Back in February, South Sea Spray saw a collection of Aotearoa’s finest urban artists congregate in Bluff. As one might expect, the outcome was an array of stunning works produced around the Southern town. We were lucky enough to get our hands on pictures courtesy of photographer Brian ‘Rowee’ Rowe, with permission from the festival organisers – so, in case you can’t make it down to the glorious South, here is our latest postcard…
April has come and gone and while the year moves at a steady pace, there has been plenty to keep us entertained. Although the weather is getting a little less predictable, it is providing a late flurry of sunshine (at least after the inevitable chilly mornings), extending the window for outdoor activities like painting murals! While there have been a number of new outdoor works to explore, there have also been some very cool things going on indoors as well. Exhibitions like Ghostcat’s Shadow Town at Fiksate Gallery and the Canterbury Museum’s Hakē: Street Art Revealed, have provided popular experiences. As always, we have a recap of what tickled our fancy, compiled as an easy-to-follow list! So, without further ado, here is our And That Was… April 2021…
Ghost’s Shadow Town @ Fiksate
Ghostcat’s Shadow Town was highly anticipated and the crowd that showed up for the opening night at Fiksate were not disappointed. The collection of miniatures drawn from Christchurch’s urban environment were hot tickets, with people drawn to the beautiful intricate details and the associated nostalgia. With just a few days left at the time of writing, if you haven’t made it to Shadow Town, hurry!
Benjamin Work @ The Canterbury Museum
When the Canterbury Museum were presented with a window to reveal the legacy works from the massively successful Rise exhibition, they also wanted to add a new work to the main exhibition hall. Enter Auckland artist Benjamin Work, whose massive, striking floor mural Motutapu II draws from the iconography found on the Tongan ‘Akau Tau (war clubs) in the Museum’s collection. The work adds a new element to the surrounding wall paintings from Rise, highlighting the diverse trajectories of urban artists over the last decade.
TMD x DTR x Ysek X Chile One in New Brighton
On a cold Saturday morning (the night after the Shadow Town opening), a heavyweight collection of artists got together in New Brighton for a painting jam. Local artists Dcypher and Ikarus of the DTR crew, Christchurch-based Chilean artists YSEK and Chile One, and Auckland’s Phat1, Diva and Dyle of the legendary TMD crew, freshened up a popular New Brighton wall with traditional graffiti pieces and characters, creating a legacy of the meeting of some of New Zealand’s biggest talent.
Charles Williams and Benjamin Work @ Etu Pasifika Health
In the wake of the launch of the TMD: An Aotearoa Graffiti Story at The Dowse in Lower Hutt, crew members Benjamin Work and Charles Williams arrived in Christchurch to paint a mural on the new Etu Pasifika Health Centre. The work combines the signature styles of the two artists with a design conceived by fellow TMD member Janine Williams. The background is coloured in a bright blue, black, yellow and white pattern, with Work’s Tongan warrior chief figure on the left couched within the architectural framework, while Williams’ depiction of a Red-tailed Tropicbird soars upwards from the bottom right. The harmonious combination of styles creating an impressive new work for Christchurch.
TMD: An Aotearoa Graffiti Story @ The Dowse
It may not have been in Christchurch, but I couldn’t leave out my trip to Wellington for the opening of the TMD: An Aotearoa Graffiti Story at Lower Hutt’s The Dowse Museum. Combining history and installations that spoke to the culture and roots of New Zealand’s most iconic graffiti crew with a group show of crew members’ contemporary practice, the exhibition struck all the right chords. The additional benefits of seeing the crew members painting murals around Lower Hutt and then as part of a panel discussion topped off the weekend. I highly recommend – go see it!
And That Was… April 2021 – what would you add to the list? Comment below to let us know!
2020. Sigh. I still remember the first day of 2020, the sun was an ominously fiery orb in a grey sky, the result of the marauding bush fires in Australia. There were intriguing stories of a virus outbreak in China. There were rumblings of an escalating conflict between the U.S. and Iran. Let’s just say the markers were there.
2020 just continually threw curveballs. While we spent a lot more time at home (and for some legitimately feared the supermarket), faced massive uncertainty around our futures, and watched the insanity of the U.S. political system play out (t.b.c…) while death counts and infection rates continued to spiral and spike, it is important to look for positives amongst the icebergs, like the vital discourses arising from the Black Lives Matter movement, or our embrace of new avenues to enjoy the things that seemed so far away for much of 2020 (online exhibitions and concerts, and personally, Josh Gad’s Reunited Apart series, where the casts of Back to the Future, Ferris Bueller’s Day Off and The Goonies got back together via Zoom). Good or bad, the effects of 2020 (which themselves extend back far further than those 12 months) will linger far longer, surely influencing our behaviour and output in untold ways, from the way we make art to the institutions that police our communities. Indeed, the relative sense of calm normality here in Godzone is a far cry from distant shores, where 2021 is already following an equally hectic path…
With that reflection in mind, we once again reached out to a heap of our friends to look back over the last twelve months and how their year played out. We asked each contributor five questions; the changes they faced in 2020, their lockdown experience, their creative highlights and the art that mattered in 2020, and their contingency plans for 2021…
Here’s what some of our favourite Christchurch creatives made of 2020…
What changes did 2020 bring for you personally? The biggest change for me personally was a new focus and direction within my Jen Head works, which came about through a friend’s request for a birthday card, that I then developed further over lockdown, and it’s just carried on. It has been a sort of ‘ah-ha’ moment. I’m loving this direction, it’s more simplified and has focus, but with endless options to explore, and best of all, it has been well received. I’m enjoying doing personalised commissions at the moment. I’m loving painting realism again and when combined with the abstract character of my Jen Heads, it creates impact.
The biggest change for Fiksate, is packing up and moving to a new location. It has been a stressful few months, but I’m super excited about the new space, it’s a warehouse style spot [54 Hawdon Street, Sydenham] and we can’t wait to start fresh in the new year.
What got you through lockdown? The fact my three-year-old son, Frank, still takes naps got me through! I could count on those two or three hours for my alone time, to create artwork, to have some space. We packed up a lot of studio material and made a desk space in our spare room during lockdown. It was a godsend. Dr Suits [Jen’s husband and Fiksate co-owner] was working at a large scale in the backyard, but I enjoyed sitting and really focusing. I wrote and illustrated a children’s book, developed my Jen Heads and played with patterns and ideas.
Dr Suits was a massive support and did all the supermarket shopping, but there was never enough beer! Our neighbours were amazing and the North Beach crew in general, we could keep in touch through the fences or distanced walks. Facebook video calls daily with my Mum/Frank’s Nana were also helpful!
What has been your personal artistic/creative highlight of 2020? The start of the year was a banger with the Ōrua Paeroa mural in New Brighton. I was able to take part in Shared Lines, an exhibition curated and organised by Audrey Baldwin and colleagues [Now displayed in the new Spark building on the corner of Hereford and Colombo Streets]. I took part in the Conscious Club’s SDG Exhibition, which was amazing. I also organised Perspective – Women in Urban Art, a line-up full of top female urban artists in New Zealand, as well as international graffiti artist Glam. Perspective was super special, we produced a zine to accompany the exhibition which included amazing insights into the creative backstories, challenges, and successes of the artists. Dr. Suits, Porta and I also completed a large mural at Switch New Brighton. It was really fun, and it felt good to bring colour to our neighbourhood.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? This question is too hard! There are too many in my mind to list!
What are your plans if 2021 turns out worse than 2020? My plan for 2021, if it turns out worse than 2020, is to focus on what brings me and my family joy, from the small things in my daily, to bigger actions, like giving and sharing. To really focus on nature and getting out there and into it. I’ll try not to ‘stress drink’ as much as I did throughout this year, haha!
What changes did 2020 bring for you personally? At the start of the year I had secured a massive job, I was really excited as it would have been one of my biggest murals yet, but unfortunately due to Covid-19 and the economic recession, the client had to cancel which sucked! So that was my first realisation how serious the pandemic would be for the rest of the year being self-employed. But besides that, I had a relatively steady year in my art/design business, it got pretty scary there for a bit but the Government and CreativeNZ really pulled through for self-employed creatives, which I am very grateful for. Other than that, I have had a HUGE rise this year of people asking me for free or cheap work which really fucks me off. My other business that I co-own, The Conscious Club, definitely struggled as we mainly host events, but we managed to keep going and pulled through together in these rough times. We even got a studio/retail space in town which is pretty awesome.
What got you through lockdown? My partner and I live together, and he had been going full conspiracy mode since the start of January as our friend was over in Hong Kong and telling us how crazy the pandemic was and that it could come to New Zealand. So, by the time it got here we were quite prepared but still pretty freaked out. We both used the time to be creative. I still had work I could do from home, and my partner was making a hip-hop album. The only downside was both our studios were in the same room, so it was pretty loud and distracting. Other than that, we went on lots of walks with the dog and lots of Zoom calls with mates. It wasn’t too bad apart from when you had to go to the supermarket!
What has been your personal artistic/creative highlight of 2020? I have been in a lot more exhibitions this year which has been cool, and I also curated a massive exhibition fundraising and bringing awareness to the UN’s Sustainable Development Goals [SDGs]. Also, I have been working with a really cool producer from the UK doing album covers for some big names in hip-hop. Also, the Risograph print run with Fiksate and M/K Press was really cool. That’s all I can remember, I think I have blacked out a lot of this year, haha…
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? I think the anti-racism movement is a huge part of 2020 and from my experience there are a lot of people that are becoming more aware of racism and what it looks like and what people of colour go through every day. I still feel like there is a big divide, and I can see the opposite where there are a lot of people pushing back on the movement too. Getting in amongst it all can be pretty intense and overwhelming sometimes to say the least. This year me and my friends started a campaign called Stand The Fuck Up, sharing the story of our friend who was racially attacked at a party and ended up on the news. We have an event surrounding this planned for 2021 to continue the conversation.
What are your plans if 2021 turns out worse than 2020? Hmm, I think I’ll probably head for the bush, I can’t take much more!
P.K. (graffiti writer, photographer)
What changes did 2020 bring for you personally? This year I moved to a new house, where I can have an actual studio space, which has given me the opportunity to experiment with more things and be closer to the city than I was back at my old place.
What got you through lockdown? Once I figured out it was chill to leave the house without getting stopped in the street, I had a great time in lockdown. I really enjoyed going for long walks and bike rides while it was quiet. The cleaner air was awesome! Although I do feel it has made me even more reclusive than I was before lockdown happened. I’m still not very used to being in situations with lots of people even months after it.
What has been your personal artistic/creative highlight of 2020? Something that stands out in my memory of 2020 is the group show A Tribe Called Haz put on at Outsiders, Haz Called a Tribe, that I was fortunate to be a part of. It was really cool to see such a good and diverse selection of work from people who often don’t exhibit their creations publicly.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? Props to Weks, Vesil and Dofey for winning graf, the Green Party for all their good work in parliament this year, and to everyone that’s dedicated their year to trying to make the world a better place.
What are your plans if 2021 turns out worse than 2020? Never plan anything.
What changes did 2020 bring for you personally? I’m anti-social as shit, so it didn’t affect me too much apart from delays on a couple of projects, haha. But most, if not all, of those already had funding secured so they were just postponed until after the initial lock down period. Isolation was tight: be lazy a.f. and don’t feel guilty about it, hahaha!
What got you through lockdown? I hang out with my girlfriend all day erry day anyway, so it wasn’t that much different. We did groceries like real adults for a change though and made more interesting dinners cos there was so much more time. I don’t remember if I even did any drawings or arts, but maybe I did…
What has been your personal artistic/creative highlight of 2020? It’d be a toss-up between the South Frame mural and the New Brighton Outdoor Art Festival production. Both were rad concepts and large walls that incorporated large amounts of traditional graffiti pieces and elements. Also, making some 3D diorama street scenes and other kinda sculpture related works was cool.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? Honestly, I’m a bit of a savage and don’t really even look at or follow art or cultural shit. Fuck racists anyway, if you needed BLM to tell you that shit is fucked up out here, you’re a goddamn idiot. Was it even positive or just more divisive than ever? Weks and Pesto’s killer run during lockdown is my favourite art movement of 2020, hands down. Vesil and Dofey get the honourable mentions too, straight up crushing the city.
What are your plans if 2021 turns out worse than 2020? Keep doing my thing and watch the world burn down around me. I’m more afraid of meteors crashing into the earth than catching a cold. Realistically I’d be kinda keen for the planet to descend into complete chaos and anarchy, we’re too comfortable anyway…
What changes did 2020 bring for you personally? One of the biggest changes in 2020 for me involved experimenting in the studio during lock down, which was well overdue. But once the lockdowns were lifted work definitely picked back up pretty quickly. It felt like it almost gave people an extra drive to get new or pending projects underway.
What got you through lockdown? What got me through lockdown was painting canvases in the studio for sure, nothing serious just painting for therapy really. Obviously, friends and family definitely help in times like that as well. I have friends in the States who are still dealing with the whole problem and its endless ramifications. Just trying to be supportive for them in any way possible was and still is a focus of mine.
What has been your personal artistic/creative highlight of 2020? Some of my biggest and most complex projects to date have happened in 2020, so I can’t complain. All the big walls we’ve painted as a crew would have to be my personal favourites, from the Jungle tribute by the Moorhouse tracks, to the South Frame wall and the NBOAF seaside wall, to name a few.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? For sure all the looting and rioting and peaceful protests that were attached to the Black Lives Matter movement. And all the street parties after Trump lost the election! America has had a real bi-polar year! I do feel 2020 was a super productive year for graffiti and street art internationally.
What are your plans if 2021 turns out worse than 2020? If 2021 is worse than 2020, I’m going to make the most of it in the studio and really try to produce a large body of work for a show in 2022!
What changes did 2020 bring for you personally? My studies went fully online which just made me have a lot more control over time. I found myself able to relocate my study to evening where I was more productive anyway, and use my days to go out (while we weren’t in lock down). Everything that happened in 2020 gave me the opportunity to find my love for photography again.
What got you through lockdown? Netflix, routine, university studies, naps. Boring things mainly. I wish I could be one of those cool people who were super productive during that time.
What has been your personal artistic/creative highlight of 2020? Being part of the Perspective exhibition at Fiksate gallery. But also just learning how to set aside time for creative projects.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? I think that celebrity Imagine cover captures 2020 pretty great. And if you wanna get more deep than just how shit it was, the reaction to it was a great example of people (maybe) starting to understand that different people in the same society have different experiences. Whether it’s black people vs white people’s experience with the cops or rich vs poor people with the pandemic.
What are your plans if 2021 turns out worse than 2020? More naps.
Teeth Like Screwdrivers (@teethlikescrewdrivers)
What changes did 2020 bring for you personally? I guess my biggest change was a steely determination to get out and put stuff up rather than take a photo for Instagram to show people what I had put up. I pretty much shut all my social media accounts at the start of the year and only restarted my sticker one when my #slapcitycollab started up. I am always on the cusp of shutting it all down. I’ve heard Flickr is making a comeback amongst sticker artists!
What got you through lockdown? Two things: A battery powered chainsaw and the #slapcitycollab (that eventually morphed into #slapcitymashup). I started doing a lockdown challenge, but the inspiration words were a bit ‘meh’, so I wrote out a list of artists I wanted to mashup/collab with my stuff and just started there. Then it turned into 20 days, then 40 days, then 60 days… A whole bunch of rad artists from all over the world got involved and some awesome collaborations came out of it. I was so hyped to see @awasgaga doing a huge Teeth Like Screwdrivers wall for his entry and getting a mashup sticker made with Ocky_bop was pretty epic!
Also, I have a nice garden now.
What has been your personal artistic/creative highlight of 2020? The Slap City Sticker Workshops at Fiksate have been huge for me. We started them at the end of last year and while they obviously stopped during lockdown, when we came out of all that it seemed even more important for us to get together and hang out. While the rest of the world dealt with Covid-19, we were able to sit, draw, chat, have a drink then go out into the street and sprinkle a bit of love around the city. We are fucking lucky, really. Slapcity family!
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? As I said, we are pretty damn lucky here in New Zealand to be able to host art shows, wander the streets and look at stuff and hang out together. Other places are not so lucky. So, my highlight this year happened right at the end in the good old US of A.
The DC Sticker Expo 5.0 was obviously not going to happen in real life this year, so they put the whole show on virtually. You can wander around the gallery and zoom in on stickers and pieces. They did a virtual treasure hunt and I have spent a fair bit of time just looking around. So good! (Keep your eye out for a couple of pencils in there!) Peel Magazine (which used to run in the early 2000s) started a new project after a decade or so: ‘Peel Magazine has a posse’. The basic premise was to design your own version of the classic ‘Andre The Giant has a posse’ sticker and get them all together in one book. Shepard Fairey gave it the green light and it just got printed. Stoked that my design got a full-page spread!
What are your plans if 2021 turns out worse than 2020? To just keep doing shit that makes me happy, I guess. I’m stoked to see friends getting the recognition they deserve. I’m constantly inspired by seeing other people doing amazing things. I like the idea of getting my stuff bigger. I’m going to probably fall out with Instagram again, keep skating a long way, keep buying more records and still be grinning from ear to ear whenever I start up my old car!
What changes did 2020 bring for you personally? The biggest change for me in 2020 was my relocation from the UK to NZ. Moving on my own to the opposite side of the world was always going to be a challenge. As well as saying goodbye to my family and friends, I also said goodbye to my regular pasting crew. I knew I had to find fellow street artists to connect with in Christchurch. Luckily, the Slap City events at Fiksate Gallery helped me enormously with that! Finding this group helped me to not only connect with street artists, but I made friends. Inevitably this helped me settle in. It has also influenced my style, too. I’ve done lots more stickering and started making handmade stickers too, which I hadn’t done before I moved here.
What got you through lockdown? Lockdown was an interesting time. I had just arrived in the country and I didn’t have my current network of friends. My furniture, which I shipped from the UK, got delayed. I was in an empty house (no bed, no couch, no TV, no WiFi!), and on my own. I kind of enjoyed having time to myself and having space to think. I spent the time doing yoga, preparing handmade stickers and making plenty of video calls with family and friends back home in the UK.
What has been your personal artistic/creative highlight of 2020? My highlight this year was taking part in Perspective, an exhibition of women in urban art at Fiksate. It made me really happy to be asked to participate and to have my art showcased with lots of talented artists. It was an exciting project to take part in.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? What stands out for me in 2020 is how lock down and quarantine seemed to bring artists together from all over the world… So many lockdown art collaborations were being done… I think a lot were initiated by Teeth Like Screwdrivers! I did a lot of collaborations too during lockdown. I guess we all had time, and that’s wonderful.
What are your plans if 2021 turns out worse than 2020? At this stage I have no particular plans for 2021. I think what 2020 has taught me is that life is so unpredictable, no one knows what is around the corner. I’ll continue to make art and spread the spoon love.
A Tribe Called Haz (@atribecalledhaz)
What changes did 2020 bring for you personally? One of the biggest changes for 2020 was not being able to head overseas. I’d been psyching myself up, planning to head out into the world and see some sights and experience other ways of life. As to changes in work, I’ve moved away from painting with watercolour into painting primarily with ink. I’ve also used traditional American tattooing designs as inspiration a lot more than I have in previous years.
What got you through lockdown? Pretty much all my energy during lockdown was directed towards painting, DJing or running. I’d wake up around seven each morning, chuck on a podcast and just paint at the kitchen table until I got hungry then I’d make breakfast and carry-on painting. I definitely produced the most works I’ve ever made in my life during that period. Then if the inspiration fountain was running a little dry, I’d jump on the DJ setup we (the Winton Street crew) had also set up in the kitchen. I began getting really into running to combat the claustrophobia I’d feel from spending every day in the kitchen. Everyone knows how good exercise is, so I don’t really need to gas up running and its benefits!
What has been your personal artistic/creative highlight of 2020? My highlights would definitely include Halves on an Exhibition, which Reece Brooker and I had at Outsiders in March (pre-lockdown), then Haz Called A Tribe, the first group show Becca Barclay and I put together at Outsiders in July (post-lockdown). It featured two-and-a-bit handfuls of talented locals/pals. The night got pretty large! I also had my first month-long exhibition filling up all the walls at Black & White Coffee Origins (thanks Chris!), it was an awesome experience, and I learnt a lot.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? The BLM protests and the USA 2020 election featuring COVID-19 will definitely be the most “2020” thing. You wouldn’t believe it if it wasn’t true, absolutely unreal!
What are your plans if 2021 turns out worse than 2020? Probably learn how to cook, haha! (I can’t cook)
Josh Bradshaw (@joshbradshaw_art_)
What changes did 2020 bring for you personally? Art wise, the biggest change that 2020 brought for me was probably the retirement of a particular style of work and the pseudonym under which all that work was made. With freedom from the confinement of that one style, I’ve been able to delve into producing work under my own name that has been floating around in my brain for a while. New work. New materials. New fun.
What got you through lockdown? Skateboarding every day in the car park next to my house made lockdown super bearable for me. Luckily, I had a pretty decent supply of art materials as well and with the extra time on my hands it was good to tinker away on plenty of new stuff. With the small amounts of “real work” that I had to do at home and skateboarding and good flat mates and art to work on, lockdown was surprisingly good. I was very lucky.
What has been your personal artistic/creative highlight of 2020? I would have to say the retirement of the ‘Uncle Harold’ pseudonym has been a huge highlight, such a weight off my shoulders that was obviously well overdue. As far as a particular project I was a part of in 2020 that was a highlight, it would have to be the See Me Skateboards project. A bunch of epic local artists got to go into schools and run workshops with the kids painting their own skateboards. It was awesome seeing kids realise art doesn’t always have to be super serious and boring and they got to go crazy with it and experiment with all sorts for materials and styles. Seeing all 200 of the kids’ boards exhibited at the 013 Gallery was fucking rad too.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? Reading this question, particularly the ‘2020’ part, regarding what pieces of art stood out, my mind instantly jumped to all the Covid-19 conspiracy theories written in chalk on the Bridge of Remembrance in town. I walked past new messages every day and I’m not sure which had more mistakes, the facts that supported those theories, or the actual spelling mistakes in the messages themselves. That’s pretty fucking 2020 if you ask me.
What are your plans if 2021 turns out worse than 2020? At the moment my life seems to be way more of a shit show than 2020 or 2021 could ever be, loooooool. Come at me 2021, I’m already way ahead of ya! Hahahahaha…
What changes did 2020 bring for you personally? 2020 was the year of change! The whole world is going through a cosmic shift. At the same time, my personal world also went through HUGE changes. I managed to get married, go on a honeymoon, renovate my house and have a baby all within the year of Covid-19. (That’s just the main stuff!) With all of that put together, change is inevitable. I only got to host one show at my gallery (The 413 Local), we put it on after the lockdown. It was called Isolation and the artists showed work either made in or inspired by the New Zealand lockdown. Before Covid-19, I had hoped of putting on at least two or three shows. But alas, plans change. I did end up trying a lot of different mediums and techniques that I have never used. The changes around me allowed me to become more experimental and less precious about my art. I tried my hand at watercolours, pushed myself with Copic markers, and made my first bootleg toy. All while also having fun with my usual tools and materials. My main focus for my personal art this year though was drawing and making my first comic book. I released A Dog’s Mind (Issue 1) with the thought “There are no such things as mistakes, just happy accidents” in mind. (Thanks Bob Ross!)
What got you through lock down? Definitely my wife, Sammie, she pushed me to create and make things when I fell into the trap of Playstation and potato chips. But also, a lot of podcasts, I’ve been on a real scary story/horror and live play 5E D&D buzz this year. Music is a big one. Lots of O.G. hip-hop, Fall Out Boy and I ain’t afraid to say it, Lewis Capaldi. Then reading, I’m really into non-fiction lately, and a healthy dose of comic books, of course! I have actually been moving away from the big two (Marvel and DC) lately and finding more indie/underground artists and books, which is really refreshing.
What has been your personal artistic/creative highlight of 2020? So, I also joined a local comic group called Funtime Comics. We meet once a month and talk and draw comics and hang out. Every year they produce a graphic novel from artists all over New Zealand. I got published in their special Covid-19 issue and will have work in their next issue as well. So, on top of hand-producing the first issue of my own comic, and starting the next issue, I will be in two Funtime comics as well. Pretty chuffed with that to be fair! I also did my own version of Inktober called Daktober. I did 31 prompted ink drawings. It did take me like two months longer than everyone else to complete, but my daughter Clarke was born just after I started, so I kind of had a good excuse! But to tell the truth, she is probably the greatest thing I have ever had a hand in making. Clarke is definitely my biggest highlight this year!
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? As I was reading this question, instantly the BLM movement came to mind. How could it not? Tragic events that are still shaping worldwide generational protests. Compare that with taping a banana to a wall, I don’t think it stacks up… Not only did I see art come from the reaction to the BLM movement, but it’s still on going. From fine art, graffiti, music, there is a massive influence. It seems to me that the arts are not only a tool but also a release for artists all over the globe to tell others about their emotions and experiences. That’s what the arts are for, right? To give a message, leave a mark, communicate. It’s not often that a culture-changing event like BLM happens. A Van Gogh painting got verified this year. A Salvador Dali painting might have been found in a thrift store. Both are amazing events that took place this year. Both add to their narratives in the space of society. But it is the old guard. BLM has a spark of new energy. Watching statues of Confederate generals fall and being replaced by A Surge of Power, a work by Marc Quinn and Jen Reid depicting a young black female protestor raising her hand with the Black Power salute, was powerful. Listening to the stories and political knowledge woven together with beats from the likes of Run the Jewels or Tobe Nwigwe, or seeing a painting by Shaquille-Aaron Keith, while reading a poem he wrote to accompany it, I feel like there has been a shift. BLM was a massive push in the right direction. A direction with many events and situations that seem to have been culminating the last couple of years, have come together. Looking to the future, I feel under-represented people from all walks of life, extending beyond BLM, will not only find their voices in all genres of the art world, but they will dominate it, leading the way for more diverse storytelling, bringing more people together.
What are your plans if 2021 turns out worse than 2020? Not too sure, but I got my crow-bar ready for the zombie apocalypse (it’s the superior choice for that situation).
Jessie Rawcliffe (@jessie.e.r)
What changes did 2020 bring for you personally? I’d planned to spend a lot more time out of Christchurch and lean on some North Island connections to push my work getting seen in other places. I definitely had to put this on hold but managed to change my focus to making some stuff I’d had in my head for a whole so overall I came out reasonably unscathed.
What got you through lockdown? Having a routine but also being fluid enough to decide each day with what it was that I needed (emotionally, physically) and letting myself deviate as required… Having my studio at home, checking in with my close friends, Star Wars, our espresso machine, a boxing bag, oh and the Covid-19 Wage Subsidy!
What has been your personal artistic/creative highlight of 2020? Lockdown gave me time and space to experiment without impending deadlines or having to go to work. The most notable thing I made this year, which encompasses lots of the ideas I played with during that time, was probably a painting called Ophelia which was in an exhibition run by the Conscious Club. It ended up being something I was super proud of and didn’t immediately want to pick apart.
What pieces of art or cultural events, local or international, caught your eye and which do you think will define 2020? Has to be Vesil’s toilet paper piece that went up just before lockdown, iconic.
What are your plans if 2021 turns out worse than 2020? Go full hermit and probably have the most productive year of my life with nobody around to give a single fuck.
Keep an eye out for our monthly And That Was… entries throughout 2021!
Feature Image: One of Levi Hawken‘s BLM concrete solvs in central Christchurch
Well, thank god that is over, right?
Actually, 2020 has been such a surreal and, truthfully, emotional year that it almost seems insensitive to joke about it. Between the Covid-19 pandemic, the loss of lives and livelihoods, the Black Lives Matter movement, the farcical post-election shenanigans in the U.S. and more, there has been real and wide-spread heartbreak and tragedy. While some developments will stretch beyond the 12 months of 2020, in part due to their enormity and the necessary concentration to effect meaningful change, it is still necessary to take stock of the good things in a year we mostly just want to be over. The And That Was… series has always been about those things that bring joy, from the seemingly incidental, to the showstoppers, so let’s finish 2020 with a recap of some good stuff from December. With the end of the year approaching and a flurry of projects and events taking place, thankfully there has been a fair bit to consider… (This month we took the reigns, but don’t worry, we are working on something with a whole bunch of friends for the coming days, so keep your eyes peeled!)
Mike Beer goes to the dogs…
You probably all know sculptor David Marshall’s three bronze corgis on High Street, right? I mean, they have been there for over a decade now. What you may not have noticed was that a few weeks ago, the dropped ice cream cone one pup inquisitively sniffed disappeared. Sniffing an opportunity himself, our new favourite scratch builder Mike Beer decided to create and install something a playful replacement, drawing on the influence of subversive guerrilla street sculptors. You may just need to check it out for yourself, but perhaps don’t get too close…
Dcypher dropping science…
With a massive wall exposed by the demolition of a section of the Ara campus on Madras Street, which incidentally also meant the eradication of the Vans the Omega mural produced back in 2013 to announce the coming Rise festival, a new mural seemed an obvious requirement. Into that void stepped Dcypher, filling the gap with a striking anamorphic mural. A giant hand reaches towards a silver key, suggesting the importance of the search for knowledge, all within a disintegrating framework that dissolves the built environment. It has already gained international attention on Global Street Art.
Glass Vaults at Space Academy
The return of live music must be one of the best things about the second half of 2020! Space Academy hosted Christchurch-based Glass Vaults in early December, the group touring their new Sounds That Sound Like Music album. Their unique psychedelic-pop is heading towards dreamy disco funk, and the live show was definitely a winner, culminating with the infectious 2017 track Brooklyn. Also, is the pocket of St Asaph Street now home to the Darkroom, Space Academy now the live music district of the city?
Distranged Design goes big…
Jacob Root (a.k.a. Distranged Design) has generally worked to a scale that reflects his stencil-based approach. But with a new technique that still allows his stencil aesthetic, the artist produced his biggest work yet in December. The work, visible from Manchester Street and Tuam Street, was commissioned by a local property developer and seemingly pays tribute to the lost churches around the city, titled Christ Church Restoration City and featuring an angel figure flanked by two crosses.
Fiksate find a new home
Fittingly, the last And That Was… of 2020 (kind of, you’ll see…) ends with the beginning of a new chapter for a local institution. After two years and plenty of memorable exhibitions, Fiksate will close the doors at Gloucester Street, relocating to a new base in Sydenham (details to come!). With a new home and surely a dash of revitalising energy, it will be exciting to see what Jen, Dr Suits present in 2021…
Well 2020, what else can I say but, see you, wouldn’t want to be you! We do however, look forward to what 2021 brings, so stay tuned for future installments of And That Was…
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…
I know what you are thinking, it’s almost December, right? And you are correct (actually knowing what month it is is a reasonable feat in 2020), this edition of And That Was… is a tad late. The truth is we had a sweet guest contributor lined up, but due to unforeseen circumstances, it just didn’t happen. We are still hopeful of working with said guest, but we will keep that under our hat for now. However, what that means is a quick sidestep, a play called on the fly, a plan B, and now, here is And That Was… October 2020, with a few favourite things from a not so special contributor…
DTR Re-Paint the Giant Cans
The giant spray cans at One Central have been under the guardianship of the DTR crew and they have regularly been refreshed by various crew members over their recent history. The recent refresh combined work by Dcypher, Ikarus and Wongi Wilson, including stylistic mash-ups and a stunning female portrait seemingly tattooed with graffiti tags and throw-ups, creating an effect evocative of the Mexican dia de los muertos…
Call me old fashioned, but I still like a live band. And in my opinion no-one is better in New Zealand music right now than The Beths. To say I was excited about their James Hay gig mid-October would be an understatement, and from the moment the stage curtain lifted, I was not disappointed, with their infectiously tight, energetic indie rock and understated charm. My night was topped off with a high-five to singer/songwriter Liz Stokes at the merch table.
Slap City Crew Get Paste-y
The last few months have seen the Slap City crew get busy across the central city, with diverse pastes appearing in busy conglomerations. The arrangement of works is always fun and revels in a sense of camaraderie. The flurry of activity from the likes of Teeth Like Screwdrivers, Vez, Cape of Storms, Bongo and more reflects the infectious energy of being part of a buzzing collective.
Dcypher, Yikes and OiYOU! Go Big!
Truth be told, I’m not sure if the massive Novotel mural was completed in October, my records are not entirely fool proof. But the massive scale of the Antarctic themed work (one of a pair by the artists with OiYOU! to celebrate the city’s role as a gateway to the Antartic) means it is a literal can’t miss and I’m sure at worst I am only a couple of days off. From the overwhelming size to the playful details, it is an impressive piece of work by some of Christchurch’s best, and I couldn’t leave it out.
Bols’ Retro Wrestlers
Let’s finish off this month’s list with a revelation of my inner geek… I grew up in the era of professional wrestling’s glory days. Not the violent, Limp Bizkit epoch of the Attitude Era as it’s known, but instead the over the top pageantry of American superheroes and bad guys of the eighties. It was a time when the concept of kayfabe (the idea that it is all real) was held firm and as a young kid, it was serious stuff. For that reason Bols’ nostalgic paste ups highlighting the dubious tropes and stereotypes of that era hit the mark, a reminder that not all childhood memories are as innocent as we might remember…
What are your thoughts on October’s highlights? Let us know in the comments…
During the Covid-19 lock down, with our guided tours unable to run, we applied to Creative New Zealand for funding to create a virtual tour – a video series where you could learn more about some of the city’s most beloved graffiti, street art and murals from the artists who created them, all from the socially safe distance of your couch. With our friend Centuri Chan manning the camera and the editing desk, we talked to 17 New Zealand artists to get some insights into a range of works and topics, from Ikarus‘ take on graffiti writing and Paul Walters‘ stories about the massive SALT mural, to Jacob Yikes‘ discussing his signature style and Flox recalling her Ode to Hinewai work in Beckenham.
Originally conceived as a singular continuous feature, it became apparent that a segmented, episodic approach would prove more manageable, more adaptable and more consumable. As a result, the concept evolved into 16 individual vignettes, forming a cohesive series and spread across multiple platforms, including our online map entries. Featuring artists from around New Zealand (Paul X Walsh, Cracked Ink, Berst, Chimp) alongside local talent (Wongi ‘Freak’ Wilson, Dcypher, Dr Suits, Nick Lowry (Tepid), Dove, Jacob Root (Distranged Design), Josh O’Rourke, Jen Heads, Caelan Walsh), the series spans an array of styles and projects, highlighting the multifarious approaches within Ōtautahi’s urban art scene. Artists share humorous stories, intriguing insights and technical details, providing context and content to works that have become familiar sights in the city. With a level of normality returned, we like to think the Ōtautahi Christchurch Urban Art series is a perfect companion to a guided walking tour!
The Ōtautahi Christchurch Urban Art series can be viewed on our YouTube channel, via our social media platforms or on our website. With new episodes released each week, follow and subscribe to our various forums to receive notifications when new episodes go live!
Check out some of the videos below:
It seems like an age ago that we were introduced to Brendan Stafford and Greg Dirkzwager from local sustainable tech company Gen Green. The guys from Gen Green had the idea of lighting up some of Christchurch’s beloved street art murals using sustainable solar lighting, not only exposing the art in a (literal) new light, but also activating spaces in the city that often feel dead after dark. When they asked Watch This Space to help them realise the project, we were excited to join forces…
While such a plan seems straightforward enough, the reality is more challenging (even more so when you throw in a global pandemic). The first step was to select the works, looking at those pieces that would be practical and impactful, a difficult task in a city with so much urban art to choose from! We narrowed down the list to ten murals, although as time passed that list changed. The works formed a sort of trail to wander, spanning a section of the central city.
The next phase was to consider how to light the works, both from a design standpoint and more practically in terms of installation. Our imperative was always to ensure the works were not altered, the lighting instead simply highlighting or echoing the existing visual effects of the works. While the lights and charging panels are relatively small, finding solutions to avoid detracting from the works and to ensure safe and secure application was an important task. This was were Guy Archibald and George Clifford and the team at Living Space Group, a local contracting company, joined the project, contributing their skills to ensure all the requirements around installation were met.
With the lights installed, ten works of street art are now illuminated, creating an urban loop to explore the city, and just in time for the summer sun to play its part! And even if we do say so ourselves, they are looking pretty amazing!
Locate the lit up murals on the map below, and for more about each work, click onto our online map:
- Kevin Ledo’s Whero O Te Rangi Bailey on the Crowne Plaza, 764 Colombo Street
- Berst’s Sea Monsters on the Isaac Theatre Royal, 143 Gloucester Street
- Askew’s Kristen at 160 Gloucester Street
- Rone on the Quest Hotel in Cathedral Square (107 Worcester Street)
- Cracked Ink, Spark Square, 91 Hereford Street
- Numskull’s I Always Knew You Would Come Back, 605 Colombo Street
- Jacob Yikes’ Alice in Videoland on Alice Cinema, 209 Tuam Street
- Dcypher’s Kodak mural in Collett’s Lane, SALT Square (between Tuam Street and St Asaph Street)
- Elliot Francis Stewart’s Peering Out, 173 Madras Street
- Erika Pearce on Goose’s Screen Design, 10 Allen Street
Thanks to Gen Green, Living Space Group and the Christchurch City Council’s Enliven Spaces Fund for bringing this project to life!
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…
In case you haven’t, please read Part One here…
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.
“Leon Te Karu is a King. Leon = Lion = King of the Jungle. Te Karu = The Eye. I always liked his name.” – Fiasko
In March 2019, Leon Te Karu, known to many as Jungle, passed away. Almost immediately, the city’s walls were covered with tributes, from tags and rollers, to pieces and productions. For those outside the city’s graffiti culture, it was mysterious, but for those who knew, it was a reflection of the respect in which Jungle was held as a pioneer who defined the first waves of graffiti in Christchurch with his ubiquitous straight letter tags and iconic characters. Chances are if you lived in Christchurch in the nineties, you saw Jungle’s graffiti. Jungle was not of the new breed of legal graffiti and the street art amalgam, instead, he was a symbol of graffiti’s roots, a traditionalist without caring for labels. And yet, Jungle’s influence extends through generations of graffiti writers, including a strong legacy upon the likes of Ikarus, Freak, Dcypher and Yikes of the DTR crew (of which he was also a member), as well as countless other crews and individuals, many who themselves have proven prominent figures in graffiti culture, both here in Christchurch and further afield.
Telling Jungle’s story required input from those who knew him and those influenced by him. To mark the anniversary of his passing, we reached out Ikarus, another Christchurch graffiti legend, to put together something that explained and celebrated Jungle’s impact on Christchurch graffiti (and broader street) culture. What developed was an in-depth discussion with Ikarus, but also contributions from countless others, across generations, styles and backgrounds. In doing so, the breadth of Jungle’s influence was clear, people consistently echoing the qualities of a local graffiti legend. This story is at the heart of graffiti in Christchurch, what it was and what it has become, but also is about one man’s influence on an entire culture. RIP King Jungle.
March 6, 2020 marked the anniversary of Jungle’s passing. A year on, is it something you reflect on a lot?
Ikarus: It seems super-fast, for sure. It’s weird that it’s been a year already, it definitely doesn’t seem like it. I don’t know if I think about it every day, but it’s definitely something I think about a lot. A bunch of cool shit will happen and he’s one of the dudes you’d always want to tell because he was always super excited about any cool projects we got to do as a crew. Things like that will happen and I’ll be like, oh that’s right, I can’t tell him.
I’d never really lost anyone super close before, my grandparents died when I was young, so I never really knew them, both my parents are still alive, and I don’t like many people. Whereas Leon is one of the closest friends I’ve had in my whole life, so it’s been pretty weird. I never knew what death was like, but I guess the saying ‘life goes on’ is true because you definitely don’t think about it all day, every day, but then there’s just those points where you do think about it and it’s super strange.
“I love Jungle. Just writing this is making me cry… I lost my mentor.” – Kurs/Horra
“[His funeral] was a massive occasion… without a doubt he would have been humbled by it, proud of it.” – Freak (DTR)
“[H]is funeral was massive. He just touched a lot of people [as] a genuine person… he was always a real cool cat and the amount of people that turn[ed] up [showed] that he was a real person in all sorts of scenes, not just graffiti, but to a wide range of people.” – Yikes (DTR)
I ask that question because first and foremost, you lost a close friend, but as something of a graffiti historian, you are also in the position to understand the legacy and ongoing impact that Jungle had on graffiti and street culture in Christchurch. While the pain of losing a friend must be foremost, have you taken time to reflect on just how big an influence he was?
Ikarus: Yeah man, I always knew though. I told him what an important role he played early on, and he’d just brush it off and laugh, and be like: ‘Don’t be a dick!’ But the reality is that there was a butterfly effect from him being a young kid out there tagging, writing his name on stuff and having a good time with it, that led to so many other people doing it. When we start out as tagger kids, we don’t think it is going anywhere or will to lead to anything else, but the things he did inspired some of the first guys that started doing graffiti here in Christchurch, and on all levels not just tagging, but some of the earliest guys painting pieces, characters, throw-ups, tags, the whole spectrum of graffiti.
I’ve talked to Flex from UAC, who was an early pioneer along with Lurq (who was writing Lyric and LK at the time) and Pest5 (who was writing 4Higher), and he cites Jungle’s tags as one of the main reasons he started doing graffiti. He would see Jungle tags up everywhere and he thought that shit was dope. Those UAC guys back then, in the late nineties and early 2000s, they were out there doing all aspects of graffiti; tags, throw ups, pieces, characters, productions down the train lines at night. They give credit to Jungle as an early influence because he’s one of the first people that was really up in our city back when there was just tagging in the early nineties. Back then I was strictly into tagging and vandalism, anybody that did pieces was just wasting paint as far as I was concerned. They couldn’t tag for shit, so what’s the fucking point? But Flex is that first dude that had just fucking killer tags and he did all levels of graffiti, an all-out king to some extent. He was the first dude to make me think maybe the entire spectrum of graffiti wasn’t super corny, maybe there’s a way to do it and it could still be cool.
So, that small influence on me can be traced back to Jungle, which is evidence of his importance. From there, it’s just a butterfly effect: he affected those people, those people affected the next people, and so on. But, it’s not like he just did that and then was gone, he was always around, not super active, but always involved in the Christchurch graffiti scene. He was always painting something, still doing tags out in the streets and painting characters and stuff like that.
“It is easy to glorify and embellish the past, but Christchurch was very late to have a graffiti culture. While in most parts of the world and New Zealand it [emerged in the] early to mid-80’s, in Christchurch it was [the] mid to late 90’s. I know it’s a small history and a small culture, but it’s our history and our culture. There wasn’t a lot of outside influence until around 2000. One of the pioneers pre-2000 and a huge influence on me when I started was Jungle.” – Fiasko
“We weren’t better, we strived for everywhere.” – BlackE (THC)
“Even before I got into graffiti, I saw Jungle THC everywhere. It was impossible to not notice. As I got into looking at and doing graffiti, I realised the scope of how everywhere he was.” – Jay Roacher/Wyns (511)
“As far as I know or am concerned, Jungle was the first Christchurch tagger that was all city. Those gangsta straight style JUNGLE PARU tags are still imprinted on my brain to this day.” – Flex (UAC)
“[The first time I met Jungle] was at the house on Mackworth Street in Linwood where I lived with Flex, about 1998. Maybe Ikarus brought him over. What I do remember clearly is being very excited to meet him, as you do when meeting one of your heroes. He was humble to the point of not wanting to even acknowledge his achievements in the graffiti scene, saying that his work was nothing compared to ours, as we were doing full-blown wild styles with backgrounds and everything; but my lettering styles, tags especially, were pathetic compared with his.” – Pest5 (UAC, TMD, LORDS)
“The first tags I ever saw were DIRTY, PARU, THC, a block from my house, done in chrome with stock caps and it was super clean. I started noticing lots more tags around the city with THC and had heard that it was a crew called Too Hardcore. I think it was pretty much all Jungle, but he got up so much and with so many different names that it seemed like it must have been a bunch of people.” – Netts (511)
“We used to creep into abandoned buildings up town and I would kind of imitate his style mixed with what I was already doing.” – Kurs/Horra
“[He told me] how [in the early 2000s] he painted a clown on the old Dick Smith in the daytime with cats going past and didn’t give two fucks about who or what was in his way.” – Omes
“[Leon’s influence was] probably more personal over time, but to begin with it was artistic, for sure, because the dude was all city with tags before anyone even knew what was up with graffiti. You knew who he was just by that [presence]…” – Dcypher (DTR, CBS)
“Jungle was one of the first people that I noticed when I first got into graffiti. I would see his tags and his roll calls he would do of the infamous THC crew in all hoods. I can remember seeing his Sir Prise tags with a fucking dope letter S, it blew my toy brain apart back then.” – Lurq (UAC)
Did you ever have conversations about what graffiti meant to him? Was it something larger than writing his name on a wall to him, or was he more of a purist?
Ikarus: It definitely had that concept. I don’t think he ever personally felt like he was part of the greater movement of the art form in our city. I told him on numerous occasions that a bunch of this shit wouldn’t have happened without him because you’re the dude that inspired these guys to get into it and that inspired this dude to do it and that inspired these guys. You can see his influence in Dcypher’s early work, his characters especially. But when I said you influenced this person and without you they wouldn’t have done this, and then that wouldn’t have influenced me, and that wouldn’t have influenced Dcypher, and that wouldn’t have influenced Freak, he would say, ‘shut up man! That’s not a real thing!’ But it totally was a real thing. He didn’t understand or was too humble to admit that he had this influence on people.
He’s part of the DTR crew, he’s part of our crew forever, but there’s very few walls we managed to get him to come down and paint with us. We’d quite often try to get him to come down and be part of productions, to paint a character, or paint a piece, but he was always like, nah, like he was going to be out of his realm of talent, which is ridiculous because he had the super dope style. He didn’t paint as much as us, but if he did over the years, he would have been insanely good. But he always had that hood mentality of not being good enough, or ‘I’ll come if you’re going to do this, but if you’re doing a big production I don’t want to be involved’. So as much as I told him, I don’t think he ever really understood the level of his influence, but it can’t be denied that he was the first or one of the really early people just vandalizing the city, doing everything. In the early nineties there were Jungle BlackE and Jungle Paru tags up and down the South Island, and in Christchurch he was everywhere…
“Jungle & I too followed the way of the elder ones before us. Much credit goes to Leon because he was the artistic one. I tended to just pick the spots… We were wowed by a lot of the US hip hop/break/graf culture. And it made its way over here. Auckland [was] where a majority of it was then passed down [through] cousins, friends, and friends of friends.”- BlackE
“Putting it up was primary purpose. Putting it up beat style, always. [W]e had many styles that we threw up. Position was paramount over style.” – BlackE
“When I started, he was pretty much already retired as king of the city. He set the benchmark for us to follow. It wasn’t until later that I saw his outlines and characters, which are in a classic style very dear to my heart, as they capture a certain tough attitude that modern graffiti lacks.” – Pest5
“Me and Flex were, and still are, dedicated Junglists, meaning we love the music called ‘Jungle’, which is a reggae-influenced UK dance music from the 90’s. One of our first questions for Jungle was whether he had named himself after the music genre, but no, he said the inspiration came from the ‘concrete jungle’ that we live in. We tried to get him into the music, and though he could appreciate it, it was a bit too fast for his taste.” – Pest5
“I guess he has influenced people in that you get your tag up or your homies and crew, all-city, all hoods, and bombing is probably the most important thing in doing graffiti.” – Lurq
“We talked about watching freights at Kaikoura and how to make a tag aggressive, and the art of tagging. Being a tagger not a muralist was always a heavy topic he spoke of. I always remember he told me I was his favourite tagger.” – Morpork (FILTH, TBE)
Graffiti goes through eras and styles come to represent both time periods and places, do you think Jungle’s graffiti was representative of a ‘Christchurch style’?
Ikarus: I wouldn’t say early on that Jungle’s particular style of tagging was distinctive, but the thing about it was that it was everywhere. A lot of people couldn’t tag back then, straight letter tags were basically the height of tagging and he was super good at that. Jungle always had the most ill styles for tagging. When hand-styles became a thing, he was always super up on that sort of thing and doing calligraphic style tags. Coupled with the sheer amount he was up, that was why he was so influential.
“Everybody thinks of Black and Jungle, everybody seen Black and Jungle. And that was the essence. You don’t know the words. But you knew us.” – BlackE
“[W]e respected straight styles as the cleanest… Out of a crooked lifestyle, we always tried to be semi straightest.” – BlackE
“He basically got [Christchurch graffiti] started. He was the first writer to really take it all-city in Christchurch, with classic Auckland-style straight letter tags, done in cheap paint with an unforced, natural ability. So, he founded the Christchurch tradition of all-city street bombing with simple tags along bus routes. Many of us may try to emulate his hand styles but It’s hard to imitate perfection… but I still think you can see his influence in Christchurch tagging style to this day.” – Pest5
“I would definitely call him Christchurch’s first all-city king, before I even knew the dude there were just Jungle and Paru tags everywhere, East, West, North, South, everywhere, [in] the most random spots. Anywhere you went there were Jungle tags… That was amazing in itself, but then he had such an amazing style; his characters that he’d just spit out of nowhere, with low effort, just boom! He always downplayed himself, or maybe just didn’t see his full potential, [but] he totally could have been here smashing this shit out with us if that’s what he had wanted to do…” – Freak
“His tags were everywhere. They were simple, stylistic and tuff. From my view, he kind of stopped about 1998 or ‘99 and that was around the time I met him.” – Fiasko
“The meanest tags, the straight letters, gangster straight letters… All pre-graffiti paint, all hardware paint, when you used to hunt and steal caps…” – Freak
“When he started he was super good at tagging, but didn’t do a whole lot of fill in stuff, because it was just get fame quick, just get up.” – Dcypher
“I feel like there were two styles of tags back then, the wildstyle posca tags, and the black spray paint straights. He laid the blueprint for and was the king of the straights.” – Jay Roacher/Wyns
While he would never admit that influence, it’s been undeniable in the last year, with the number of tribute and memorial pieces around town. But his influence was beyond his graffiti style, right? I didn’t know him, but the few times I was around him, there was something about his presence, there was that laugh…
Ikarus: Yeah, for sure man, for sure. Like I said, it’s not like he had a huge involvement in graffiti for the last ten years, just occasionally painting a character on the street or doing tags and stuff. But he was the sort of dude that was always drawing, and just sitting around and drawing all the time is a big influence on people. But, like you say, his personality is one of a kind.
Everybody knows Jungle. The dude was a gangster for sure, he always represented his crew, the colors, which was what he grew up with, and he was still a part of that life and that circle, but even at his funeral when the boys were standing up and speaking about him, they said, Jungle’s not part of this gang because he’s a violent dude or out there hustling and grinding, he’s just the heart of our crew, he’s the most important part. He was just a super genuine, loyal dude, and if you’re one of his boys, he would do anything he could for you.
You would be hard pressed to talk to someone that didn’t like him. You could talk to a bunch of people who think I’m a dickhead, maybe not now, but if you talk to someone from back in the day, I was a dick a lot of the time. But you could go back thirty years and talk to people about Leon and I think everyone would be like that guy was fucking cool. People’s enduring memories of Leon are going to be that laugh, his charismatic personality, that he got along with a bunch of people. When I was young and we would beef with a bunch of different people, I remember thinking, nobody ever has a problem with Jungle, how do you do that? How do you know so many people and nobody has a problem with you? It was because he was just generally fucking cool to everybody, respectful, polite, just a good dude.
At first glance, Jungle could be a scary cat, he hung out with a bunch of scary looking dudes, but he was the heart of that shit, the good guy in the crew. He was famous before I knew him, his tags were all over the city, so he was already a legend in the streets when I first met him. He was tagging Jungle and THC, which was the crew. I was thirteen, so they were probably fifteen or sixteen, which seems like a big gap when you’re that young, and those dudes were like the boogeyman to our generation, because you knew shit could pop off with them. But then I met Jungle and he was just super cool. I think a lot of the tough dudes that I’m super good friends with now, that stems from me being super good friends with Jungle in the first place.
“It is hard to write anything about Leon, as he hated any sort of praise. He would sort of squint his eyes and get a big smile and tell you to fuck up. For the past 5-6 days I have been typing and deleting because I can constantly hear him saying “Fuck up egg”, after anything I write.” – Fiasko
“Meeting Jungle is where he had his biggest influence on me. He was such a humble guy. He was funny and he was accepting of most people. I remember how he just didn’t believe he was any good.” – Fiasko
“[That authenticity] got him the status of being an OG in the graffiti scene, everyone respected the dude and looked up to him. [E]veryone just thought he was the coolest motherfucker in town, so he kind of like just got mad respect from everyone and everyone wanted a little bit of him to rub off on them as far as graffiti goes…” – Dcypher
“Everything about him influenced me. I would ask for advice on all things hip hop. He lived my raps too, he was my biggest support and fan.” – Kurs/Horra
“With Jungle, it wasn’t just about tagging, he was the connect for all things hip hop for me. He was listening to Kendrick Lamar when Kendrick Lamar was still a teenager and he put me onto the Black Hippies, and then 5-6 years later, Kendrick Lamar’s blowing up… everyone he sort of pushed in my direction became real big at some point.” – Kurs/Horra
“… [A] few of us were hanging out at the old hack circle in Cashel Mall, high as can be, and these two cops walk past, one a blonde female. We’re are all paranoid and silent, then Jungle just blurts out, “Faaah, you’re pretty for a cop!” She just smiles, says thanks, and kept walking on by!” – Pest5
“He was super good at skateboarding too. Skateboarding is a big part of my life and he got real good, real quick and could skate spots that were fucking super crazy, spots that no one else could skate, and so he kind of crossed over into skateboard culture, which was part of the graffiti culture…” – Dcypher
“He didn’t have that ego that somebody as prominent as he was can sometimes have… You can’t help but be influenced by somebody that’s up [everywhere], but then you met him, and he was like this hilarious person, just a genuinely dope dude. A lot of respect.” – Yikes
“Leon was a really humble guy and always asked or was interested in what you’ve been up to when you bumped into him. I’m not sure if he actually realised that he was a fucking legend in the Christchurch graffiti scene.” – Lurq
“… [T]he first time Askew came to Christchurch, I felt obliged to introduce him to the legendary Jungle, but was a bit unsure how it would go as the man was often wary of strangers, and was in one of his feisty moods. After giving him a hearty handshake, he said thoughtfully, “Askew… you’re the man. But fuck you. But you’re the man… but fuck you!” High praise indeed! – Pest5
“He just loved all my weird shit. He was all about the weird side that I approach graffiti from, he gave me props for that. I’m ten years younger than these dudes, I was watching most of their early careers when I wasn’t even touching paints, so to have someone of that standing give you props, it’s cool man, its humbling.” – Yikes
Read Part Two of Tributes to a King here