Street Treats, Vol. 5

This edition of Street Treats is eclectic and varied, ranging from playful whimsy to blunt anti-establishment messaging. That ultimately is the beauty of guerrilla practice (or in the case of some of these works, permissioned but free from curatorial censorship), the opportunity to say what you want, how you want. As contemporary muralism has taken over the popular image of ‘street art’, it has also transformed the imagery and ideology deployed. While this still results in some pretty stunning works occupying our skylines and there are, admittedly, different levels of input and freedom, it is left to the smaller interventions to speak in an unfiltered voice. The content is not always explicitly political, but the act itself is, always. So whether it is a beautiful surreal flower sprouting from a concrete pillar,  a constantly recurring pencil, playfully collaged scenarios, vibrant names or scrawled messages that question the colonial history of our city, look and listen, they are speaking to you and about us…

If you have submissions for upcoming Street Treats volumes tag us on Instagram or email your pictures to hello@watchthisspace.org.nz!

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Photo Essay: P.K. – There and Back

When P.K. told us how he compiled his photo essay, it was typically understated: “I pretty much just got a camper van real cheap with one of those post lock down deals, and thought it would be cool to document what I saw on the trip.” While the process of gathering the photographic collection may have been simple, the resulting images are striking.

Although graffiti forms the thread running through the images, the tags and throwies and pieces are not surrounded by a bustling metropolis as is so often the case. Instead they are captured in a still quietude within small towns and secluded rural areas, and notably the concrete undersides of bridges and highways that suggest such spaces are not intended for stopping, but for bypassing quickly. That stillness, not embraced by the majority of the shooting traffic, is captivating, exacerbated by that unique washed out South Island light. The stillness is also amplified by the sense of slight distance, the photographer ever so slightly removed from the scene. The worn concrete and the varying states of the graffiti, from fresh to faded, further adds an emotional quality, a suggestion of isolation and exposure. Of course, P.K. would probably shirk such readings, yet his ability to compose photographs that are both documentary and evocatively layered is undeniable.

While P.K. may have simply ‘hit the road’ in something of a kiwi tradition, the images with which he returned form a subtly unnerving and strangely resonant collection that seemingly says something without the need for hyperbole…

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