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’sShadow 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!
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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…
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And that’s half of 2020 gone already. Although lets be honest, this year has seen a fair amount of activity, some shitty, but others important and long overdue. This month’s collection acknowledges these struggles, as well as looking to the past, the future and art as a gateway to explore and consider more than our immediate preoccupations. From Askew One’s haunting risograph print with MK Press and Fiksate, to our tribute to graffiti legend Jungle and the countless voices he inspired as a rebellious actor in the local urban landscape, here are our favourite things from the month of June…
Askew One x MK Press x Fiksate collab
The month started on a high with the release of Askew One’s limited edition print as part of the MK Press/Fiksate artist collab risograph print series. Following Dr Suits’ initial release, Askew’s striking red and black abstraction continued the popularity of the concept, selling out in just hours. The work embraces and explores the qualities of risograph printing, while continuing his digital studies drawn from urban environments. The result is a twisting, jagged image filled with a sense of terror and dread due to the blood-like tone. Setting a benchmark for the series, you wouldn’t really expect anything less from Aotearoa’s finest, would you?
Graffiti jam for the New Brighton Outdoor Art Festival
The delayed and reconfigured NBOAF signed off with a traditional graffiti jam wall, with a number of local talents transforming a wall in the middle of New Brighton Mall. The green and magenta colour scheme tied the various pieces together, while individual styles and characters by YSEK and Dove ensured variety as well. The wall was intended to represent and celebrate traditional graffiti art, and as such was always going to draw criticism from some corners. The online discussion about the wall’s appearance was interesting to say the least, highlighting the ongoing and deeply held misconceptions and prejudices around graffiti, even when produced legally…
When local graffiti legend Jungle passed away in March of 2019, Christchurch’s graffiti culture spoke by painting tributes across the city’s walls. I had discussed with Ikarus the idea of a larger written tribute that explored Jungle’s legacy, however, by the time we got to sit down with an eye on the one-year anniversary, lock down struck. In addition, what started as an interview with Ikarus, developed into a multi-generational project, stretching the process out. However, by June, the lengthy tribute was finally online. Hearing stories of Jungle’s influence, it was quickly apparent how consistent his impression was, a man who the city’s graffiti culture was indebted to, but also a character who influenced people by his charismatic personality…
Black Lives Matter Protest Posters
The latest issue of Art Beat, the visual arts newspaper edited by Dr Warren Feeney, featured an insert of A4 posters drawn from the shared archive Posters for BLM (@posters_for_blm). The three variations, by Stephen Powers, Sara Froese and local designer Roydon Misseldine, were risograph printed by MK Press and included inside the free paper. Importantly, the posters ensure visibility to the cause and serve as a reminder of the potential to raise a voice about oppressive systemic issues. While a small gesture, it attempts to continue this vital narrative. More posters are available for free download (for non-commercial use) from the archive, with a link in their Instagram bio.
Porta x FOLT Skull Collab
The collection of FOLT skull cut-outs continues to grow around the city (although many have disappeared as well, seemingly too attractive to collectors), and this subtle variation by Porta is a personal favourite. Porta’s recent investigation of pixelated video game aesthetics is utilised here, but with an understated approach, the granite colouring giving a bare concrete appearance that only reveals the highlights, shadows and blocky shapes upon closer inspection.
And that was June 2020, for me at least, let us know what you enjoyed over the month in the comments…
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This month we asked Harry King, a.k.a A Tribe Called Haz, to fill us in on his month. During the lock down period, he seemed busy; painting, drawing, DJing (apparently all in his kitchen)… But for a pretty social guy, we were sure it was a challenge to not be out and about enjoying his wide network of crowds. With May finally seeing the lifting of the stricter lock down conditions, A Tribe Called Haz seemed a perfect fit for our latest And That Was… He told us: “I spent a large majority of May painting in my kitchen. I’m usually out every weekend but as we’re starting to re-learn how to interact with each other in a post lockdown era, I’ve been in the kitchen a lot more.” So, what has A Tribe Called Haz found exciting outside of his kitchen? Here are his five favourite things from May…
Celebrating Level Two
May 14th marked the day we could hang out as a group of ten, so a group of us headed to Dux Central for a beer, some good food and some atmosphere. The best way to use our newly granted freedom.
DTR production for the New Brighton Outdoor Art Festival
I released two collaboration t-shirts in May, one with the Christchurch House boys, Notion Touring, and another with a big player in the Christchurch Drum & Bass scene: Brand + New. Collabs that bring to together my favourite things are always a highlight.
Drum & Bass: The Movement at Hide Club
We ventured to the watch party for Drum & Bass: The Movement – The D&B Documentary at Hide Club on May 29th. There were beers, burgers (Black Burger to be exact) and Drum & Bass. Three of my favourite things! It was strange being back in a place I’ve spent many a night dancing & celebrating without having a thought about social distance, now under these new conditions. The documentary was informative, showing part of the history of the music I love.
Empire Chicken to the rescue…
Trying Empire Chicken down at Riverside Market for the first time on a rather dusty Sunday afternoon was an absolute life saver. Sometimes it’s the little things that make the difference.
The first month of 2020 has raced by, but not without a heap of activity. The month started with an ominous red sun hovering above us with an almost artificial energy, and ended with some lovely summer weather. In between, there were BBQs, drinks, returns to the real world, and a flurry of activity within the world of urban art. From some overseas visitors, to established powerhouses and rising profiles, there was plenty to reflect on…
Long Trip of the Kokos
On the final day of January, the culmination of Robert Seikon and Anastasia Papaleonida’s residency at Fiksate was unveiled with the exhibition Long Trip of the Kokos. The collaborative works capture both a cohesive harmony, with subtle gradients and tiny details, while also proudly displaying each artists’ signature style: Papaleonida’s microbiological dots, squirming and humming, and Seikon’s crisp diagonal lines and spiky geometric shapes, providing optical illusions and paths of surveillance. From the clustered canvasses to the wall painting directly encountered when you enter the gallery, the show is filled with intriguing touches and impressive effects, washing over you without overwhelming. Long Trip of the Kokos is open until February 29th, 2020
Hip Hop Evolution – Season 4
I have a soft spot for Canadian rapper Shad, see his Pharcyde-inspired video for Rose Garden, and his likeable, intelligent, yet reverential nature has made him a perfect host for the Netflix series Hip Hop Evolution. As a fan of the culture’s history, he is never an overbearing presence, allowing the subjects to tell their stories. Hip Hop Evolution’s fourth season dropped in January and it quickly continued to dive into the various scenes and threads, including the rise of Bounce in New Orleans, and the emergence of super producers, which led me to nostalgically revisit N.E.R.D’s Lapdancefrom 2001…
Aaron P.K. in the Boxed Quarter
I was able to work with the BOXed Quarter and Aaron P.K. to install two large scale photographs, finally completed in late January. P.K. might be known for other street interventions, but his photography has always been eye-catching, capturing a slice of life in various settings, including those peripheral spaces that make the viewer aware of their isolation. The two images at the Boxed Quarter are distillations of urban exploration and graffiti culture, rooftop shots where the distant city glows, but the surrounding industrial fixtures remind of the precarious yet claustrophobic position of the photographer.
Seikon on Manchester Street
Alongside the exhibition with Anastasia Papaleonida, Polish artist Robert Seikon also produced a subtle, obscured wall painting, one that rewards more inquisitive viewers. Tucked away on Manchester Street, the square image uses Seikon’s signature barbed shapes to create an abstract composition that seemingly draws on the history of graffiti’s transformation of letter forms. The subtlety of the colours also seems perfectly harmonious against the blocks of buffed grey surrounding the painting.
Yikes and Dcypher pay tribute to Terence McKenna
With a spruce up of the Tuam Street carpark that has become an open-air gallery, Yikes and Dcypher added a tribute to American ethnobotanist Terence McKenna, whose advocacy for naturally occurring psychedelics is evident in the mushrooms and molecular structures that populate the image. The image combines many of Yikes’ signatures, while Dcypher’s mastery of the spray can is also evident in the portrait, a reminder that these two are right at the top of their game…
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With 2019 now wrapped, we decided to round up a number of our friends to take stock of the year that was. But then we realised it is also the end of the decade, and to be fair it has been a pretty challenging, fascinating and memorable ten years, especially for the residents ofŌtautahi Christchurch. We asked this selection of artists and creatives about their own experiences, the people and work that inspired them, the events that mattered and their hopes for the future. The results were wide-ranging, although, of course, there were a number of events, artworks and ideas that came up repeatedly, highlighting the impactful events and developments that have coloured our collective consciousness since 2010…
Reuben Woods – Writer (@bolsamatic)
What has been your personal highlight of 2019? There have been a few, from working on Urban Abstract, to curating Dr Suits (Nath Ingram) and Josh O’Rourke’s projects in New Brighton, but probably top of the list was having work published in the Nuart Journal…
What piece of someone else’s art in Christchurch has been your favourite this year? It may be that they are fresh in my memory, but TOGO’s rooftop piece to the South West of the city is a favourite, the angular FOLT slaps are rad, and pretty much anything by Vesil over this year.
What piece of someone else’s art outside of Christchurch has been your favourite this year? Aryz’s work has been stellar, Selina Miles’ Martha: A Picture Story was great, I love Elliot O’Donnell’s new direction with the glitch studies of urban surfaces, and Bond’s graffiti pieces are super fresh as well. I also really enjoyed Nike Savvas’ Finale: Bouquet at Te Papa…
What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was the culmination of a long process and it was so great to see it well received, as it wasn’t clear that there was a massive thirst for that style locally…
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Obviously the earthquakes, and I think the March Terror Attacks signalled a change in the city’s psyche as well. More widely, the increasing division across the world, politically, economically and ideologically, cannot be ignored.
What is the biggest artistic/pop cultural moment from the last decade? When Childish Gambino released the video for This Is America, it felt like a really impactful conflation of pop culture, art and social commentary that captured the zeitgeist. Locally, I don’t think I can go past what George Shaw and Shannon Webster of OiYOU! pulled off with RISE here at the Canterbury Museum…
Which artist or artists have stood out over the last decade? Internationally, Vhils, Aryz, Revok, Stoop Kid, Nina Chanel Abney, Askew, Dside, Katsu, Steve ‘ESPO’ Powers, Timothy Curtis, Deconstructie, Connor Harrington… So many. And of course, locally there have been so many people who have left their mark in the streets, from little tags to big walls, I couldn’t possibly name everyone…
Lastly, what do you hope 2020 has in store, personally and for the local scene? I really hope the energy that the city saw for a sustained period can be recaptured, with things happening not just within commissioned frameworks, but also more organically, especially as the city evolves into a ‘finished product’ to contest. To see local artists continue to gain wider profiles and in turn to see exciting visiting artists come here and leave their mark.
Tom Kerr – Artist, Musician (@ditchlifetattoos/@_nervousjerk/@toyota_bleeps)
What has been your personal highlight of 2019? Quitting my job as a builder and becoming a full-time tattoo artist. It’s been a goal of mine since I was a teenager.
What piece of someone else’s art in Christchurch has been your favourite this year? I just love seeing a nice tag to be honest. I haven’t really been involved in the graffiti scene since I started putting all my artistic energy and time into tattooing. However, once you’re in the graffiti culture you never stop turning your head when you go past a tag that has something special about it. My favourite tags are the cheeky ones done with a paint pen or a big marker.
What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m a big fan of Josh Solomon from Auckland, both his tattoos and his ‘fine art’.
What exhibition by an urban artist(s) has been your favourite this year? Rory Grant had an exhibition [Babylon is Burning] at Spooky Boogie in Lyttelton last month and I think his paintings are super impressive.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes, it goes without saying, haha! Starting a punk band (Nervous Jerk) and being welcomed into a whole new world and experiencing kindness from strangers like never before. Putting out a record with that band five years later. Becoming a qualified builder. I learnt so many things, but most importantly it taught me to never give up on something and to always have a crack at taking that broken thing apart and trying to fix it or whatever. What’s the worst that can happen right? Buying a house with my girlfriend. So many things. I was 15 at the start of the decade so I’ve been through a lot of first times and probably shaped by a lot of things I’m not even aware of yet!
What is the biggest artistic/pop cultural moment from the last decade? Smartphones, I think. I hate everything about them and love them for the same reasons! But you can be so creative with them and write things down and brainstorm on them and I think so many creative things were probably started as just a note on a phone…
Which artist or artists have stood out over the last decade? To be honest I think over the last decade all the big artists I’ve gotten into haven’t been doing anything this decade. I just really like older music and most of the art I’m into is more traditional stuff too, I guess.
Lastly, what do you hope 2020 has in store, personally and for the local scene? Less people being fussed about how many likes they get for whatever they’re making and just making it for the sake of self-expression. Hopefully by then everyone will be over that shit and just enjoy being themselves.
Ikarus – Artist (@highdoctornick)
What has been your personal highlight of 2019? I quit smoking cigarettes after close to 25 years, does that count? Relating to art stuff, it’s hard to say, there’s been a few cool projects but nothing that blew me away…
What piece of someone else’s art in Christchurch has been your favourite this year? I’m not even sure. For big murals, the photographic piece Dcypher and Yikes produced with OiYOU! looks like a real banger.
As far as traditional graffiti, which obviously is what I’m most interested in, this year has to go to Vesil, that dude is producing some dope work in high profile spots. An honourable mention to Dofus as well, he’s been killing the streets and yards with tags, pieces, throws. A solid all-rounder. The AOC crew have been putting in the heavy efforts and definitely produced some of the rawest graffiti this year.
Even though he’s been quiet this year, I’ve got to mention WeksOne (IMK), his 2017- early 2019 run is one of the heaviest and most impressive examples of all-round graffiti mastery in Christchurch history. Dude had the streets, yards, rooftops and more crushed, with everything from tags to throws to chromes to pieces to characters and straight up burners.
What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m super ignorant about what’s going on outside Christchurch most of the time. Everything Odeith does is insane though. 1UP’s coral reef project is on some next level shit. I really have no idea honestly. I can tell you all the current 2020 releases for Hasbro’s Marvel Legends line though, if that helps at all.
What exhibition by an urban artist(s) has been your favourite this year? Ahhhh, I see. This is all an exercise to expose how little I actually know about art, well played. OK well, I didn’t actually go to it, but I’m gonna say TOGO’s work in the Urban Abstract exhibition at Fiksate Gallery (see what I did there, guys? You’re welcome). I didn’t see the show but his mix of abstract paintings both on canvas/gallery and on walls/public, coupled with his raw traditional illegal graffiti work and his eloquent descriptions of his experiences lead me to assume I would have very much enjoyed the exhibition.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? That’s a brooooad question. Part of me wants to just say ‘Thug Life’ and move on, because thinking and talking too deeply about graffiti and/or street art sometimes feels stupid or falsely high-brow, too forced. But part of me also takes it all really seriously. So, I dunno what to say to be honest. Grow and evolve but don’t change. When you work out what that means and how to do it, lemme know, it might be the key to the struggle.
What is the biggest artistic/pop cultural moment from the last decade? The Internet. The exponential rise of social media and its various platforms to some extent make every moment the biggest moment for artistic/pop culture. Everything has the potential to be the next big thing. Marketing and branding overtook advertising as the true modern art form.
Which artist or artists have stood out over the last decade? There’s too many dope artists and writers to name and I’d be afraid to forget somebody. On some level everybody is an influence but it’s really only my crew and the writers and artists from my city that I think about though, without them I couldn’t exist. Two people I will mention though, are George Shaw and Shannon Webster from OiYOU! While perhaps not the traditional definition of “artists”, they have been incredibly important to the growth of public appreciation towards graffiti and street art in Christchurch. From organising the biggest graffiti and street art exhibitions/shows/festivals in New Zealand, including the historic RISE at the Canterbury Museum, to their continual support behind the scenes, these guys have been a huge factor in the growth of graffiti and street art in post-quake Christchurch.
Lastly, what do you hope 2020 has in store, personally and for the local scene? I’ll just keep doing what I do. We have workshops and the Blackbook Sessions starting up again in the new year, as well as a festival or two pencilled in for 2020 already. I’d like to see traditional graffiti art represented more at the many street art festivals and shows that are happening now. It’s great to see the art form evolve and see events that support the new wave of art/artists, but it would also be great to have traditional graffiti art represented in that positive light. Locally I’d like to see the implementation of more legal walls and evolving art spaces where novice artists can practice freely, and more funding toward workshops and tutorial classes for at-risk youth.
Jacob Yikes – Artist (@jacobyikes)
What has been your personal highlight of 2019? I’ve had a somewhat quiet year with painting outdoors for various reasons, however, a highlight of mine was displaying some works at Chambers Gallery. I felt those works were a shift in the direction I see my work heading in 2020.
Another highlight would be getting a solo show in a local gallery that I have been visiting since I was young, I can’t release any info about it yet, but the show will be towards the end of 2020…
What piece of someone else’s art in Christchurch has been your favourite this year? Hmmm, that’s a hard one, personally I feel that overall it’s been super quiet in Christchurch this year… I’ve been locked away in my studio for a lot of the year so I’m not sure I’ve really seen anything new from anyone that’s really stood out, and that’s not a negative thing at all but nobody is really being that active. I guess I need to get out more, haha!
What piece of someone else’s art outside of Christchurch has been your favourite this year? Yeah, again, I’ve not being paying attention enough to what’s been going on, so I really couldn’t say, hibernating in the studio for the cold months will do that!
What exhibition by an urban artist(s) has been your favourite this year? No answer.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Easily the influx of street-based work in Christchurch, the events that have opened up doors for me and helped me progress as a full-time artist. I quit my job as a house painter about 6 years ago, took the leap to be a full-time artist and it’s not been easy, especially trying to keep my work original and true to my vision and not just to please the masses. That can be hard, but it’s all been worth it.
What is the biggest artistic/pop cultural moment from the last decade? No answer.
Which artist or artists have stood out over the last decade? That’s a tricky one, a lot have stood out in their own way, I really couldn’t say, I really should pay more attention!
Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that in 2020 we will see our local Council actually contribute to keeping the street scene alive and to stop using the work we do to promote the city but not putting anything into it, but we’ll see…. I personally have some things in the works for 2020, but I’ll keep that close for now, haha!
Jacob Root (Distranged Design) – Artist (@distrangeddesign)
What has been your personal highlight of 2019? My personal highlight of this year was definitely my trip to Los Angeles. The work I was able to do there and the contacts I’ve made from it is still surreal.
What piece of someone else’s art in Christchurch has been your favourite this year? Ahh, I haven’t actually seen a whole lot. But Dcypher’s Seagull was dope!
What piece of someone else’s art outside of Christchurch has been your favourite this year? All of Triston Eaton’s murals!
What exhibition by an urban artist(s) has been your favourite this year? Chimp’s Aliases at Fiksate.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The last decade has really been the start of my life, finishing high school, then being able to work for myself and do what I love every day is a major factor!
What is the biggest artistic/pop cultural moment from the last decade? I really don’t think I’m fit to answer that as I’ve really only been painting for the last couple of years.
Which artist or artists have stood out over the last decade? Triston Eaton, Martin Whatson and Alec Monopoly.
Lastly, what do you hope 2020 has in store, personally and for the local scene? For me, I’ve got a few festivals planned and quite a bit of travel, so I’m really hyped to be able to have my artwork outside of NZ! For the local scene, I really hope there is a street art festival curated for Christchurch…
A Tribe Called Haz – Artist (@atribecalledhaz)
What has been your personal highlight of 2019? Being invited & participating in a roughly six month long art exhibition with Burger Burger.
What piece of someone else’s art in Christchurch has been your favourite this year? The walls of New Brighton.
What piece of someone else’s art outside of Christchurch has been your favourite this year? Gareth Stehr’s Have a nice day.
What exhibition by an urban artist(s) has been your favourite this year? Joel Hart’s Dopamine at Fiksate.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The Rad Collective’s Under the Influence, the ‘Graffiti Quake House’, my first A Tribe Called Haz exhibition.
What is the biggest artistic/pop cultural moment from the last decade? Ilma Gore’s painting of Donald Trump with a small dick.
Which artist or artists have stood out over the last decade? Locally, Uncle Harold, Hugo van Dorsser, Vesil & anyone I’ve painted with. Outside of Christchurch, it would be Askew, Sofles, Dside, Valentin Ozich, Pablo Dalas, Neckface, Jeremy Fish & Haser.
Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, more Inspiration, hopefully pull together another exhibition or two. Locally, more legal walls & more art collectives.
Jessie Rawcliffe – Artist (@jessie.e.r)
What has been your personal highlight of 2019? Finally having a solo show, an opportunity which encouraged me to get away from working digitally and experiment with my preferred medium.
What piece of someone else’s art in Christchurch has been your favourite this year? Dude, I suck at favourites… I really enjoyed Evangeline Edilson’s show Melpomene and the Sock at CoCA in August. There are some similarities in our work, so I probably related to it stylistically, which being a surrealist figurative artist I don’t get often. But honestly there’s been so much good stuff I can’t remember. Last week is hard enough. And I accidentally deleted my camera roll the other day, so I can’t even look back at visual cues.
What piece of someone else’s art outside of Christchurch has been your favourite this year? Too specific. But in general Michael Reeder had a stellar year (last few really) and I’m constantly seeing his stuff and thinking “fuck you”. His development and refinement is such a pleasure to watch.
What exhibition by an urban artist(s) has been your favourite this year? Fiksate’s Urban Abstract is the most memorable for sure. The range and standard of work was really great and that opening had such a good atmosphere. I think the space has worn in a little, there was such a nice crowd, I dunno, it was the warmest opening in recent memory.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Moving to Wellington at the start of the decade and realising that there were weirdos out there just like me. I’ve moved cities and started gaining some momentum with my practice that was non-existent near the middle of my post-university years. Christchurch has been home for four years now (woah!) and I think it takes at least that long to either get comfortable or figure out how that new environment affects you. Working from The Welder Collective in 2017-18 either directly or indirectly introduced me to everyone in the Christchurch art scene I now know, with a few in particular being a vital influence on my current motivations and interests. The explosion of social media and its relationship to art really stands out. For better or worse. It can be pretty numbing being bombarded with imagery all day, every day, it’s often demotivating to go out and see art in person. The flip side though, is that I’ve connected with artists all over the world because of it and think it can be used as a tool for making art friends and expanding your art business wise. I’m inspired as much as I’m crushed by looking at other artists work (lol). Social media is probably a contributing factor to why I can’t remember what the fuck I’ve seen or done in the last decade. This might seem mundane, but I was given a copy of Young, Sleek and Full of Hell to read in 2017, which documents all the wild shit that went down and the careers that launched at Aaron Rose’s New York gallery ALLEGED in the 90’s (Mark Gonzales, Chris Johanson, Rita Ackermann, Susan Cianciolo, Barry McGee, Margaret Kilgallen, Harmony Korine, Mike Mills, Ed Templeton…), and it is so memorable and jumps out at me, because it fucked me up for a solid week. I was convinced that I was born in the wrong place/era. The sentiment of this time and place really resonates with my inner punk who wants to be allowed out, except, well, I’m too nice. And it got me worried that what went down there won’t or can’t ever happen here, because Christchurch for the most part is the cultural equivalent of a loaf of pre-sliced white bread.
What is the biggest artistic/pop cultural moment from the last decade? Yeah, maybe it’s still the hangover from the decade before. ALLEGED crew and affiliates are everywhere. Or maybe more generally, the sentiment that came out of that time, all the good stuff of the late 90’s – skateboarding, art, graffiti, film, fashion, photography – has been polished, monetised, derivatives on derivatives. We’ve been in this post-postmodernist depression. And look what’s in again, the 90’s! But did it ever really go away? Another thing that stands out is the multidisciplinary artist/creative – the lack of needing to specialise in one field, like the the skateboarder/artist, or not needing to stick to one artistic medium. Also, the collab. OMG the collab! Big companies approaching (big or small) artists, as they try to capitalise on underground cultures and just basically commodify anything cool.
Which artist or artists have stood out over the last decade? HUGE question, I’m avoiding it! Every year my attention has been drawn to different stuff depending on what I was up to. During university it was magazines like Juxtapoz and Hi-Fructose where I was getting inspiration from – lowbrow pop surrealism. 2009/10 was really my introduction to graf, hanging out at Manky Chops gallery in Wellington and with various members of Pirates crew (who are now graphic designers, tattooists, fine artists and the likes), very much the new gen of graf meets fine art, and the rise of the mural/street artist. The last few years in Christchurch it’s been a mix, which isn’t surprising given how varied the art scene is here, with the very traditional and more low-brow often right next to each other. There’s been a lot of looking back going on, at CAG for example, so many of the stand-out work has been old work from artists I should probably have known. Maybe we’re in a lull? Otherwise it’s a bit blurry. Specifics are hard. It feels like it just happened and I need a little more distance to work it out.
Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope the art scene can get a bit more momentum and general support from the wider community. There’s a cultural divide that I find really evident in Christchurch, with rich white people who want to buy landscapes and tell their friends they went to an art opening, then a bunch of super skilled and hardworking artists who will never see any of that support. The underground scenes are supported mostly by the people in them, and this city is too small to sustain that. A bit more overlap and progression of the traditional and contemporary art worlds.I’d like to keep painting, but also not be fucking broke for the 11th year in a row. I have way more focus and direction (and Ritalin) than I ever have before, so we’ll see where this new motivation takes me. It’ll likely be reaching out to galleries in the States to better connect with my audience. NZ has little fucks for figurative work, but the US love it, so I’ll be exporting goods!
Dcypher – Artist (@dcypher_dtrcbs)
What has been your personal highlight of 2019? My personal highlights for this year would have to be working on the Salt wall designed by Paul Walters (I added the additional ‘Otautahi’ piece beneath it), it was a fun collaboration and I learned a lot of new techniques. Also, the more recent negative film strip mural depicting historical photographs of the SALT District was fun, again working with the Oi YOU! team.
What piece of someone else’s art in Christchurch has been your favourite this year? It’s a biased viewpoint, but all of Yikes’ new work, murals and artworks, would have to be my favourite in Christchurch for 2019.
What piece of someone else’s art outside of Christchurch has been your favourite this year? Internationally, I would say Sainer from ETAM crew and Aryz from Spain would be my two favourite artists of 2019.
What exhibition by an urban artist(s) has been your favourite this year? I haven’t had a chance to attend many shows this year but based on what I did see Levi Hawken’s sculptures from Fiksate’s Urban Abstract stuck in my memory.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I spent the last decade living and working in Los Angeles so that has had a massive influence on my work.
What is the biggest artistic/pop cultural moment from the last decade? I think for Christchurch it would have to obviously be the earthquakes and the mural festivals that proceeded it and put the city on the map as a cultural hub of New Zealand.
Which artist or artists have stood out over the last decade? Internationally there are so many amazing artists that stand out in my mind. And the mural art movement has been pushed in lots of amazing directions but someone who really stands out I would have to say is Vhils, his work is super impressive.
Lastly, what do you hope 2020 has in store, personally and for the local scene? I’m looking forward to 2020 being super productive. Hopefully producing more and more murals and having more mural festivals and bringing in international artists to add to the already extensive public mural catalogue.
What has been your personal highlight of 2019? In 2019 Fiksate came to the central city and we’ve so many had great exhibition openings, the highlight was probably the latest one, Urban Abstract, for sure. Also, I quit my 9-to-5 and am focussing on being an artist and running Fiksate full time, that is definitely a highlight!
What piece of someone else’s art in Christchurch has been your favourite this year? Levi Hawken has blown my mind with his sculptural work. It was so good to have it in Urban Abstract…
What piece of someone else’s art outside of Christchurch has been your favourite this year? There are too many to name! I have really enjoyed Remi Rough, the abstract urban artists coming out of Poland, all the female mural artists out there. I have to say that I’m constantly amazed by the stuff that comes across my Instagram feed. I don’t always take in who it is by, but there are so many artists out there that are so talented. I’m blown away everyday by urban art culture, it’s a huge vast ocean of talent.
What exhibition by an urban artist(s) has been your favourite this year? Every single Fiksate exhibition opening! We have had such great vibes, the other exhibitions this year that have stood out have been Jessie Rawcliffe’s shows at CoCA and now at Absolution.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? In 2010 I met Nathan and we fell in love. Then in 2011 the earthquake struck, you can’t not mention that, but that’s also when our street art journey began and we became a team and since that day when we made paste ups of Band Aids or Nath’s Dr Suits character, that energy has never faded away.
With Fiksate, we are here to give a leg up to artists who don’t get that from other contemporary art galleries, we are here to give urban artists the prominence they deserve because they are a talented bunch of people. We want to give local artists the chance to show alongside international artists, showing the standard here.
What is the biggest artistic/pop cultural moment from the last decade? Man, it’s a long decade! I’d say the emergence of Anderson Paak.
Which artist or artists have stood out over the last decade? I really enjoy Gary Stranger. Every time Cleon Peterson puts out something it blows my mind, his latest work, it’s so dark and dirty. I’ve got to say that the artists who have been part of our shows at Fiksate, like Askew One, Pener, Joel Hart… And of course Dr Suits, he blows my mind every time and I hate it because he makes it look so easy!
Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that I will become a full-time artist and that Fiksate will become a solid grounding for urban art in the city, a mural agency is part of that plan too, working to get more murals around the city. I also hope urban art is given more education and acceptance of all its aspects.
PKAY – Artist (@aaron.p.k)
What has been your personal highlight of 2019? Shooting Steven Park’s 6×4 summer collection.
What piece of someone else’s art in Christchurch has been your favourite this year? Vesil’s entire output this year.
What piece of someone else’s art outside of Christchurch has been your favourite this year? No answer.
What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was great.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I feel like I’m giving a very obvious answer but the earthquakes have been hugely impactful, particularly for people like myself who were in their early teens, as it changed the way people my age experienced the city (or lack of one) during our formative years.
What is the biggest artistic/pop cultural moment from the last decade? Mass meme culture (and muralism).
Which artist or artists have stood out over the last decade? Consistently over the whole decade DTR have pulled it off.
Lastly, what do you hope 2020 has in store, personally and for the local scene? More creative opportunities and some failed rebuild projects to retain the city’s spicy ‘bando energy
Dr Suits – Artist, Gallery Owner (@_dr_suits/@fiksate_gallery)
What has been your personal highlight of 2019? The basketball court [Forces] in New Brighton was a big highlight for me. Just making it through to the end of the year is also a feat.
What piece of someone else’s art in Christchurch has been your favourite this year? TOGO all day, without a doubt.
What piece of someone else’s art outside of Christchurch has been your favourite this year? I don’t think I have even left the city! I looked online a couple of times, probably Remi Rough. He’s fucking killing it.
What exhibition by an urban artist(s) has been your favourite this year? I wouldn’t want to be biased, but Urban Abstract was off the chain for us. That was a mammoth project and something that we worked on for a long time. I love urban abstract artwork and I just like to push my agenda! It’s like I love this so you should at least consider it, because I don’t even know if people even knew it existed. It’s really exciting the direction urban abstract art can go. I mean abstract art has been at the forefront of driving contemporary art for a long time, it naturally fits, but the murals and the scale and the insane concepts that can be translated, even stickers, paste ups and graffiti as well murals, it is all so exciting. Graffiti is essentially an abstraction of letter forms, but now artists are just completely letting go altogether.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Meeting my wife Jenna and forming a whanau with her.
What is the biggest artistic/pop cultural moment from the last decade? Over the last decade rap music has just become so mainstream and dominated the music industry, I have to wonder if rap going to become rock? All the good rock songs are by artists from the 60s and 70s, is hip hop now just people reinventing the wheel, with the best hip-hop artists from the 90s? It’s gone so far from its original roots, it seems like the pure reason hip hop music came to the foreground is so contradictory to where it is now, where it used to be about the little guy, now its all about celebrities and big names. What’s next, what’s the next new music?
Which artist or artists have stood out over the last decade? Anderson Paak, TOGO, Leon Bridges… Polish abstract artists are bonkers, they are just driving it. I don’t know if it’s just my preferred aesthetic, but they are so amazing. They are next level. Maybe it’s the Soviet influence of propaganda. Living in New Zealand, I can’t even picture what a day living in Poland is even like. You come across an artist 5 years ago and they take it somewhere even better, what is in the water over there?!
Lastly, what do you hope 2020 has in store, personally and for the local scene? I need to spend some more time with my family, that’s a personal goal. As for urban art and the city, I’m obviously an advocate for abstract art and I want the city to embrace more abstract murals. Sanctioned works need to celebrate the artists, rather than give them a brief. In those situations artists can show their technical ability, but they can’t always show their voice. We need to have that diversity. The public will then become more aware of the issues artists are confronting, whether it is process driven or socially-minded. The process currently is dictatorial and often driven by people who lack an understanding of art.
Wongi ‘Freak’ Wilson – Artist (@wongi.wilson)
What has been your personal highlight of 2019? Painting the second stage of Boxed Quarter was cool because it was nice to be back again to add to the first round of works I did there. They give me full creative freedom. It’s great to have clients like that who know my work, trust my process and let me do my thing. I’ve had lots of positive feedback on the greyscale portraits and photo real paintings that I did. One painting is of a photo I took of one of the foster pups we had which makes it personal.
Teaming up with DOC and the Godley Heads Heritage Trust who commissioned me to paint the Godley Head gun turrets was pretty cool too. The paintings are based on historic photos of men and women who were the soldiers that manned the turrets during WW2. It was an amazing site to paint as was the subject matter. Another highlight were the pieces I painted for the Fresh Produce exhibition in Auckland. I never get the time between commissions to paint on canvas but I really wanted to include some work once I was invited. I got into the studio every chance I had and painted still life images of my wife from my personal collection and they turned out great. Finally, the Rollickin Gelato commission was a great way to end the year because I’d been wanting to paint a hand holding an ice cream for some time and it fit perfectly with their brief. They wanted it to represent their employees and they had a photo shoot of one with the tattoos and jewellery and sent me a few dozen photos to choose from. It was nice to be painting in Cashel Mall again, which I haven’t done since the first few years after the quakes.
What piece of someone else’s art in Christchurch has been your favourite this year? My favourite pieces this year were any and all Jungle pieces that were done, but specifically Weks did two mean ones and Lurq did a dope one too, on top of that the bro Elias did a great portrait of Jungle which was awesome.
Although, if I needed to point out a specific piece of work, I really liked he UV/Aztec styled characters that Sirum, Linz, Dem189 and Bryan Itch did at the Ten Pin Bowling spot. Mad cool stuff.
What piece of someone else’s art outside of Christchurch has been your favourite this year? The artist Royal Dog did some outstanding portraits this year and Bust’s graffiti/cartoony combination styled work has been awesome too. 1UP’s boat piece or their underwater reef piece were ground breaking, and Blesea One’s character steez was also mad cool, specifically, I thoroughly enjoyed his Dragon Ball Z series.
What exhibition by an urban artist(s) has been your favourite this year? Two shows from this year that would have been amazing to see would have to be Tilt’s exhibition Future Primitive, and, without a doubt, Martha Cooper and 1UP Crew’s one night exhibition in Melbourne. Such a mean team up from some heavy hitters in the scene.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes were obviously a huge part of the decade, as well as the abandoned buildings/graffiti playground that they left behind. Getting married to my wife and having an amazing partner and best friend. The RISE exhibition was also a memorable part of the decade, being part of a street art show in the Canterbury Museum was crazy and with all the artists that the show brought through.
A huge event from the last decade was getting the chance to travel to and hike to Everest Base Camp as part of a commission for Kathmandu. It was an absolutely amazing experience that was an adventure of a lifetime and extremely memorable. Baby Yoda.
What is the biggest artistic/pop cultural moment from the last decade? The end of Breaking Bad, Game of Thrones, street art becoming mainstream, the final season of Samurai Jack, Baby Yoda, memes of Baby Yoda, Dragon Ball Super…
Which artist or artists have stood out over the last decade? There’s been so many amazing artists from the last decade, but Pichi & Avo’s paintings and sculptures really stood out to me, 1UP Crew’s work was also high impact, and Insane51’s portraits were great, his red and blue 3D-style murals also stood out. I’d also like to mention Tasso and Case from Ma’Claim Crew, they were the first photorealistic painters I saw back in the 2000s, but their works from the past decade have stood out as far as skill levels go.
Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, I’d like it to be a positive, progressive and prosperous one, full of love, laughter and learning with lots of highlights and happiness. Specifically, I’d like to push my work further and further, expanding on my skill level and developing my pieces, processes, portraits and photorealism to new levels. As for the local scene, I’d love it to be more active on all levels, more cohesive across the board, as I feel it’s quite disconnected and disjointed at times, and for there to be more large scale murals painted, more fully themed productions, and more festivals and artist events to help grow and push the scene.
Jane Maloney (M/K Press) – Designer (@mk.press)
What has been your personal highlight of 2019? Travelling to Europe again for the first time in 5 years. It felt like a long time away so I was very happy to go back. Also making the decision to quit a great job that didn’t serve me well mentally and emotionally.
What piece of someone else’s art in Christchurch has been your favourite this year? All of the works in Playing the Drums by Bill Hammond at Christchurch Art Gallery, with notable mentions for the works Volcano Flag (1994), and Eating, Drinking, Smoking (1972).
What piece of someone else’s art outside of Christchurch has been your favourite this year? Nature Lovers (2003) by Tony de Lautour which I saw at NMG Arrowtown, Snakes (1969) by M.C.Escher, a coloured woodcut from the Escher and Nendo show Between Two Worlds at Melbourne’s NGV, and Nan Golden’s photobook The Ballad of Sexual Dependency (1986), which I saw at the Tate Modern.
What exhibition by an urban artist(s) has been your favourite this year? Face Value, the group show at Fiksate Gallery, and Convo by Tom Gerrard, Matthew Fortrose and Elliott Routledge at Stolenspace Gallery, London.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Starting my business M/K Press in December 2013, becoming self-employed full-time in December 2016, having my first art studio space (The Welder) in September 2017, and becoming a part of Fiksate Gallery and Studio in April 2018.
What is the biggest artistic/pop cultural moment from the last decade? The creation of Instagram in 2010 and its impact on the art world.
Which artist or artists have stood out over the last decade? The 2010s was the decade that ‘Street Art’ became the new ‘Pop Art’. Banksy, KAWS and Shepard Fairey stand out to me as the most prominent street artists who first broke into the mainstream.
Lastly, what do you hope 2020 has in store, personally and for the local scene? The growth of M/K Press, as I am back to running the business full-time. This includes working on some personal projects and hopefully starting my MFA. In the arts scene in Christchurch, I just hope that the support we are getting from local council and the general public continues to increase. Pay local artists appropriately for their time, buy their work and give full credit when sharing their work, and we should all be able to keep on growing.
Josh Bradshaw (Uncle Harold) – Artist (@thejournalofuncleharold/@joshuamarkbradshaw)
What has been your personal highlight of 2019? A personal highlight of mine of 2019 was the decision to branch out and fully delve into new mediums and explore a lot of new ideas and work that are really breaking away from the style that people would be used to seeing from me. None of this work has been seen publicly yet and that in itself is really exciting.
What piece of someone else’s art in Christchurch has been your favourite this year? My favourite piece by a local Christchurch artist in 2019 was What Do You Write Bro? by Tom Kerr from Face Value group exhibition at Fiksate.
What piece of someone else’s art outside of Christchurch has been your favourite this year? My favourite piece by an artist outside of Christchurch was I Never Learned To Tie My Shoes by Julio Alejandro from his solo exhibition Apple Eaters at Blackbook Gallery in Colorado.
What exhibition by an urban artist(s) has been your favourite this year? My favourite exhibition of 2019 was the group show Urban Abstract at Fiksate Gallery in October.
It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Some key events of the decade that were super impactful for me were moving from a small rural town with absolutely zero form of culture to do with the arts into the city, which was a pretty big eye opener, then shortly after was the opportunity to start a city all over again with the earthquakes. The city became a playground for any artistic endeavours. From the graffiti and street art that resulted from fallen buildings and newly exposed building facades to the rise of small collectives and exhibitions run by local artists that for the most part were met with great support from peers and the public.
What is the biggest artistic/pop cultural moment from the last decade? I don’t know a damn thing about any art movements or anything but I do feel like the introduction of social media has absolutely had a huge impact on the art world. Anyone and everyone is an artist on Instagram.
Which artist or artists have stood out over the last decade? Michael Reeder is one that stands out off the top of my head. He has produced an incredible amount of work and I’m always impressed how he is able to do so many different variations of his work. Materials and techniques are always being explored to keep it fresh and exciting.
Lastly, what do you hope 2020 has in store, personally and for the local scene? For me personally I hope 2020 brings a lot more freedom for me to go down different avenues with the work with the work I make and to not just feel restricted by anything that doesn’t seem necessary. For the local scene this year, I hope to see more small, gritty, underground DIY exhibitions being put on by local artists.
Spread the word about what's happening in the Christchurch urban art scene:
If you follow us on social media, you will know by now that we are super excited about Saturday’s Highlight street art party! That excitement is for good reason, as Highlight is shaping up as one of the most impressive urban art events the city has seen in several years. Hosted by a number of SALT District businesses, and occupying SALT Square and nearby locations, the one-night only party is a result of the collaboration between a number of entities, including Oi YOU!, the masterminds behind the massively popular Rise and Spectrum festivals, as well as the recent SALT mural produced by Dcypher and Paul Walters of Identity Signs.
Speaking of Dcypher, the recently relocated artist (having returned from a decade long stint living and working in Los Angeles) will be joined by his DTR crewmates, Ikarus, Wongi and JacobYikes in painting live at Highlight and producing a pop-up gallery of their work. Another pop-up gallery space will be created by the city’s leading purveyors of urban contemporary art, Fiksate, who will present work from their impressive collection. On top of that, Nelson’s Shady Collective (of Spectrum infamy) will present demonstration stalls for screen-printing, t-shirt and stencil-making, giving punters the opportunity to both make and take pieces!
Being that urban culture extends beyond graffiti and street art, there will also be live music (thanks to Bassfreaks and RDU DJs), food and drink (from the Little High Eatery and surrounding restaurants) and retail pop-ups of street wear from some of the city’s leading urban fashion masters, including Hunters and Collectors, Curb and The Recycle Boutique. Oh, and did we mention that once the official street party winds up, there are multiple after party options, from The Retropolitan to Smash Palace, The Slate Room and Dux Central.
And of course, another of the ‘Highlights’ will be the live video projection animation of the SALT mural, the first of it’s scale in Ōtautahi. This is sure to be an impressive, eye-catching activation of one of Christchurch’s newest pieces of street art muralism.
Highlight will kick-off at 5pm on Saturday at SALT Square on Tuam Street and is free entry. For more information, check out the event page on Facebook.
Spread the word about what's happening in the Christchurch urban art scene:
This month, we are stoked to welcome a guest contributor to our And That Was… series: the man behind the Instagram feed Rubble City (@rubblecity), Gavin Fantastic. The idea of this series is to cover a wide selection of what’s happening in Christchurch’s urban art scenes, so it was natural to throw our net wider and make use of those people, like Gavin, with their fingers, and cameras, on the pulse. Rubble City is a go-to feed for fresh, and often highly temporary, pieces of art across Christchurch. So, what has been on Gavin’s radar in April? Read on to find out…
Local artist Hambone is certainly setting the scene alight lately with his neo-trad style characters. From pumas with snakes to gorillas armed with bananas, the characters are certainly eye-catching.
Go Hard or Go Home
As the nights get longer the ability to lurk in the shadows also increases for those smashing the scene.
Two artists who have been dropping nasty steez are V-Rod and Vesyl. It has been interesting watching the style of these two artists evolve over the last couple of years from tags and rollers, to the next level pieces seen this April.
Our walls have been graced with additions by painters from afar this month. Showing how the other side of the world gets down were two of Europe’s finest. Resr47 was throwing down snow-capped letters from the Swiss Alps, while Desur managed to fit in a couple of Hamburg burners during his stint at local tattoo studio Otautahi Tattoo.
Jacob Yikes Pop-Up
Situated next to World on High Street, Yikes’ pop-up shop hit my Insta feed (and my wallet!) this month. The man from DTR is selling both originals and prints in a space that is occupied for the next few months selling eclectic furniture. Check it out and support your local artist!
As featured in the ‘And that was … March’ blog post, we saw the passing of local O.G. Jungle. Tributes have been popping up all over Christchurch City and around the world. I’ll sign off with a tribute piece from two other 03 O.Gs – Yikes & Ikarus.
Follow Gavin on Instagram (@rubblecity), and keep an eye out for more guest contributors in the coming months…
Spread the word about what's happening in the Christchurch urban art scene:
If you have been following our interviews, you will know that we like to go in-depth, and that sometimes (okay, it is a pretty regular occurrence) we need to split our conversations into two parts. When it comes to Dcypher, that was always going to be the case. Based in Los Angeles, we not only had to make the most of the chance to catch up while he was in town, but it was also always going to be an inevitably wide-ranging discussion based on his lengthy experiences. After covering his recent projects in Christchurch and his move to Los Angeles and the necessary work to re-establish himself in a new scene in the first part of our interview, in the conclusion of Homecoming we pick up on the realities of making a living as a full-time artist in Los Angeles, being close to the emergence of ‘blockbuster’ graffiti and street art exhibitions and the responses on the streets, how he keeps an eye on the street scene in Christchurch, his experiences painting in different cities, and his plans for the future…
How do you make a full-time career as an artist in Los Angeles? Is it a mixture of jobs, or are you able to be selective about what you do?
Yeah, well I’ve always looked at myself as more of a commercial artist. As I’ve grown over time I’ve always tried to adapt to certain jobs, to find ways of making money and that kind of thing, which isn’t always a lot of people’s drive as to how to go about it. It is a tough one, it does sort of change how you’re going about things. You have to take a step back and let other influences come in and whenever you’re doing work for whoever it might be, it’s always going to differ from your own personal work to a certain extent. I mean, a lot of people have figured out how not to do that, but it’s a tough gig to stick to your own thing and that’s all your going to do, you know?
You touched on how hard it was at first to be in L.A. and to create networks, to find opportunities. Do you think that in a bigger city it is in some ways harder to at least break through, because the pool is so much larger and more competitive?
No, I think the opportunities in a bigger city are far greater, and you can kind of pigeon hole yourself a little bit. But, being an outsider also kind of helps in the fact that you can navigate and come in from a bunch of different directions, meet various people and have people approach you and that sort of thing. So, yeah, I think it has definitely opened the playing field a lot more being in a bigger city and approaching it in different ways, you know, I commend folks who can pull that off…
Obviously in Los Angeles there’s the longer history going back to the Latino gang graffiti, which pre-dates the graffiti that grew out of Philadelphia and New York, and then there is the emergence of hip hop graffiti and how it evolved in the area over decades, there’s the famous Saber Los Angeles River piece for example, these all give the city a significant place in the narratives of American graffiti writing culture. Recently, the city has become a setting for some organised reflection on those histories, notably the staging of the Art in the Streets show at the Museum of Contemporary Art in 2010, and now Roger Gastman’s new exhibition,Beyond the Streets, both of which have been pretty massive shows…
Yeah, they are huge for sure…
They both deal with broader urban art histories than just graffiti, which makes them interesting presentations, but simply in terms of their staging in Los Angeles, do you think it is as much to do with the importance of the city in these cultures, or is it more that ‘blockbusters’ are what L.A. does?
I think it’s a platform where, or it feels like it’s a platform where a lot of people can sort of come in and almost change the history in a lot of ways, and put people in a spotlight, people that might not have necessarily put in a lot of work. If you listen to the street, a lot of these guys weren’t necessarily the guys who were doing it, and there’s a lot of guys who get salty when they have been doing that shit for years and they have stayed true to the whole thing and been left out, because there are so many players in the game, you know what I mean? It comes down to how good you are at navigating the gallery thing, if that’s your M.O. There’s shit loads of guys who never get credited, who have done fucking insane amounts of shit, amazing work over the years, but have stayed underground and never really been put in the spotlight in that respect…
I was going to ask about that, what the ground level reactions were like… I remember reading that people were upset at how Art in the Streets favoured certain stories and as you say, left certain people out, so that was the feeling you were getting in Los Angeles?
Yeah, definitely. I obviously know a bunch of guys that weren’t involved but who should’ve been involved, guys who put in years and years of work. But it kind of just comes down to what groups you associate with and whether they are getting play or not. But everyone’s trying to do their own thing, and everyone’s got their own way of going about it and making their own stamp in history, some just sort of stay true to the game and keep it like, underboard, as opposed to above board…
It’s an unavoidable problem for any show of that nature. You are talking about too many diverse voices and participants to ever ‘get it right’. Also, once you start bringing in so many other influences, like the gallery worlds, and the new mainstream status of a number of urban artists, things evolve even further. Curating and condensing these histories is essentially impossible, right?
It’s always going to be the case. A famous New York graffiti writer once said: ‘Everyone has their own history of graffiti.’ No two peoples’ history of graffiti is going to be the same. To some extent, history is written by the victors, you know what I mean, so whoever is on top can kind of claim the history so to speak. Which is cool, you know, that’s part of it, but there are so many people doing their thing that there’s a million different versions of it…
In his book The History of American Graffiti, Roger Gastman recounts that he was told by someone who didn’t want to participate: ‘Anyone who tries to tell you the history of graffiti is either a liar or a fool.’ (Laughs)
I would totally agree with that.
We briefly touched on returning for Spectrum, but coming back now over the ten years you have been away, particularly post-quake, what is your take on what’s happening on the streets in Christchurch? Do you like to take a pulse of what is going on, or is it sometimes too hard to do that, especially if you come back for specific commissions that keep you occupied?
No, I always take a drive around and take some walks to old spots and stuff every time I come back to see what the next generation is doing. It’s awesome to see that people are still out there bombing and tagging, because that’s kind of like the essence of it all. And obviously with the earthquakes, it’s opened up a bunch of opportunities for both illegal stuff and legal stuff, which is cool, because I think they kind of should exist side by side to some extent. But as time goes on, it’s always something that’s going to be apparent, and there are a bunch of guys taking it very seriously which is good to see, and obviously getting away with it. (Laughs) It’s kind of something that gives the city a little bit more life, that’s the way I see it anyway…
Following that period where the central city had a sense of freedom and there were a lot more spaces to explore, it now looks like those traditional spaces are becoming more popular again, back on the peripherals. Many of those empty buildings right in the middle of the city are slowly disappearing, but it does seem as though it has created a bit of a new energy in the writing scene with new generations. It’s interesting when you think about the different generations of Christchurch writers, and I guess you guys were maybe what, the second or third generation? If you classify it loosely…
Ahh, yeah, you are probably right there…
And now I guess there’s like another two layers or more on top of that, and its starting to build this sense of history, do you sort of feel like, even living overseas, you are seen as a something of a respected, veteran figure?
Yeah, I guess so. There’s not just myself, there’s a bunch of other people, that would be considered respected figures, but I guess I’m someone who has sort of taken it a bit further than other people would have be able to, just being in Christchurch itself. But yeah, there’s a bunch of other guys that are definitely respected figures. I do get hit up by younger generation dudes trying to paint walls and stuff, they are obviously smart enough to realise that if someone has been doing it for way longer than you have, you can learn something from them, you know what I mean? At the same time, I always try and stay humble with what I do, because I’ve been lucky enough to travel and see the amount of work that other people have put in round the world, what it really means to be revered… and being from the bottom of the world, to put yourself in that context is tricky…
Although, there are a number of New Zealand artists who are killing it, travelling the world, do you feel like there is more potential for people to be able to have that global success, to make a mark internationally rather than just locally, even while still being based here? There are multiple options now, you can move, you can stay, you can travel, you can even make a living here, there seems to be more choices than ever before…
Yeah, definitely. I think it is quite easy to get to a point where you feel that you’ve outgrown your environment to some extent, and the amount of opportunities that are available in New Zealand are still somewhat limited, and people are trying to branch out and do stuff in other countries and what have you, but at the same time you’ve got to remember where you’re from and try and bring it back full circle too…
In your case, you get to experience living in another city, and all that comes with that, including a level of home comfort, which is different to living out of a suitcase, which is the reality for a number of artists now, travelling between projects, festivals, events. I imagine that must get somewhat tiring at a certain point, although I’m sure its also an exciting way to live…
Yeah, being grounded in one place can give you a way better perspective of whatever that city might have to offer or whatever, but if you’re lucky enough to be able to travel and live out of a suitcase, that means you are doing something right…
Even in visiting a number of cities in quick succession, you’re going to learn a shitload about being a fucking human, you know? (Laughs)
Yeah definitely, you can’t help but be influenced by the places you paint, from the people you meet, to the physical environment, to the actual experience of travel itself, the journeys to get places, all those elements that come into it, they must all build up and inform your work…
Yeah, even being based in L.A., I still try and travel, to paint at festivals and do work across the United States. The States is a crazy place, where all the cities are so different, it’s insane. Like, you think you have Americans wrapped in a nutshell and you really don’t, you go to New Orleans, or you go to Seattle, you’re in two different countries!
What specific cities have you enjoyed painting in the most?
I mean, just painting in Los Angeles the most, makes it the most exciting place to paint. But I’ve painted in Albuquerque, Seattle, New Orleans, San Diego, and a bunch of other places, more so on the West Coast, and within the left-hand side of the United States. It’s awesome, it really gives a good perspective on that country, and again, the regional styles of all those places. But it’s somewhat interconnected as well, people are building bridges and making things happen between cities and getting influences and styles and techniques, what have you, from city to city, which is cool. Somewhere like Florida, where they have Art Basel and festivals and shit like that, is a fucking crazy place. There is a lot of crazy shit going down there. I was there painting a mural for Art Basel, and literally within like one hundred and fifty feet from where we were painting, there was a little gated neighbourhood where all sorts of crazy shit goes down. Some kid was shot at like five o’clock in the afternoon for his headphones, while one hundred and fifty feet away there’s hundreds of people painting and doing their thing and they’re not really part of that environment, but that environment still exists. There’s a lot of crazy shit going on in these tiny microcosms in the United States, it can be a dangerous place…
Living in the U.S. for almost ten years, do you feel like a Kiwi who lives in L.A., or a Los Angeleno from New Zealand?
Yeah, definitely a Kiwi who lives in LA. I’ll never renounce my ‘Kiwi-ness’! I’ve always tried to uphold the fact that I’m a New Zealander, I would never pretend to be known as an American in any way shape or form, even though I’m a citizen. The guys I paint with, the CBS guys, nicknamed me ‘Big Kiwi’, and I can never live that down, so, I would never consider myself a Los Angeleno. But a lot of people do, and it doesn’t take long for them to consider themselves Los Angelenos, even if they’ve only been living there for a couple of years, which is interesting. It’s such an amazing place where a lot of crazy, interesting things are going on…
I feel like with a place like Los Angeles, it would be easy to get swept up in the romanticism of it, and to identify with it…
People want to attach themselves to it and you will meet someone and ask: ‘Are you from L.A.?’ They’ll be ‘Yeah, totally, but I’m from Ohio originally…’
We kind of grow up with Los Angeles and New York as these iconic places, the settings for so much of our popular culture diet, that we have this expectation of them before we even visit, which might make it easier to adopt that identity when you do get there…
Yeah, I think, maybe your preconceived ideas of what a city has to offer are always wrong, like you always get to a city and it’s like: ‘Shit, this is not what I expected!’ A place like the United States is so diverse, so much crazy shit is happening constantly, it’s easy to align yourself with a certain aspect of the city, rather than a general idea of what that city sort of stands for…
Coming back relatively regularly, and maintaining that public profile through walls and projects when you do, have you ever thought about coming back and staging an exhibition in Christchurch, or actually just moving back?
Yeah, I just recently had a daughter so the idea of living in the United States for the rest of my life is sort of diminishing. You always want to have your kids experience life the same way you did to some extent, and schools and stuff in New Zealand are a little bit better than central L.A., so yeah, I definitely always considered coming back and producing work back home…
You were part of the surge of graffiti culture in the early to mid-2000s, with the likes of Disruptiv, the popularity of hip hop summits, and even locally, you were part of Project Legit, and a number of other projects as well, do you kind of feel like there is a similar vibe now, albeit with this evolved concept of ‘street art’ and whatever that entails? It must feel like coming back and doing those types of things is actually achievable, not only because of the things you’ve learned in the ten years you’ve been away, but because of the environment you are coming back to as well, right?
Yeah, definitely, I think everyone here has been keeping the ball rolling, you know. When you move away you feel like nothing’s happening back home because you are so inundated with your own life…
Out of sight, out of mind…
Yeah, but every time I come back, I’m sort of floored by the amount of stuff that’s going up, different people really pushing the artform. So, I’m super stoked to be able to have that in my mind, that it is a possibility to move back and try and make something happen. Although, it is kind of daunting as well because the work opportunities in the States are far greater, whereas here you’ve got to hustle that little bit harder to try and get things going. But I feel you could, but that’s a period where you start to refine your thing and really nail it down.
Thanks for sitting down with us man, safe travels and see you back…
Yeah, cheers man…
Even though Dcypher is back stateside for now, you can keep track of what he is up to through his various online forums:
Dcypher has been living in Los Angeles for a decade, but the Christchurch-bred artist has still made a significant contribution to the post-quake city’s walls. From commissioned works such as his cut-up patchwork of iconic kiwiana on the Wharenui Pool in Riccarton, or his on point ‘Welcome to Christchurch’ greyscale postcard for 2015’s Spectrum festival, to more informal jams and productions with his DTR crewmates, he has made the most of his sporadic trips home. Dcypher, of course, has pedigree, he is not some out-of-towner drawn to the opportunities in Christchurch, but rather an important figure in the city’s pre-quake graffiti history. Dcypher’s legacy now extends across decades and geographic settings, tracking the progression of an artist across the globe, and the transition between graffiti traditions and the new mural renaissance. Prior to heading State-side, Dcypher had already developed a notable local and national profile. From his role as a tutor and artist for Project Legit in the early to mid-2000s (an art programme that served to mentor young graffiti writers and provide legal opportunities for painting), and numerous local projects and commissions, to his regular inclusion in issues of Disrupt Magazine and even Askew’s 2007 book InForm, where, alongside Lurq and Pest 5 (although the latter had relocated to Auckland by that time), he was one of the few featured artists from outside of the North Island, Dcypher was able to fashion something of a career from his graffiti roots, a transition that might have been unexpected, even amongst the graffiti culture renaissance of the mid-2000s in Aotearoa. However, when he left Christchurch for the United States in 2008, he, like most people, had no idea of the monumental changes the city would endure just several years later, and indeed, the creative opportunities that would emerge in the recovery period. As a result, Dcypher has been returning to a different city, not only from the hometown he left behind, but also in comparison to the sprawling and stretching metropolis of Los Angeles to which he has become accustomed. That environment, coupled with the wisdom of experience developed over years of work, has ensured Dcypher’s output expresses a well-honed practice, striking and crisp, distinct but ultimately indebted to graffiti as the culture from which he emerged, a balance he continues to maintain. While he was recently back in town, I sat down with Dcypher to find out about his views on Christchurch’s current scene, his experiences as an artist abroad and what his future may hold. While the open-air setting of Smash Palace may have made the difference between mid-winter Christchurch and bright Los Angeles abundantly clear, it was obvious that while the man might not reside in Christchurch for now, he maintains deep connections to the people, places and unique characteristics of his hometown.
You have been back in town for a couple of weeks now, what have you been up to since arriving? From all accounts you pretty much hit the ground running…
I started the Lyttelton skate park mural with the rest of the DTR crew, Ikarus, Yikes and Wongi, pretty much a few days after I arrived, and that took about eight straight days of just painting. The weather was good though, and everything worked out. Then I just got straight into the Airport mural with the Oi YOU! guys, George [Shaw] and Shannon [Webster]. That was a good fucking two weeks of straight work. I think George added up five hundred hours or something, so, we had all of us working on it. It was all acrylic, which is pretty much the first time I’ve ever done like a full acrylic mural, so it was a learning curve for me. But yeah, the result was good, and yeah, I have just been trying to relax after that.
So, when you say acrylic, you mean with brushes rather than cans?
Yeah, brushes, rollers, trying to learn new techniques for fading without spray paint, that kind of thing… But mostly, yeah brushes and rollers.
Was that just a condition of working at the Christchurch Airport, because the mural is located inside the actual building, right?
Yeah, obviously with all the passengers and commuters within the airport, they can’t have spray paint fumes going about the airport, so they were pretty adamant about just keeping it all acrylic.
Having made a career out of wielding a spray can, did it take a while to get your head around the brushes and rollers? Using a can would be second nature now, and you mentioned having to work on fading techniques, did it impact your stylistic approach as well?
Yeah, I had an idea that it was going to be the case, so I designed the mural with that in mind; using various techniques with acrylic paint to achieve the look I wanted. But in knowing that I was going to use acrylic paint, I had to design it and sort of tone it back a little bit and keep it quite simple, which isn’t necessarily my kind of style. The style that I chose was also something that I knew the Airport and the general public could palette. So, I guess it’s not necessarily my most interesting work in that sense, but it was an awesome learning curve to be able to use acrylic. I mean, I guess we’ve always used acrylic paint from the get go alongside spray paint, so I’ve always had an ‘in’ on how to go about it, and I’ve always tried to mess around on canvasses and use acrylic paint on a smaller scale where it makes sense to use brushes. Spray paint only works down to certain scale…
I was just going to say, it’s kind of the opposite of cans, they are easier to go bigger, whereas with brushes, it’s easier to go smaller, although obviously rollers help with larger works as well…
Yeah, but just seeing what a lot people have been doing overseas, especially in Europe and stuff, as murals get bigger and bigger, people are starting to shift to using acrylic with brushes and rollers on that really large scale. It is actually easier to use acrylic paint than spray paint; it’s cheaper, it goes further, it’s faster, the longevity is better…
A lot of people I’ve talked to have mentioned environmental concerns as well, not completely moving away from can use, but it seems to be something people are wary of…
Yeah, I think, if you were an artist that had the opportunity to be able to do that, then that would be cool. But I think it is probably not really an environmental thing, it’s more of a technique thing, just because best results are the end goal, you know what I mean? And environment is secondary, like everything else that humans do! (Laughs)
I guess as well, the evolution of this contemporary muralism movement into its own beast, it means you are getting artists from different backgrounds now, you aren’t necessarily coming from a graffiti writing background or even necessarily that aerosol experience. Mural artists are increasingly switching between streets and studios, combining those two worlds, like, I think of the Spanish artist Aryz, as a prime example of that sort of approach, he is definitely taking muralism into a painterly direction…
Yeah, that’s who I was referring to before. That guy is definitely the best muralist by far at the moment. And he was doing a lot of that stuff with rollers and brushes, ten years ago, you know what I mean…
To see some of the latest stuff he’s been doing, it literally looks like a studio painting on a massive wall, the painterly quality brings a totally different element to it…
You mentioned that the Christchurch Airport mural came about through Oi YOU!, you have developed a pretty good relationship with George and Shannon over a couple of projects, beginning with your inclusion in the first Spectrum show (at the Christchurch YMCA in 2015). What was it like for you coming back for that show? Experiencing something like that in your hometown, and having some international context for festivals and events, was it easy to get on board with what they were doing?
Yeah for sure, they totally went about it the right way. They could have just had international artists of a high calibre come through, but by also involving local artists to do their thing, people who have set their feet in the city, a long-time before they arrived, it showed George and Shannon understood having that as an important part of it all. Those artists being represented in the festivals was a strong point to get across, that there are people that have been doing it in the city for a long time before this stuff had come about…
Witnessing, and of course contributing to (as one of the headline artists) that Spectrum show as it came together, and thinking back over all the years growing up in Christchurch, were you still taken aback that it was actually happening in your home town?
Yeah, I always feel like whenever you leave somewhere, awesome things happen, and you feel like you are missing out! (Laughs) I was just stoked to be invited back to produce work. I could have been overlooked, going off and doing my own thing, so definitely, it was awesome to get involved and to have that event and be a part of it all…
It must have been cool that all the DTR crew were involved as well [the exhibition even featured a DTR colab room, with portraits of the members in a darkened room]; to have that collective recognition as a crew as well as individually…
Those guys were all involved from the get-go, George got them all involved, I just kind of came in from the side, off the back of all that, which is cool. But yeah, it is awesome that they have been able to give an amazing amount of people opportunities to produce work and that’s kind of the essence of the whole idea and how it should go down…
As you said, the first thing you did when you got back this time was the Lyttelton skate park project with the rest of the DTR crew. You guys have a pretty lengthy history in the context of New Zealand, and Christchurch graffiti history, how is it getting back and painting together? Is it a different type of relationship than you have with CBS, your Los Angeles crew?
Yeah, you know growing up with a bunch of guys and painting regularly, there’s probably a little bit more of a brotherhood sort of thing. In the States, there are so many players that it’s a huge family and it can be hard to make those same types of connections. So yeah, working with those guys is always awesome, you don’t even have to think about it, you know, everyone’s already on the same wavelength and you just go ahead and make it happen. Whereas in L.A., there’s a disconnect so to speak, with guys you haven’t necessarily grown up with since you were fourteen years old, you know what I mean…
When did you leave for Los Angeles?
I left in 2008, during the global recession. (Laughs) I basically landed, and Obama was elected. People were crying and shit. It was pretty amazing to be in the United States for something like that, at that time, and to be part of it, to feel like you were a part of it. But being there wasn’t easy in the beginning, I was doing a lot of construction work, there weren’t a lot of opportunities. I was sort of working my way up, meeting a lot of other artists, painting various little projects. Doing things to prove yourself to people who have already lived and worked in the city for a long time and have their foot fucking firmly in the ground. Slowly but surely, I was able to become a full-time artist over there…
Did you have any connections before you went? Were you down with CBS before you went?
No. I had some good friends of mine who I grew up with in New Zealand, two American guys, whose father was based here through Operation Deep Freeze when they were kids. I grew up skating with them, doing graffiti with them, and they had moved back to the States. They were originally from San Diego, and one of them was, actually both of them, were in L.A. at the time I arrived, so I had two really good friends that I hadn’t seen for a really long time to go and start the whole thing alongside. They had already figured out a bunch of shit. To go to Los Angeles by yourself is a big undertaking, and to have someone there as a liaison to help you get through it and figure it out, is ultimate, so I owe a lot to those guys, for sure…
I remember your profile in InForm, the 2007 book produced by Askew featuring a number of New Zealand graffiti artists, you commented on how the Christchurch scene was really small and everyone painted together. That probably highlights how daunting it must’ve been to move somewhere like Los Angeles, which would be like ten or more cities the size of Christchurch…
That feeling of starting again, of starting over in terms of reputation, that must have been pretty strong…
Yeah, for sure. But it is refreshing, its humbling to have to work your way back up again. The calibre of work in the U.S. is fucking insane. Just the level of competitiveness is crazy. New Zealand has that kind of tall poppy thing, where if you think you’re better than everyone else, you are going to get cut down quick, you know. Whereas in America, if you think you are better than everyone else, for some reason everyone holds you up on a pedestal.
Do you think that is a unique thing to the United States, something about the mindset there?
It’s a combination of both freedom and capitalism that sort of drives people to do what they do. I mean there are guys in the States who do illegal graffiti and have done illegal graffiti for their entire lives and have never been snatched up, they have refined that shit to an amazing level, where they can go out and produce work without running into too much bullshit. But, at the same time, the competitiveness, you know, it keeps you on your toes.
It is sort of L.A. in a nutshell I guess. It’s a city of contrasts. I imagine anything can happen at any time, in any place…
Yeah, for sure…
Was the American West Coast scene an influence on you coming up? Or were you more inspired by New York and the East Coast, or maybe European writers? An American tourist remarked to me recently, not knowing anything about you, how one of your pieces here in Christchurch looked like something from Los Angeles. Has that West Coast, or more specifically Los Angeles style become more of an influence by living there? There’s that long lineage of ‘West Coast’ artists across a number of fields, and that specifically Los Angeles aesthetic that can be found in music, film, fine art, street art, graffiti…
To begin with obviously it was the New York influence, Subway Art and books like that, before the internet. Then once the internet happened, it was definitely European stuff. I was always more into East Coast hip hop stuff than I was into West Coast stuff, and I kind of liked the grimy, cold aspect of the East Coast. My Mother’s from Boston as well, so I have an affiliation to the East Coast. But once you get to California, and you get a little bit of the lifestyle, it’s definitely influential. It always has had its own style and everything going for it, but my eyes weren’t necessarily open to that. I did see a lot of stuff through magazines and stuff before the internet too, that was all West Coast, but at the same time I wasn’t really thinking about where in the States it was from. When I was young it was just what was aesthetically pleasing. So, I guess it did have an influence on me. There were a couple of guys I remember, like this guy Clown, who had some interviews in some magazines back in the day, who I’ve actually been able to meet since moving to the West Coast, which is pretty crazy. There were a bunch of other guys as well, and obviously all the CBS guys too. I think the Europeans have always taken what writers were doing in the United States and really pushed it in another direction, in more artistic directions, whereas the States has always kept that illegal, raw sort of graffiti, like you’ve got to keep it the real deal, there’s no using some weird technique, people shut you down real quick with that sort of stuff!
It feels like the Los Angeles influence isn’t only apparent in stylistic terms and letterform traditions, but through the environment itself, it is also evident conceptually and in terms of the imagery you often use. I’m thinking of the architectural elements in a lot of your work, to me, they have the feeling that Los Angeles as a sprawling, built environment, with a certain physical nature, is influential. Do you think that imagery, and even just the conceptual approach to your work, has been a response to living there, to that landscape?
Yeah for sure, obviously as you’re developing your work, you are taking reference photos and stuff like that all the time, and Los Angeles being the insane metropolis that it is, it was kind of inevitable that that was going to find its way into my work, because I’ve always sort of been interested in infrastructure and cityscapes and stuff like that…
Do you see a connection between building letterforms and architectural forms? In terms of how a letter, or a piece, is built up and constructed, it feels architectural in how space is considered, and angles are created and used…
I think earlier on I thought about that a lot. I remember doing some really sort of structural letters that almost looked like buildings in the past. But I do kind of separate my graffiti style from canvasses and mural stuff. It is always in there to some extent, but I try and stick to traditional letterforms, developing it in my own way. I guess always having some sort of architectural element in the background was kind of where I started pulling that stuff from, you know, backgrounds for graffiti stuff…
As you get older, when it comes to your letterforms, is there less influence from what other writers are doing and more of a continuation of what you have already developed? That idea of constant refinement, which is something that comes from the compulsion of writing, from repeating a tag ten thousand times, to perfecting a certain signature letter? For you, is your style becoming more and more insular as you get older, entangled in your own history of writing, more so than really taking notice of other sources?
Yeah, for sure. Like maybe from guys I initially painted with, but with any outside source, it’s not a good look to be doing that. Like you say, you do a tag ten thousand times, fifty thousand times, and over time you start to understand how everything fits together, it’s like an ongoing puzzle, within your own mind. It just refines over time. There are certain aspects that you might see another person doing, but it’s probably more technique than it is style. Because with style, it is hard to adapt someone else’s style, you are always going to have your own style, it’s almost impossible to reflect another person’s style, but technique for sure…
Like you were saying earlier, that from the pre-internet era, there were the influences of Subway Art, Style Wars, and there was what was on the walls around you, those influences were what you had, now with the digital age, you can see all these different styles, you can see writers from all over the world, in some ways it must be harder to develop a personal style amongst so much information…
Because so many things have been done, but also, you’ve seen all those things as well. You are nowhere near as isolated. Of course, that isolation meant that some really interesting local styles developed as a mixture of certain influences, like in Brazil, with the combination of hip hop graffiti with pixachao, or even Los Angeles and the influence of Cholo graffiti, but it is getting harder and harder to even see that happening because everything is available to everybody, everything seems more global.
Yeah, I think that graffiti has always had regional styles too. You could pick someone’s style from where they were in the world, even with the internet you could pick someone’s style; if you understand graffiti, you know someone from the West Coast of America as opposed to someone from the East Coast, versus someone from Brazil, versus someone from Australia, to some extent. Graffiti has always had its own specific styles, even within countries, it’s sort of like, ‘oh this is more of a northern style or a southern style’, which is awesome. It means the direct influence of what you are seeing in real life is what really has impact on your style, rather than seeing awesome photos on the internet all day long, which won’t ever have as much impact as walking up to a wall of a legend dude who has been painting twenty years in your city and just being like ‘Holy shit! That’s insane!’