17 New Zealand artists to get some insights into a range of works and topics, from Ikarus‘ take on graffiti writing and Paul Walters‘ stories about the massive SALT mural, to Jacob Yikes‘ discussing his signature style and Flox recalling her Ode to Hinewai work in Beckenham.

Originally conceived as a singular continuous feature, it became apparent that a segmented, episodic approach would prove more manageable, more adaptable and more consumable. As a result, the concept evolved into 16 individual vignettes, forming a cohesive series and spread across multiple platforms, including our online map entries. Featuring artists from around New Zealand (Paul X Walsh, Cracked Ink, Berst, Chimp) alongside local talent (Wongi ‘Freak’ Wilson, Dcypher, Dr Suits, Nick Lowry (Tepid), Dove, Jacob Root (Distranged Design), Josh O’Rourke, Jen Heads, Caelan Walsh), the series spans an array of styles and projects, highlighting the multifarious approaches within  Ōtautahi’s urban art scene. Artists share humorous stories, intriguing insights and technical details, providing context and content to works that have become familiar sights in the city. With a level of normality returned, we like to think the Ōtautahi Christchurch Urban Art series is a perfect companion to a guided walking tour!

The Ōtautahi Christchurch Urban Art series can be viewed on our YouTube channel, via our social media platforms or on our website. With new episodes released each week, follow and subscribe to our various forums to receive notifications when new episodes go live!

Check out some of the videos below:

 

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