Ghostcat’s Shadow Town @ Fiksate Gallery

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

Photo credit: Charlie Rose Creative

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

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

All photos by Charlie Rose Creative.

Spread the word about what's happening in the Christchurch urban art scene:

TMD: An Aotearoa Graffiti Story at The Dowse

“The rise of TMD as a creative collective has its origins in Auckland’s mid to late 90’s graffiti scene. The post-recessionary environment after the 1987 stock market crash was the perfect incubator for a thriving and vibrant Hip-Hop scene with a uniquely pacific slant. From the decrepit rail infrastructure to the abandoned buildings and vacant lots – the city provided an abundance of grey area where these young people could forge lifelong bonds, while cementing their sense of identity. With humble beginnings from this crew emerged its fair share of unsung and underground heroes as well as many of Aotearoa’s first global stars in the graffiti and large scale street art arena.” – ASKEW ONE (from The Dowse website)

There is no larger shadow in Aotearoa graffiti and street art history than Auckland’s TMD crew. While not the oldest graffiti crew in New Zealand, founded in 1997 by Phat1 and Adict, TMD has undeniably made an indelible mark on graffiti and street art culture both here and overseas. The collective has grown both in number (with over 35 past and present members, including international representatives from Australia and Germany, such as Vans the Omega, Sofles and WOW123) and scope, with its members ranging from recreational graffiti writers to professional artists, occupying streets, studios, galleries and beyond. Both collectively and individually the members of TMD have gained prominence here and overseas, from Phat1 and Diva’s (Charles and Janine Williams) Bird Gang mural work, telling stories of place through the symbolism of native birds, to Misery‘s instantly recognisable kitschy doe-eyed characters and Berst‘s dynamic letterforms and documentation of graffiti culture, where his online videos have an audience of tens of thousands.

The Mini Dairy inside the TMD: An Aotearoa Graffiti Story exhibition at The Dowse in Lower Hutt.

In recent years, urban art has gained more widespread attention, publicly through the rise of contemporary muralism and its ability to infiltrate our daily experiences, but also institutionally, with the likes of Rise at the Canterbury Museum (2013) and Paradox at the Tauranga Art Gallery (2016). The staging of TMD: An Aotearoa Graffiti Story at Lower Hutt’s The Dowse Art Gallery (who themselves have a history of urban art-related exhibitions dating back to the turn of the Milliennium), running from late March until June, is a welcome development. Rather than attempting to present a more generic survey or a one person show, the exhibition considers the broader cultural movement of graffiti within the tighter focus of the TMD crew while still spanning styles and historical narratives; contextualising both the roots of the TMD crew within the setting of mid-90s and early 2000s Auckland, and their current exploits, successfully packaging the complexities and trajectories of contemporary urban art and artists who have sprung forth from these rebellious beginnings, no longer held to any defined expectations.

One of the painted trains installed in the exhibition, the pair of carriages painted with ROCK and RETS pieces…

The exhibition, curated by Dowse director Karl Chitham with Christchurch-raised TMD member Pest5/Johnny 4Higher, is split between two distinct zones, an immersive installation space, featuring formative and contextual commentaries, and a more traditional white-walled gallery presentation that highlights the current work of crew members, spanning painting, sculpture, photography and more. This format allows the viewer to consider the significant journey undertaken by the crew, from an idea to unite disparate graffiti writers into a collective of diverse creatives, placing them within the wider narrative of New Zealand art while acknowledging the significance of graffiti culture to generations of young New Zealand creatives.

On entering the exhibition, visitors are greeted by a writers bench and a set of painted train carriages, with an echo of recorded discussions just audible. Smaller tags on the bench play off against the larger and more bombastic train pieces. The track setting highlights the centrality of train painting in graffiti culture not just locally, but internationally, although with a specific Aotearoa profile. Behind the bench is another slice of Kiwiana, an iconic corner dairy, a bastion of New Zealand childhoods across generations. The fabricated dairy, named the ‘The Mini Dairy’ (TMD), utilises all the nostalgic riffs, from the Tip Top-inspired signage to dollar mixtures (the lollies replaced with aerosol nozzles), neon star price points and an arcade video game machine (supposedly out of order). A cynical eye might point out that the dairy is primarily the exhibition shop, providing the opportunity to peddle merchandise, but it also has several conceptual references as an installation in its own right. Dairies served as a location youngsters not only congregated around, but also as a community hub that would often provide the opportunity for legal or commissioned murals on their walls prior to larger commercial projects becoming a reality. Furthermore, the dairy exemplifies how the creation of commercial goods has been embraced by urban artists, from clothing to vinyl toys, a trajectory that might make the more elitist fine art world shudder (think of the blowback against Kaws by art commentators), but is a reality for many to make an artistic career possible and their art accessible to an audience perhaps less likely to frequent an art gallery.

Across an imaginary road is a grungy flat, based on a former residence where crew members congregated. The sparse room provides historical references in analogue form with tags and drawings on the walls (including a roll call in the classic New Zealand Straights lettering style) and scattered photo albums, event posters and blackbooks, but also digitally – with videos from TMD member Berst’s Real Time web series playing on the boxy 90s TV, and an old PC for surfing websites such as ArtCrimes, an influential forum for the graffiti world and an inspiration to many TMD members. The worn surroundings, devoid of luxury, highlight the drive to make things from nothing and the dominant influence of graffiti on the lives of these young creatives and the evolution of the relationship between graffiti and the internet.

A roll call in iconic New Zealand straights, name-checking TMD crew members, inside the re-created flat space.

Tucked around the corner, a rotating selection of photographs (photographers and crew members Rimoni and OneDeap have been key documentarians of this history) adds a personal face, members depicted painting, posing, and playing, projected oversized on the gallery walls, imbuing candid moments with significance. Either side, collaborative wall paintings highlight the traditional graffiti approaches and styles of crew members, referencing the common form of crew productions, as well as providing a bridge towards the gallery space and the work artists have developed over ensuing years. These immersive spaces are informative (notably the stories are not given to you in wall text, they become part of the environmental detail – wafting audio, static encoded video, interactive elements and references in the most traditional urban forms – tags and wall writing, a fit for graffiti’s own historical recording which has for a long time been largely folkloric), providing important context for viewers before they cross the threshold into the white cube space.

A collaborative crew production and projected images by crew photographers inside the The Dowse exhibition.

The ‘Post-Graffiti’ gallery space features works that span the spectrum of practice. Book-ended by impressive works at either end; Benjamin Work‘s tapa cloth-inspired banner unfurled from wall to floor, drawing on the iconography of his Tongan heritage and Lady Diva’s subtle flag-like geometric abstractions  on wooden panels, suggesting references to carving and weaving that perhaps raise ideas of colonialism and imperialism, the spaces in between are filled with varied works. Askew‘s glimmering digital-influenced painterly abstractions that draw on the spectre of shifting human presence in our urban environments contrast with Deus’ (Elliot Francis Stewart) intricately illustrated coffee table, drawing the viewer closer to inspect the stunning graphic details on a mundane domestic object. Gary Silipa‘s unsettling and powerful installation filled with painted tyres, yellow chain links, tarpaulin and painted iconography sits near the still reverence of Berst’s pillar-like sculptural letter forms, light emanating from inside to give a celestial glow to an apparently devotional monument to graffiti. Other works highlight a raft of concerns, from social issues, cultural and national identity and self-reflection, to moments of everyday life, process-driven focus, riffs on the traditions and evolutions of graffiti writing and the urban environment and striking abstract ruminations. The diverse spectrum of themes, as well as styles, materials and approaches, suggests the personal creative journey of each contributor, and yet, there is an undefinable connection as well, the shared experiences and the original creative impetus of graffiti hang in the air, unifying the collection without requiring explicit threads.   

Paintings by Askew One in the Post-Graffiti section of the exhibition.
Gary Silipas installation in the Post-Graffiti section of the exhibition.
Lady Divas works in the Post-Graffiti section of the exhibition.

While the format may mean some viewers relate with specific elements more than others, the narrative of TMD: An Aotearoa Graffiti Story could not be told in one presentation style alone. As it was probably to be expected, the exhibition drew some criticism for the presence of tagging, but to pick such a quarrel is to miss the bigger picture. Graffiti writing brought these young people together and is part of their creative pathway. The presence of graffiti is a central and necessary part of the story, informing the narrative both socially and formally. TMD: An Aotearoa Graffiti Story revels in the celebration of collectivism and its empowering potential for individual members. As a representation of urban art’s roots and future pathways,  TMD: An Aotearoa Graffiti Story is surprisingly focussed. Rather than a pervasive survey of graffiti and street art in New Zealand, TMD: An Aotearoa Graffiti Story, nodding to those that came before and winking to the future, is grounded in the environments and relationships of the artists of TMD, a camaraderie that emanates throughout the history of this crew and the show itself.

TMD: An Aotearoa Graffiti Story at The Dowse Art Gallery runs until June 2021.

Spread the word about what's happening in the Christchurch urban art scene:

Ghostcat – Shadow Town @ Fiksate

Ghostcat is set for his first solo show, with Shadow Town confirmed as Fiksate’s first exhibition at their new Hawdon Street location in Sydenham. Opening Friday April 9th, Shadow Town will present a selection of Ghostcat’s fascinating scratch-built urban miniatures, including the detailed recreation of local spots, from the grimy and overlooked to the iconic and vanished.

Ghostcat’s recreation of Staveley Market, one of the works to feature in Shadow Town at Fiksate

Originally from Birmingham in the UK, Ghostcat has found a new home in Otautahi, and his work is both a celebration of the physical sites he has explored and the stories of the changing city recounted via friends, adding an emotional resonance to the works beyond nostalgia and visual detail. The artist’s infectious sense of humour, laced with a healthy dose of body horror-influence, will also be on full display, with the grimy elements of our urban environment celebrated over the picturesque; from dirty toilets and graffiti-ed alleyways to dumpsters and sticker-laden street signs.

Many of the works also feature collaborative contributions from local artists, from Fiksate’s own Dr Suits to members of the DTR Crew and the Slap City collective. This has proven an important aspect of the artist’s process, adding authenticity and collectivism to a concept already driven by real experiences and a sense of connection.

One of the set of doors featuring collaborative contributions for local artists that will feature in Shadow Town.

Ghostcat’s star has quickly risen as his creations have caught the attention of Instagram scrollers, with interviews and media coverage ensuring Shadow Town will surely be a popular occasion with a hum of excitement already buzzing…

Shadow Town opens 5pm, Friday 9th April at Fiksate Gallery, 54 Hawdon Street, Sydenham.

Follow Ghostcat on for more of his work!

 

Spread the word about what's happening in the Christchurch urban art scene:

Jacob Yikes – Angels, Aliens and Archetypes @ Chambers Gallery

With 2020 proving completely unpredictable, it seems like forever has passed since I sat down with Jacob Yikes to talk about a show he had in the works for 2020. At that time, we were completely unaware of the challenges the year would bring. However, now, finally and with just weeks remaining of 2020, Yikes’ latest body of work goes on display at Chambers Gallery. Angels, Aliens and Archetypes opens on Tuesday December 8th and runs until December 24th. The small collection of work is both a extension and departure from Yikes’ previous output, continuing the exploration of altered states and other spaces, while expanding his material approach and stylistic detail. As Yikes continues to grow and his work becomes increasingly layered and sophisticated, Angels, Aliens and Archetypes is another progression for one of Christchurch’s most distinctive talents.

Angels, Aliens and Archetypes opens 5pm, Tuesday December 8th at Chambers Gallery, 241 Moorhouse Avenue.

Alongside Angels, Aliens and Archetypes is also a presentation of work by Ben Reid.

 

Spread the word about what's happening in the Christchurch urban art scene:

Jacob Root: Belle Âme @ 013 Gallery

The artist also known as Distranged Design is gearing up for a brand new solo show. Opening Friday November 6th, Belle Âme will be hosted by Victoria Street’s 013 Gallery.

The title of the show translates to ‘Beautiful Soul’ and Root explains that his new works seek to illuminate “the beauty hidden within life’s most challenging moments.” He adds that the show has also been indirectly inspired by the struggle of mental health, a cause Root has championed previously with a group exhibition, and an attempt to turn “one’s negatives into positives.” The works will feature details and meanings that may not be immediately obvious, lying hidden but always present. Root is also excited by the potential for audiences to bring an outside point of view to the works and adapt meaning to their personal experiences. Continuing a recent focus, these new works will add sculptural and three-dimensional elements to his established stencilled figurative images and stylised surfaces, creating a new direction for the young artist.

Belle Âme opens 6pm, Friday November 6th at The 013 Gallery, 123 Victoria Street, and runs until December 6th.

Spread the word about what's happening in the Christchurch urban art scene:

Perspective: Women in Urban Art @ Fiksate Studio & Gallery

Urban art, and graffiti in particular, are viewed by many as masculine realms, physical, aggressive and competitive. But, the reality is that women have long had a vital role in the history of wall writing and street art, from subway graffiti writers like Lady Pink, to post-graffiti icons like Swoon, and leading members of the contemporary mural movement like Maya Hayuk. In Aotearoa, the female presence in urban art has also been notable, and Fiksate’s Perspective exhibition, opening on November 6th, brings together an array of artists to share their diverse experiences and reveal the myriad stories and pathways of women in urban art.

Organised by Fiksate owner Jenna Lynn Ingram (Jen_Heads), Perspective brings together established and emerging female artists from around New Zealand (and further afield), with a diverse range of practices, from typography-focussed graffiti writers to spoon-loving street artists, collagists, paste-up artists, photographers, videographers, traditional painters and mural artists. This diversity reveals the approach of Perspective, less concerned with an explicit historical narrative or thematic or stylistic similarities, the show primarily explores the scope of work of the collected artists, from Flox’s beautiful stencils to Kophie Su’a-Hulsbosch’s empowered portraits or Befaaany’s striking urban photography. In doing so, notions of the female urban artist are both celebrated and challenged.

Auckland artist Flox is one of the impressive line up included in Fiskate’s Perspective: Women in Urban Art Exhibition.

The Perspective line-up features an amazing snapshot of Aotearoa’s urban art talent, including well-known figures such as Misery, Flox, Diva, Kell Sunshine, Mica Still, Erika Pearce, Gina Kiel, Xoë Hall, Greta Menzies, Jen Heads and Fluro, as well as newer names like Mirella Moschalla, Glam, Kophie Su’a-Hulsbosch (Meep), Befaaany, Vez, Cape of Storms and Bexie Lady.

Local talent Kophie Su’a-Hulsbosch is part of the Christchurch contingent of the show.

Accompanying the exhibition will be a limited-edition risograph zine, produced by Jane Maloney of M/K Press, providing additional insights into each artist’s background and further highlighting their varied experiences, from the challenges they have faced to the different environments that have fostered their approaches and nurtured their talent. While more fluid and non-binary gender identities may render gender specific exhibitions less necessary in the future, Perspective is an important moment in Aotearoa urban art, a celebration of some amazing talent.

Spoon-making street artist Vez highlights the diversity of the Perspective line up.

Perspective opens 5:00pm, Friday November 6th at Fiksate Studio and Gallery, 165 Gloucester Street.

For more information, visit www.fiksate.com or Fiksate’s Facebook page.

Spread the word about what's happening in the Christchurch urban art scene:

SDG Art Exhibition @ Milton Street Substation

On the 25th September, The World Economic Forum Global Shapers Christchurch Hub proudly opens an exhibition to bring awareness to the UN Sustainable Development Goals (SDGs) and raise funds for the charities that align to those goals. Bringing together an impressive slew of artists, including a significant number with urban art pedigree, the exhibition marks the beginning of the ‘decade of action’, the ten year span culminating in the 2030 deadline for achieving the goals and in doing so, create a world that can serve future generations more fairly. The exhibition reflects the belief that creativity can play an essential role in bringing awareness to and creating discourses around these causes.

The exhibition, staged at the Milton Street Substation, is made up of a diverse line-up of talent, including artists from Christchurch and around New Zealand: Pops Art, Nick Lowry, Iann An, Séku Skandan, McChesney-Kelly Adams, Ira Mitchell, Hannah Jensen, Kophie Su’a Hulsbosch, Bee Weave (Selina Faimalo), Dr Suits, James Durcan, Flox, Jesse Rawcliffe, Sally Mae Hudson, Lisa Isbister and Jen Heads. Each of the seventeen artists will present work reflecting on one of the seventeen SDGs, providing a response to the relevant issues in their own distinct styles.

The Global Shapers Christchurch Hub is composed of a small number of exceptional young professionals. Members come from diverse backgrounds, united by a passion to influence positive change through meaningful projects and to harness the collective power of active citizenship. Hub members Bridget Williams, founder of Bead & Proceed, and The Conscious Club’s Selina Faimalo and Kophie Su’a Hulsbosch have taken on curatorial duties for the SDG exhibition, drawing on their backgrounds in creative realms, social enterprise and the shared desire to empower, educate and inspire towards a sustainable future. We asked Bridget, Selina and Kophie a few questions to get the run down on the exhibition…

People may not know much about the SDGs – what are some of these goals?

The seventeen SDGs include important goals such as achieving zero hunger, eradicating poverty, supporting good health and wellbeing, climate action and ensuring access to quality education, to name a few.

How did you decide art was the lens through which to bring awareness to this cause?

The SDGs are all interconnected, and in order to leave no one behind, it is important that we achieve them all by 2030 which is only ten years away, so raising awareness that these goals even exist is one step closer to achieving them. Art and creativity send such a strong message that really resonates with many. It doesn’t just send a message, but also creates a powerful statement.

How did the curatorial group select the artists?

Kophie has an arts background and she selected people in her network that she thought would represent the SDGs well. The result is a great mix of artists and people.

Were you looking for artists who were already interested in social and sustainability issues, or was it a case of allocating the concepts to artists?

We looked for artists that could represent these issues, but it was an opportunity for them to learn more about the SDGs and become more acquainted with these issues. We got each artist to choose the three SDGs that resonated most with them, and from there we sorted through them and allocated them each a specific goal.

There is a strong presence of artists with ties to graffiti and street art, despite all the change surrounding those cultures, do you feel that they still display a social consciousness both outwardly and inherently?

As Kophie was the curator she definitely has a bias to selecting urban artists but tried to select a diverse range of artists in other fields. She believes graffiti and street art is one of most free, political and subversive forms of art, so I would say the consciousness of this art form is definitely strong enough. Also, it provides more representation to underground artists, when traditionally the SDGs would mostly be associated with a more highbrow aesthetic.

Tell me more about the venue, what has it presented in terms of the possible lay out of the show?

The venue is an industrial converted substation, a large old brick building, two stories high, with three distinct areas. On the ground floor, where the exhibition will be held, is a large rustic brick room, with a foyer out the front. Upstairs there is an overlooking floor with retro wooden floors and a balcony facing the courtyard outside. It is going to make for a really unique venue.

What other projects does the Global Shapers Hub have lined up?

The Hub is looking at other long term projects such as a Climate Dollar for Christchurch and collaborating with other organisations to help address the negative effects of Covid-19 (regarding the future of sustainable work experience) and, importantly, supporting other hub members who are working on impact projects.

THE SDG Art Exhibition opens September 25th at 6pm, with drinks, nibbles, talks, interactive art and an auction. Funds go towards supporting charities aligned with the SDG outcomes. For more information to the event page on Facebook.

Spread the word about what's happening in the Christchurch urban art scene:

And That Was… July 2020 with Beccie B

This month we asked designer and DJ Beccie B (Becca Barclay), the force behind Imposter posters, to let us know what she got up to in July. Knowing Becca, the cold clime was never going to be a hindrance, especially not with the array of activities gracing the post-lock down calendar. If anyone knows what’s up, its Beccie B, so here is her And That Was… July 2020:

We’re in August… WHAT?!

July was kind to us all! For a wintry month usually filled with rain, bed and Netflix, the post-lock down positivity and happening of events was all around us. It was so awesome to see so many people making the most of artistic opportunities and things happening around the city. What have been my highlights? Heaps! Let me tell you some more… July started with two huge events that meant so much to me…

Haz Called a Tribe at Outsiders

The first was Haz Called a Tribe, the group exhibition organised by Harry King (aka A Tribe Called Haz, aka my best pal). Held at Outsiders skate shop, the show featured 15 young Christchurch-based urban artists.

Like any A Tribe Called Haz exhibition the energy was electric with a massive amount of people (of all ages) showing up to support and respect the art from our local community. I was so honoured to be involved, to help curate and to have my artwork included among this line-up of artists. Some of my personal favourites were from local legends R.Weaver, Meep, PK and Bren. Bren’s piece, affectionately named Mark, featured a dog and had me in awe as it was so different from his usual output. PK, R.Weaver and Kophie (Meep) all delivered too, with pieces in their more classic styles.

Opening night of Haz Called a Tribe at Outsiders. (Photo credit: Troy Tapara)

Sugar & Spice at Flux

All good exhibitions have an after-party, right? Some of you may know that for the last couple of years, under the alias Imposter, I have been creating marketing and posters for many different promoters in the Christchurch electronic music scene. A long-term goal of mine has been to hold a gig and here it was, my first-ever! Sugar and Spice was compiled of a full female line-up of local wahine DJs from all different genres. Myself, Rosa and Tinny played alongside headliners, Texture, Fyretits (Dream.r & MC Jenna Lynn) and Mr. Meaty Boy.

This event showed Flux its biggest night yet and the energy was unreal! Watch this space for Sugar & Spice Summer

CHCH is LIT Festival

A local event that is always highlighted in my calendar is the Botanic D’lights (Yes, it is a part of Kidsfest. Yes, I am a child at heart). But due to this year’s COVID interruption, Botanic was postponed and CHCH is LIT made for a very honorable replacement. A total of 20 lighting installations were scattered throughout the CBD and New Brighton, including Tim Budgen’s Reflections, which was my highlight. A galactic-inspired piece along Oxford Terrace reflecting into the Avon River, it made for a real ‘wow’ moment.

New Regent Street looking all flash as part of CHCH is LIT.

Art Social: Art for Equality at XCHC

My dear friend Shannon Kelly hosted yet another incredible Art Social at XCHC. In light of the Black Lives Matter movement, this Art Social was a little different and hosted a group exhibition made up of 12 local artists with 50-100% of profits going toward artist’s chosen racial equality causes.

With each artist taking inspiration from black culture, this exhibition was such a beautiful collection of inspired works. A personal favourite was the trio of miniature ‘Jen Heads’ by Jenna Lynn Ingram.

And with opening night featuring Roscela from the 03 Pineapple Club, and the usual art supplies scattered throughout the XCHC, it made for such a good night filled with incredible art, delicious cocktails, and a real sense of togetherness.

An atmospheric view of the Art Social: Art for Equality exhibition at XCHC. Photo from the XCHC Facebook page.

Winter Night Market at Te Puna o Waiwhetu

I must admit, I don’t go to the Christchurch Art Gallery as much as I should. And every time I do, I remember what an incredible asset it is to our artistic community.

The Winter Night Market was no exception! If you didn’t go, you truly missed out. Everyone was there. The place was packed, and the energy was incredible. The highlight for me was the exhibition Louise Henderson: From Life, which included her late career masterpiece, The Twelve Months (this exhibition is running through to October and if you find yourself bored in the CBD – please go!). That is not to mention the origami, the jewellery, the crate digging and all the familiar faces! What an evening!

Programme for the Winter Night Market. Image from The Christchurch Art Gallery Te Puna o Waiwhetu Facebook page.
Spread the word about what's happening in the Christchurch urban art scene:

Tom Bell – Adoration @ Absolution

With everything that has happened in 2020 (so far), it seems like a long, long time ago that artist and designer Tom Bell told me he would be staging a solo show at Absolution this year. But while what seems like an age has passed, I have maintained a level of excitement about the exhibition Bell has come to call Adoration. The show features a body of work that combines both the artist’s established interest in the imagery and themes of Japanese art and culture, but with a new material approach, his digital rendering replaced by hand-painted cut-outs. The sense of reverence for the subject matter (the show’s title a reference to that debt) is empowered by the evidently pain-staking process of manual brush strokes. Bell’s works, whether paintings, stickers, digital prints, tiny enamel pins, t-shirt designs or illustrations, are alluring, their soft pastel colours and dynamic yet sparse compositions combining with the loaded symbolism of Japanese visual culture to feel both traditional and contemporary.

I met Tom a few years ago, he was with his ‘art fam’ as he calls them, at an exhibition opening at Fiksate. Since then his face has become a familiar one at places like Fiksate, Supreme and Smash Palace, always up for a yarn. But when we sat down to chat for this interview, I learned a lot more about him, from the Wellington-raised artist’s relationship with Christchurch, his interests in stencils and tattoos, and his journey to opening Adoration. Part of what made the discussion so engaging was Tom’s energy, he flew between thoughts, earnest and honest, clearly excited and invigorated by the upcoming show and what he had learned as an artist and a person over the last year.

I remember almost a year ago, or at least it feels like that long because of everything that has happened, you mentioned that this show is a farewell to Christchurch because you were planning to move back to Wellington…

Yeah, that’s still the plan [in August]. I’m originally from Wellington, but I have spent almost four years down here. It’s crazy because a lot of people have asked where I was hiding for those first two years! I moved down from Wellington for my graphic design job. At the time my now ex-girlfriend was from Christchurch, all her family were here, so I made the move. I really struggled making connections with people down here. Throughout my twenties I’ve struggled with social anxiety and that really put a big hindrance on me going out and going to shows and other social situations. For two and a half years the idea of going to an exhibition opening by myself, even if I knew people who would be there, would make me really anxious. I would think people are going to look at me and be like, who’s that dude? At the end of 2018 I decided I needed to face some of my weaknesses and get a control of my anxiety.

That social anxiety was a big obstacle for you obviously…

Yeah, the social anxiety was a big hindrance to me. I had people in Wellington say to me: ‘Dude, you should be getting out and trying to make connections in the art community, you’re a designer, you love your art, Christchurch has a really good scene, just start doing it…’ So, when all that happened, I just said, alright, I’m going to put myself out there. I reached out to Jessie [Rawcliffe] because we had started building a connection through Instagram, so I hit her up out of the blue and said you do a lot of collab work, would you be keen on doing one in the new year? She was like: ‘Hell yeah, that would be sick!’ We met up at Smash Palace and started talking about our creative interests. I remember her saying: ‘I paint skulls and girls, am I pigeon-holing myself?’ I said, nah, skulls and girls are ******* badass, and you can tell you really enjoy painting them. From there I was introduced to Josh [Bradshaw] and we’ve been hanging out ever since. I call them my ‘art fam’ and they have been great sounding boards for my creative journey over the last eighteen months. After attending a few exhibitions at the start of last year I started to meet everyone and it was great because it just happened organically.

I remember a conversation I had with Jessie and she asked me if I had painted before, and I said, yeah, but I was trash! She said I should get into painting and get away from the computer. So I did and I just got addicted to it, I was all in. From January to March I was painting every night after work, but I wasn’t showing anything to anyone. For me, a painting had to turn out the way I wanted, if it didn’t, it was trash in my mind, so I would put it under the bed and leave it. I think it was about April last year I finally did something I thought was pretty decent. I was comfortable enough to post it on social media and I had a lot of people reaching out to me saying they thought it was great to see me get away from the computer and to be working with another medium. I was like, well, my digital stuff is better than this, but I think people like this because it has more of a human element to it.

I think we appreciate that hand-painted quality in art, there is an evident authenticity…

I started realising that imperfections on a painting actually make it better because they show that human aspect. It doesn’t always have to be perfect, so what if you paint over lines or whatever, it gives it more character…

So that kicked off your re-acquaintance with painting?

Yeah. Last year for me was just a lot of trial and error. I was doing everything. I got back into using spray cans, because when I was studying, I started doing stencils, but it had been a while. I remember I did a life drawing class; I was terrible at figure drawing, but it was a requirement. I remember the tutor asking me if I painted stencils and I was like, yeah, how can you tell? He said he could tell from the way I drew with solid outlines. I had no concept of tone or shadow. When I was at high school I didn’t do anything creatively, I was quite sport-centric, rugby, rugby league, and my community in Wellington didn’t see art as a career path, you try to be the next All Black or rugby league star or you get a trade, that’s about it…

I see little difference between sport and art. They are both performances. Sport, at its heart, is about skill, technique, a type of aesthetic beauty, so the total partition between the two is strange, people from the arts world often hate sport, people from the sports world think of artists as weirdos…

In my early twenties, when you discover what you like and what you want to do as a career, I was into sports, but I was also really into art and creativity, and it felt like you couldn’t be associated with both. I got really hung up on that idea, because everyone from high school was like, ‘Oh dude, we hear you’re into graphic design and art and stuff, what’s all that about?’ I think now I totally resonate with friends from high school who were really good artists and they would say: ‘Our school sucks, sports get all the funding.’ I had quite a lot of friends who did art at high school, and they would always be moaning that the art resources were terrible, teachers would have to bring in a lot of their own stuff because they just didn’t have the funding for it…

There is a divergence in the way sport and art develop people, I think. In sport, people are eventually trained to follow rules and stick within structures and systems, whereas with the arts there is more willingness to break free. But as I said before, it’s not necessarily an inherent difference. If you think about sport at a more pure level, like pick-up games of basketball, or kids playing soccer in Brazilian favelas, or cricket in the streets in India, those instances are not official, it’s just the love of it and that’s where all the amazing skills and showmanship develop. It’s only once all those other aspects and structures come in, and a particular personality type is preferred, that the focus changes and that freedom is impinged. The same thing can happen in art schools as well. One of the amazing freedoms of urban art is that you are not beholden to convention. I assume your interest in stencils was at least to some degree an interest in what was happening in the streets outside of the institutional world, but there was also a clear connection to the aesthetic of graphic design…

When I first started studying, I came to Christchurch in 2010 and enrolled at the Design and Arts College to do a foundation course. The year before, I decided I wanted to do something creative, but I’d never done anything, so I looked into it and the foundation course in Fine Arts sounded pretty sweet. You did a bit of everything, photography, architecture, graphic design, life drawing, textile design. If you did well enough, you were offered a position the following year. Originally, I wanted to do photography. But when I took the digital media component of the foundation course, which really was an introduction to graphic design, the tutor said to me: ‘What do you want to do next year? I said photography, and he said I should consider graphic design because he thought I had an eye for it. So, from there, I was like alright, maybe graphic design is what I should do. At that time Exit Through the Gift Shop had just come out, and when I saw it my mind was blown! I watched it like four times over a week, and I was thinking, this is rad! These guys are doing stuff on the streets around the world, they are breaking rules, it’s controversial and it’s right in front of people. They’re not going to a gallery to see this, it’s out in the open, so I was like, it could be cool to start experimenting with stencils. I just started looking at YouTube tutorials to get the basics and then I went off on a tangent for like a year doing that. That was in 2010, and at the beginning of 2011 I met Zach Hart who was working at Ink Grave Tattoo at the time, I started getting tattooed by him and I learnt that he had a graffiti background. That grew my interest and I found out there are a lot of tattooists who have graffiti backgrounds. I’m also really into hip hop and there’s that association with graffiti also.

Since I was eight or nine, I’ve always been into tattoos. No-one in my immediate family has tattoos, but I just had a fascination with them. When I was eleven or twelve, I was at the library and I came across a book of Japanese woodblock prints from the early 1800s, and then I found a tattoo book and the images were pretty much identical. I kind of put my interest of Japanese art to the side when I was studying at university but in my mid-twenties I fell in love again with Japanese art and architecture. Since then it has just fully consumed me. My best mate is a tattoo artist in Wellington, he specializes in Irezumi [Japanese tattoos], and I have learnt a lot from him. I think the reason why I like Japanese art so much is that it’s very graphic, it’s designed to be big and in your face with bold outlines and flat colours, but there is still a sense of refinement that gives it a timelessness…

There is an important balancing act when you adopt a historical visual influence, you need to respect that lineage, but also make it fresh and not derivative. How do you approach that challenge?

It is about knowing the subject matter. For instance, a koi fish swims up stream and turns into a dragon, so if I was ever to draw a dragon or a koi, I can’t draw a tiger with it because they don’t go together. It would be easy for people to look at my work and think it’s just Japanese tattoo flash, so my contemporary take on it has been my choice of colour palette. I think my interest in Pop Art has contributed to my use of pastels, there’s a David Hockney piece, A Bigger Splash, it has flat colours, blues and caramels, and that was a big influence. It was painted in the sixties, but it still feels very fresh, so taking that and playing around with colours has allowed me to develop my own take on Japanese art while still sticking to the belief systems. I think some people try to reinvent the wheel and they forget about the fundamentals. My graphic design work is very minimal and with minimal design you’ve got no room for error, if you have one little thing that’s off, it’s going to stick out like a sore thumb, so I focus on the fundamentals with just smaller, subtle changes.

You were telling me earlier that it is only the last six months or so that you’ve become comfortable calling yourself an artist. That background in graphic design and digital work, how do they feed into your painting work, because they must be very different approaches…

When I first started painting again last year, it was tough. With design, when you don’t like something, it’s the classic ‘Command-Z’, undo, so I was very thorough in preparation. I would do a colour study and draw it on screen, colour it, print it out and then from that, paint it, doing like for like. It was very uniform. But eventually I started to just do a quick colour study on screen and then started painting, and now I’m at the point where I don’t do the colour study I just paint it.

Sometimes things look good on screen, but when I’m actually painting it, it doesn’t work. So, I think the last year has really taught me to be looser and freer when I’m working with my hands, to not be such a control freak. Normally I’m a perfectionist, especially with my graphic design work, it’s like, that’s terrible! Back to the drawing board! But when you make a mistake on a painting, when an outline has smudged, there’s a human element to it, and that’s something that I have probably learnt to appreciate. I went to a tattoo convention in New Plymouth last year and there was an artist whose paintings I love, and he was selling prints. I could see there were little imperfections in the print, and it was fine, I realized I’m just too much of a control freak. I think that freedom is why there’s been no ambition at the moment to go back to the digital side of things, because I like the fact that if you screw up a painting, you’ve got to problem solve on the spot and work with what you have…

I’ve always loved the idea associated with Margaret Kilgallen’s work, the wavering line. I think we need to attach to something human in an increasingly technologically-driven world, we become hyper aware of when something is perfect, and we recognize imperfection from another human and I think that is really important. You were talking about that idea of going back to painting being inspired by conversations with friends, that idea of community must be a really important part of where you are, is losing that when you move back to Wellington a daunting thought?

It hit me this week that I’m moving soon. I’ve got my two best mates coming down for the opening of Adoration, Mike Todd, a tattoo artist, and Jerome Taylor, who I went to high school with, who is a fashion designer. They are my creative community up there in Wellington. When I started getting tattooed by Mike, he knew I was painting on the side and he was giving me tips, like how tattoo apprentices learn, you trace a rose fifty times and by the twentieth time you should know how to draw a rose. He’s been a big part in me fundamentally learning how to paint the way I do. But in terms of what I’ve got here with Jessie and Josh and everyone else, I don’t have that. It’s a bit daunting, but I did it here, I just have to put myself out there. I’m from Wellington, so I should be able to connect a bit more if anything just because I’m local. I think having a show here will help open some doors up there. It’s funny, I already know I want to do another solo show in Wellington next year. I’ve already got ideas bubbling about what I want to do for my next show. It’s contagious, I reckon, it consumes you, but I’ve really enjoyed the process…

How did the show come together conceptually?

When I confirmed this show last year, I was still working at my old job, in a corporate structure, getting paid to do a job, and I just really felt like I was being controlled by the man. I didn’t want to sound like a temperamental artist, but I really struggled with being told to be creative within a certain framework or it wasn’t of value. So when I was coming up with themes for my show, I was thinking about basing it on entrapment and having conflicting thoughts in my head, and just lacking self-worth in a way, but then in January, I drew out my whole show in a wall plan to see if it was going to tell a story, and I realised it doesn’t have to, screw that! I’m leaving town soon, I just want to do something that I’m passionate about. It is filled with traditional Japanese influences but with a contemporary take. There are a few pieces where I have dissected objects and have incorporated other objects with them. Textures play an important part in my inspiration so I wanted to bring them in also. The show is about paying homage to Japanese art and culture, and that’s why I named the show Adoration, it’s about devotion and how I hold it dear to my heart.

We talked briefly about artists being pigeon-holed, do you ever think about that in terms of the Japanese influence in your work?

Totally, I always think to myself, am I pigeon-holing myself with my interests? The one positive to come out of lock-down was new ideas I want to paint when I move back to Wellington. It’s abstract, with no Japanese themes at all. I haven’t told anyone about it, I don’t know if I want to push this, I don’t know if I want to show anyone, I’ve done some real rough sketches and I don’t think anyone would expect it.

I assume they will likely see the light of day in Wellington, which means that while this show brings this chapter to a close, this new body of work might start the next chapter…

As much as it’s been a really good time painting the work in this show, I think this is the perfect time to start some more experimental stuff. A lot of people have asked why I don’t get into tattooing, because it makes sense with my subject matter currently. But I don’t want to keep exploring the same themes and imagery and that’s the connection people seem to make, that my Japanese- influenced work would translate to tattoo. It’s something I have warmed up to in the last six months as I’ve become more confident with the hand-rendered stuff, but tattooing is completely different from painting, it’s a whole new technique. Once I’m back in Wellington, I’m going to use the rest of this year to have a play around and try some experimental stuff, do more freehand work, which is something I have been working on for the last six months. I guess there has been a lot of personal growth down here in the last two years as well…

So, this is an important milestone…

It is an important milestone. About six months ago I realized that it makes sense to have my first show here in Christchurch, because this is where my creative journey really started. Obviously, I went back to Wellington after the 2011 earthquake and relocated to continue my studies up there, but really making things all started here, so it all makes sense. It’s like a goodbye gift, my time here is up, but this is where it all started for me. I never thought I would have a solo show, I never thought I would have my work in a public space where people would want to come see it. I think we all get a little nervous, like are people going to show up? I’ve had a lot of people reaching out to me saying they are looking forward to seeing the show. Getting messages like that has been really humbling.

That must be cool because as you have mentioned, the process of creating work and then the step of putting them out in the world can be scary. It’s a long and constantly changing road, the process and development, the failures, the changes of direction…

Yes, it’s a vulnerable position because you work on something for so long and then you think you are comfortable to show people, but once it’s in a public space, once it’s out there, then it could be well received or it might not be. It’s all part of it and I look forward to seeing how people interact with the show on Friday.

Adoration opens at Absolution in the Arts Centre on Friday, 7th August, 2020 at 6pm.

Follow Tom on Instagram and Facebook and check out his website

Spread the word about what's happening in the Christchurch urban art scene:

Isolation @ 413 Local Gallery

413 Local Gallery, the brainchild of artist Daken, open their second exhibition on Saturday, July 4th. Isolation is a group show featuring work produced during and in response to the Covid-19 lock down. With his own output increasing during the lock down, Daken put out an open call for artists to contribute to a group show. The result was a mixture of familiar names (Porta, Morpork, Nick Lowry, Josh Bradshaw, Jessie Rawcliffe) and a number of new faces. This range has ensured Isolation is a diverse collection of work, presenting a litany of creative endeavours.

The exhibition opens on 4:30pm on Saturday at the home of 413, AJ Creative Glass, 413 Tuam Street, Phillipstown. For more information, head to the 413 Local Gallery Facebook page.

Spread the word about what's happening in the Christchurch urban art scene: