With the return of Level Two, August has been a bit of a roller-coaster, with the highs of communal gatherings matched by the returning weariness of congregations and the tiresome political bickering and conspiracy theory wackiness dominating much discourse. But that is where art is so effective, it can be both a glorious shared activity and a private independent adventure, a distraction from what is going on and a reflection of those same issues. The month started with a sense of excitement as I met with artist Tom Bell to discuss his upcoming show Adoration, which provided a great opening night. As time passed, more things turned my head. It was clear people were busy, from guerrilla interventionists, to mural artists, and it felt like the city was alive with activity. This energy has been somewhat tempered by the potential of a shut down (at the time of writing this at least), but it gives me pause to believe that even when difficult times emerge, art can always find a way to help out…
Tom Bell – Adoration @ Absolution
The month kicked off with a farewell as Tom Bell presented Adoration at Absolution in the Arts Centre. Tom has been based in Ōtautahi for several years, working as a graphic designer, while diving back into painting more recently as a creative outlet. His art has long been entrenched in Japanese imagery, and Adoration played homage to that ‘adored’ visual style. Intricately cut and painted plywood, with subtle layering and flashes of detail made for a striking collection. The turn out was also impressive, with Absolution jam-packed, a well-deserved result for the artist’s long path towards Adoration.
Levi Hawken’s urban installations
Auckland-based artist Levi Hawken’s concrete sculptures were introduced to the city at the Fiksate show Urban Abstract last year. Placed within the gallery setting, they were immediately recognisable as versatile aesthetic objects. But Hawken’s works are undeniably influenced by the urban environment and they gain so much from their placement within the cityscape. It was therefore an awesome surprise to see a number of his small works mysteriously applied to walls and fixtures around the city, subtly subverting expectations.
Wongi ‘Freak’ Wilson’s TradeStaff mural update
We all know Wongi Wilson’s aerosol technique is mightily impressive, and that rings even more true as time passes and he refines his approach. That reality is instantly recognisable with his recent refresh of his own TradeStaff mural on the corner of Colombo Street and St Asaph Street. The original mural, painted around 2013, had become a familiar site in the CBD, but the new work, still in progress when I first saw it, is incredibly striking, almost invoking the proletariat intensity of propaganda posters…
Catching up with old friends…
Over the month of August, we have been putting together a project that we can’t wait to share… but for now, it is enough to say it has been a heap of fun catching up with a bunch of our favourite artists and revisiting some of their most memorable works (including some more recent additions), such as Berst and his God of the Forest in Sydenham and staircase mural inside the Canterbury Museum (pictured).
Distranged Design on Manchester Street
Distranged Design’s newest outdoor work on Manchester Street is an impactful surprise, anonymous eyes peering out from an expressionistic blue background splashed across a distressed wall. Staring at passing traffic from behind hurricane fencing it is an alluring sight and forms part of a larger collection of interventions in the vacant lot…
What were your highlights from August 2020? Let us know in the comments below…
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…
This month we asked designer and DJ Beccie B (Becca Barclay), the force behind Imposter posters, to let us know what she got up to in July. Knowing Becca, the cold clime was never going to be a hindrance, especially not with the array of activities gracing the post-lock down calendar. If anyone knows what’s up, its Beccie B, so here is her And That Was… July 2020:
We’re in August… WHAT?!
July was kind to us all! For a wintry month usually filled with rain, bed and Netflix, the post-lock down positivity and happening of events was all around us. It was so awesome to see so many people making the most of artistic opportunities and things happening around the city. What have been my highlights? Heaps! Let me tell you some more… July started with two huge events that meant so much to me…
Haz Called a Tribe at Outsiders
The first was Haz Called a Tribe, the group exhibition organised by Harry King (aka A Tribe Called Haz, aka my best pal). Held at Outsiders skate shop, the show featured 15 young Christchurch-based urban artists.
Like any A Tribe Called Haz exhibition the energy was electric with a massive amount of people (of all ages) showing up to support and respect the art from our local community. I was so honoured to be involved, to help curate and to have my artwork included among this line-up of artists. Some of my personal favourites were from local legends R.Weaver, Meep, PK and Bren. Bren’s piece, affectionately named Mark, featured a dog and had me in awe as it was so different from his usual output. PK, R.Weaver and Kophie (Meep) all delivered too, with pieces in their more classic styles.
Sugar & Spice at Flux
All good exhibitions have an after-party, right? Some of you may know that for the last couple of years, under the alias Imposter, I have been creating marketing and posters for many different promoters in the Christchurch electronic music scene. A long-term goal of mine has been to hold a gig and here it was, my first-ever! Sugar and Spice was compiled of a full female line-up of local wahine DJs from all different genres. Myself, Rosa and Tinny played alongside headliners, Texture, Fyretits (Dream.r & MC Jenna Lynn) and Mr. Meaty Boy.
This event showed Flux its biggest night yet and the energy was unreal! Watch this space for Sugar & Spice Summer…
CHCH is LIT Festival
A local event that is always highlighted in my calendar is the Botanic D’lights (Yes, it is a part of Kidsfest. Yes, I am a child at heart). But due to this year’s COVID interruption, Botanic was postponed and CHCH is LIT made for a very honorable replacement. A total of 20 lighting installations were scattered throughout the CBD and New Brighton, including Tim Budgen’s Reflections, which was my highlight. A galactic-inspired piece along Oxford Terrace reflecting into the Avon River, it made for a real ‘wow’ moment.
Art Social: Art for Equality at XCHC
My dear friend Shannon Kelly hosted yet another incredible Art Social at XCHC. In light of the Black Lives Matter movement, this Art Social was a little different and hosted a group exhibition made up of 12 local artists with 50-100% of profits going toward artist’s chosen racial equality causes.
With each artist taking inspiration from black culture, this exhibition was such a beautiful collection of inspired works. A personal favourite was the trio of miniature ‘Jen Heads’ by Jenna Lynn Ingram.
And with opening night featuring Roscela from the 03 Pineapple Club, and the usual art supplies scattered throughout the XCHC, it made for such a good night filled with incredible art, delicious cocktails, and a real sense of togetherness.
Winter Night Market at Te Puna o Waiwhetu
I must admit, I don’t go to the Christchurch Art Gallery as much as I should. And every time I do, I remember what an incredible asset it is to our artistic community.
The Winter Night Market was no exception! If you didn’t go, you truly missed out. Everyone was there. The place was packed, and the energy was incredible. The highlight for me was the exhibition Louise Henderson: From Life, which included her late career masterpiece, The Twelve Months (this exhibition is running through to October and if you find yourself bored in the CBD – please go!). That is not to mention the origami, the jewellery, the crate digging and all the familiar faces! What an evening!
With everything that has happened in 2020 (so far), it seems like a long, long time ago that artist and designer Tom Bell told me he would be staging a solo show at Absolution this year. But while what seems like an age has passed, I have maintained a level of excitement about the exhibition Bell has come to call Adoration. The show features a body of work that combines both the artist’s established interest in the imagery and themes of Japanese art and culture, but with a new material approach, his digital rendering replaced by hand-painted cut-outs. The sense of reverence for the subject matter (the show’s title a reference to that debt) is empowered by the evidently pain-staking process of manual brush strokes. Bell’s works, whether paintings, stickers, digital prints, tiny enamel pins, t-shirt designs or illustrations, are alluring, their soft pastel colours and dynamic yet sparse compositions combining with the loaded symbolism of Japanese visual culture to feel both traditional and contemporary.
I met Tom a few years ago, he was with his ‘art fam’ as he calls them, at an exhibition opening at Fiksate. Since then his face has become a familiar one at places like Fiksate, Supreme and Smash Palace, always up for a yarn. But when we sat down to chat for this interview, I learned a lot more about him, from the Wellington-raised artist’s relationship with Christchurch, his interests in stencils and tattoos, and his journey to opening Adoration. Part of what made the discussion so engaging was Tom’s energy, he flew between thoughts, earnest and honest, clearly excited and invigorated by the upcoming show and what he had learned as an artist and a person over the last year.
I remember almost a year ago, or at least it feels like that long because of everything that has happened, you mentioned that this show is a farewell to Christchurch because you were planning to move back to Wellington…
Yeah, that’s still the plan [in August]. I’m originally from Wellington, but I have spent almost four years down here. It’s crazy because a lot of people have asked where I was hiding for those first two years! I moved down from Wellington for my graphic design job. At the time my now ex-girlfriend was from Christchurch, all her family were here, so I made the move. I really struggled making connections with people down here. Throughout my twenties I’ve struggled with social anxiety and that really put a big hindrance on me going out and going to shows and other social situations. For two and a half years the idea of going to an exhibition opening by myself, even if I knew people who would be there, would make me really anxious. I would think people are going to look at me and be like, who’s that dude? At the end of 2018 I decided I needed to face some of my weaknesses and get a control of my anxiety.
That social anxiety was a big obstacle for you obviously…
Yeah, the social anxiety was a big hindrance to me. I had people in Wellington say to me: ‘Dude, you should be getting out and trying to make connections in the art community, you’re a designer, you love your art, Christchurch has a really good scene, just start doing it…’ So, when all that happened, I just said, alright, I’m going to put myself out there. I reached out to Jessie [Rawcliffe] because we had started building a connection through Instagram, so I hit her up out of the blue and said you do a lot of collab work, would you be keen on doing one in the new year? She was like: ‘Hell yeah, that would be sick!’ We met up at Smash Palace and started talking about our creative interests. I remember her saying: ‘I paint skulls and girls, am I pigeon-holing myself?’ I said, nah, skulls and girls are ******* badass, and you can tell you really enjoy painting them. From there I was introduced to Josh [Bradshaw] and we’ve been hanging out ever since. I call them my ‘art fam’ and they have been great sounding boards for my creative journey over the last eighteen months. After attending a few exhibitions at the start of last year I started to meet everyone and it was great because it just happened organically.
I remember a conversation I had with Jessie and she asked me if I had painted before, and I said, yeah, but I was trash! She said I should get into painting and get away from the computer. So I did and I just got addicted to it, I was all in. From January to March I was painting every night after work, but I wasn’t showing anything to anyone. For me, a painting had to turn out the way I wanted, if it didn’t, it was trash in my mind, so I would put it under the bed and leave it. I think it was about April last year I finally did something I thought was pretty decent. I was comfortable enough to post it on social media and I had a lot of people reaching out to me saying they thought it was great to see me get away from the computer and to be working with another medium. I was like, well, my digital stuff is better than this, but I think people like this because it has more of a human element to it.
I think we appreciate that hand-painted quality in art, there is an evident authenticity…
I started realising that imperfections on a painting actually make it better because they show that human aspect. It doesn’t always have to be perfect, so what if you paint over lines or whatever, it gives it more character…
So that kicked off your re-acquaintance with painting?
Yeah. Last year for me was just a lot of trial and error. I was doing everything. I got back into using spray cans, because when I was studying, I started doing stencils, but it had been a while. I remember I did a life drawing class; I was terrible at figure drawing, but it was a requirement. I remember the tutor asking me if I painted stencils and I was like, yeah, how can you tell? He said he could tell from the way I drew with solid outlines. I had no concept of tone or shadow. When I was at high school I didn’t do anything creatively, I was quite sport-centric, rugby, rugby league, and my community in Wellington didn’t see art as a career path, you try to be the next All Black or rugby league star or you get a trade, that’s about it…
I see little difference between sport and art. They are both performances. Sport, at its heart, is about skill, technique, a type of aesthetic beauty, so the total partition between the two is strange, people from the arts world often hate sport, people from the sports world think of artists as weirdos…
In my early twenties, when you discover what you like and what you want to do as a career, I was into sports, but I was also really into art and creativity, and it felt like you couldn’t be associated with both. I got really hung up on that idea, because everyone from high school was like, ‘Oh dude, we hear you’re into graphic design and art and stuff, what’s all that about?’ I think now I totally resonate with friends from high school who were really good artists and they would say: ‘Our school sucks, sports get all the funding.’ I had quite a lot of friends who did art at high school, and they would always be moaning that the art resources were terrible, teachers would have to bring in a lot of their own stuff because they just didn’t have the funding for it…
There is a divergence in the way sport and art develop people, I think. In sport, people are eventually trained to follow rules and stick within structures and systems, whereas with the arts there is more willingness to break free. But as I said before, it’s not necessarily an inherent difference. If you think about sport at a more pure level, like pick-up games of basketball, or kids playing soccer in Brazilian favelas, or cricket in the streets in India, those instances are not official, it’s just the love of it and that’s where all the amazing skills and showmanship develop. It’s only once all those other aspects and structures come in, and a particular personality type is preferred, that the focus changes and that freedom is impinged. The same thing can happen in art schools as well. One of the amazing freedoms of urban art is that you are not beholden to convention. I assume your interest in stencils was at least to some degree an interest in what was happening in the streets outside of the institutional world, but there was also a clear connection to the aesthetic of graphic design…
When I first started studying, I came to Christchurch in 2010 and enrolled at the Design and Arts College to do a foundation course. The year before, I decided I wanted to do something creative, but I’d never done anything, so I looked into it and the foundation course in Fine Arts sounded pretty sweet. You did a bit of everything, photography, architecture, graphic design, life drawing, textile design. If you did well enough, you were offered a position the following year. Originally, I wanted to do photography. But when I took the digital media component of the foundation course, which really was an introduction to graphic design, the tutor said to me: ‘What do you want to do next year? I said photography, and he said I should consider graphic design because he thought I had an eye for it. So, from there, I was like alright, maybe graphic design is what I should do. At that time Exit Through the Gift Shop had just come out, and when I saw it my mind was blown! I watched it like four times over a week, and I was thinking, this is rad! These guys are doing stuff on the streets around the world, they are breaking rules, it’s controversial and it’s right in front of people. They’re not going to a gallery to see this, it’s out in the open, so I was like, it could be cool to start experimenting with stencils. I just started looking at YouTube tutorials to get the basics and then I went off on a tangent for like a year doing that. That was in 2010, and at the beginning of 2011 I met Zach Hart who was working at Ink Grave Tattoo at the time, I started getting tattooed by him and I learnt that he had a graffiti background. That grew my interest and I found out there are a lot of tattooists who have graffiti backgrounds. I’m also really into hip hop and there’s that association with graffiti also.
Since I was eight or nine, I’ve always been into tattoos. No-one in my immediate family has tattoos, but I just had a fascination with them. When I was eleven or twelve, I was at the library and I came across a book of Japanese woodblock prints from the early 1800s, and then I found a tattoo book and the images were pretty much identical. I kind of put my interest of Japanese art to the side when I was studying at university but in my mid-twenties I fell in love again with Japanese art and architecture. Since then it has just fully consumed me. My best mate is a tattoo artist in Wellington, he specializes in Irezumi [Japanese tattoos], and I have learnt a lot from him. I think the reason why I like Japanese art so much is that it’s very graphic, it’s designed to be big and in your face with bold outlines and flat colours, but there is still a sense of refinement that gives it a timelessness…
There is an important balancing act when you adopt a historical visual influence, you need to respect that lineage, but also make it fresh and not derivative. How do you approach that challenge?
It is about knowing the subject matter. For instance, a koi fish swims up stream and turns into a dragon, so if I was ever to draw a dragon or a koi, I can’t draw a tiger with it because they don’t go together. It would be easy for people to look at my work and think it’s just Japanese tattoo flash, so my contemporary take on it has been my choice of colour palette. I think my interest in Pop Art has contributed to my use of pastels, there’s a David Hockney piece, A Bigger Splash, it has flat colours, blues and caramels, and that was a big influence. It was painted in the sixties, but it still feels very fresh, so taking that and playing around with colours has allowed me to develop my own take on Japanese art while still sticking to the belief systems. I think some people try to reinvent the wheel and they forget about the fundamentals. My graphic design work is very minimal and with minimal design you’ve got no room for error, if you have one little thing that’s off, it’s going to stick out like a sore thumb, so I focus on the fundamentals with just smaller, subtle changes.
You were telling me earlier that it is only the last six months or so that you’ve become comfortable calling yourself an artist. That background in graphic design and digital work, how do they feed into your painting work, because they must be very different approaches…
When I first started painting again last year, it was tough. With design, when you don’t like something, it’s the classic ‘Command-Z’, undo, so I was very thorough in preparation. I would do a colour study and draw it on screen, colour it, print it out and then from that, paint it, doing like for like. It was very uniform. But eventually I started to just do a quick colour study on screen and then started painting, and now I’m at the point where I don’t do the colour study I just paint it.
Sometimes things look good on screen, but when I’m actually painting it, it doesn’t work. So, I think the last year has really taught me to be looser and freer when I’m working with my hands, to not be such a control freak. Normally I’m a perfectionist, especially with my graphic design work, it’s like, that’s terrible! Back to the drawing board! But when you make a mistake on a painting, when an outline has smudged, there’s a human element to it, and that’s something that I have probably learnt to appreciate. I went to a tattoo convention in New Plymouth last year and there was an artist whose paintings I love, and he was selling prints. I could see there were little imperfections in the print, and it was fine, I realized I’m just too much of a control freak. I think that freedom is why there’s been no ambition at the moment to go back to the digital side of things, because I like the fact that if you screw up a painting, you’ve got to problem solve on the spot and work with what you have…
I’ve always loved the idea associated with Margaret Kilgallen’s work, the wavering line. I think we need to attach to something human in an increasingly technologically-driven world, we become hyper aware of when something is perfect, and we recognize imperfection from another human and I think that is really important. You were talking about that idea of going back to painting being inspired by conversations with friends, that idea of community must be a really important part of where you are, is losing that when you move back to Wellington a daunting thought?
It hit me this week that I’m moving soon. I’ve got my two best mates coming down for the opening of Adoration, Mike Todd, a tattoo artist, and Jerome Taylor, who I went to high school with, who is a fashion designer. They are my creative community up there in Wellington. When I started getting tattooed by Mike, he knew I was painting on the side and he was giving me tips, like how tattoo apprentices learn, you trace a rose fifty times and by the twentieth time you should know how to draw a rose. He’s been a big part in me fundamentally learning how to paint the way I do. But in terms of what I’ve got here with Jessie and Josh and everyone else, I don’t have that. It’s a bit daunting, but I did it here, I just have to put myself out there. I’m from Wellington, so I should be able to connect a bit more if anything just because I’m local. I think having a show here will help open some doors up there. It’s funny, I already know I want to do another solo show in Wellington next year. I’ve already got ideas bubbling about what I want to do for my next show. It’s contagious, I reckon, it consumes you, but I’ve really enjoyed the process…
How did the show come together conceptually?
When I confirmed this show last year, I was still working at my old job, in a corporate structure, getting paid to do a job, and I just really felt like I was being controlled by the man. I didn’t want to sound like a temperamental artist, but I really struggled with being told to be creative within a certain framework or it wasn’t of value. So when I was coming up with themes for my show, I was thinking about basing it on entrapment and having conflicting thoughts in my head, and just lacking self-worth in a way, but then in January, I drew out my whole show in a wall plan to see if it was going to tell a story, and I realised it doesn’t have to, screw that! I’m leaving town soon, I just want to do something that I’m passionate about. It is filled with traditional Japanese influences but with a contemporary take. There are a few pieces where I have dissected objects and have incorporated other objects with them. Textures play an important part in my inspiration so I wanted to bring them in also. The show is about paying homage to Japanese art and culture, and that’s why I named the show Adoration, it’s about devotion and how I hold it dear to my heart.
We talked briefly about artists being pigeon-holed, do you ever think about that in terms of the Japanese influence in your work?
Totally, I always think to myself, am I pigeon-holing myself with my interests? The one positive to come out of lock-down was new ideas I want to paint when I move back to Wellington. It’s abstract, with no Japanese themes at all. I haven’t told anyone about it, I don’t know if I want to push this, I don’t know if I want to show anyone, I’ve done some real rough sketches and I don’t think anyone would expect it.
I assume they will likely see the light of day in Wellington, which means that while this show brings this chapter to a close, this new body of work might start the next chapter…
As much as it’s been a really good time painting the work in this show, I think this is the perfect time to start some more experimental stuff. A lot of people have asked why I don’t get into tattooing, because it makes sense with my subject matter currently. But I don’t want to keep exploring the same themes and imagery and that’s the connection people seem to make, that my Japanese- influenced work would translate to tattoo. It’s something I have warmed up to in the last six months as I’ve become more confident with the hand-rendered stuff, but tattooing is completely different from painting, it’s a whole new technique. Once I’m back in Wellington, I’m going to use the rest of this year to have a play around and try some experimental stuff, do more freehand work, which is something I have been working on for the last six months. I guess there has been a lot of personal growth down here in the last two years as well…
So, this is an important milestone…
It is an important milestone. About six months ago I realized that it makes sense to have my first show here in Christchurch, because this is where my creative journey really started. Obviously, I went back to Wellington after the 2011 earthquake and relocated to continue my studies up there, but really making things all started here, so it all makes sense. It’s like a goodbye gift, my time here is up, but this is where it all started for me. I never thought I would have a solo show, I never thought I would have my work in a public space where people would want to come see it. I think we all get a little nervous, like are people going to show up? I’ve had a lot of people reaching out to me saying they are looking forward to seeing the show. Getting messages like that has been really humbling.
That must be cool because as you have mentioned, the process of creating work and then the step of putting them out in the world can be scary. It’s a long and constantly changing road, the process and development, the failures, the changes of direction…
Yes, it’s a vulnerable position because you work on something for so long and then you think you are comfortable to show people, but once it’s in a public space, once it’s out there, then it could be well received or it might not be. It’s all part of it and I look forward to seeing how people interact with the show on Friday.
Adoration opens at Absolution in the Arts Centre on Friday, 7th August, 2020 at 6pm.
Earlier this year I received an email connecting me with Bulky Savage, a New Zealand-born artist living in Berlin, who was seeking a wall to paint while home visiting family. We traded some messages and attempted to find some options, but ultimately it appeared that nothing would quite line up. Intrigued by a Kiwi artist now based in an epicentre of urban art, I dived into his Instagram to become familiar with his work. His quirky menagerie of characters, seemingly indebted to the influence of cartoons, were immediately endearing, while literal washes of colour added vibrancy but also a suggestive symbolism. Imbued with a sense of playfulness, they were equally comfortable in the digital illustrative realm as they were on the streets.
Fortunately, B.S. was finally put in touch with the owners of Riverside Market and before returning to Germany, finally got the opportunity to produce a mural to mark his temporary homecoming. The wall painting, featuring one of his recurring hollow-eyed skull characters and a flow of colour echoing sloshing paint, is on a somewhat secluded wall in the laneway beside the bustling market. However, that seclusion doesn’t stop it from being a striking sight once you are introduced, beguiling in its seemingly open narrative, with confectionery-esque colours set to flood the ground.
While we had only exchanged brief pleasantries via email, when we finally chatted face to face (or at least via a Messenger call, as is the way in these pandemic times), it was quickly apparent that B.S. was instantly affable and an hour quickly passed. We discussed Berlin, his entrance into the street art world, his experience here in Christchurch and importantly, the state of the world and the modern economy…
While I’m sitting here in Christchurch, you are in the morning sunshine of Berlin, how did you come to live in Germany?
I grew up in Auckland. my dad is English but has been in New Zealand since the late seventies, and that’s kind of how I managed to be over here, with that [British] passport, but who knows how much that’s worth anymore…
So, at what age did you leave New Zealand, and what drew you to Berlin?
I turned 23 very shortly after I left New Zealand. I just wanted to get out. Our tiny little home in the middle of nowhere is great, but it is very hidden away, so I just wanted to see what was going on in the world. Europe was obvious and I had the passport, so that made things a bit easier. I wanted to learn another language, so I wanted to go somewhere in Continental Europe. I bumped into a bunch of German people as I was leaving New Zealand and again while I was travelling, and Berlin came up. It was always a blip on the radar, but I didn’t know anything about it except that it has always had good music. But by my second day here, I was just like, yeah, this is cool, I could do this for a bit. I did spend two months living in London when I ran out of money. I couldn’t get a job in Germany, so I went to London and worked for two months and squatted and got some cash together before settling here.
My impression of Berlin was that there is a palpable energy to the city. It was busy and there was a grit that wasn’t evident in Munich, for instance.
There is a little bit of everything here in Berlin, something for almost everybody. You either love that chaotic kind of energy like you said, or you don’t, certain people just don’t get on with it, but yeah, it totally grabbed me. I never really had a trajectory until I got to Berlin and saw the street art everywhere, and I was like, this is where I need to be!
So much of Berlin’s history can be seen and felt in the streets. The streets speak in many ways, re-presenting different eras and epochs, and that lineage almost informs the graffiti and street art in Berlin with a potency that some cities lack. While muralism is often charged with complicity in gentrification, in some ways urban art itself has been gentrified, but in Berlin it felt different.
Yeah, I guess that is always one of the conundrums of being part of this kind of art scene. It does kind of run both sides of the gambit. It is part of the problem and the solution! Berlin was definitely a bubble within it all, at least for a while… Gentrification has become more of a problem recently as the city folds a bit to the mighty Euro and murals do get absorbed into that as well. But yeah, muralism is only one layer of the street art and graffiti scene and there will always be people telling stories from the streets here.
A lot of people have said that Berlin’s a place for lost people. You get a lot of people coming here because they don’t really know what they’re doing with themselves. They spend a couple of years here and then figure it out and go and make money somewhere else. I guess I never got out, I became entangled with Berlin. But it’s become part of my art style and my lifestyle. I guess it’s also spoiled me, I’m not really sure that I could go and do what I’m doing somewhere else, in the same way anyway.
You explore a lot of different creative activities, so how would you describe what you do? Do you define yourself by any particular discipline or medium?
I like to say that I’m an artist who does street art sometimes. I bore easily, but if I’ve got different things to play with, I can always move on to something else. I really like photography, but everybody does photography, so it’s a much more difficult market to break into. I do digital stuff, and I’m trying to get back into painting with paint brushes again and things like that. But spray cans particularly are my jam. I’ve gotten good with those and its really nice to feel capable with something like that. That’s the problem with being multidisciplinary, it’s really frustrating working with things where I’m almost there, but I’m not really there. It’s nice to work with something where I can be like, bang, bang, bang, it’s done the way I wanted it. That is very satisfying.
There is something about the material qualities of aerosol that seem a particularly good fit for an urban environment like Berlin. One of my enduring memories in Berlin was stumbling across a Blek Le Rat stencil, it had almost all been painted out apart from the feet of the character and his name, but I always remember being struck by the way that the paint sat on this brittle concrete surface. But there is a lot of discussion going on now with artists about how to balance environmental concerns with the reality of aerosol, is that something that you think about?
Sometimes. There are always concerns with all sorts of different things for me, not just environmentally, but also keeping myself sane, so I have to balance out the impacts that I have with keeping myself happy. That might seem selfish sometimes, but I live in Germany and Germany’s pretty good at taking care of that stuff. There are proper waste bins for spray cans at a lot of the walls you paint these days, which is good. I hope they get taken care of properly, you don’t really know, there’s only so far that you can go when it comes to things like recycling. I can put all my stuff in all the right boxes, but I don’t know what happens after that. I’ve heard that they don’t even recycle themselves, certain things get sent to China, stuff like that. That is completely out of my control, so I try to not worry about that as much. Its great now that they don’t have things like CFCs, I’ve had people come up and say what about the ozone layer, and actually, you know, technology, baby!
Aerosol really informs the entire process, the final image, the process of making that image, even the conception of that image, it’s a defining tool for a lot of artists, and one that is so hard to replicate…
You can’t get that effect with anything else; air brush is close, but it’s also not. I have been working on an exhibition; it was planned for the first week of lock down. I wanted to make smaller scale works, so I’m using stencils, but I had to use spray cans because I want that beautiful gradient and that granular effect that you get from aerosol. There was nothing else I could use that would work like that…
It was initially adopted by graffiti writers primarily for mobility and efficiency, but increasingly, it’s actually the aesthetic that has become the attraction. The mastery that has been achieved over generations has become what drives and defines its continued use. When did you start using spray cans?
In New Zealand there were a couple of people on the periphery of my friends that were getting into street art. Cinzah was best mates with a girlfriend of mine at the time, and I went along to a couple of his shows and he was doing some paste ups and things. I was like, this is kind of interesting. I really love his style, it’s fantastic. But I was already on my way overseas, so by the time I got to Europe, that was really my first proper introduction to spray cans. I think it was maybe two or three years after I got to Berlin that I really started playing around with spray cans, so I guess around nine years ago. They are a difficult tool to master…
You mention the influence of street art, were you attracted to the act of painting in the streets? Often that is the biggest leap, because it is a decision imbued with more significance as you get older, when you’re more aware of a lot of the mechanisms in public space…
I hadn’t considered it before, but when I got to Berlin it was so pervasive, I felt comfortable getting out and being part of it. I just went out on my own. I made some paste ups because I couldn’t use spray cans at the time, but I could draw. I was all about drawing to begin with, I still am to some degree. I’d gone into a little gallery which is not really around anymore, it was run by this guy EMESS, a stencil artist, and I talked to him about the kind of stuff I was doing, and after that I went out and made my own paste ups. I went out with a sponge, totally the wrong gear! One of those pieces was still around recently actually, it stayed up for like eight years, which is pretty impressive for a paste up. Then, finally, I started doing street art workshops and teaching people how to do stencils, and that was when I really started playing around with spray cans a lot more, just taking it from there and putting it onto the walls as well. I did the illegal stuff here and there, but I’m not sure that I would have done it anywhere else besides Berlin. It is a lot more relaxed here than it is in most places. But the illegal side of it wasn’t really a draw card for me. A lot of people, particularly in graffiti, love that side of it, going out, getting into spaces that you shouldn’t, running from cops, that kind of thing. I guess my parents raised me to be a ‘good boy’, or at least put the fear in me! I was much more into the actual creation and painting part of it. I’ve got a bunch of friends who paint trains and things, and it’s great, but I just don’t have that in me. I like taking my time. That’s why I’ve gotten into murals, spending a couple of days painting is really rewarding to me.
Even if the illegal aspect wasn’t as attractive, were you still interested in how to situate a work in space and the encounter that you can create with an unsuspecting public audience?
When I was still doing paste ups and things, I’d like to have bits on corners of buildings so you could see it on one side and then pop around and there’s another part of it as well, leading people in certain ways. Interacting with outside spaces is a big part of the street art scene, and now, when it comes to murals, I still like that idea. I don’t want to put big messages into my art. I like to just have something that will pop and grab people’s attention, something a bit out of left field that will make them wonder what’s going on there?
Design and illustration are increasingly tied to urban art, as an interconnected pathway and through the iconographic approach of post-graffiti, the creation of an instantly recognizable and relatable icon. Has your design background influenced your work?
I studied design at Massey University in Wellington for a couple of years because I was young and foolish. I basically thought that was how you made money in art. But really, I’m more into the ‘art’ side of things. You can see that my work is very graphic, although I would say maybe more Pop Art these days. But the graphic design thing, I didn’t only do it because of the money side, I love graphic design as well, and it has definitely influenced my style.
There is an unmistakable, recurring quality to your work, notably with the hollow-eyed character, did that develop as an intentionally recurring presence, or was it something that just kind of emerged and endured?
I think I drew the first iteration of that character just before I left New Zealand. I used to work at Cosmic Corner and I did a drawing of that little character one day at work. Characters and cartoons have been a massive influence throughout my life. The Simpsons were my favourite thing growing up, and you can see the shape of Homer’s head in that character. I just kind of absorb things from everywhere. While I was traveling, I started to really develop the characters and then I came to Berlin and that’s when I was like, this is where I can take them. Over the years, I just played around with them and they took on their own personalities. There is the big fat businessman who keeps losing his head, there is the little sad guy, the introspective guy and then the crazy worm guy. They are all sort of similar, and I guess through a slow process I have imbued them with bits of my own personality.
Do they occupy their own universe or are they part of our world? The Simpsons live in Springfield, which is famously never revealed on a map, it is sort of a contained universe, but they are also part of the broader world through storylines and their pop culture status. I guess as soon as your characters are added to public space, they start to occupy our world as well, right?
I have given them this world they inhabit, which is kind of like Springfield, I guess. It’s called Crushington and it is this relatively colourless place. There’s a Crushington in New Zealand as well, which is funny. If you look at some of my line drawings, there’s this kind of desert-like landscape, these big open spaces influenced by New Zealand, where you’ve always got that big horizon line, whether it’s the sea or the mountains. There is also a little bit of Colin McCahon in there. I love Moebius’ style as well, the desert line he uses, I stole that bit. But I like how you were saying The Simpsons are part of our world, but they’re not, because I feel the same with my characters. For the most part they are two-dimensional beings in our world, and I really want to get into sculpture over the next couple of years and bring them into a more three-dimensional form. I want to play with that idea and bring them from their world into ours, because there is this second space they inhabit where they are more like what I know. I haven’t really shared it so much, but I’m going to have an exhibition about Crushington at some point soon…
Kaws has shown with his Companions that there is so much potential to explore those three-dimensional incarnations, different materials, various scales, and even playing with the perception of high and low…
That’s one of the things that always drew me to the street art and graffiti world, if you want to do it, you do it. You can take that style, or you can take from there, take from there, take from there, and that’s why I think it’s been such an interesting movement, you have all these people coming from different backgrounds and different influences coming together and making something completely different. It’s exciting…
The waves or oozing colours are another recurring element in your work. Do you want to dive into that imagery a little bit? Metaphorically, of course…
I really started with those in 2017. I did an exhibition called Bit Sick, playing around with the B and the S of my name, and it was about how crappy 2016 was, and how sick I was of everything. I’ve always been someone who just goes with the flow and the waves were an aesthetically pleasing sort of rolling vibe, but also fit with the theme, because in that exhibition I had things about being sick of art, sick of commercialism, sick of America. Of course, 2017 came through and really shat on 2016, and things haven’t really got any better since!
By 2020 you must be more than a bit sick…
Well, you know, it all flows and rolls downhill! The exhibition that I’m working on at the moment, which was going to be out already actually, was very timely as well, it was all about not seeing the bigger picture and being focused on these little pieces, as interesting and attention grabbing as they are. Again, it is making us all feel a bit sick and now quite literally making the world sick. It’s really just about being over things as well; the state of myself, of the world, just expressing my feelings at the time. But there’s not going to be any characters in the exhibition, it’s just going to be the waves. They have become really fun to paint with spray cans as well, the shapes, the really nice blends as well, giving it a sense of solidity, so that’s become more of a focus…
I’m thinking of the idea of a purge, or a cleansing, and once you take away that figure, the idea of size and scale changes. If the wave becomes the sole focus, it becomes something else, right? When you see it come out of a figure, you automatically scale it relative to that figure, when you just see that wave filling an entire frame, that can be either overwhelming or it could just be a close-up of a small trickle. There’s something about that idea of the bigger picture and smaller details, and that social element becomes strangely more pertinent when you take them away from the figure. So, tell me about your experience painting here in Christchurch earlier in the year?
I’d never painted in Christchurch before, but my parents live just outside of Cheviot [a small town north of Christchurch], so when I go back, I fly into Christchurch. I would just get to see little bits of it as we drove through, or if we visited somebody there. I remember going there when the city center was still completely locked down after the earthquakes, but this was the first time I got to spend a little bit of time in Christchurch for some years, and it was cool. I saw a lot of opportunity there, personally, as much as the earthquakes were terrible, I love seeing old destroyed buildings, maybe that’s why I’m in Berlin. It’s not something that you really get to see in New Zealand, so I really liked that. I liked the show of power, but then also how the city has risen up from the ashes of it as well. The city is really interesting at the moment.
I found it incredibly interesting that Christchurch became this microcosm of a big city; you had shiny new buildings, you had broken buildings standing there empty and covered in graffiti, becoming spaces for people to explore. Different people could do different things. If your mindset was to explore those broken spaces, you could do that, if your mindset was to sit in a bar and drink a cocktail, you could do that. There was this interesting juxtaposition of old and new and broken and shiny. One thing that does is reveal a lot of the power structures that go into making a city. Christchurch has become interesting in that regard, and graffiti and street art have a role here as both dissenting voices and part of the rebuild as well. It shows why these forms of art have become such a dominant visual voice the world over, because they can adapt to different environments. How did the mural in Christchurch come about?
In a very winding way. Knowing I was coming back to New Zealand mid-last year, I started reaching out to people in September or October, mostly through Instagram. I got bounced around. I got in touch with Preston [Hegel] down at The Exchange, he was doing some cool stuff and was like, oh maybe you could talk to this person… I got bounced around between a bunch of different people before I got put in touch with the guys from Riverside Market at the last minute. I just said I’m going to be coming down in like two days and they said: Sure, we’ve got a space, you can do what you want. It just fell perfectly into place. I was slightly freaking out that I wasn’t going to be able to get a space to paint, and coming from Berlin, I was just like, what is this?! Where are my walls?! In Berlin, if you want to paint, you just go and find a wall. I have a wall that I can just go and paint anytime I want just down the road. I wasn’t necessarily looking to leave a massive mural, I just wanted to find somewhere to paint, if it could stay that would be a bonus, if not then c’est la vie. It worked out great, those guys were really nice, they were just like: What do you need? Here’s money for the paint. They paid me for it as well, which is fantastic. It was this very last-minute design, because I was like, let’s see what the wall’s going to be like and go from there…
The wall is quite high and relatively narrow so that obviously played into the design and I guess allowed you to use those recurring motifs in what seems like a natural fit…
Well, I had ideas floating around in my head of what I wanted to paint. I’d actually thought of having it the opposite way around, with the character at the bottom and all this stuff coming up out of it. But there was this big generator at the bottom of the wall, so I just flipped it around. Most of the time I tend to let the wall tell me what the piece is going to be, so I guess that’s good practice for when it comes to spaces like this one.
There are little references to food in the tattoos on the character, but there was no input in terms of what you had to include, that was just something that you added in?
Yeah, the guys were just like, do what you want. Which was amazing, because when you’re being paid to do something, a lot of the time they are like, it needs to be like this and fit inside this box. But I was really given freedom with it and I guess maybe that was why I thought if they’re still letting me do this then I’m going to throw in these little references to the space. I always like to let the tattoos kind of tell a story. I love tattoos, and part of the reason people get tattoos is to express little things about themselves or their experiences. I quite like incorporating them into my art in the same way, so if there’s meaning to be read from what I’m doing, which generally I try not to do, then it can be read in the tattoos…
Any artist would love that freedom to create something that is your own, but how do you think your work communicates to the crowds that go past, is there an intentional aspect that they should read, or do you encourage them to come up with their own narrative?
Yeah, story and narrative are really interesting for me. I love cartoons, I love stories. Life is stories. But I don’t want to preach, I like the idea of leaving something really open. We are human beings, we make meaning out of everything that happens, whether that’s actually what it is or not. So, instead of trying to push people towards my view or what I want to say, I prefer to leave that open and more abstract, so that people have something to play with. I often talk about Stik, the London street artist, who got famous for doing stick figures, but because they are so basic you can project your friends or your relationships or anything onto them because it’s such an open canvas. These very hyper-realistic pieces are beautifully done and technically fantastic, but there’s a bit of a distance because it’s just a picture of somebody that you don’t know. So, I like a more open experience…
Did the freedom of the mural energize you to strike out and do anything else while you were here? Is there anything hidden around Christchurch that I might not have stumbled upon yet?
No, to be honest I was a little bit out of shape and the mural was exhausting. I think I did about 19 hours in two days, and on the first night I was just completely burnt out. I was thinking about going and painting on the cans while I was there, but I just burnt myself out, I just went to bed! But I would love to come back and do some pieces in other spots, when and if that ever becomes a possibility…
Are you a Kiwi living in Berlin or a Berliner from New Zealand?
Good question! I’ll always be a Kiwi, but Berlin’s definitely become home for me. I would like to be able to split my year between the two places, because my heart is somewhat split, half of its here, half of its there, particularly with my parents being there. I love New Zealand, it’s refreshing. New Zealand people are almost the opposite of Germans in a lot of ways, very easy going, very open and welcoming, whereas you know, Germans are a lot more strict. That’s harsh, its an over generalization, obviously! But yeah, I love coming back to New Zealand, and just talking to the bus driver. It warms the heart. Christchurch in particular is looking interesting because there’s so much space, so many opportunities there at the moment, which was really good to see.
A small part of the reason for being away for as long as I have was because we had the John Key government which was in no way supportive of arts and artists, and as far as I’m aware, it’s still not super easy to be an artist in New Zealand when it comes to support from the government and things like that, but maybe that will start to change…
With lockdown precautions in so many places, it’s clear that people have been relying on art; on music, on film, on a range of forms of art, to get through isolation. And yet at the same time, no one ever positions the arts as vital, they talk about tourism or other industries, which is infuriating because if anything this situation reinforces how important the arts are to humanity. But we seem to have to go through this every time something significant happens, it was the same after the earthquakes as well. There’s still a real need to acknowledge artists’ ability to make their living doing what they do because what artists do makes life better…
Yeah definitely. I wouldn’t want to claim that my art enriches people’s lives, maybe it does and that’s fantastic. I always tend to feel a little bit selfish about my art, it’s something that I need to do, it’s very much my own expression and when someone can connect with it, that’s fantastic. Knowing that people have bought my stuff and have it hanging on their walls is nice, but again, the money side of it is not why I make art. I’d like to be able to just make art and not have to worry about the commercial aspects of it, you know? Universal Basic Income baby! People always think we need to make money and that becomes a driver and that’s when art loses a little bit of itself. I need to eat, so I have to make art that’s going to sell, but it would be nice if we learn something from this whole thing about what’s important for people, for people’s health and mental health. I run a little gallery and art shop space here as well and it’s interesting and frustrating thinking about what sells and what doesn’t and what you need to do to make money from it. I always feel still slightly grimy making my art into easily package-able things, being channeled into commercialism. Down with capitalism!
And that’s half of 2020 gone already. Although lets be honest, this year has seen a fair amount of activity, some shitty, but others important and long overdue. This month’s collection acknowledges these struggles, as well as looking to the past, the future and art as a gateway to explore and consider more than our immediate preoccupations. From Askew One’s haunting risograph print with MK Press and Fiksate, to our tribute to graffiti legend Jungle and the countless voices he inspired as a rebellious actor in the local urban landscape, here are our favourite things from the month of June…
Askew One x MK Press x Fiksate collab
The month started on a high with the release of Askew One’s limited edition print as part of the MK Press/Fiksate artist collab risograph print series. Following Dr Suits’ initial release, Askew’s striking red and black abstraction continued the popularity of the concept, selling out in just hours. The work embraces and explores the qualities of risograph printing, while continuing his digital studies drawn from urban environments. The result is a twisting, jagged image filled with a sense of terror and dread due to the blood-like tone. Setting a benchmark for the series, you wouldn’t really expect anything less from Aotearoa’s finest, would you?
Graffiti jam for the New Brighton Outdoor Art Festival
The delayed and reconfigured NBOAF signed off with a traditional graffiti jam wall, with a number of local talents transforming a wall in the middle of New Brighton Mall. The green and magenta colour scheme tied the various pieces together, while individual styles and characters by YSEK and Dove ensured variety as well. The wall was intended to represent and celebrate traditional graffiti art, and as such was always going to draw criticism from some corners. The online discussion about the wall’s appearance was interesting to say the least, highlighting the ongoing and deeply held misconceptions and prejudices around graffiti, even when produced legally…
When local graffiti legend Jungle passed away in March of 2019, Christchurch’s graffiti culture spoke by painting tributes across the city’s walls. I had discussed with Ikarus the idea of a larger written tribute that explored Jungle’s legacy, however, by the time we got to sit down with an eye on the one-year anniversary, lock down struck. In addition, what started as an interview with Ikarus, developed into a multi-generational project, stretching the process out. However, by June, the lengthy tribute was finally online. Hearing stories of Jungle’s influence, it was quickly apparent how consistent his impression was, a man who the city’s graffiti culture was indebted to, but also a character who influenced people by his charismatic personality…
Black Lives Matter Protest Posters
The latest issue of Art Beat, the visual arts newspaper edited by Dr Warren Feeney, featured an insert of A4 posters drawn from the shared archive Posters for BLM (@posters_for_blm). The three variations, by Stephen Powers, Sara Froese and local designer Roydon Misseldine, were risograph printed by MK Press and included inside the free paper. Importantly, the posters ensure visibility to the cause and serve as a reminder of the potential to raise a voice about oppressive systemic issues. While a small gesture, it attempts to continue this vital narrative. More posters are available for free download (for non-commercial use) from the archive, with a link in their Instagram bio.
Porta x FOLT Skull Collab
The collection of FOLT skull cut-outs continues to grow around the city (although many have disappeared as well, seemingly too attractive to collectors), and this subtle variation by Porta is a personal favourite. Porta’s recent investigation of pixelated video game aesthetics is utilised here, but with an understated approach, the granite colouring giving a bare concrete appearance that only reveals the highlights, shadows and blocky shapes upon closer inspection.
And that was June 2020, for me at least, let us know what you enjoyed over the month in the comments…
413 Local Gallery, the brainchild of artist Daken, open their second exhibition on Saturday, July 4th. Isolation is a group show featuring work produced during and in response to the Covid-19 lock down. With his own output increasing during the lock down, Daken put out an open call for artists to contribute to a group show. The result was a mixture of familiar names (Porta, Morpork, Nick Lowry, Josh Bradshaw, Jessie Rawcliffe) and a number of new faces. This range has ensured Isolation is a diverse collection of work, presenting a litany of creative endeavours.
The exhibition opens on 4:30pm on Saturday at the home of 413, AJ Creative Glass, 413 Tuam Street, Phillipstown. For more information, head to the 413 Local Gallery Facebook page.
This Friday, the 3rd of July, A Tribe Called Haz has pulled together a group of talented young artists for a group show at Outsiders skate shop. Haz Called a Tribe features 17 artists, spanning a wide range of styles, with backgrounds in graffiti, design and other creative avenues ensuring the show serves as a snapshot of an emerging creative community in Ōtautahi, one born of myriad influences, including the increasingly diverse forms of street culture.
Coming out of the creative output of the Covid-19 lockdown, A Tribe Called Haz saw the work his friends were producing and knew it was time to bring everyone together for an exhibition. While not explicitly themed, he believes the collective will ultimately feel cohesive, a result of the sense of community in the group he has collected.
While a number of names are familiar, many are also newer faces, who despite a long history of making art have previously avoided such a platform. A Tribe Called Haz is also excited about the diversity of the show, ranging from traditional graffiti to abstraction, with many artists producing work that might be unexpected given their backgrounds.
Haz Called a Tribe is one-night-only pop-up exhibition at Outsiders, 244 St Asaph Street, from 6pm. DJ Liam K. Swiggs will be playing and Outsiders will be open throughout the show as well. For more information, head to to the Facebook event page…
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…
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!
Our tribute to Christchurch graffiti legend Jungle continues here in Tributes to a King – R.I.P Jungle (Part Two). In our discussion with Jungle’s friend and DTR crewmate Ikarus, we continue to dive into what made Jungle the figure he is in the local scene and what he would think of the many tributes that have been painted. We also hear more from those influenced by Jungle over many years…
I remember Jungle’s roll call in the alleyway space in Rise, you guys made it clear to people not to paint over that, which highlighted his importance to local graffiti history. I also remember the opening night of Spectrum in 2015, walking from the YMCA to the afterparty and Jungle standing next to Tilt and looking at the piece Tilt and Tober had painted on the old Police station, just buzzing on it, and there was a sense of respect on Tilt’s part for Jungle, like real respecting real. Having him be part of those things must have added an authenticity for you…
Ikarus: Yeah, one hundred per cent. He had an unbridled enthusiasm about shit. If he was enthusiastic about something, you would feel the love for it. He was never too cool for the room, never too aloof to just be like, that shit is amazing! When we started painting for Rise in the Canterbury Museum, that was one of the most fun days ever. The theme of that alleyway, in a nutshell, was a visual timeline of Christchurch graffiti, but instead of being linear, it went over itself like graffiti would. So, the first layers were pre-tagging stuff like band slogans, political sayings or toilet graffiti, and then after that was the era of tagging. Getting Jungle and Lurq and a couple of the other old school dudes to go nuts and tag up the museum was crazy. I never thought we’d be able to paint in the museum and if we did, it would have to be top-notch stuff. Wongi and I did end up doing a big production, but the fact that we had this whole concept and we got to involve a shitload of the Christchurch graffiti scene, from the active kids all the way back to the originators, was amazing. Having Jungle bust out the roll calls and do a bunch of tags and stuff was fucking cool, there’s dudes in that roll call who are in their forties now, some were gangster teenagers, some are gangster adults, and they were in the museum grinning and cracking up, saying ‘what the fuck are our names doing in this museum!’ Nobody saw any of this coming back when we all started out, so that was a fucking awesome day.
“I feel bad for visiting painters coming to Christchurch they will not experience the unofficial Jungle powhiri.” – Fiasko
“When you would talk to him, he had the coolest vibe. that natural way that made you feel good about yourself. He would shake your hand way too tight while he was doing it though.” – Jay Roacher/Wyns
“I remember a few years back now, Freak and Ikarus painted the open black book [wall] in the city and Jungle did a charo. He was walking around all the homies with his cell phone and was so buzzed out by the Sofles clip [Limitless]. He was the first person to ever tell me about Sofles…” – Omes
“He was just always happy for you, without a doubt, he was always stoked as shit for people, he loved to be there, and he expressed himself so freely and fluidly, no shame or anything, just whatever he had to say, he would say it, you know not in in any aggressive way, or negative way, he’d just say it…” – Freak
“He would always be stoked for you, or to see things, [he would be] mad enthusiastic and shit, [he] expressed himself heavily, from the hand crushing handshakes to the air crushing bearhugs…” – Freak
“The one thing I will remember him by was that infectious smile, he was always stoked to see a bro.” – Flex
“He used to tell me how much he loved my song ‘ChCh Chillin’ whenever I would bump into him. I can’t remember how I found out, Ikarus probably messaged me and told me that Jungle had got ‘ChCh Chillin’ tattooed on his arm, but I clearly remember the next time I saw him and he showed me, large as fuck on his arm! That shit blew my mind then, and still does now. It’s one of the fondest memories I have from rap music.” – Jay Roacher/Wyns
Last year Dcypher said that Jungle is a good example of someone embodying their graffiti. There was obviously the iconic Jungle character, but I think Dcypher’s sentiment was as much about his style as well. Do you think he grasped that concept of how graffiti isn’t just an identity, it’s also an embodiment of that identity…
Ikarus: Yeah, but I think without any self-awareness. The reason he embodies the spirit of graffiti is because it was all coming from a pure place, where you do graffiti for the love of graffiti. I’ve said so many times that vandalism and bombing is the realest form of graffiti because there’s no fucking positive, there’s no good side. The only thing you can hope to get out of it is the admiration and respect of a bunch of other dirtbags, and I say that with the utmost respect. I definitely think Jungle embodied that, but I don’t think he ever really picked it apart. Guys like us, we pick it apart, intellectualize it and look at the motives and the reasoning and what makes something iconic and successful. I’ve thought a lot about the idea of keeping things really simple, having things that are easily identifiable as your own, whether it’s your style, an iconic image or logo or symbol, but I don’t think that’s something he ever would have put a crazy amount of thought into. I think he was just like; ‘I love writing my name’.
He was always drawing his characters, from the time I met him to the day he passed. It was just a straight up need inside to draw and express those things. I’ve had to intellectualize and think about graffiti a lot, why I do it, my motives for it, the line between painting what I want to paint and doing what I want to do, and actually being an adult and turning it into a viable option for the future and something to make money from, which is a big conflict for me, because my original reasons and love for graffiti clash with that really hard. I think Jungle never really had to compromise that. With all the things we tried to get him involved in, he would be like: ‘Nah I don’t want to do it, it’s too stressful to try and keep up with you guys.’
So, I think all the things he ever did were purely for the love. He just did it because he wanted to, he wouldn’t paint for a bunch of time and then suddenly, he’s gone and painted a character in like a super visible spot in the city. It would just be random spurts where he’d go out and just paint a bunch of stuff and I don’t think it was to get fame like the graffiti junkies out bombing every night to be seen. I really feel like he just did this because he wanted to do it, not super concerned who sees it, who thinks it’s dope or who thinks this and that. He was a dude that was pretty comfortable in who he was, what he was about and the people that were around him and I don’t think a lot of that extra bullshit ever really became a factor for him.
“Everybody embodies their graffiti, it’s impossible not to, [but] it’s almost like all of his characters were him, but in his mind I don’t think [he thought] they were. I’m not 100% sure about that, but you could just tell it was a Jungle character because it looked like he was standing there looking at you, this mean mug, hard looking motherfucker, just everything that he did had this, yeah that’s fucking Jungle for sure [quality]…” – Dcypher
I guess that’s what made him such a revered figure in some ways, right? That compromise confronts so many people now, so those who avoid it, or stay true to the pure form of the culture, are respected…
Ikarus: He painted a bunch of canvases and found objects, a bunch of different stuff, but never tried to sell them. He was never involved in any of our exhibitions. We were like, you have dope shit, put it in the exhibition, make some money! I think that’s one of the reasons that he never had to compromise, because he never tried to monetize what he was doing, he just did it. If you said something was dope and you wanted to buy it, he would just give it to you because you fucking liked it. I don’t think it ever became about money for him.
He was a cool looking dude, and then you met him, and he was a fucking cool guy. I think a lot of people expected him not to be, but he’s like the nicest guy in our crew, the truest heart. But yeah, he was uncompromising. When you haven’t made those compromises, you don’t get jaded. That’s not to say he didn’t have a jaded edge or depressed side to his personality. A lot of the work that he did was quite emotionally expressive. I didn’t necessarily even think of it because that’s just sort of the attitude we had, but when I look back at some of it, it just looks more grave now. There was an era where we would just write ‘deadbeats’ and ‘dirtbags’ and ‘trash’ and all that sort of stuff. Now it seems like a really negative headspace, but it never seemed like that it in person, it was just because we were broke depressed kids with a self-deprecating sense of humor. It didn’t seem like that big of a deal, but now, I’m like, how much of that is a window into a mind state?
“I thought it was over for Jungle and his graffiti. Then around mid-2000, Ikarus and I took him out to bomb some trucks and this is when I think he painted his first filled graffiti. He started drawing and painting a lot. He had such a natural style. It was easy for him. The thing is, he was only ever putting in 25% effort.” – Fiasko
Did you ever talk to him about the post-quake scene in the city? What did he make of the younger generation and did he take interest in that?
Ikarus: Yeah of course man, of course. All of us are always interested, that’s the thing, there’s no disconnect from being involved in commercial work and doing big stuff for festivals and that sort of stuff. My heart at the end of the day is still firmly tied to the streets. There is a bunch of dudes I talk to now that are like I can’t wait to do this, and I’m just like enjoy the shit you do! That’s one of the reasons I think the younger generations identified with Jungle because he was a dude that was out there still doing tags in the street, still doing characters, not monetizing it. Once money gets involved people’s opinion of where and when or why or what motivates you to do graffiti changes. But he was always interested in the new dudes. We are always looking at the streets and when we catch up, he would be: ‘What about this kid?’ ‘Do we know this guy?’ ‘Who is this kid?’ ‘This kid’s up a crazy amount’… So yeah, he was always watching.
“Being a younger writer, I only became aware of who Jungle was and his influence as a teenager looking at photos and learning about our local history. But I remember his work, particularly his characters, catching my eye when I was a child. Seeing that stuff as a young person played a role in making me want to get involved with graffiti.” – PK (TBE)
“Jungle’s influence didn’t have a direct impact on me in the sense that I wasn’t around when he had the city crushed with tags. [Pre-quake] I think I can recall a few of those characters he painted standing out and a piece of his, I think on Bedford Street, although I had no clue who it was at the time, and at that age I never really paid much attention. I think [his] main impact has been indirect. He influenced people around him, who in turn influenced the people below them and so on, until it reached myself and the people I grew up with, a trickle-down effect, I guess. Of course, as I became more involved in graff, I became more aware of who he was and how much of a pivotal and influential person he was to the scene.” – Vesil (FOK, TBE)
Even if it wasn’t a mentor role in the more hands-on way you guys do with workshops or the Black Book Sessions, was he the sort of guy to have conversations with or give advice to younger writers? Or was he just interested in what was going on?
Ikarus: I can’t say how much he was talking to some of these new writers in the last few years, but it’s not like he was a stand-offish guy at all, if people approached him to talk to him, he would have talked to them. I’m a bit of an old man about things now because I’ve done so much mentoring stuff, I definitely talk to some of these young dudes and I’ll be like, this part may not be good for you, or if there’s disagreements between some of the young dudes I’ll try and work that shit out because I know we’re all just trying to do our thing at the end of the day. But I think with Jungle it was more lead by example. I think even if he wasn’t saying anything to you, he was the kind of guy you would watch. His magnetic personality drew people to him.
After Leon passed, I got a message from a dude who now is in his thirties. He shared a memory from back in the early 2000s, when he was a teenager, we’d all been at this wild party in the hood. This kid and his friend had to walk home. We asked them where they were going and they said back to Waltham. Jungle was like, you two can’t fucking wander through the hood, you’re going to get jacked before you even get down the road, you guys just have to come to our house. I think we were flatting together at the time and we made them stay with us so that they wouldn’t just wander out in the hood and get jacked. I don’t remember it, but when he told me about it, I was like, well that sounds like something Leon would do. So, little things like that, not even necessarily any big life changing moments where Jungle would have sat a dude down and said look this is where you’re headed, because I think he would have felt that was corny and it was out of his jurisdiction to sit down and tell someone how they should do things. But he was just a dude that led by example and that little act of kindness was a big deal to that guy as a kid, he said it was really cool that these two dudes looked out for a couple of little tagger kids.
“At the time, no we didn’t [think about influencing the next generations]. In hindsight… I’m quite surprised at how many different people were influenced by what we [had] done. [I]t’s awesome to see, especially with the progression of what [DTR] are doing. Legal pieces, [I] never thought that would happen…” – BlackE
“I didn’t really ask for advice in the traditional way, we would just be talking, conversating about things and I’d bring things up and he’d give me his perspective on it or what he thought about it, and I don’t know if he knew, but I’d just go off and do what he said or I’d take it on board and apply it in some way…” – Kurs/Horra
“He never treated me like he was above me or like it was some sort of a mentor thing. We were just mates, he liked me because at the time I was just the young gunner and [if] people fucked with me, I wouldn’t just cap them out, I’d fucking go knocking on their front doors, or would start burning their letter boxes, or tag on the front of their houses, you know, he loved that shit…” – Kurs/Horra
“I don’t know if he knew that he had influence on the people, the Jungle I knew he was just all about hanging out with the cuzzies, hanging out with the close ones, you know, the day ones. I’m not going to try and speak for him, but I just feel that he’d be like, meh, fuck, whatever you’re a bundy, what are you up to cuzzies? Because that’s the way he was, before he was a tagger, he was a Crip.” – Kurs/Horra
Nothing exemplifies Jungle’s influence on Christchurch graffiti culture more than the number of tributes painted on walls around the city, from small tags to pieces and productions. Were you surprised though at how widespread those tributes were?
Ikarus: No, not really. I think he would have been pretty blown away by it, especially the different level of tributes, not just murals, but with younger dudes, probably some who didn’t even know him, painting as well. I mean there’s probably a certain amount of it being a little trending episode in Christchurch graffiti, catching a bit of clout for doing some RIP Jungle tags, but the fact is so many people over all these generations had been influenced by him in such a number of different ways, whether it’s tagging, graffiti, characters or just his general personality…
“Leon would be both shocked and honoured with all the tributes. He always would say how proud [he was about how] graf has evolved… And he always showed gratitude for being a part of it.” – BlackE
“He’d be blown away… to just see that amount of love, because I don’t think the cuzzie felt loved outside of his tight ones. I get all emotional when I see it. [I]t’s like that fucking legendary shit, like that is what they did when Tupac or Biggie or Nipsey or some famous hip hop dude died, started doing murals of them, so he’d be rapt.” – Kurs/Horra
“I think all the tributes are awesome and even young guys from younger generations have painted pieces for him, and he totally deserves that respect from everyone in this game.” – Lurq
“He would be stoked for sure [about all the tributes], but he was so humble that I feel like he’d probably be like, nah, you don’t need to go to that trouble! I wasn’t at his funeral but that said a lot about the culture that he was in and the amount of people that had the utmost respect for the dude, and that respect goes way beyond just him as a person in a lot of ways, it’s kind of like he really has become this crazy legend now, people would tell stories about him…” – Dcypher
“All the smaller [memorials and tributes] are just as important too, it’s just that sign of respect for somebody who birthed a lot of people’s styles and his influence, it’s a fitting way to show appreciation. Even though he didn’t paint in those last years of his life, it doesn’t matter, it didn’t take away from [the] status he had…” – Yikes
Out of all those tributes, do you have a favorite?
Ikarus: Totally, one of my favorites was by our friend Kalis from DMN TNC crew in Auckland, he was in Chile at the time and he painted a beachside spot with a Jungle piece, so the far-reaching aspect of that is super dope. That one would blow Leon away, he would have been like, fuck yeah, this big dope big blue Jungle piece in the middle of Chile by the beach somewhere! I know when a few of his family saw that, they commented on how cool it was. Another friend of ours, Phome, an Aucklander who lives in New York, he just rocked a RIP Jungle tag on the street somewhere, he’s not involved in graffiti so much anymore, but he went out and did that. There were some of the freights and trains that Sewer painted, and some dope tributes including stylized versions of Jungle’s characters by Weks, there were crews around New Zealand, like Triple S crew all rocking a bunch of Jungle pieces and some hip-hop style characters representing Jungle, the TMD guys up in Auckland doing a tribute, those are some that stand out off the top of my head. There were a few internationally well-known dudes that did pieces as well and that was super dope. I was randomly watching a Sofles Instagram Live video, he was just rocking a bunch of different tags on Procreate or something, I didn’t know it was about to happen, but as I was watching, a RIP Jungle and a couple of Jungle tags came up, so that shit was super cool.
The biggest single tribute is the production that the DTR crew painted to mark the anniversary of Jungle’s passing. Obviously, you guys had painted numerous tribute pieces prior to that, but that one was massive…
Ikarus: It’s just something we wanted to do as a crew. It was along the same lines as all the stuff we had been doing for the year prior. The general thinking was that we’re here, we’re still thinking about you, we’re still keeping your legacy alive. But on a more meaningful level, the anniversary was coming up and I know that members of his family all appreciate it and appreciate having that place to go. They actually met up there on the morning of the anniversary, they took a photo of twenty-odd members of the family in front of it before they actually went out to the Marae. We started it a couple of weeks before the anniversary and I made sure we had it all done before the actual date. It was obviously such a big life event for a lot of us, we wanted to involve all four of the full main members of the DTR crew, painting in our various styles, writing Jungle’s name, or Autism, which is another one of his aliases, and obviously the character portrait by Wongi and the portrait of his dog by Dcypher. It was really just the same mentality of the smaller productions we had painted, but on a grander scale to mark the passing of that period of time in our life and again, just also for that aspect of having somewhere for the family realizing and seeing Leon’s impact.
“More than anything, it was really cool to do [the tribute wall] for his family in that [monumental] scale and to the extent that we went with it. I’m pretty sure he would have been pretty hyped on it, having his face up on a wall that’s pretty damn realistic. That’s not obviously the first one that we did, [we] did one as a crew behind Embassy as well, that was sort of the start of it, [but] we always wanted to do something way bigger, it was always the plan for around the anniversary of his passing, so to do it, to be able to get it done around that time was really good, it was fitting. It was a big project to do but it was cool. But most importantly it was for his family.” – Yikes
What would he have made of it?
Ikarus: He would have been super emotional about it. When we did the Hereford Street Colombo corner, Wongi painted a stylized portrait of Jungle, with the house he grew up in incorporated into it, and that was a super big deal to Leon, it definitely meant a lot to him, so all this shit would have blown him away, he would have been super amazed…
He is a central element of a real lineage. It isn’t copied online, his legacy gives the city a real history of this culture before it became what it is now, which obviously is amazing, but slowly there’s a distance between the roots and what’s happening as well. It doesn’t have to be reframed through some positive lens to be impactful, the reason people like Jungle are important is because they represent a different approach…
Ikarus: As much as we already know his impact, there are a bunch of people that don’t. The hardest part for a bunch of people to grasp is the idea that a teenage kid, thirty years ago, running around with his friends getting drunk, smoking weed, writing their names on the back of buses and spraying their names on a bunch of public surfaces, is directly and indirectly responsible for, at least in our little section of the world, a large amount of what happens in the city now. Christchurch has got a crazy amount of street art and murals now. Graffiti evolves anyway so I’m not saying that it wouldn’t have been something, it probably would have existed anyway, but if you look at even the smaller towns around New Zealand as an example, some of them are years behind because they had to wait for the Internet to catch up, even Auckland and Wellington had a ten year head start on us, but that’s the coolest part of it all, basically, the murals, the memorials, the tagging, the vandalism, and the article itself, the discussions, people talking about it, it keeps the memory alive…
“It is what it is, there’s no shit being shined, he is what he is because he was who he was…” – Yikes
Based on everything that has happened, what would you say to Leon now?
Ikarus: I fucking told you! I told you fifteen years ago before most of this shit existed anyway! When it was still really graffiti, not necessarily with this big new age street art link and everything that has led to all of this, but even back then the influence that he had on straight up graffiti, and just straight up people, he wouldn’t acknowledge that at the time that I told him. People’s essence and spirit and energy is still with you in the universe, so, I would tell him: I fucking told you!
“If I was to ever to have a brother in my life, Leon Nga Miraka Hopa Te Karu is my brother. Love Jungle 4evaaa haaarrdd!” –BlackE
“Long Live Jungle” –Kurs
“R.I.P. King Jungle THC” – Lurq
“RIP Jungle, King of Kings”– Flex
“R.I.P. to a King.” – Omes
“I’m not really sure of the extent of his influence, I’m out of the loop, but he had a massive impact on me and my friends and he has left a massive void in people’s lives, I’d say.” – Fiasko
“Much respect due to the humble king with an unforgettable personality, a true pioneer of Christchurch urban culture.” –4Higher/Pest5
Thank you to all who contributed to this piece in tribute to Jungle.