Watch This Space is proud to present Spotlight – Urban Art Projections, a project in collaboration with ChristchurchNZ that literally shines a light on local creative talent. Spotlight showcases a series of unique art works created by some of Ōtautahi’s best urban artists in collaboration with talented local animators, exploring new possibilities for urban creativity and adding a surprising twist to Christchurch after dark!
Making use of the prominent wall on the exterior of the Te Pae – Christchurch Convention Centre at the intersection of Colombo and Gloucester Streets, Spotlight projects the work of four Ōtautahi visual artists, their work brought to moving life by local digital artists. The animation gives each work a new lease of life; the mural-sized projections imbued with subtle, alluring movements that re-imagine the original productions. With a planned four installations, Spotlight has already platformed two works that have captivated and surprised passersby:
Jacob Yikes’ I will never know…
The Surrealist world of Jacob Yikes provided the first Spotlight installation back in May; the artist’s beguiling landscapes a fitting subject for this unique project. Animated by Nicholas Keyse from Immersive Reality, Yikes’ 2022 painting I will never know was animated with slowly unfurling tendrils and a rolling horizontal band of shimmering turquoise, creating an evocative, unsettling atmosphere and providing an invitation to explore this strange, unexpected landscape manifested on a central city wall, like a dream come to life. The softly moving pieces gently beckoned the viewer, requiring a double-take as more parts of the image were revealed to be alive with understated movement.
Yikes’ world-building has always suggested movement, here, this landscape was given life, while still retaining a sense of quietude and mystery. Occupying the Te Pae wall for a month, I will never know created an unexpected encounter for many walking past, a perfect starting point for Spotlight…
Dcypher’s Welcome to the City…
The second, and current Spotlight installation is Dcypher’s illustration Welcome to the City, a work that draws on the artist’s formative experiences exploring the urban environment through graffiti and skateboarding. Enduring influences, these subcultures recognise the urban landscape, and its overlooked spaces as sites for expression, transformation, subversion, and creativity. Dcypher affirms that: “The beauty that these spaces hold as inspirational layers to be interacted with is the key message of this work. I’ve always loved the look of the raw underbelly of urban architecture, the flip side of the facade, the back alleys, the fire escapes… These spots are constantly in flux as urban subcultures expand in their complexity and reach.”
Dcypher’s adventurous environment has also been brought to life by Keyse, who utilised the artwork’s layers to craft a captivating illusion. Exploring the scene’s depth by zooming in and scanning across the composition, the viewer is guided through the maze-like terrain, Keyse explaining: “As the journey unfolded, I aimed for a thought-provoking narrative to take shape, hinting that this snapshot is merely an echo reverberating across the vast expanse beyond the immediate foreground.” The movement emphasises the exploratory element, the blue-grey tone and flashing yellow lights suggesting the distinct worlds of interior comfort and exterior adventure. Welcome to the City continues Spotlight‘s mission to activate the city…
The next installation, a work by painter and illustrator Jessie Rawcliffe will be unveiled in the coming weeks – stay tuned!
Spotlight is a collaborative project between Watch This Space and ChristchurchNZ working with a collection of local creatives – let us know about your Spotlight encounters!
May is notable for a few things: the final fling before winter really kicks in and a celebration of a galaxy far far away. With fewer large-scale projects, this is a perfect time to explore the things that are a little bit smaller, a little more understated or in the case of one of our entries, focused on the audio rather than the visual. From bright blooms and beats to darker images, scary monsters and anime heroes, here are some of our highlights for the month of May…
Local Elements – Learning CurvesEP
Local rapper and producer Local Elements released Learning Curves, his first solo EP, on May 22nd, a four track effort with the artist also producing the majority of the songs. The result of hard work and hustle, the EP’s title refers to the literal learning curves of the task, but the final result is a funky piece of head-nodding hip hop with a distinctly local flavour. Stream Learning Curves on Spotify and via Local Elements’ website…
Bright Blooms
As the days get a bit colder and the nights a bit longer, I’m thankful for the small, but bright, blooms appearing throughout the city. Ōtautahi’s urban gardener Bloom has been planting the small wooden blocks adorned with her stylised flowers across the city, often in unassuming places, places where a spot of colour and joy is most definitely needed. Keep your eyes out for Bloom’s Urban Gardener project as part of the 2023 Boosted Ōtautahi campaign – support her fundraising effort here…
Dark Ballad
If Bloom’s flowers add life and colour to the darker months, the intense images of Dark Ballad are a perfect fit with the greyer skies – moody, graphic imagery that is equally alluring and unsettling. The artist’s collection of paste-ups in stark black and white are a striking contrast from the colourful walls on which they are found…
Ikarus, Dcypher and Captain Kris in New Brighton
New Brighton is a true graffiti art hot spot, with a selection of legal walls constantly refreshed with slick pieces and productions. One of the most impressive is this latest collaboration between the DTR crew’s Ikarus and Dcypher and Ōtautahi ex-pat Captain Kris – the formers’ pieces either side of the latter’s Goku character – a winning combination. Teeming with crackling energy, this Dragonball Z themed production is yet another reason to head out to the beach for some wall walking…
May the Fourth be with you…
May the Fourth is, of course, synonymous with Star Wars and here in Ōtautahi, May the Fourth means the likelihood of some fresh paste-ups by resident vintage toy enthusiast Mark Catley… This year to celebrate the galaxy that George Lucas built, Catley added some nasty looking creatures to the central city streets, including a Rancor on Hereford Street…
These were our highlights – what caught your eye? Let us know in the comments – or send your pictures to hello@watchthisspace.org.nz
November brought BIG news – almost 10 years after the landmark Rise exhibition, Canterbury Museum will stage SHIFT – an urban art takeover of the iconic institution and a final hurrah to the building before redevelopment. But, this exciting news isn’t all that made November memorable! From international rock stars to small street art, summer is shaping up to be exciting!
SHIFT – Urban Art Takeover @ Canterbury Museum
Perhaps the biggest news of November was the announcement of SHIFT – Urban Art Takeover – a massive artistic takeover of the Museum, with over 50 artists transforming 5 floors of the iconic cultural institution! A completely unique exhibition, this is sure to be an unprecedented event!
Dcypher @ Chiwahwah
A fresh new work appeared along the lively Terrace strip in the central city in November, with a striking Mexican-inspired anamorphic mural by local legend Dcypher on Chiwahwah Cantina’s exterior wall. The mural stretches along the wall and is best viewed from a specific vantage point – make sure you find it!
Ikarus goes small…
Dcypher’s DTR crewmate was also busy, but at a different scale, with a series of small urban diorama’s covertly placed around the city. The grimy settings like tiny stage sets that blend into the surrounding environment.
Archetypes @Fiksate
Archetypes, a collaborative show by Dr Suits and Jessie Rawcliffe ran through November at Fiksate Gallery. The alluring paintings combine Rawcliffe’s stunningly meticulous portraits with Dr Suits’ dynamic abstraction, the results forming a beautiful suite of works that illuminated new readings of each artist.
Klaudia Bartos @ TyanHAUS
Another exhibition that we loved in November was Klaudia Bartos’ Haus of Heads at TyanHAUS in Sydenham. The beguiling series of surreal, devilish visages, produced mediums ranging from watercolour to fabric, were haunting and intriguing, inviting closer inspection…
And a Bonus…
Normally And That Was… is capped at five entries, but I couldn’t leave the return of live gigs by international artists returning to Christchurch! I may have missed UK band Idles, but a week later I was able to witness an impressive performance by US alt legend Jack White, and, it is safe to say, I’m glad I did! There was a request for no videos, so the video below will make do to replicate the energetic opener Taking Me Back…
They were out highlights from November 2022 – what were yours? Let us know in the comments!
Since returning home from a stint living in Los Angeles, Dcypher has quickly cemented his reputation and one of Aotearoa’s most talented and prolific mural artists, without missing a beat with his signature graffiti pieces. With his artistic roots firmly planted in graffiti and skate culture, his art has always teemed with the energy of street culture. Much of Dcypher’s work, including his graffiti, reflects the urban cityscape and elements of urban culture, making for the perfect aesthetic for his latest undertaking – the street wear line Dcypher Apparel.
T-Shirts have long been a staple of urban culture; the DIY fashions of Hip-Hop and Punk have celebrated the statement potential of the garment, while the physicality of skateboarding means loose-fit comfort provides a practical attraction. From Jimbo Phillips’ iconic Santa Cruz Screaming Hand, to the Bones Brigade, Powell-Peralta and Vision Street Wear designs, Zoo York and OBEY, tees have been a way to proclaim your cultural, political and stylistic affiliations. Likewise, t-shirts provide creatives with a canvas that reaches a wider audience, stretching beyond the wall or the gallery.
As a skateboarder and graffiti artist, t-shirt designs were a natural progression for Dcypher, his bold illustrative and graphic style translating well to the printed format, while his imagery was already attuned to the urban wear aesthetic. Inspired by the likes of Evan Hecox’s Chocolate Skateboards, he began dabbling in the idea of t-shirt designs while still in Los Angeles, producing images for his CBS crewmates. Dcypher initially considered an online, made-to-order approach, scaling down overheads, but the hyper competitive US market made it a tough proposition to crack.
By the time he returned to Aotearoa, Dcypher had collated a stockpile of t-shirt images. Enter Tim Ellis, founder of fashion company Movers and Shakers. Dcypher had met Ellis through Truth Dubstep, when the artist had worked with the musicians on logos and promotional designs. Ellis brought the industry know-how, connections and capital to Dcypher Apparel, allowing the artist creative freedom to put his designs onto tees and into the world as creative director. The Dcypher Apparel brand was born.
While initially hesitant to use his hard-earned graffiti name as the brand identity, it has ultimately proved beneficial due to his reputation in the urban art world. As creative director, Dcypher leads the designs, but also ensures he has input in where the shirts are stocked, choosing locations based on their connection to skate and graffiti culture, providing the right audience for the brand and a sense of authenticity. There is always a tricky line between making a brand accessible and still elevating it above mass-produced fast fashion, making sure it gets into the right hands – urban wear and youth culture is all about influence. Locally, the tees are available at Embassy on Colombo Street and Encompass at The Tannery, as well as further afield at Cheapskates Wanganui, Fusion in Wellington, Pavement in Dunedin and The Plugg in Kaitaia. Dcypher acknowledges these locations guarantee the right audience and, vitally, respect the cultures that gave birth to the brand.
Although Dcypher’s personal style leans towards the understated these days, favouring a plain black tee, the lure of a t-shirt serving as another platform for his art is undeniable. Rather than developing a completely new approach, Dcypher’s t-shirt designs are drawn from his mural, wall, studio and digital designs, the artist feeling his way through the process and making changes where needed to suit the cotton canvas. And yet, the designs can also be unique from large-scale works, which often require more compromise. The t-shirt graphics are free-form, following the artist’s interests as they develop, rather than being proscribed by briefs from above. The designs (on upsized tees, as preferred by skaters who value the freer movement) feature urban landscapes, Dcypher’s signature skulls, characters and graffiti pieces, sometimes all worked together. Other works take on specific narratives, from corporate greed to Noah’s Ark and Eastern influences. Dcypher’s iconic, but now obscured, Welcome to Christchurch postcard mural (the text mid-construction in reference to the rebuild), has also been rendered as a design. With a growing range, Dcypher continues to develop new ideas for seasonal release, including the exploration of glow-in-the-dark printing.
As an artist brand, Dcypher Apparel is less concerned with fashion trends, and more about the art and aesthetic as a reflection of Dcypher’s style. T-shirts, with their broad appeal and ability to reach a wide audience, allow the artist and his art to engage audiences in new ways. As Dcypher suggests, young people don’t often buy art, but they do buy t-shirts, and he hopes his tees can connect the two worlds.
This month’s And That Was… is a special edition – dedicated to the impact of the Flare Street Art Festival across March (the festival opened on the 2nd and eventually came to a close on the 20th, an extended run). Who better to break down the highlights than Flare project manager Selina Faimalo, who gamely took on the challenges of such a multi-faceted event, and headline artist and pop-up gallery curator, Kophie Su’a-Hulsbosch (aka Meep). From the amazing murals to the additional elements of tours, exhibitions, panel talks and more, Selina and Kophie break down what made Flare such a success!
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The Flare Ōtautahi Street Art Festival was a conglomeration of large murals, a pop-up exhibition, graffiti art, guided tours and art talks.
The ARCC collective wanted the festival to be a collaborative event, with artists involved in the curation of the event and to incorporate traditional graffiti as well as street art. Dcypher, Ikarus and of course, Kophie, were eager to jump on board to have the most authentic festival possible. It is amazing to break down Flare by the numbers:
Flare became a 20 day festival with a total of 44 artists participating, including seven headlining artists, as well as a three-artist collaborative 3D mural and a three-artist projection installation, a ‘Wahine Takeover’ at the BOXed Quarter with four female artists, an exhibition featuring 21 urban artists, and a two-part graffiti jam with 35 artists. Flare saw the completion of 44 new artworks across the SALT District. More than 1200 visited Flare Central on High Street, with many taking home art from the pop-up exhibition, while 136 people joined the guided tours (and more just tagged along!).
Overall, we had so many wins, including Koryu taking home Kathmandu’s People’s Choice Award (voted by FLARE attendees) and the heartwarming development of Olive the cat, star of SwiftMantis’ mural, finding a home when she was adopted from the Cat’s Protection League!
Koryu’s amazing A Hum – The Beginning and the End was voted People’s Choice winner for Flare 2022. Photo supplied by Flare Festival
Swiftmantis’ Olive was a very popular piece and when the feline was finally adopted, the story got its happy ending… Photo supplied by Flare Festival
In addition, these were our personal highlights…
Wāhine Takeover
Jessie Rawcliffe’s stunning piece as part of the BOXed Quarter Wahine Takeover… Photo supplied by Flare Festival
Kophie and I are the founders of The Conscious Club and until very recently we were based at The BOXed Quarter, an amazing part of SALT District with a variety of murals by different artists.
The Wāhine Takeover was added to the programme as when we were organising the graffiti jam, it became obvious that women graffiti artists are few and far between in Ōtautahi. Kophie took the initiative of choosing four wāhine to paint at the BOXed Quarter, adding a point of difference to the area and a diverse range of new artworks. The selected artists were Jen Heads from Fiksate Gallery, Lucia Kux from Berlin, who has a background in graffiti and is a tattoo apprentice, McChesney-Kelly Adams from Lyttelton, who specializes in realism and also has a tattoo apprenticeship and Jessie Rawcliffe, who specialises in highly detailed portraiture.
The Pop-Up Exhibition
Kophie was the driving force behind the pop-up exhibition at Flare Central
As well as being one of the headlining artists, Kophie also curated the Flare Central pop-up gallery. The exhibition was primarily a representation of Ōtautahi graffiti and street artists as well as art work from our headlining artists. The curation of the gallery was to be a homage to graffiti art as the art form that began street art and large-scale murals and adds vibrancy and culture to the city.
Offline Collective x Fiksate
An image from the Offline Collective X Fiksate collaboration
Offline Collective and Fiksate Gallery merged their creative outputs, mixing the work of local artists Dr. Suits and Jen Heads with Offline Collective’s renowned animated moving images. Overlaying visuals and interrupting the usually static images of both artists in two installations, the concepts were brought to animated life in an empty High Street space.
This installation was epic, exploring the murals at night and peering through the window on High St whilst eating an ice cream from Utopia (or even a few wines deep) was mesmerizing ! It was like seeing a Jen Head hologram from 2043!
Tours
We were so lucky with our selection of walls being so close together in the SALT District that all the murals were located within five minutes walk of each other.
Watch This Space facilitating the guided tours was absolutely amazing, Reuben’s passion and knowledge about the urban art scene had attendees hooked!! It created a sense of pride for residents learning about already existing art that they once just glossed over.
The great thing is, if you missed out you can still book in guided tour with Watch This Space!
Artist Panel
The Watch This Space: Flare Artist Panel was another highlight. One of the biggest struggles with Flare was hosting a festival in red light setting, as well as being in the peak of everyone catching COVID! (including me, LOL!), with a limit on gatherings of 100. We were so grateful to have access to equipment through WORD Christchurch to live stream this so those isolating and all across Aotearoa could tune in!
We had all our headlining artists on the panel apart from Elliot Francis Stewart and Wongi who couldn’t make it, so it was really great to hear the diverse stories; their backgrounds and their journeys to where they are now.
Graffiti Jams
Dcypher and Fuego, Graffiti Jam Part One. Photo supplied by Flare Festival
Yikes (left) and Dcypher, Ysek, Chile One and Ikarus (right) for the Graffiti Jam Part Two along Billens Lane… Photo supplied by Flare Festival
As the festival was extended (we had a few artists down with COVID!), we ended up having two graffiti jams!
We had 20 Artists painting at Graffiti Jam Part One and 15 artists at Graffiti Jam Part Two, and it was so much fun to get the community together to paint legally and incorporate traditional graffiti into Flare. We even had North Island heavyweight Fuego, who happened to be in town at the right time, get a piece in!
Dcypher and Ikarus had been such a huge part of helping put Flare together and they facilitated both graffiti jams. They have a mana in Ōtautahi that brought everyone together and had a great time.
Both laneways are special in their own way and walking down each one takes you on a journey of a range of styles like walking into a gallery on the streets.
We honestly couldn’t be happier with how the festival turned out. Even though we were in peak Omicron and in the red traffic light setting, it all came together through an epic community and residents supporting the arts! Fingers crossed we can do it all again next year, and actually hold the street party!
Wongi Freak Wilson produced this explosive piece for Flare, a fitting work for a the festival and its busy activations. Photo supplied by Flare Festival
Tāmaki Makaurau Auckland proved the place to be on April 8th, with two exhibition openings drawing crowds. We happened to be around and managed to catch both The Main Line, a collaboration between Ōtautahi artist Ghostcat and 27 Aotearoa graffiti artists that served as a love letter to the iconic Spacerunner train carriage, and Shiny Things, a collaboration between Hannah Maurice and Tanja McMillan (known to many as Misery) that created a beguiling world inside The Mercury Plaza gallery space on Cross Street (just behind the famed Karangahape Road). While very different shows, one grounded in history, the other mythology, both were well worth the attention…
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The Main Line – Ghostcat x Aotearoa Graffiti Artists, Limn Gallery, Tāmaki Makaurau Auckland, 8th April, 2022
Inside Ponsonby Road’s Limn Gallery, a two metre long replica of a Spacerunner, one of New Zealand’s, and New Zealand graffiti’s most iconic train carriages, takes centre stage. Carefully laid out on top and along the walls either side are even smaller versions of the carriages, rusted and covered in tiny recreations of the graffiti that would fly by when the Spacerunners were still in circulation around Aotearoa. The tiny carriages were built by Ghostcat in his typically detailed style, before artists spanning the country and generations, contributed designs, from Opto, Vents, Lurq, Morpork and Phat 1 to Wayst, Togo, Meep, Vesil and Siar267…
Limn Gallery in Ponsonby hosted The Main Line…
The show paid homage to the now out of circualtion Spacerunner, an iconic carriage for both New Zealand rail and graffiti history…
The small space drew a good crowd for the VIP preview…
where people inspected the tiny trains from the likes of Ikarus DTR
Stories of train missions were on display from members of the scene, such as Fiasko and Siar267
Dyle52 shouted out another icon of graffiti culture in underground comic artist Vaughan Bode
Askew One was a key organiser of the exhibition
Shiny Things – Hannah Maurice and Tanja McMillan, The Mercury Plaza, Tāmaki Makaurau Auckland, 8th April, 2022
The Mercury Plaza, home to a collective of creatives, where visitors can find food, art, clothing and, if they fancy it, get a tattoo. On April 8th, The Mercury Plaza welcomed guests to the opening of Shiny Things, a collaborative world building by Hannah Maurice and Tanja McMillan (Misery); an exploration of the sacred female and the conscious/unconscious that employs a range of approaches to engage the senses. From McMillan’s paintings to installations that seemingly serve as shrines, an air of ceremony palpable. Opening night was busy, with a moving karakia adding to the resonance of the works that reveled in dance, ritual, myth and dreams…
Dream Boat formed one of the centre pieces of Shiny Things…
filled with ornate details
Nature’s Dance by Tanja McMillan
Garden Rituals by Tanja McMillan
Ladybird by Tanja McMillan
Elsa Moon by Hannah Maurice
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Do you have a show coming up and want to let us know? Email hello@watchthisspace.org.nz and fill us in with the details!
Almost five years since Street Prints Ōtautahi, Christchurch’s last significant street art mural festival, Flare Street Art Festival provided a welcome shot in the arm for a city with an established reputation as an urban art destination. The brainchild of ARCC, a urban activation collective of local business people and place makers, Flare burst into life with a roster of seven headline artists painting huge murals and a flurry of additional activities.
Flare was built around the selection of massive new murals that would transform the SALT District and surrounding environs, landmarks that showed an impressive diversity, each artist flexing their unique styles, interests and intentions with creative freedom.
Koryu’s massive mural
The largest mural, on the side of the newly renovated Cotters Lane building, was completed by Koryu, a Japanese artist who has been based in Aotearoa since the 2020 lockdown, living in Geraldine but travelling across the country to paint murals. While relatively new to urban art, picking up a spray can just three years ago after visiting Melbourne, Koryu’s impressive depiction of fierce Niō warriors, guardian statues of Buddhist temples in Japan shows his quick development. The circular motif in the middle of the image suggesting the infinite quality of existence, the warriors themselves representing the beginning and end of all things (the open and closed mouths symbolic of the in and out breath, the first and last characters of the alphabet). The huge work, over 160 square metres, was a massive undertaking, filled with detailed musculature and gestural painting and aware of the shared experiences of Christchurch earthquakes and the Tohuku earthquake and tsunami in Japan in 2011 when both regions were struck by devastating natural disasters, making this work, a gift of guardians, even more resonant.
Wongi ‘Freak’ Wilson
Nearby, overlooking Manchester Street, local artist Wongi ‘Freak’ Wilson displayed his technical skill with a vibrant depiction of a woman wearing rose-tinted glasses and chewing bubble gum. The pink gum exploding into a cloud of pop culture references, a baseball cap, a paint roller, headphones and more bursting out of the cloud. The combination of realism and pop-esque cartoon work a summation of Wongi’s style. The upbeat energy of the work infecting an area that still bares the scars of the city’s ongoing .
Detail of Kell Sunshine’s mural
Tucked down Memory Lane, behind the imposing SALT Mural by Paul Walters and Dcypher in Evolution Square, Gisborne artist Kell Sunshine added a rolling, lyrical mural, a beautiful contrast to the architectural and pared-back piece around the corner. Floral forms blooming and unfurling around the phrase ‘Take a walk on the wild side’, Sunshine’s mural reminds us of the need to break from convention and embrace our ‘wild side’ – a literal depiction of nature amidst the urban jungle. The 70s vibe is relaxed and the somewhat secluded placement allows for the viewer to stop and absorb the message before returning to the bustle of the city.
Meep on St Asaph Street
On St Asaph Street, homegrown talent Meep produced the largest work of her career, with a stylised self-portrait against a bright orange backdrop. The massive image shows the artist, with a backpack filled with paint, a roller and a blackbook, walking along the tracks (a traditional graffiti hot-spot and suggested by the large roller piece behind the artist), headphones plugged into a television-headed representation of hip-hop music – her constant companion (the homage to hip-hop cemented with the Kangol bucket hat and the MF Doom and Wu Tang Clan t-shirts). The strong representation of a female graffiti writer illuminating an often marginalised presence in a predominantly male sub-culture.
Ikarus on Manchester Street
On the corner of Manchester and Welles Street, local legend Ikarus of the DTR Crew recounted his own experiences in graffiti through the lens of an AR video game (a cartoon version of the artist shown in full AR goggle mode in the corner). The levels of the game move through the stages of graffiti, from tags to throw-ups and finally ascending to masterpieces, the obstacles and intricacies thrown in as well. The shout-out to traditional graffiti an important inclusion in a forum where the culture is often excluded in favour of birds and buildings. The shout out to the legendary Jungle acknowledging the legacy of those who have come before and the important role of mentorship through example.
Olive by Swiftmantis
In the rear of the Little High car park on St Asaph Street, Palmerston North artist Swiftmantis continued his series of ‘Stray Stories’ with a huge depiction of black cat Olive, her green eyes surveying the surrounding area. The amazing detail reveals the feline’s character, her tattered ear a sign of her survival. Currently with the Cats Protection League of Christchurch. Olive, perhaps now the city’s most famous cat, is still looking for her forever home, the work serving to highlight her situation and to celebrate the work done by the Protection League. The image has already stopped hundreds in their tracks, wowed at the production and enamoured with the beautiful, majestic animal.
Elliot Francis Stewart’s mural closed the festival
The final work, located on Manchester Street, was delayed when Elliot Francis Stewart was unable to make his way to Ōtautahi until the final (or at least the final official) day of the festival. Renowned as a supremely talented illustrator, Stewart drew inspiration from Christchurch’s ‘Garden City’ moniker to depict a sweetly nostalgic scene of a shovel and bucket in a garden. The electric colour scheme of blue, yellow and magenta highlights the intricate detail, the leaves, bark and even tiny lizards occupying the serene setting. It is a show stopper that draws you in, your eyes led across the incredible detail of the wall.
FUEGOS joined the Graffiti Jam
While these murals were the central focus of Flare, there was plenty more going on across the extended two week programme. Just prior to the official launch, Dcypher, Ghostcat and Dr Suits installed an anti-war 3D mural – an oversized Molotow pen fixed to the wall appearing to be the tool used to scrawl over the image of a tank in bright pink – a peace sign and the declaration ‘Make Art Not War’ defacing the symbol of military force. Just around the corner, Flare made use of a High Street shop as a pop-up gallery, featuring local and visiting artists, an array of art and apparel available. The pop-up served as the central hub for the festival, with artists hanging out and passers-by drawn in (our Watch This Space guided tours also departed from the pop-up space, while the Watch This Space Artist Panel was held at 12 Bar on St Asaph Street). An unassuming High Street space hosting a projection work, a collaboration between Fiksate Gallery and the Offline Collective, added a dynamic night-time presence to the festival. The BOXed Quarter’s collection grew with the ‘Wahine Takeover’; Jessie Rawcliffe, Jen-Heads, Berlin and MKA adding fresh paintings to the panels. The final Saturday of the festival saw over two dozen artists take over the lane ways surrounding popular bar Smash Palace with a graffiti jam, artists from different cities and generations lifting the veil from graffiti’s often mysterious presence as visitors could watch the paint being sprayed on the wall. Finally, on the last weekend, Billens Lane, next to Little High, received a make-over with fresh hoardings painted by Jacob Yikes, Dcypher, YSEK, Chile One, Ikarus, Tepid and Bols, adding further diversity to the collection of Flare works.
YSEK and Chile One on Billens Lane
With over 40 new works of art painted across the city, and over 30 artists involved across the festival, Flare served to connect the dots as an event that was for the city and the culture. This is an important element of such an event, recognising the need to support local talent and provide opportunities of varying scales, to raise the profile of urban art and foster the seeds of the city’s creative foundations. Of course, with new incarnations will come new challenges, from finding fresh walls to the massive task of finding money, but Flare has made a promising start, and we are already looking forward to 2023!
Flare Festival may have come and gone, but it’s legacy lives on – an array of amazing new murals and a bolt of energy in the local urban art scene putting graffiti and street art back in the limelight. The flurry of activity that saw a pop-up gallery, guided tours, panel talks, mural painting, graffiti jams and live painting sessions was a lot to take in – luckily we had our man, Centuri Chan, on hand to capture some of the magic…
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Ikarus DTR at work
Kophie’s blockbuster WIP
Jessie Rawcliffe painting at the BOXed Quarter Wahine Takeover…
MKA Artist at work in the BOXed Quarter
Koryu takes on the festival’s biggest wall
Wongi Wilson working at heights
Palmerston North’s Swiftmantis works on the stunning feline portrait Olive
Dcypher X Dr Suits X Ghostcat – Make Art Not War
Jen Heads at the BOXed Quarter
Elliot Francis Stewart’s amazing work meant the festyival lasted even longer
Ikarus’ graffiti game played through the levels of the culture
Kophie’s massive Hip Hop tribute was a highlight
The graffiti jam behind Smash Palace
Wongi’s explosive new work
Olive surveys her new domain
Jessie Rawcliffe’s striking work
Koryu massive mural
Kell Sunshine’s burst of colour
Centuri Chan is an Otautahi-based creative, photographer, tour guide, designer and LEGO builder…
February 2022 might prove to be the calm before the storm, with several exciting events set for March. But there were still some great things that happened in those 28 days, even with the weather proving particularly temperamental! The weather has ensured a disjointed sense of summer, and coupled with the ongoing disruptions of Covid (not to mention the protests occurring across the country), it would be fair to say that February was not firing on all cylinders. With a swathe of events cancelled, the visual arts proved somewhat more durable, with projects still forging ahead, albeit under different conditions. With a palpable energy that Ōtautahi is about to reclaim it’s place as Aotearoa’s leading urban art destination, it was good to see momentum building…
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The DTR Crew’s Ernest Rutherford mural
A precursor to the Flare Festival, this impressive mural along the west-facing wall of the Team Hutchinson Ford building on St Asaph Street, was designed by Jacob Yikes and produced alongside crew-mates Dcypher and Ikarus. The image shows the iconic physicist and the old university building (now the Arts Centre) while a crackling energy is depicted in atoms and currents to bring a dynamic quality.
PIM’s This was the year that was… @ The Art Hole
PIM (aka Lost Boy) produced a charming wee show at The Art Hole on St Asaph Street at the end of February. Built around a drawing for every day of 2021, the bright digital drawings (postcard sized) were filled with humour, earnestness, bewilderment, pathos and everything in between, allowing the viewer to construct and reconstruct stories as they scan the large block of images. Definitely a favourite show of 2022!
Bloom takes over The Paste-Up Project…
Bloom n Grow Gal became the second artist to take over the Watch This Space X Phantom BillstickersPaste-Up Project bollard on Manchester Street, working in between downpours to create a fresh blossoming of flowers. Drawing on a range of her familiar images, the work has also allowed for change over its life span, with new aspects added already. Following in the footsteps of teethlikescrewdrivers, Bloom’s addition continues the momentum of The Paste-Up Project…
Xoë Hall @ Te Puna O Waiwhetū
Wellington artist Xoë Hall has taken over the Te Puna O Waiwhetū Christchurch Art Gallery’s famous bunker with Kuīni of the Worlds, a bright, bold and wild mural that celebrates atua wāhine through references to figures such as Hine-tītama, Hine-nui-te-pō, and Mahuika.
Holly Zandbergen on Walker Street
We were on our way to Walker Street’s Ally & Sid cafe a week ago when we were pleasantly surprised to see a new mural work in progress. when we called back past, artist Holly Zandbergen was there, brush-in-hand and happy to chat about her work, a beautiful painterly abstract work that was both energetic and restrained, a breath of fresh air for a mural scene that often favours pristine illusions…
What did we miss? What would you add to our list? Let us know in the comments!
Christchurch’s street art reputation is, in many ways, built on the legacy of festival events. The likes of From the Ground Up, Rise, Spectrum and Street Prints Ōtautahi established the city as a destination for artists to find opportunities and for a new audience to experience amazing examples of urban art in a setting that was forced to re-imagine it’s creative profile and identity. It has now been five years since the last significant festival was staged in Ōtautahi, but with the emergence of the Flare Street Art Festival, Christchurch is braced to once more flex it’s status as Aotearoa’s leading urban art city. We sat down with Selina Faimalo, project manager for Flare, to discuss the challenges of developing a street art festival in 2022, what Flare promises, and who we should be excited about…
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The Flare Street Art Festival is just days away, how are you feeling? Are the nerves jangling or is it just excitement?
I’m really excited to see it all, well nearly all, coming together! Obviously, I’m still a bit nervous because things can change between now and then, as we know, but we’re pretty fool-proof under the red traffic light setting. We’ve adapted.
What are some of the significant changes you have had to make?
We originally planned to have a large celebration of street art culture, hip-hop and urban art at the end of the festival. We were going to close down High Street and have a big market and festival with live music, dancing, skateboarding, food trucks, urban stallholders and a pop-up gallery, all sorts of things. That part of the festival had to be cancelled, so instead we’re doing micro events over the ten days; we’re going to have street art tours with Watch This Space, which we were always going to have, they can still go ahead. There will be tours on each weekend of the festival. We’ve still got a pop-up gallery and kind of hang out space, that will be open during the days. Fiksate and Offline Collective are collaborating and going to do some street art projections in some vacant spaces in the SALT District. We have the panel discussion with the artists, that is also with Watch This Space, with some of the headlining artists at 12 Bar, which will be an awesome way to interact with the artists and get to know a bit more about them. It’s going to be live-streamed as well, which is really cool as we can’t host as many people as we wanted to…
It still is a really good program. I think it is important for street art and mural festivals to provide chances to engage with different elements…
Absolutely.
The festival or market day would have been amazing, but I guess there’s a silver lining in that you can now perfect it for next year and grow the festival as a recurring event…
Totally, it might be a bit of a blessing in disguise. I’ve spent about eight months on the process of organizing this festival, so I think it gave us a lot more time to re-evaluate things and put that energy into different things. Obviously, it’s unfortunate that we had to cancel those elements, because we have musicians and vendors were relying on that income from the event. Cancelling those individuals and businesses was really sad, because you have already committed and turned down other bookings… It’s been tough for all in the events industry.
Wongi ‘Freak’ Wilson is one of the headline artists for the Flare Street Art Festival
Bringing together the wider urban art community is really important. As you said, there are the headline artists, but that’s not the whole picture, you’ve got other artists too, like the Fiksate team, the artists with work in the pop-up gallery and some smaller live painting events as well. There is a much wider array of people than the names on the posters…
It was important to involve as many Christchurch artists as possible, to make it inclusive and diverse, including, the “OGs” as well as the younger generations, as well as making sure there are female artists represented, who are not always as predominant in the street art scene.
Can you give us a little bit of background on ARCC, who are the organization behind Flare?
ARCC is a group of business leaders and place-makers, who just want to make a bunch of cool stuff happen in the city and revitalise what’s happening here. George Shaw from OiYOU! is a part of ARCC and is obviously a big advocate for street art and he recognised that a lot of the murals from the Rise and Spectrum festivals are not there anymore, as the city is being rebuilt the visual aspect of street art is not there as much, it’s being built in front of or covered, so he just wanted to bring that back, putting it on new buildings and filling these blank walls with street art again and retaking that status as a street art capital, we were obviously in the Lonely Planet as one of the street art capitals of New Zealand and the world…
A lot of that recognition came from the festival events, because you’re seeing a lot of work appear in a short time, there is a rush in activity that captures the attention. So, Flare becomes an important way of re-claiming that title. How did you come to be the project manager for Flare?
I’m actually a trustee of the SALT District, so I already knew about ARCC because a lot of the team are on the SALT District board as well and they had mentioned it. I was going along to the street art meetings and they were talking about it and I’d already been in touch with George anyway because I’d mentioned to him ages ago that I really wanted to do some type of hip-hop street art event and I wanted to know how you would make that happen. He said let’s keep in touch, maybe there will be something that we can do. I also run the Conscious Club with Kophie (Su’a Hulsbosch), we do social and environmental events in Christchurch, we’ve been doing it for the last two years, in which we weaved creativity into the majority of our events. We have held exhibitions together and shared creative working space with her for a while now. I’m not part of the street art community, but I’m a massive fan of street art culture and hip-hop in particular. I really wanted to do a hip-hop event, I talked with Red from the Hip Hop Summit about all the different things that we could do. George’s plan was to run Flare, but he had another exciting project come up. The timing wasn’t great for him to project manage Flare, so he asked if I would be interested in project managing it with his help and guidance, along with the rest of the team at ARCC helping out as well. As business leaders they have great connections to building owners to help make this happen. One of the biggest challenges of a festival like this is getting a building owner to agree to getting their wall painted without knowing what it will be, so without those connections and networks I don’t think it would be possible!
Local legend Ikarus of the DTR Crew is another Flare headliner for 2022
There’s a fine art to that side and you probably had to learn on the fly a little bit! You want wall spaces that are visible and attractive, but you also want to ensure that that building owners are supportive of artistic credibility and freedom. You have to find that balance of great walls with the right people, right?
Yeah, we’re telling artists they will have creative freedom, but obviously it can’t be anything offensive or inappropriate, and when we say inappropriate, like when we spoke to John Hutchinson of Team Hutchinson Ford, about painting his wall, he said as long as you don’t paint a Holden! It was little things like that, I just wouldn’t think about. In general I would say building owners can be a little bit conservative, and like to play it safe, might not want certain things on their walls, so it’s a balancing act of letting some know and showing them designs and then we will be surprising some!
I’m a big believer that part of the job of street artists is to bring the audience along, rather than being dictated to creatively to fit a popular trend that supposedly speaks for everybody. The reality is that we are incredibly diverse as a population, made up of individual voices, so why not let murals be a voice of an individual and in doing so, present a little bit of a challenge to the public audience to come with the artist rather than the artist having to go to the audience? What other skills that you maybe didn’t expect to draw on were needed to bring Flare to life?
I guess navigating the street art scene is something I didn’t know a lot about. I’m quickly learning it is tricky! Obviously, graffiti comes from the streets, which means there an element of rebel and conflict. Having people involved in the festival like DTR crew and Kophie, has helped with those situations. The panels along the Smash Palace pathway will be painted with local graffiti artists, and I don’t think that was my call as to which artists would be involved in that, so I asked Dcypher and Ikarus to facilitate that part of it, so they have led that part because they can navigate the relationships within the graffiti community. Even curating the headlining artists, that was tricky. George actually curated that aspect, but I was part of the conversation, and I don’t think I would have thought about who you should choose in case their work gets tagged over because they’re not respected in the street art community. That is a huge thing that I’ve learnt a lot about recently, if you put the wrong person on a wall, then it’s likely going to get continuously tagged over because they don’t have that respect or that mana in the community…
Kophie Su’a Hulsbosch is the third Christchurch-based headliner for Flare 2022
In terms of the final headlining artist roster, from Christchurch we have Kophie, Wongi ‘Freak’ Wilson and Ikarus, and from out of town are Elliot Francis Stewart from Auckland, Kell Sunshine from Gisbourne, Swiftmantis from Palmerston North and Koryu, who is kind of itinerant, kind of travelling around NZ, right?
Yeah, well, he’s based in Geraldine…
That street art mecca!
Yeah! He is based in Geraldine, but he travels a lot, he is originally from Japan.
Gisbourne’s Kell Sunshine is one of the visiting artists headlining Flare 2022
So out of that list, who are you excited to see?
Out of all seven? I mean, I’m going to say Kophie, big respect to the wahine! Being a woman in general is hard and being a woman street artist is even harder and I think she has really stepped up. she has been doing it for over ten years now and I think this is her time to leave a mark in her own city. She’s done commissioned murals but this time she gets to paint what she wants to paint and she’s so talented.
I’m a big fan of Kophie too, she is super talented and its great to see her given this platform. Anyone else?
I would say Koryu, I think his mural will be very cool! I’ve seen his design as well, so that’s why I’m really excited to see what he’s doing. I’ve been watching him this summer, watching every mural that he’s painted and it’s incredible.
He’s relatively new to it as well, right? But he’s developed a style that is both very distinctively his, and I think also speaks to his heritage, but also something that you can understand why the public gravitate towards the detail. It’s graphic and pictorial, you can easily see a crowd going, wow! He also just seems like a lovely guy! There is some amazing footage from South Sea Spray where he won the ‘People’s Choice’ award and he did a break dance because he’s a b-boy as well…
I know, he’s so amazing! That’s one thing I’m really sad about, as part of the festival we were going to have hip-hop and break dancing, and it would have been really cool to have a headline artist paint and dance!
Japanese artist, Koryu, now residing in Aotearoa, is another headline artist
Maybe he could still do that at the panel discussion!
I think so, just break it out!
So, the Flare Street Art Festival begins on the 2nd of March, when the headline artists start painting, but how can people find out more? How can people get involved in the various events?
They can head onto Facebook for the Flare Street Art Festival or the website which is flare.nz. The full program is on the website and if you want to book tickets to any event, you can do that online. I recommend having a look online because that will be have the right information, it is the digital age, we can update things!
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The Flare Street Art Festival is located across the SALT District with a range of activities – follow Flare on social media or visit their website for more information and booking options. Flare runs from the 2nd March until the 12th March, 2022.
