On the 25th September, The World Economic Forum Global Shapers Christchurch Hub proudly opens an exhibition to bring awareness to the UN Sustainable Development Goals (SDGs) and raise funds for the charities that align to those goals. Bringing together an impressive slew of artists, including a significant number with urban art pedigree, the exhibition marks the beginning of the ‘decade of action’, the ten year span culminating in the 2030 deadline for achieving the goals and in doing so, create a world that can serve future generations more fairly. The exhibition reflects the belief that creativity can play an essential role in bringing awareness to and creating discourses around these causes.
The exhibition, staged at the Milton Street Substation, is made up of a diverse line-up of talent, including artists from Christchurch and around New Zealand: Pops Art, Nick Lowry, Iann An, Séku Skandan, McChesney-Kelly Adams, Ira Mitchell, Hannah Jensen, Kophie Su’a Hulsbosch, Bee Weave (Selina Faimalo), Dr Suits, James Durcan, Flox, Jesse Rawcliffe, Sally Mae Hudson, Lisa Isbister and Jen Heads. Each of the seventeen artists will present work reflecting on one of the seventeen SDGs, providing a response to the relevant issues in their own distinct styles.
The Global Shapers Christchurch Hub is composed of a small number of exceptional young professionals. Members come from diverse backgrounds, united by a passion to influence positive change through meaningful projects and to harness the collective power of active citizenship. Hub members Bridget Williams, founder of Bead & Proceed, and The Conscious Club’s Selina Faimalo and Kophie Su’a Hulsbosch have taken on curatorial duties for the SDG exhibition, drawing on their backgrounds in creative realms, social enterprise and the shared desire to empower, educate and inspire towards a sustainable future. We asked Bridget, Selina and Kophie a few questions to get the run down on the exhibition…
People may not know much about the SDGs – what are some of these goals?
The seventeen SDGs include important goals such as achieving zero hunger, eradicating poverty, supporting good health and wellbeing, climate action and ensuring access to quality education, to name a few.
How did you decide art was the lens through which to bring awareness to this cause?
The SDGs are all interconnected, and in order to leave no one behind, it is important that we achieve them all by 2030 which is only ten years away, so raising awareness that these goals even exist is one step closer to achieving them. Art and creativity send such a strong message that really resonates with many. It doesn’t just send a message, but also creates a powerful statement.
How did the curatorial group select the artists?
Kophie has an arts background and she selected people in her network that she thought would represent the SDGs well. The result is a great mix of artists and people.
Were you looking for artists who were already interested in social and sustainability issues, or was it a case of allocating the concepts to artists?
We looked for artists that could represent these issues, but it was an opportunity for them to learn more about the SDGs and become more acquainted with these issues. We got each artist to choose the three SDGs that resonated most with them, and from there we sorted through them and allocated them each a specific goal.
There is a strong presence of artists with ties to graffiti and street art, despite all the change surrounding those cultures, do you feel that they still display a social consciousness both outwardly and inherently?
As Kophie was the curator she definitely has a bias to selecting urban artists but tried to select a diverse range of artists in other fields. She believes graffiti and street art is one of most free, political and subversive forms of art, so I would say the consciousness of this art form is definitely strong enough. Also, it provides more representation to underground artists, when traditionally the SDGs would mostly be associated with a more highbrow aesthetic.
Tell me more about the venue, what has it presented in terms of the possible lay out of the show?
The venue is an industrial converted substation, a large old brick building, two stories high, with three distinct areas. On the ground floor, where the exhibition will be held, is a large rustic brick room, with a foyer out the front. Upstairs there is an overlooking floor with retro wooden floors and a balcony facing the courtyard outside. It is going to make for a really unique venue.
What other projects does the Global Shapers Hub have lined up?
The Hub is looking at other long term projects such as a Climate Dollar for Christchurch and collaborating with other organisations to help address the negative effects of Covid-19 (regarding the future of sustainable work experience) and, importantly, supporting other hub members who are working on impact projects.
THE SDG Art Exhibition opens September 25th at 6pm, with drinks, nibbles, talks, interactive art and an auction. Funds go towards supporting charities aligned with the SDG outcomes. For more information to the event page on Facebook.
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For the latest entry in our photo essay series, we reached out to Befaaany, a Christchurch photographer whose work showcases the urban and concrete landscapes of the city. After being impressed with her striking pictures on Instagram, we knew she would be a perfect fit. Befaaany’s response was a beautiful collection of black and white images that run the gamut of urban expression, small stickers, bold graffiti, abstract paintings produced in perilous environments and the ephemera of a eradicated presence. In compiling these photographs, Befaaany is able to highlight the issue of street art’s gentrification and mainstream popularity, a process that has in many ways clouded our recognition of street art’s subversive and disruptive potential…
Local street artists are constantly finding new ways to create art in a city filled with council-funded installations from international artists. These have included challenging gentrification of graffiti directly, blurring the lines of ‘legitimate’ and ‘illegitimate’ street art, disguising their art into the city, and leaning into the temporary nature of their art form. – Befaaany
Follow Befaaany on Instagram to see more of her amazing work…
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While Watch This Space was founded on the concept of mapping out Ōtautahi’s street art, and our online map has been primarily populated with commissioned murals, we have always understood and celebrated the importance, urgency, poignancy, rebelliousness, hilarity and, basically, goodness of guerrilla graffiti and street art. In a time where urban art faces an identity crisis, the power of bypassing permission and making or installing art in the streets, from an elegant tag to a pasted pop-culture riff, is necessary and energising. As a reflection of this belief, welcome to Street Treats, a new recurring series that tries to capture the authentic spirit of urban art by collecting our favourite works of guerrilla art and presenting them to you.
The events around the world in recent weeks have rendered an environment of energy, of action and of hope for change, sentiments that graffiti and street art have also sought historically. Striking images of graffiti-covered walls and monuments have served as iconic backdrops of a time of social revolution, but also a reminder that writing on walls, artistically or not, is a way to attack the structures of our social contracts and the injustice they often protect. The images in Street Treats – Vol 1 are not exclusively political, but they do share the rebellious motivation of bypassing consent and altering the urban environment in which they have been placed. In each case, someone has chosen to bypass authority, to subvert and surprise, to add a voice to the street, as a secretive whisper or a defiant yell. Either way, it pays to listen…
While the US has been the epicentre for the BLM and anti-brutality protests erupting in the wake of constant tragedies of black lives lost at the hands of police (George Floyd, Ahmaud Arbery, Breonna Taylor, Rayshad Brooks and countless others), the social movement demanding change has spread across the globe, and weeks before the BLM hikoi on June 21, messages were spray painted around the city. In these cases, aesthetics were second to the urgency of the message…
All Power to th[e] People on Colombo Street. In some ways the misspelling further highlights the emotional undercurrent.
This small paste-up by Bols in Rawhiti Domain in New Brighton, featuring the surly profile of 1980s wrestler Bad News Brown, is a reminder of the widespread stereotypes of people of colour, something that continues to feed into the daily experience for many, either as the target of such perceptions, or those influenced by such presentations.
Bols’ Basketcase basketball singlet in North New Brighton delves into the nostalgia of popular culture. Drawing on the John Hughes film The Breakfast Club (The Brain, The Athlete, The Princess, The Criminal and The Basketcase as a starting five), it uses the retired jersey tradition to speak of growing up.
Blink and you might miss Porta’s well-dressed gentleman taking in his surroundings in New Brighton. Tucked away and displaying the retro stylings Porta does so well, it is playful and yet strangely poignant.
Dr Suits’ collage paste-up in New Brighton was one of many made by the artist during lock down. Expanding upon the smaller stickers produced at the same time, these large paste-ups become installations to take in from distance and close up, with striking effects and intricate details, including the layering effects of the collage approach.
The paste-ups are already beginning to influence the next evolution of Dr Suits’ studio work, this work becoming a print series, combining a digital image of the work with hand-filled elements.
Fellow Fiksate artist Jen_Heads’ love head continues a rich vein of expression the artist developed during lock down. This piece, spreading love to the neighbourhood of North New Brighton, was joined by a equally pink OLIVE tag.
This colourful Jen_Head evokes a kaleidoscopic pattern, with multiple eyes to see all. Located on New Regent Street, the paste-up is kept company by Jeremy Sauzier’s shadow figures and one of Teeth Like Screwdrivers’ ubiquitous pencils….
Speaking of which, Teeth Like Screwdrivers’ ‘fake buff’ pencil slap in the central city takes the recurring icon in anew direction.
Vez’s spoons are equally as recognisable, the collage pieces display an almost absurdist sense of humour with an inviting inclusivity, and are often collabs with other artists.
While Vez constructs new images from various media, the re-contextualised paste-ups by a secretive artist found across the city draw on the existing image from different sources in juxaposition with the surrounding environment to make their statement.
These Hot Lunch posters combine a lo-fi aesthetic and mysteriousness with a dirty joke, and its great.
You just do you.
FOLT’s angular skull cut-outs have populated the city in recent months, new incarnations popping up in unexpected locations.
The skulls include collaborations, like this one with Bols installed near the Christchurch Art Gallery.
FOLT’s slaps are proliferated even more widely, and here in Cathedrl Junction, the subtlety of placement shows FOLT’s slap game operating at boss level.
While not quite as subtle, this LOOK sticker pretty much speaks for the streets…
This DETOR slap in New Brighton also plays off our reading of signs.
This snake, (I suspect by Zig) has a free flowing feel, yet an undeniable certainty and confidence, while the line of Woe tags is a nice accompaniment.
SAER and SCUM left their mark in New Brighton during the lockdown, a reminder of the streets’ potential as a playground, and further evidence of SAER killing it everywhere.
PESTO and DEMP with the colourful/monotone contrast in the central city
I’ve enjoyed these SKEEZEY SKEEZER hands around the central city, a bit chaotic and yet so refined.
A Philly Wicked?
Tags are beautiful. EISOE, [unknown], WAYSER in the central city…
… and GASP RFC.
Lyttelton is always a go-to destination for slaps…
Both new and old.
A few small Dotmasters stickers have appeared around Christchurch as well, echoing the larger stencil in Lyttelton, and flying the Anarchy flag.
This Meadow Death brandalism sticker reminds of one of the most effective potential of post-graffiti street art – attacking the heart of branding culture…
…Much like the potential of altering our surrounding environment through subversion and our almost inbuilt understanding of semiotics.
If you have some treasures to share, email them to hello@watchthisspace or message us via our social media (@watchthisspacechch) and we can include them in future Street Treats volumes…
And if your work is featured but not credited the way it should be, get in touch and let us know!
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Josh Bradshaw’s Arcane Connection is the second in our series of photo essays, and for the man occasionally known as Uncle Harold, it is, at first glance, something of a departure. This series of photographs signifies Bradshaw’s exploration of a range of new artistic and creative directions, visually distinct and yet still connected to the established body of work produced under his well-known pseudonym.
For the artist, the similarities are both apparent, yet hard to define. Josh explains his struggle to define his expanding approaches: “I often find myself tripping over my words and struggling to make sense when explaining anything about my work or why I make it to anyone. It’s all the same thing to me, my photos, my paintings, my writings, my drawings, they are all the same. It’s all very obvious in my head, although I’m not sure many others would think the same.” However, despite his dismissive shoulder shrug, the connection between Bradshaw’s wider body of work becomes apparent through reflection.
The images collected for Arcane Connection are not just a survey of urban experience and immersion, they also reveal a deeper consideration. As Uncle Harold, Bradshaw has constantly transformed the ordinary, melting familiar icons and objects and forcing us to reconsider our attachment to the mundane. These images similarly explore the overlooked. Not only does Bradshaw re-contextualise the functional aspects of the urban landscape through a stark black and white geometry, he also reveals his interest in their suggestion of connectivity, movement and exploration. By repetitively documenting the ‘urban white noise’ of human constructions such as pipes, vents, drains, hurricane fencing and architectural forms, Bradshaw attempts to make sense of his surroundings and our increasing disconnect in the digital age. Arcane Connection is an invitation to do the same…
All photos are credited to Josh Bradshaw
Thanks to Jessie Rawcliffe for her help on this piece!
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 Lapdancefrom 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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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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New Brighton’s Carnaby Lane got an impressive facelift over Canterbury Anniversary weekend, with several notable artists producing an array of works along the bright green wall that frames the small laneway. With the sun beating down and DJs Ruse and Nacoa providing the musical backdrop, Wongi ‘Freak’ Wilson, Joel Hart and Dr Suits (assisted by his Fiksate crew-mate Porta) captured the imaginations of the passing crowds. Throughout the day the artists, all working in close vicinity, provided intimate insights into how their work comes together. The relaxed but vibrant atmosphere, created by the mixture of music, food, drinks and art, as well as the ideal summer conditions, made for a perfect storm. We were there throughout the day and captured the artists in action…
The Carnaby Lane Party on Saturday, 19th November.
Wongi ‘Freak’ Wilson: Wongi’s work, the largest of the three, depicts a monotone female figure, with her hand thrust forward, two fingers raised in a peace sign, the hand bursting to life in colour and sharp detail. A segmented disc of translucent yellow, orange, pink and purple separates the figure and the hand, framing the image and popping against the dark grey background. Wongi noted that he had chosen the image to play with a “beachy vibe” in honour of the location, but without the usual cliché, instead of seagulls or surfers, his character has a summery, music festival feel. The image is another example of Wongi’s ever impressive photo realistic technique, highlighting his aerosol mastery, an expertise that was made apparent to the crowds that stopped and watched the Christchurch legend in action, gaining insight into the sketching and refining process with which he builds form and brings his images to life.
Wongi’s wall buffed and ready to goWongi refers to the original image on his phone, an example of how technology plays a part in his working processWongi starts to bring the detailed hand to life with colour, while his toolbox lies in the foregroundNearing completion, Wongi makes some final touchesWongi ‘Freak’ Wilson’s finished piece
Joel Hart: Joel’s signature work, titled ‘The Shadows’ was an impressive sight coming to fruition, highlighting his swag bag of techniques and sure-handed processes, from his large stencil plates to the use of screens to print directly on the wall. The female portrait, her hand extended outward and three butterflies fluttering above, is indicative of Hart’s current body of work, where he is experimenting with “more-multi-layered” details of patterns and embellishments that reward inspection. Assisted by young up and comer Jacob Root (Distranged Design), Joel’s greyscale subject is brought to life by the violet backdrop and flashes of pink and green that all deftly play off the garish bright green wall behind his work.
Joel’s stencil plates lay in waitThe plan, and the necessary toolsJoel Hart works with one of his large stencil platesJoel applies a screen to the wallJoel Hart’s finished work, ‘The Shadows’
Dr Suits: Dr Suits’ geometric abstraction provides a unique example in the context of Christchurch’s mural scene, suggesting an exciting direction for the artist. The work draws on Dr Suits’ ongoing exploration of printmaking and mixed media techniques, here transferred to a wall and the colours heightened and flattened out to create a crisp, vibrant composition that pops off the wall and draws the eye in multiple directions. Detail is added in a section where the black paint is pulled, rubbed and scratched to mimic printing techniques. For Dr Suits the piece is indicative of his preoccupation with creating works that can be “translated by the individual but have no certainty”, instead evoking more visceral or emotive responses fed by associations of memory.
Dr Suits’ wall, marked out with blocks of colour being added
Dr Suits at work with the rollerPorta takes on the technician role and tapes up an area of Dr Suits’ workAnd the tape comes off…Dr Suits’ finished work
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Mr G’s David Kidwell mural, intersection of Tuam Street and High Street, central Christchurch
Mr G has had an adventurous few years to put it mildly. His monumental portraits, such as his Prince tribute in Minnesota, and his depiction of Kiwi hoops icon Steven Adams in Oklahoma, have raised his global profile. While his 100 Portraits project has seen him paint up and down New Zealand (including a stunning portrait on a vertical cliff face). His refined style has adorned surfaces in an array of locations far outside the normal resume of a New Zealand mural artist. He was recently commissioned to paint a large portrait of Kiwis (the New Zealand Rugby League team) coach David Kidwell here in Christchurch, building excitement for the Rugby League World Cup by honouring a local lad ‘done good’, while also adding to the city’s collection of murals. The work illustrates Mr G’s dazzling technique, and his ability to imbue a sense of personality in his subject’s likeness. Kidwell’s portrait exudes a warmth, even as the grey-scale palette perfectly plays off the exposed concrete surface. We caught up with Mr G at the site of this new work, the intersection of High Street and Tuam Street, to chat about the mural, his technical approach and his connection with the communities in which he paints.
RW: So Mr G, first things first, how are the Kiwis going to fare in the Rugby League World Cup?
Mr G: (Laughs) Yeah, you know, I’ve always backed them and stuff bro, and I guess for me I’ve kind of been a league fan off and on throughout my life. I played league for a bit when I was in Intermediate in Kawerau, for the Kawerau Raiders. There was a period there where I was a full-on follower. I’ve just come back from Sydney as well, living there for 5 years, and you know, it’s like a religion over there…
Especially in Sydney right?
Yeah, I followed the Doggies (the Canterbury Bulldogs club) over there, and I have done some work for them, and the Wests Tigers as well. Friday nights were pretty customary to stay home and watch the games!
Well, after such a controversial build up, the Kiwis made a good start last night anyway against Samoa… [The rest of the tournament did not bode so well, but that’s another story…]
Yeah, it was a good game!
But let’s get back to the main reason we are chatting, you are here in Christchurch painting this tribute mural to the coach of the Kiwis David Kidwell, how did that come about?
I got approached by ChristchurchNZ, they were looking at doing something quite unique to help as an activation for the Rugby League World Cup. They were aware of what I’ve done in the past and stuff and so they approached me. I’m pretty fussy when it comes to doing any kind of commercial gigs and all that, they need to align true to what I’m about as well, and who I am as a person. I’m all about supporting people that I respect, so I though, I’m keen for that. It’s a good opportunity for me.
And this is the only piece being painted? There are no other murals being painted around New Zealand for the World Cup?
Yeah, it’s just this one.
Being quite particular with commercial works, I would suggest that after the last couple of years and the amazing projects you’ve been able to undertake, you now have the profile where you can be a bit more selective, or has that always been something that you’ve been careful about?
Yeah, I guess for me, I’ve chipped away at it to a point where I’m able to do that you know. I’m grateful for that. But obviously its hard work and all that, but as an artist you know, for me, I’m always just trying to keep my work honest, and authentic and as a reflection of what I’m about really. I kind of filter any jobs or enquiries that come through, through that filter first man, and just go from there.
I read recently that you don’t necessarily agree with your work being pigeon-holed within the term ‘street art’. For me, I think your work is indicative of the contemporary mural renaissance that is going on around the world, which should be acknowledged as providing a different context to the complicated narratives of ‘street art’, would you agree? I mean obviously artists are always wary of being placed within restrictive definitions, but the muralism movement provides some breathing room, do you see yourself more as part of that emergence?
Yeah, for sure man, but the thing is I’ve got a body of work that I’ve been chipping away at on the downlow really for a while, that as an artist I feel is, you know, an accurate representation of what I’m about. So you know I’m getting into whakairo, which is Maori carving, and incorporating some of those elements that aren’t anything to do with street art. You know, actually my background is strong drawing and portraiture and you know, I’ve done a lot of acrylic painting, and a lot of canvas work prior to doing street art per se, but the thing is with the street art medium and the scale and you know I guess the way everything’s heading right now, it just gets everyone’s attention and just because you’re holding a spray can people think, oh wow, you’re a cool funky street artist! I don’t get caught up in all that man. For me I prefer to paint in really remote rural locations, where no-one’s around, it’s just cows and just peace and quiet and just me and the wall.
That’s something I’d like to come back to actually, but first I wanted to ask, because you mentioned your multi-disciplinary background, obviously people recognise how refined your aerosol technique is, is it almost like drawing now with a spray can for you? It certainly looks like it is…
Yeah, for sure, it’s the same approach you know, for me drawing is the foundation. Like there are a few street artists out there that sometimes I think they think the work that I do I’ve got like one secret trick that just makes it look really cool. But the reality is that it is just a lot of drawing, a lot of sketching and understanding principles like value, form, shading, lighting, all that sort of stuff, you know chroma, which comes into play with lighting, and how that effects realism in general, and all that sort of stuff man. If you have a well-rounded holistic understanding of all that stuff, I guarantee that will take your game to the next level, when it comes to photo realism anyway. I’m always learning, I’m always studying different artists’ approaches, learning from some of the old school masters and all that…
Do you find that there is always something to pick up regardless of the medium, that there is always something to explore in other artists’ diverse approaches?
Yeah, absolutely.
One thing I’ve always appreciated with the spray can, much like with a pen or a brush, or a pencil I guess, is that it is an extension of the body. When you’re working at that larger scale as well, do you find that it is a important to actually be in tune physically to be able to paint a work…
Yeah, absolutely, for sure man. You know, for me using cans, sometimes I feel like a little kid with crayons, because you’ve got a fixed palette, you can’t really mix colours with the freedom of oil painting, but it is quite playful in a sense for me as well.
When you are up on a scissor lift, you’ve got that time to think a lot, you must be reflecting a lot about how you are going about your process…
For sure, I think for me the learning is in the doing, with all this stuff, or with life in general really, the learning is always in the doing. You can only read text books so much, or whatever, or tutorials. But yeah, it’s like, it might just be little things but the learning is in the doing man.
In some ways, that relates back to the urban art movement, which is very much a DIY movement right? It’s not about being shown something in a class room first, it is about being out there and doing it. But then it sounds like your learnings come from lots of disparate places, which I feel is really valuable.
One of the things I have noticed, on your social media posts in particular, is how much you engage with the communities in which you work. There always seem to be group photos of you with members of these communities. It seems like I’m always seeing photos of you involved in different things, like I saw you tasting oysters down in Bluff!
Yeah! (laughs)
That obviously is really important for you, and is that…
Yeah, tasting oysters is really important!
(Laughs) How has that become more and more a part of your working process? I would suggest you need a certain profile to be able to do that, although social media helps with that, but is that social engagement something that has slowly evolved to become really important and central, or has it always been there…
For the community side of things my wife and I, our hearts have always been involved in community work, in some way, shape or form. When we first got married, which was sixteen years ago, we were youth pastors, so we’ve done a lot of street outreach and stuff. When we were in Sydney we would help feed the homeless in Parramatta. We believe, well we don’t believe, we know bro, through experience that there’s just a lot of hurting people in this world, and we’ve been through stuff as well, and so we’re able to connect with people, especially in smaller towns. I was brought up in Kawerau bro, where the population’s 5000 people, and it has had a bad rap for most of the last twenty, thirty years. My wife was brought up in Te Puke. We love people, and that’s a genuine aroha for people in general I guess, and I think it is just a natural overflow of who I am as a person, the type of person I am you know, they’ve got to be mingled and intertwined with art in some way shape of form, and my art making as well.
That portraiture is such a central theme in your work (obviously not the only theme, but a key theme) reflects that as well, right?
Oh yeah, portraiture can touch people’s hearts in a way that nothing else can really, you know, because you’re representing a person’s life and story. In some moments its been very powerful, you know, I painted one in Ruatoria, of Moana-nui-a-kiwa Ngarimu, he actually received a Victoria Cross, for his service in the Maori Battalion in World War Two. I painted his portrait on his homestead in Ruatoria, and his family were just so honoured and overwhelmed. Ruatoria is a small place, so yeah, the family just came together, they put on a big feed for me as well, sang a few waiata, gave me a koha as a gift. I was overwhelmed bro, deeply touched, and for me that’s the stuff that does it for me, using my art to touch people’s hearts in a real way. I don’t care if no-one knows about that stuff but it’s just very meaningful.
Coming back to the point that you brought up earlier, specifically the opportunities you have to paint in smaller, rural townships, do you feel the difference in terms of the relationship to place when you are painting in those types of areas, as opposed to an urban space like Christchurch? Is it quite a marked difference?
I guess for me, a lot of the small towns in New Zealand, they feel kind of left out, you know, by a lot of big gigs, or events and stuff, so you know, they get me rocking up there, painting a Farmlands mural and they treat like I’m a big celebrity or something you know, and it’s quite funny! But it’s beautiful bro, I love connecting with the young kids who like getting you to sign their scooters and all that. When I was in Paeroa, I signed an old lady’s walker, so you know, there are so many stories, there are so many characters you come across. I think for me, my type of art is a real adventure, like the cliff stuff (Mr G painted a vertical cliff face in Parawera near Te Awamutu) as part of painting a hundred portraits around New Zealand (Mr G is painting a hundred New Zealand portrait murals around New Zealand with the intention of producing a book documenting the experience and works), it’s all part of the adventure of what I do man, it’s not just painting a portrait, it’s the location…
It’s tied into the experience…
Yeah, it’s who it is and how that connects to the people there and all that sort of stuff, so I just try and be purposeful with what I paint and who I paint, and respectful as well.
I know you’ve got the dedication of the mural coming up soon, so to finish, you’ve mentioned you’ve come to Christchurch a few times, but this is the first large scale piece you’ve painted here?
Yeah, my first large scale, decent piece that I’ve done. The last couple I’ve done here were just like free time, play around pieces, so this is the first decent one I’ve been able to do here man. It’s been cool, like given how much Christchurch has been through and is still going through, you know, I guess for me it’s a cool opportunity to be able to come down and paint Kiddy (David Kidwell).
What’s you take on how the city has changed over those visits, and in particular, some of the artwork that has appeared over that time, is there anything that has really captured your attention?
I just love it all man, you know, I think it is great using the art to bring some zest and life back to the city, and encouragement back to the community. Art’s really good at doing that. I think, if the artists and their motive is to do that, then all power to them man and you know it’s a great thing.
It is important to take the time to really understand where you are, which is obviously something that is really important to you, and it’s the mark of the best artists, being able to gain a sensibility of the environment in which their working and embrace that and represent that in their work as well…
I think that is important bro. I think that even for myself, like in Maori culture if you go to another region, you’ve got to acknowledge the land and the people and all that, respectfully, and not just do whatever I want. But, it has been cool here in Christchurch, I’ve had an awesome time meeting everyone as well, and you know a lot of (David Kidwell’s) family and friends as well, so it has been cool.
Thanks so much for your time Mr G, I better let you get to the mural dedication…
Postscript:
As we walked around the corner to the site of the dedication I was witness to a fleeting interaction that exemplified Mr G’s approach. Two rugby league jersey wearing fans wandered into the lot surrounding the mural. Immediately Mr G greeted them, my first impression that he had known them for years, until they asked if he was the artist, to which he replied: “Yeah, I am…”, before formally introducing himself and beginning a conversation. This willingness, indeed eagerness, to engage with people, to make sure both he and his art connect with the audience, a sentiment that rang throughout our conversation, was here evident in his actions, heart-warming proof of Mr G’s attitude and approach.
Spread the word about what's happening in the Christchurch urban art scene:
Local businesses have been busy transforming New Brighton’s Carnaby Lane, and on Saturday, November 18, the lane will host a party to celebrate! While the event will feature DJs, live music, food and drink, and Lego (don’t worry, this will make sense on Saturday!), perhaps most notably, several of Christchurch’s leading street artists will be painting live throughout the day. Wongi Wilson, Joel Hart and Nathan Ingram (aka Dr Suits) have each been allocated a wall space to adorn in their signature styles, adding some colourful vibrancy to lane. John Collins, who alongside his wife Alesha owns BearLion Foods in Carnaby Lane, explains that when he developed the idea to revamp the popular but downtrodden laneway, street art was always a key component to his vision. While the laneway has seen the addition of landscaping, lighting and other amenities, the murals will provide a unique element, especially since the participating artists are some of the most prominent in Christchurch’s urban art and mural scene. Collins grew up in Melbourne and witnessed the rise of that city’s impressive street art reputation, even painting in the famed city’s streets himself. This interest extended to his global travels, and sparked the recognition that what was painted on walls often had a transformative effect on the surrounding spaces. Collins notes that while his painting days have finished, he is excited to see what effect Wongi, Joel and Nathan’s work will have on the laneway:
“When we took over the lease for a shop in Carnaby Lane, my wife and I had always agreed how ugly that bright green wall (facing our door) was and how great it would be to get some street art to create some vibrancy for the lane. Three years later the opportunity has now been handed to us and we are super stoked to have three pieces being painted by three awesome local artists. I can’t wait to watch the boys complete their pieces and the impact it will have on the lane.”
For New Brighton local Nathan Ingram, who is a founder of Fiksate Studio and Gallery in New Brighton Mall, the laneway event was an immediately attractive opportunity. Ingram jumped at the chance to paint one of the wall panels, both to expand his own practice outside of his paste-up and studio work, and as a way to contribute to his community. He has been excited by the range of events hosted in New Brighton this summer and sees the Carnaby Lane Party as another occasion for the seaside village to celebrate the local community’s positive and creative spirit.
The Carnaby Lane Party kicks off on Saturday 18th November at 11am, and runs through to 6pm, so get along and watch some of the city’s best execute their craft live. More details can be found at the event’s Facebook page: Carnaby Lane Party, New Brighton.
Spread the word about what's happening in the Christchurch urban art scene:
Fiksate Gallery is busy gearing up for Face Value, the New Brighton studio and gallery’s latest exhibition. Face Value features an array of artists from diverse backgrounds and locations, each tied together by an interest in portraiture, or perhaps more specifically, the depiction of faces. The selection of work illustrates the attraction of portraiture for so many artists, including those with street backgrounds, and how such explorations are incredibly varied both in conception and their reception.
We caught up with Fiksate artist and Face Value curator Jenna Lynn Brown (a.k.a. Jen) to find out what inspired this exploration of portraiture and how she pulled it all together….
Hey Jen! How are you?
Hey! I’m great thanks! My partner Nathan and I have been very busy getting Face Value ready and of course juggling this with our new four month old baby Frank!
Yes congratulations on Frank’s arrival! To be fair you two are not known for being idle, you have always had an impressive work ethic, but I’m guessing at the moment down time is really at a premium!
So, how did the concept for Face Value come about…
The concept of Face Value came about through my own exploration into portraiture. There are so many ways to interpret the most familiar and important aspect of our humanity and individuality, our face, and this fascinates me. I work with a really abstract version of a face which communicates a self-portrait styled look into my own psyche, and by following several other artists who use portraiture in totally different ways, I really wanted to put together an exhibition that shows this amazing variety of representations. After throwing a few lines out about this concept a couple of months ago, I’ve had a great response and can happily say Face Value has a great line up with a huge variety of styles.
Your ‘Jen Heads’ have become an iconic element of your work, taking on both your own inner psyche as you say, but also a life of their own, showing the rich potential found in faces as subjects. You have a range of artists involved, how did you select specific contributors and was this variety always an intended element of Face Value?
There are a few ways I selected artists for this show. There are artists that Fiksate knows and have shown before and whose works already show portraiture themes like Jacob Yikes, who is, in my opinion the most prolific and exciting artist in Christchurch. Joel Hart is also an exciting artist whose multi layered, pop-art inspired works are gracing large walls, magazines, news articles and TV shows. I also used Instagram to find artists, I feel like Instagram has revolutionized the way we see art in this generation. Through Instagram I’ve been able to research, contact and communicate with artists of different backgrounds and mediums all over the world. And then there’s good ol’ word of mouth and people getting in touch about taking part in the show. However it wasn’t an open call for artists this time around. I guess the key is that each artist I selected shares an affinity to portraiture in their own unique and individual style and each will bring a different flavour to the show.
Jacob Yikes, 2017
You definitely have a diverse line up, and the local and international flavour shows both the growing scene here, but also the way social media, and technology generally, has made it easier for communities to engage and connect. Do any of the works or artists stand out to you for any reason, maybe exposing some key themes or unexpected revelations within Face Value?
There are certain artists who I feel embody to theme of Face Value one hundred per cent. Voxx Romana is an international street artist who has just had a solo show in Paris and his work can be seen around the streets of Europe and the USA. His work is always focused around a strong and powerful image of a person, and very frequently a well-known figure or celebrity. Voxx creates portraiture that speaks of strength, power, mystery and his works make you think, which I believe is a key theme in Face Value.
Voxx Romana, 2017
Importantly, alongside those with a background in street art, there are some stand out illustrators in this show, one from Australia who goes by Lusidart, and four NZ based artists; A.K. Illustration, Hibagon, Jessie Rawcliffe and L.A Buckett. Their works are powerful, intricate and have a slightly mysterious quality about them which draws you in, like there is something deeper behind the subject’s eyes.
Luisdart, 2017
We also have a surprise for our followers and any street art connoisseurs! A very special artist is up our sleeve from the USA, who, if his work arrives on time, will be shown for the opening, otherwise, keep an eye on our Fiksate social media for news on the impending arrival of some seriously great work!
Face Value opens at Fiksate Gallery, 115 New Brighton Mall, on Friday 17th November at 5:30pm. Face Value will run until December 17th 2017, but opening hours and viewing times will vary, so check the Fiksate website for more details.
