A Nice Trip to the Beach…

We are excited to announce a summer series of New Brighton guided street art tours! Watch This Space has already established central Christchurch street art tours, with hundreds of guests joining us to explore the art within the four avenues since 2019. Now, in conjunction with the New Brighton Outdoor Art Foundation, our tours will journey out to one of the city’s most vibrant suburban settings, the beautiful seaside village of New Brighton.

Ikarus and Ysek below Joel Hart

Although New Brighton has faced a litany of challenges over the years, from the economic downturn with the arrival of mega malls, to the damage of the Christchurch earthquakes, art has been an undeniable presence – brightening walls with evolving works that have often reflected the indomitable community spirit of the area! While today, the beautiful Pier is accompanied by the bustling children’s playground and the popular He Puna Taimoana hot pools (and a brand new surf life saving club to boot), since 2012, the dilapidated walls and empty spaces have been filled with art.  From the 2012 event Mural Madness to the 2020 New Brighton Outdoor Art Festival – art has been at the heart of so many aspects of the village’s revitalisation. The art found in New Brighton is not as pristine and curated as the central city, where there is an increasing sense of input from power brokers, instead it is more organic and experimental, and at times challenging, with traditional graffiti a prominent part of the artistic profile with legal walls and collaborative productions. But that makes it all the more interesting and authentic – it is the art of action!

Welcome to Orua Paeroa, by the Fiksate crew and the New Brighton Community

With free tours spread across January and February, now is the time to book in and explore New Brighton! Perfect for locals who want to celebrate their neighbourhood or for visitors who will find a ‘new’ New Brighton, our tours are available for all ages!

Email tours@watchthisspace.org.nz for booking options and we will see you at the beach!   

Tour dates:

12pm, Saturday, January 22nd (almost fill, less than 3 places available!)

6pm, Thursday, January 27th

12pm, Sunday, January 30th

6pm, Thursday, February 3rd

12pm, Saturday, February 5th

12pm, Sunday, February 20th

The New Brighton street art tours are an initiative between Watch This Space, the New Brighton Outdoor Art Foundation and ChristchurchNZ.

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Nick Lowry, teethlikescrewdrivers, Bloom n Grow Gal and Bols @ the BOXed Quarter

After a week of rain fall and grey skies, the sun returned just in time for a group of local artists to add to the already impressive collection of art on the many panels of the BOXed Quarter on St Asaph Street. Nick Lowry, teethlikescrewdrivers, Bloom n Grow Gal and Bols each brought their own styles to various panels throughout the complex, joining works by Wongi ‘Freak’ Wilson, Joel Hart, Meep, Chile One, Newen, YSEK, Mark Catley and more. Inside, Bols stencilled a multi-layered grey-scale text piece, reading ‘The kids round here live just like shadows’, a line taken from Bruce Springsteen’s epic Jungleland, while Bloom n Grow Gal’s flowers took root on nearby panels, boldly outlined and oversized. On Madras Street, teethlikescrewdrivers played off the existing buff patches to create a colourful swatch of squares and line-work pencils, bright colours buzzing against the rich ochre background. Around the corner, Nick Lowry went big, with a three-panel high piece featuring the evocative image of an eel wrapped around a bone, the background a shift of green tones. Reaching the top of the building, Lowry’s work is visible from far down Madras Street, a new beacon of the BOXed Quarter’s vibrant walls.

Let us know about your favourite new works around Otautahi by commenting on our social media, or send us an email at hello@watchthisspace.org.nz!

 

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Black and White – A Photo Essay by Graeme Russell

We first noticed Graeme Russell’s photography on Instagram, his striking black and white street imagery bringing to mind the observations of a flaneur, distanced yet right in the heart of the city. Street art has been a recurring subject of his photographs, often exploring close up details, re-framing larger works as disconnected and intriguing snippets. When we asked Graeme if he was interested in putting together a survey of his images as a photo essay, he revealed he was about to move to Oamaru. It therefore made this piece a fitting farewell to a city that the photographer has come to adore for the creativity on its streets…

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As a recent newcomer to Christchurch (I guess three years makes me a newcomer?), one of the things that I absolutely adore is the vast array of street art around town, it brings the city to life and adds a new perspective to the city. Those behind the art deserve a huge pat on the back. Almost daily I pop out with my camera to capture what is going on in town, what is new on the walls and, of course, on the lampposts.

Seeing something new around town brightens my day and gives me inspiration to shoot. Watching the looks on people’s faces when I’m taking pictures is interesting – they vary from smiles to a look of disgust, people commenting that I am encouraging graffiti.

For those not familiar with the Christchurch street art scene, it’s awesome. It brings the city to life, and every piece around town has a story to tell. So, if you’re in Christchurch or visiting from out of town (or when travel restrictions ease, from offshore), put on a good pair of walking shoes, wander around and take in the work of street artists. It is certainly worth your time!

People often comment about my photos on Instagram, saying that the content is great, and how they wish they had something similar in their town. I truly believe we need to get out there and encourage local artists to get to it and start producing art to liven up the streets of towns around the country.

So, what images have I taken that I want to share with this post? Yikes, I guess sharing 12,000 images isn’t possible, so here’s a small sample for your viewing pleasure…

P.S – Since being asked to contribute to this blog, I have moved to Oamaru, so I guess this is both a welcome and a farewell post. Thank you for the opportunity and an even bigger thank you to all the street artists who have enriched my viewing pleasure around Christchurch.

Follow Graeme on Instagram and keep an eye out for more photo essays!

If you would like to contribute a photo essay, drop us a message on social media or email hello@watchthisspace.org.nz 

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And That Was August 2021… with Mitch Barnard

When I asked Bear Trap drummer Mitch Barnard to compile the And That Was… for August in mid-July, things were relatively normal. Then, things got… difficult. Lockdown made it tricky to make a list of things Mitch had enjoyed around town, any plans for gigs, exhibition openings and general revelry were kibosh-ed. But with the steady hands that are a prerequisite for percussionists, Mitch soldiered on. While this entry of And That Was… is a bit different, it still gets to the heart of what this column is all about – celebrating our city and its treats, be they art in the streets, beats, reads or feeds. Alongside his musical exploits (check out Bear Trap’s anarchic anthem Bad Boys and it’s amazing lo-fi video), Mitch is well-known face in the local hospitality scene, slinging fine coffees at Grain, and here, he pays his respect to what some of Ōtautahi’s best eateries have been doing in these challenging times…

So here we are again. All seemed well in little old New Zealand: beers at the pub with ya mates, nights out with your partner, life was pretty normal… Until BOOM! Lockdown is back again.

When I was asked to write this wee piece I was super excited as there were a ton of events that I was looking forward to covering, but that’s the hand I’ve been dealt hey. From art exhibition openings to local bands playing gigs, August was looking alright. Adjusting this write up on the fly, I’ve decided to just write about a few Christchurch restaurants and cafes that I love, covering how they adapted their menus to work within the Level 3 Covid19 regulations and reminding you all to support them!

5th Street

The restaurant 5th Street is photographed at night from outside.
5th Street’s lockdown sandwiches receive the praise from Mitch (Image via 5th Street’s Facebook page)

Down the industrial end of Durham Street in Christchurch, 5th Street changed to their menu completely and offered up takeaway sandwiches. Anyone who knows me knows I love a good sandwich, so as soon as I saw this I jumped on it and ordered right then and there.

Nashville Hot Chicken, Philly Cheese Steak and Eggplant Parmigiana were my choices and all three were outrageously good! Quality ingredients put together by quality people, that’s a winning combination I reckon.

Caffeine Laboratory

A picture of a delicious fried chicken burger
Cafe Lab’s Fried Chicken burger was a winner for Mitch… (Image via Caffeine Laboratory’s Facebook page)

I decided one Saturday to cycle down to the legends down on New Regent Street to sample one of their breakfast toasties I saw posted on Instagram (takeaway, of course!). Boy was it banging!!! Soft scrambled egg, beautiful house cooked leg of Ham, pickles, cheese, this guy had it all. I washed it down with a simple long black (coffee by Lyttelton Coffee Co.). It made for a pretty damn good Saturday morning.

Saturday night I returned to try their Fried Chicken burger on the recommendation of a good mate of mine. I was not disappointed, a really good burger not dressed up to be something it wasn’t. Simple, honest and bloody tasty!

Child Sister

Some barista's prepare coffee inside the Child Sister cafe
Child Sister is one of Mitch’s go-to cafes in Otautahi (Image via Child Sister’s Facebook page)

This list wouldn’t be complete without a shout out to one of my favourite cafes. This place hits the spot every single time and I always leave feeling better than when I went in. My go-to order is a long black and a Kimchi three cheese toastie. I’m aware this list is very carb heavy, but how good is bread! Also you can find a pretty good slice of lollie cake at Child Sister too.

There’s many places I haven’t listed in here but these three are just the ones that are fresh in my mind.

To anyone trying to run a business in these weird times, hospo or not, my hat goes off to you. Keep going! We’re behind you!!

Anyway, I’m off to watch the Alert Level update on the telly now, if you’ve made it this far thanks for reading!

Check on your mates, check on your family and SUPPORT LOCAL!!!

Follow Mitch and Bear Trap on Instagram and support local hospitality!

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And That Was… May 2021

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

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

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

Gary Silipa’s UFO Slaps…

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

Mark Catley’s Ascending Freak Angel

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

Jessie Rawcliffe’s Marriage of Figaro Mural

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

More: The Show

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

Our favourite doorway…

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

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

 

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The Diaries of the Mundane – A Photo Essay by Sofiya Romanenko

I first came across Sofiya Romanenko’s photography at the exhibition More – The Show, a group show of local female artists held at the Boxed Quarter. I was immediately struck by her recognition of the beauty found in the urban mundane; a bundle of stacked shopping trolleys forming a striking geometric huddle with horizontal and vertical lines transforming the everyday and overlooked into an object of interest. Having moved to Ōtautahi Christchurch from Moscow, Russia, Sofiya’s photographs are not simply a record of a universal urbanity, but a process of coming to know one’s surroundings, grappling with the unknown and jarring elements of a city that is constantly shifting as it sets about re-asserting its identity. The Diaries of the Mundane display an undefined poignancy, still moments of reflective observation, we stand on the threshold, looking in and yet a step away…  


The Diaries of the Mundane

I moved to Christchurch from Moscow, Russia almost five years ago, but until very recently our relationship could be described with a very specific image of a curtsy nod, accompanied by an awkward tight-lipped smile that strangers here give each other upon accidentally locking eyes in a public setting. Not that I knew Moscow any better, but that’s simply because I was acquainted with it just enough to not want to delve any deeper. Christchurch though – it has proved a whole other story.

It’s taken me a while to “get it”. To embrace the unsightly, the uncomfortable, the ugly. To recognize the potential behind each broken window, rusty fence, deformed road cone. To take in the rugged textures, clashing colours, confronting details. To finally start relating to it all. It happened at a time of great uncertainty in my life, when lone walks through dingy alleyways and railway tracks became a mental escape from the dreaded shadow of the future, side-eyeing me from each corner and gnashing its teeth in anticipation of swallowing me whole. It was around the same time I started revisiting my old hobbies, trying to reconnect with the “self” I had seemingly lost somewhere along the way of springing into adulthood, and a long-forgotten but quickly remembered skill in film photography came about as the perfect accompaniment to my wandering antics.

Christchurch and I still have a long way to go – for instance, I can’t learn its layout to save my life. But we get closer each time I capture yet another beautifully mundane part of its day-to-day as an ongoing diary of the city’s ever-changing nature. Eventually, all of what I photograph will disappear; replaced by shiny new malls, painted over for the sake of uniformity, gentrified to appease the upper class – all of it will be wiped out without a shred of doubt, the eyesores finally gone. But it will forever remain on film as a comforting reminder that nothing is ever truly gone as long as you’ve got some lonesome lunatics running around with old school cameras taking photos of literal trash.

To see more of Sofiya’s photography, follow her on Instagram: @chchasti

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Dr Suits – Crossings @ The East X East Red Zone

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

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

The finished Crossings in the East X East red zone

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Ghostcat’s Shadow Town @ Fiksate Gallery

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

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

All photos by Charlie Rose Creative.

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Mike Beer – Tiny City

Mike Beer makes things. He makes really cool things that evoke a nostalgic or experiential sense of connection. His intricate miniature builds of pop culture objects and more recently urban spaces, are undeniably inviting in their detail. I first became aware of Mike when he presented the team at Fiksate a collection of miniature objects – a tiny crate filled with nostalgic vinyl records and an ornately framed recreation of a painting by Nick Lowry. They were irresistibly cool. But it was when I saw his recreated urban environments on his Instagram feed that I was completely blown away. The spaces that I have always cherished, the liminal and peripheral spaces that are infinitely attractive to urban artists and explorers, were presented in miniature form, yet their small scale was still packed with fine details that made you double take to ensure you weren’t actually scanning the real world. As his productions continued to impress, my interest grew and I knew I needed to find out more. I was lucky enough to sit down with Mike and talk about his work one Friday morning (we followed our chat with a spot of bando hunting). If his work was immediately endearing, the artist himself proved equally so; a bundle of friendly, enthusiastic energy. His thick Brummie accent (Originally from Birmingham, Mike has lived in Christchurch for 15 years) adding an additional charm. As we talked it was obvious his scratch builds had a longer lineage, one that explored personal connection to place. If I was immediately charmed by the memories evoked in his builds, it was apparent he also understood this potential, imbuing his work with much more than simple, skilful imitation…

I imagine as a child you were into making things…

I have always loved horror movies. When I was about seven, I had this fascination with the Alien egg, you know the way it used to open? I just thought, I’ve got to make that! So, I made this thing out of chicken wire and paper-mâché. Looking back, it was hideous, but I was only a kid, and I loved it! From then on it was toy models, all movie related stuff, really. I guess since then I’ve always been interested in making stuff and using different mediums. But it was only later in my life that have I done it as a career. When a position come up at the Court Theater as a prop technician, I was just like, I’m getting that job! I knew a lot of people would be gunning for the job, so I was thinking about how I could stand out. In the end I made this giant tombstone, with a skull with a jaw that opened. I engraved the Court Theater on the tombstone… It sounds a bit excessive, doesn’t it?! [Laughs] It cost me like $400 to make! Then I wax stamped my CV and put it in the mouth of the skull. I remember going up to the reception to drop it off, and they were like, just drop it here. I said, actually, it’s just outside… So, we walked outside and here was this massive fucking thing. They must have been thinking, this guy’s weird! [Laughs] But it got me that foot in the door for the first interview. It was the strangest interview as well. They gave you a bunch of bits and bobs to make something within half an hour and then explain what you had created. I thought it had gone really badly, but I went for a second interview and got the job…

For that type of job, actually making something seems much more important than talking about it, right?

Definitely. But I mean, for me, when you’re on the spot, it’s really difficult. It was random stuff too; there was a lid from a milkshake container, there were a couple of plastic dice, a straw, a balloon… You know when you’re panicking and you’re like, oh no! So, I’m just sticking this Plasticine onto a balloon and I made this thing, it was just like a lump of shit, and they were like, ‘So, what have you made?’ And I remember coming up with: ‘A time machine?’ [Laughs] There wasn’t much that you could do with that stuff, but in the end, I guess using my imagination actually got me the job…

Do you have any formal training in any visual arts or practical arts courses?

No. I’ve always made stuff, but I’ve never gone to college. It’s always been a passion and I have always been self-taught. It’s interesting because some of the most brilliant artists I’ve met don’t necessarily have qualifications. Don’t get me wrong, there are amazing artists that do, but there are also amazing artists that don’t have educational qualifications, you know, and that’s kind of my path too…

Staveley Market scratch build by Mike Beer
Staveley Market scratch build by Mike Beer

I imagine with scratch builds, it is constantly about problem solving and thinking outside the box, so a willingness to learn new techniques and break from convention must be important…  

Yeah, it’s a big thing. That creativity to think freely rather than being constricted is important to me. I’ve never really enjoyed working, I mean who does? But especially when I feel constricted and not engaged. To be creative is so important to my state of mind, it is what keeps me going, you know? Like you said, when you have enough freedom to just mess around with stuff and make lots of mistakes, that’s how you get better. If you are constantly doing stuff, you are constantly getting better at what you are doing and you are going to push past those boundaries. Without sounding cheesy, I also think it’s important to grow as an artist, to take criticism and to listen to others. Growing up I’ve always had friends that have been artistic, and you learn from other people. I think you hit a stalemate if you think your work is at its peak. It never is. Unless you can take criticism on board, you’ll never grow, you’ll never improve…

I imagine the online world is helpful for inspiration and learning new ideas, but it is different from a real network of other creatives to bounce ideas off…

Since I’ve lived in Christchurch, I’ve met a really close-knit group of people, and I’ve learned a hell of lot from them, so I suppose without them I wouldn’t be doing what I am doing. My god that sounded really cheesy! But yeah, you’re right, you need people like that along the way…

The first examples of your work I saw were the miniature objects at Fiksate, little record crates and tiny framed paintings, when did you start that approach?

That was about three years ago, after leaving the Court Theater. I was like, you know what, life’s short, I want to do what I love, and I love the movies and I love making stuff, so I’ll start making miniature stuff. Weirdly, because you know what it’s like with an artistic brain, I started making teddy bears with horror faces, I don’t know what I was thinking! [Laughs] But I did that for a couple of months and then I started doing key chains and they turned into retro VHS key chains and people wanted them and it grew from there to become Monster Mailman, an online store, basically. [Mike recently passed Monster Mailman onto new ownership] It took me on a journey, but it didn’t extend me enough, it didn’t challenge me as much as I wanted. But it was a gateway into what I’m doing now, I was just fascinated with the city and the art in it, all the rusty grimy buildings. It’s all connected, and I think I’m at a point where now I know this is what I was meant to do…

Freddy Krueger himself, Robert Englund, with Monster Mailman merch.

Were you doing any set work at the Court Theatre?

There was a little bit of set, but it was mainly props. It was a kid’s dream job, on the first day they needed me to paint 20 Nerf guns for Hamlet. Then I had to make a beating heart, it was ace man. I worked on some wicked shows, but you are still restricted to doing stuff for other people, if that makes sense, which is great but…

One of Mike Beer's 'Do Not Press' buttons applied to central Christchurch streets. When passersby could not follow the advice, and pressed the button, sriracha sauce oozed out...
One of Mike Beer’s ‘Do Not Press’ buttons applied to central Christchurch streets. When passersby could not follow the advice, and pressed the button, sriracha sauce oozed out…

You are still making it to fit someone else’s narrative, whereas when you’re doing it purely for yourself, you are creating the story yourself as you make something. I ask about set making because to me the latest builds suggest occupation and activation, especially as real spaces where moments have played out like performances. Every space we encounter has meaning to us, even if it is only momentary. Is that something you think about with these builds?

Deep question! Yeah of course, obviously it’s all about connections, isn’t it? Going back to Monster Mailman, even that was about people’s connections with movies and the memories they create. We connect with things throughout our lives, so I suppose through the core of everything, that is what I hold onto the most – those connections, that nostalgia and the things that bring people to life, you know? Like, do you remember this? Or when we were doing this? Those memories and connections are what keep us going and that’s what life’s about. You find that in the city, you know, these buildings tell a story because of what they’ve been through, the art that’s on them and that’s what connects with people. It’s a million people’s lives through one lamppost, and that is magical man, it’s insane…

It’s been heightened here in Christchurch because many of the spaces that were colored by our memories and attachments have disappeared, so recreating those spaces in your scratch builds, there’s something really powerful in that.

There really is, even the smallest thing, like remembering that movie you watched as a child when you see it on TV, and that’s what I’m trying to incorporate by making stuff around the city.

A scratch build of a well-known Manchester Street wall.
A scratch build of a well-known Manchester Street wall and the real thing above for comparison.

So, what was your first build, something that you had encountered in real life, or was it based on a photograph?

It was based on a photograph. There’s an artist, Joshua Smith, I love the guy! There’s lots of other artists who have inspired me, but with Joshua’s work, there was just something that made me think this stuff is incredible! I felt a connection with his stuff, even though I had not been to the cities that he recreated buildings from, I got it, you know? I instantly got it and I was like yeah man, that is going to be me in a couple of years, that’s what I want to replicate. I actually managed to get in contact with him, which was amazing. I love the city. I’m a city person. I’ve tried to live in the country, for me it sucked, but that’s just my experience! But the city is everything to me and it’s like what you see when you wander around a city, as opposed to driving or going straight to a location, it opens up a whole new world, and that is what I want to replicate and get people to feel that.

An EnviroWaste skip scratch built by Mike Beer (not visible, the tiny Belton spraycan and 'Longest Shake in Town' milkshake cup)
An EnviroWaste skip scratch built by Mike Beer (not visible, the tiny Belton spraycan and ‘Longest Shake in Town’ milkshake cup inside)

I’m a terrible driver around cities, my girlfriend is constantly telling me off because I’m always scanning around looking out for new graffiti or art…

You’re on the wrong side of the road again! [Laughs]

Mike Beer's playful addition of 'bronze' dog shit to the long-standing corgi sculptures on High Street
Mike Beer’s playful addition of ‘bronze’ dog shit to the long-standing corgi sculptures on High Street

Exactly! But when you’re walking, you have that freedom. You can take a turn at any time. There’s something about being surprised and I think that again ties into the idea of being connected to space, because even if you’re replicating an environment that is seemingly inconsequential historically or civically, as long as that space has one little memorable tag, if you’re that way inclined, it is meaningful, because there’s a spark of recognition of its uniqueness…

Yeah, it’s huge and those tiniest of things, whether it’s an upturned tile, a paste up of a little gnome or something else, it is so unique. Once I was in town waiting for someone, at those dandy lion fountains [The Town Hall], and I saw the corner of this concrete building and someone in crayon had written ‘Déjà vu’ and I just had to get a picture of that, because I realised that it only existed right there…

You automatically think who? Why? How? It is a sign that someone else has been in that moment. It’s like the end of Stand By Me where one of the characters fades out as they walk away. It reminds us that there are all these layers of time in any place, that cities are made up of so many voices over time.

Don’t! You’re getting me man! [Laughs] The feels! [Laughs] But yeah, it’s multilayered, with voices that once existed but don’t anymore. That’s beautiful.

And again, here in Christchurch we’ve been exposed to all those layers because things have been broken and fallen down and those spaces have almost invited people to leave their mark, so what normally takes generations, has occurred over this much smaller period of time…

Yeah, that’s right.

Out of everything you have built, do any stand out for capturing that sense of loss or change in the city?

In regard to making something that doesn’t exist any longer? I’ve not actually made anything yet that’s disappeared completely, well apart from the wall with the Band-Aid paste up on Manchester Street. I did a build for my lovely mate Evan from Dead Video. Me and him share those connections from classic movies and old VHS, they inspired him to open Dead Video and me to start Monster Mailman. My dream has always been to work in a video store, and he let me work in Dead Video a few weeks ago for a couple of hours! Here’s me sat there, gesturing to people like, come in! [Laughs] I was in my element! He’s done this amazing thing where he’s brought this shop back and so I scratch built where he started Dead Video in a garage in Lyttelton. He finally moved to London Street recently, where he’s always wanted to be, the shop looks amazing. So, I built his original garage front store with the roller shutters and the tin iron roof. I even did the lights on the front. I’ve got to wire them up actually. He’s ripped out that store, but that was the start for Evan, it was magical and gave people so much joy because of what his store recreates. And now something that I’ve made and that he’ll have forever will hopefully remind him of that start and how far he has come, unless it’s on Trade Me, you never know with Ev!

The artist holds his scratch build of the original home of Lyttelton's Dead Video in front of the real thing
The artist holds his scratch build of the original home of Lyttelton’s Dead Video in front of the real thing

I remember the front of the old store was decked out with movie reference paste ups as well, which brings up the way urban art features in a lot of your miniatures, from the Band Aid paste ups to the doorway covered in work by the Slap City crew, did you have a connection to the graffiti and street art worlds prior?

I’ve always appreciated it. But it’s one of those things that I’ve always looked at from afar. It’s strange, I know there’s a divide with tagging in any city, but for me, it tells a story, you know, even if it’s in a place it shouldn’t be, I just I like that… It’s that connection. When I’m building stuff, I’m not interested in anything that’s modern because it has no character. It has no soul. For me, it’s all about buildings that have been through something, that have taken a battering and outlived us. And often they have got other people’s art on them, they become a representation of all the artists that have tagged them. They have stories to tell. I couldn’t do anything that was modern because it seems pointless to me…

Mike Beer's scratch build of one of the post-quake Band-Aid paste-ups by Dr Suits and Jen
Mike Beer’s scratch build of one of the post-quake Band-Aid paste-ups by Dr Suits and Jen

Again, it is about that layering, by choosing sites that feature graffiti and street art, there is the suggestion of the ability to reimagine the city, which is what you’re doing in a way. One of the things with how heavily buildings and public spaces are designed now is how they deny organic subversion. Urban art has always been about challenging that; skateboarding around the city is a way to change the designed use and the same with guerrilla artists making use of spaces and subverting them by seeing them in a different way.

It’s like putting a glitter ball in a forest isn’t it? Those modern buildings, for me, they’re just ugly. I understand they serve a purpose and we’ve got to rebuild, but you’re right, they are a little bit soulless. It sounds a bit harsh because obviously the people who built them probably don’t want that to be the case, and it is rebuilding the city, but they just don’t have that character, that feel…

Going behind the curtain a little bit, what’s the actual process of a scratch build? When I look at some of your pieces, I’m instantly drawn right in, getting as close as I can, looking at the amazing detail. The brickwork, the concrete, the rust, they invite that inquisition. But how do you do it? Or do you like to keep a veil of mystery?

The rust! I’m going to get weird now! [Laughs] I do think it’s really important to share certain skills with anyone who wants to know. It’s all about passing it on. I’m never too veiled with information. I know some people keep it to themselves because they don’t want anyone else making what they make, but I think it’s important to share as much information with other artists as possible. Art is to be shared, it’s not just a ‘me, me, me’ thing…

Mike Beer at work on a build
Mike Beer at work on a build

That becomes a two-way street as well, right? The more you share, the more people share with you…

Exactly, and beautiful things get made if you do that. It opens a whole new realm of people making lots of cool stuff. With my process, I found the devil is in the detail. If you make a brick wall it’s easy to paint it brick color and then just paint the grout grey and leave it, but it doesn’t have that authentic feel. I’ve literally got to grout the bricks. I even go into the garden and dig up soil and mix it with water, then when I finish the piece, I paint it with the soil in places to give a dirty look. You’ve just got to layer it and you’ve got to make it look as authentic as possible. It’s almost like you’re recreating it as it would have been made. With the door with the Slap City paste ups, I’d not seen it in town, but I’d seen Teeth Like Screwdrivers’ post on Instagram, and I was like, I’ve got to make that. So, I started the process. The brick work was difficult because it was stone, but I managed to figure it out. It’s all just angles and cutting in, and there’s little things that you learn along the way. I didn’t know how to recreate the plywood because it has been in the open and it’s stained. It’s got that heavy grain, which you don’t get when you buy small pieces of wood for a scratch build, so for ages I was racking my brain. Eventually, I just got a soldering iron and I thought I’ll see if this works. I burned the wood and it worked! I got that grain, but it’s such a process, I’ve obviously got a lot of free time! [Laughs] I drew the grain on, then I just washed it in different washes, and it came through. Sometimes that process takes ages, but it has to look real. I’m still learning as well. Even the rust technique on the skip, I literally found a new technique on how to get that beautiful rust color underneath. Before I was just dry brushing it and it didn’t look as authentic. So, I’m still learning along the way…

The Slap City door from Manchester Street, featuring paste-ups by Bongo, Teeth Like Screwdrivers, Cape of Storms, Vez and more
The Slap City door from Manchester Street, featuring paste-ups by Bongo, Teeth Like Screwdrivers, Cape of Storms, Vez and more

I guess like the psychological layers of a city, there are also physical layers, and they have to be evident for the piece to feel authentic and to actually make that connection. It’s like the uncanny valley with CGI effects, where our emotional connection is stronger to something the more it resembles reality, but when it isn’t quite right, our affinity decreases…

Definitely and that’s what’s great about art, to be able to step back from a piece, whatever piece it may be and question it, that’s great, that’s what I love about art. As to whether it’s negative or positive, I think any kind of reaction is quite visceral and that’s what’s wonderful about art, any kind of art, 2D, 3D, anything. Hopefully the reaction I get from my stuff is that recognition…

You are making real and tangible objects, so what is the next stage for these pieces? Is there a long-term goal?

The long-term goal is to build the entire Christchurch city! [Laughs] All the old buildings and stuff. The goal is to go extravagant, but obviously I don’t want to do anything that doesn’t connect with me. It’s got to connect with me as the artist. I’ve got to love what I make because that shows in what you do. I want to create something that people can just completely connect with on a different level. Since living in Christchurch, I’ve found the people are amazing you know, we’ve been through a lot of shit and are very resilient. I love this city and, it sounds cheesy man, but it’s just a way of giving back with your art in a sense.

A Stop sign build based on an actual street sign in central Christchurch
A Stop sign build based on an actual street sign in central Christchurch

What pieces are in the pipeline at the moment?

There’s the juicy Design and Arts College building on Worcester Street! I have to make that! It’s so detailed when you look closely. I took a picture of it a couple of weeks ago. It’s all bolted up with chains and there’s rust and it’s got all this graffiti and there are paste ups, but then as you go higher you’ve got all these amazing windows. It’s gorgeous. I didn’t realize until I zoomed in on the photo, which I do when I’m trying to get the details, a lot of the windows are smashed and tagged from the inside, but then you look even closer and above the sash windows they have this copper awning, it’s really ornate. But I have to build it so that it looks exactly right, with the wire fences outside, the weeds… everything!

When it comes to choosing buildings to make, do you get inspiration from other people, from their recollections? You obviously avoid the obvious choices, like the Cathedral…

I’m not going to start building the gondola! But yes, I like hearing about people’s memories of buildings and especially the ones that are less known. Known but not known, I guess? I have spoken to a lot of people, like my mate Pete at Gordon Harris, I sat down with him a wee while ago and he was going over older buildings like Wizards, the Java Lounge and Toffs. I can connect with what I can connect with now, but I obviously can’t connect with buildings that don’t exist anymore, so I need to speak to people with regard to that. It’s just that with some buildings, what they’ve been through with the earthquakes, their age, the graffiti, the art, it all comes together.

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Street Treats, Vol. 3

The concept behind the Street Treats series is to reflect the diverse expressions on the walls of the city beyond the large scale permissioned murals, reaching into the traditions of urban art culture’s roots as a subversive, rebellious and independent art movement. Of course, it gets tiresome to use terms like rebellious for an artistic culture that is thoroughly mainstream now, but it is important to remember the potential of these types of expressions as both visual messages and tactical invasions of our heavily designed environments. Commentators (often those attempting to defend the ‘art world’ by dismissing street art, as if they are actually in competition) can often charge street art with a vacuity, and as such a lack of conceptual heft and valid commentary. However, the point is as much about the manner of expression as the content – the act is the message. There are of course exceptions, explicitly political messages that favour bludgeoning bluntness over sophisticated subtlety. The reason for such a decision is another aspect of street art’s aesthetic – the audience must be commandeered – they are not arriving inside a white cube with an idea they will be confronted, but instead engaged in their daily activities, necessitating an immediacy. Of course, in this type of situation, even a lack of message can impact a viewer, by simply adding an air of uncertainty and inquisitiveness to a stroll through a city. To that end, the selections in this volume run from wide-ranging political commentaries to nostalgic popular culture references, and importantly, the intervention into our surrounding environments, making use of the spaces and fixtures that we often take for granted, revealing the potential for transformation…

Don’t forget to share your own pictures from the streets by tagging us in your social media posts with #watchthisspace or #streettreats…

 

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