When the opportunity to refresh his mural on the corner of Welles Street and Colombo Street arose in late 2024, Dcypher had a few ideas in mind. The original mural, commissioned by the New Zealand Transport Agency, had become somewhat rundown, it’s large sections of flat colour filled with a variety of uninvited additions. The chance to repaint the wall, without having to respond to a cycle safety brief, allowed the artist to explore themes and styles closer to his heart.
Developing two concepts, discussions began around which would be signed off. The first, in Dcypher’s signature graphic style, depicted a busy urban scene, filled with characters (realistic and cartoonish) and shenanigans, from cops and gangsters to urban artists, angular architecture providing the setting. When asked if the narrative could depict the evolution of a graffiti artist into a legal mural artist, the second concept came into clearer focus. Urban Abstract, a technically impressive, dynamic graffiti piece declaring the artist’s name in blue, grey and orange, creating intricate spatial illusions (inspired by wartime Razzle Dazzle ship painting), didn’t need a traditional pictorial narrative – it was a literal suggestion of graffiti art’s potential as recognised public art.
By painting such a work, highlighting the development and unique qualities of graffiti as an art form with a distinct history spanning generations, the concept could be viewed as aspirational. Rather than directing graffiti artists to have to alter their stylistic (and often technical) approach to accommodate figurative or naturalistic realism (popular trends in contemporary muralism), Dcypher’s concept put the spotlight firmly on graffiti as an art form, showing how graffiti artists can take their work to new levels without leaving behind the ideas and interests that have reared them. The result of this implied transition can see talented artists rejected or indeed, reject the opportunity to emerge – not seeing a place for themselves amongst the world of commissioned works of native flowers, birds and other recurring motifs.
Graffiti art has evolved and entrenched itself for decades across the globe, with a range of aesthetic, conceptual and sub-cultural traits defining its nature, even if it remains divisive (both inside and outside the culture). And yet, while contemporary muralism has exploded as a form of public art, graffiti art, such a vital influence for many artists, still often has to wrestle for a seat at the table of festivals and prominent commissions. of course, much of this has to do with the legality (or lack) of traditional graffiti and the fact that it is an internalised visual language, one that requires deeper understanding and consideration. However, it cannot be denied that graffiti is a defining visual language of the last 50 years. Dcypher’s work, from concept to execution, presents graffiti art on its own terms, engaging those initiated and inviting the uninitiated to reconsider their perceptions of the art form. It is graffiti as public art, highlighting the ability to disrupt and assimilate with the surrounding urban environment. It is defiantly true to tradition while also illuminating a sense of evolution.
Check out Dcypher’s Urban Abstract in real life on the corner of Welles Street and Colombo Street!
Mexico is a hotbed of colourful culture – from the heritage of Aztec history, the muralist movement, the folkloric expressions, energetic graffiti and more recently, the emergence of a contemporary mural style infused with all of these influences…
Mexico is a hotbed of colourful culture – from the heritage of Aztec history, the muralist movement, the folkloric expressions, energetic graffiti and more recently, the emergence of a contemporary mural style infused with all of these influences… Last year we were lucky enough to spend some time in Mexico, visiting Mexico City and Puerto Vallarta and capturing some arty goodness. It can’t be understated how massive Mexico City is, bustling and colourful, the juxtaposition of traditional graffiti, fun street art, murals and public art a reflection of the city’s diversity. With only a couple of days to explore, much of the art we found was in the Condesa area where we stayed, but we also were able to witness a huge amount of art as we travelled outside the city to the impressive pyramids of Teotihuacán, murals, slogan typography and of course the frescoes of the ancient Aztec city itself. Puerto Vallarta is renowned as a bright, vibrant destination, and the collection of murals throughout the city most certainly adds to that profile – often displaying elements of local culture and history…
It’s impossible to not read this Radiohead lyric in a certain cadence… Mexico CityPaste up, Mexico CitySlaps ahoy (and a familiar name), Mexico CityVirgin Mary stencil, Mexico CityJuvenal wood block paste up, Mexico CityMexico CityXolotl paste up, Mexico CityHelio-One stencil, Mexico CityMexico CityMortal enemies stare off… Mexico CityCat throwie character, Mexico CityDScreet Have you ever seen the rain??? Mexico CityPixel Vandals Mario mosaic, Mexico CityMexico CityPuerto VallartaQvetzal Puerto VallartaPuerto VallartaPuerto VallartaTony Collantez, Puerto Vallarta
Where will our next Postcard come from? Stay tuned!
Watch This Space was proud to host the 2025 artist panel discussion for the Flare Ōtautahi Street Art Festival. Joined onstage by Haser, Fluro, Berst, Jessie Rawcliffe and Ling, the conversation ranged from cultural influences and connection to place, to graffiti’s lineage, the differences between Melbourne and Ōtautahi and when Ling will finally paint a portrait of Berst! Hosted at Dux Central, the event capped a massive week for the artists and organisers of the Flare Festival. Luckily, in case you missed it, we recorded the event and you can watch it below!
Thanks to Corban Tupou for hosting the live stream and Local Elements for working the sound! We are already looking forward to 2026!
The Flare Ōtautahi Street Art Festival kicks off on Thursday, 27th February – and it is bringing 10 days of epic street art goodness! With a massive offering of things to do and see, let’s get everything you need to know in one place!
Headline Artists:
Jacob Yikes – Distinction Hotel – Spark Lane side, just off Cathedral Square
Berst – Spark Lane – opposite Jacob Yikes
Jessie Rawcliffe – 566 Colombo Street (on the exterior of Samurai Bowl)
Haser – Ara Campus, Madras Street
Fluro – 282 Cashel Street (Barbadoes Street end)
YSEK7 – 65 Worcester Street (opposite the eastern exterior of the Christchurch Art Gallery)
Nick Lowry – 173 Gloucester Street (Manchester Street end)
Additional Artworks:
Drez (Australia) – 267 St Asaph Street (opposite the Boxed Quarter)
Ling (Australia) – Exterior of Child Sister Cafe, Manchester Street
FSA x DTR x BRS Crew Wall – 490 Colombo Street, Sydenham
Rinley’s Wall – 47 Wordsworth Street, Sydenham
Ikarus x Dcypher – Spark Lane, Distinction Hotel
Additional Activations and Events:
FSA x Flare Pop-Up Exhibition – 10am – 5pm, 1-9 March, 181 High Street
Tattoo Pop-Up with Chez – 1-2 March, 181 High Street – DM @mkeltattooart for bookings
Watch This Space Street Art Tours – 11am & 2pm, 1, 2, 6, 8 & 9 March, departing from The Drifter – book via website/Humanitix
Flare x Watch This Space x Dulux x Duckewe Mural Jam/Mākete/Skate Day – 10am – 4pm, 8 March, Te Pae Green
Watch This Space Artist Panel Talk – 6:30pm, 7 March, Dux Central – tickets via Humanitix
Blackbook Sessions – see Flare website for details
Stencil Workshop – 6pm, 6 March, The Rambler – tickets via Humanitix
After a three year hiatus, the Flare Ōtautahi Street Art Festival is back for 2025! Featuring seven headline artists creating large-scale murals across the city, more than 50 additional artists contributing to a range of creative activations, street art tours, an artist panel, workshops, a market and an exhibition – this is going to be huge! Oh, and did we mention the creation of Aotearoa’s tallest mural by Jacob Yikes?!?
To mark this return, we caught up with some of the central organising crew – project manager Selina Faimalo, artists Dcypher and Kophie a.k.a Meep, along with our own Reuben Woods to chat about the challenges, the excitement and legacy of Flare!
So, there’s less than a week to go until Flare Ōtautahi Street Art Festival 2025 kicks off! How are you feeling Selina?
Selina Faimalo: I’m good!
Are you sure?
SF: I feel a bit scattered as there’s so much to do, but it is such an exciting time!
You have already done a lot, Yikes has started his huge mural on the Distinction Hotel, the multi-crew wall in Sydenham is complete, a lot of the behind-the-scenes stuff is coming into place… How different has this year been from the 2022 festival?
SF: It’s much easier. There are no Covid restrictions, which has made it a lot easier! With the funding we had already secured, it’s been way easier to get sponsors to get behind it. I guess it’s been okay with walls… Actually, it’s been easy to get the walls, it’s been harder to get concepts approved…
What are the most common challenges with getting concepts approved?
SF: Flare is all about creative freedom, so getting feedback from wall owners and then giving it back to the artists has been hard. We didn’t really have that as much with the first festival.
Do you think that’s because of the new locations or is it a changing sentiment? Street art has to deal those relationships constantly, balancing permission and a process of concession with creative expression. Dcypher, Kophie, as artists how do you navigate those challenges and do those experiences give you more insight when you’re on the ground team helping organise these types of events?
Kophie a.k.a Meep: For me, it’s always important to be able to interpret the brief in my own way, but in doing so I really value working with people and reflecting community, social and environmental issues, which are informed by the research I carry out. Freedom isn’t about painting whatever I want, it’s about responding in meaningful ways to the brief to reflect my ethos as well as the broader community. I think I now get more opportunities to work in that way.
Dcypher, you’re pretty versatile, have you always been willing to go with the flow?
Dcypher: Yeah, that’s always been my approach. I feel like mural art is one of those things that hopefully reflects community, you know if multiple people have input it always has more impact, rather than just doing exactly what I want to do all the time. It can be less impactful to only have one specific viewpoint , not a more wide-ranging perspective.
Ultimately, that is a sign of public art right? It’s this mixture of expression and public conversation, so it’s always walking a tightrope in a way…
D: Exactly it’s like a discussion interpreted into a visual format that can be translated in many ways.
Jacob Yikes begins work on his mural for Flare on the Distinction Hotel
What is it like being on the organisational side of something like this? Obviously, your expertise as artists is super helpful, but how much do you enjoy this side of it and would you rather just be an artist being invited to a festival?
D: Yeah, I would love to be the artist invited to all the festivals and having that creative freedom, but ultimately at the same time I actually like all the groundwork and boots-on-the-ground stuff that has to be done, just having a stake in helping other artists achieve their goals as mural artists is something I enjoy.
K: I’ve got a long history with event management, project management, and working with Selina, so I really like it, doing all the design and stuff like that, it’s fun. Tiring but fun. I organised the exhibition for the last festival as well.
2025 is the second incarnation of Flare, how has it evolved from that first iteration? We have already mentioned that the first festival was hampered by Covid, which changed some of the plans, is this version more like what you always envisaged for Flare?
SF: Yeah definitely. I think we have a solid team now behind Flare. I was a complete noob during the first Flare, I’d done events and stuff, but not street art festivals, obviously, having Kophie and Dcypher and Ikarus help me learn about the culture, I think I understand it all more now…
As much as you can anyway, right! Nothing is ever straight forward, right? There is always some issue or logistical problem, and this festival has had its fair share. I mean, creating one of New Zealand’s biggest murals is always going to create a lot of problems! Then you’ve got the relationship between the creative side and the commercial side. What other challenges have come up and how have you dealt with them?
SF: Often the walls to paint are easy to get, but the land next to the wall you are painting are hard and can be a barrier to getting across the line. Then there’s navigating relationships with who’s in the festival, trying to be inclusive, trying to stretch the budget. Everyone wants to be part of the festival, everyone wants to be involved, but you only have so much money and space…
D: Having done previous festivals, obviously it builds up the reputations of all the artists and other people who want to get involved. It shows the greater community, the people that might be paying for murals, the quality you can get. It shows off artists to the wider world…
SF: With Flare and my involvement organising large scale murals in between, I can understand what it means to organise a mural, but it’s so niche, there’s not that many people I can ask, it’s a very random job. But it’s really cool being a part of the process, like how much paint you need to order, what equipment you need. With Yikes’ mural, it was a logistical nightmare, I feel like now I could organise any scale mural, because that one is like three large lifts and abseilers and a massive projector that weighs 70 kilos! So, I think having a good team, a good community, is really key.
Talking about involving people, how did the seven headline artists come to be selected? We’ve got Nick Lowry, Jessie Rawcliffe, Jacob Yikes and Ysek7, all from Ōtautahi, and then you’ve got the three out of town artists, Fluro, Haser and Berst, what were the key reasons for selecting those artists?
D: I think there is always a desire to get new people opportunities who haven’t been part of Flare before, but definitely, there should also be a focus on well-established Christchurch artists…
K: It’s always important to have a diversity of styles.
SF: Berst is a key figure in the graffiti world and is generally just awesome to work with. We always have an approach that ensures graffiti is a big part of the festival and having Berst as one of the headliners achieves that, Fluro both has a connection here, having grown up in Ōtautahi, and she also comes from a graffiti background. Haser, has that grounding as well, but he also brings a totally unique style, infusing his work with his experience as a Māori artist. I feel like we need more representation of Māori art works locally…
It becomes about a public discourse, right? It’s the same with graffiti, which is seen as this thing to chastise, so incorporating it is really important to help the public to understand it and what impact it can have. It’s about acknowledging and creating a discourse about public performance. From a personal point of view for each of you, what are you most looking forward to in Flare?
SF: For it to start!
K: The opening and closing parties!
SF: I think just seeing it all happen. As soon as everyone’s got all their paint and they’ve got their lifts and it’s can to wall, paint brush to wall, and I can actually see what’s happening visually, rather than just on my computer and on my phone!
D: I think getting lots of artists in one spot together is just really cool. Starting conversations and having an exchange of ideas and approaches to muralism for artists is a massive draw card for the New Zealand mural art scene in general, it’s not something that happens a lot, especially having everyone coming from all ends of the country.
K: Just hanging out with everyone, like in the last festival, when we got to scooter around on the Lime Scooters and see everyone’s progress, hang out and collaborate like Dcypher said. There’s such a wide mixture of things happening this time as well, so it’s like every day there is going to be stuff going on…
D: I think that the market day [on Saturday, March 8 at Te Pae Green] is probably going be a highlight for me, and of course, creating the largest mural in New Zealand!
How much thought goes into how this event reflects Ōtautahi’s street art standing? Obviously, there are some really good events around the country, like South Sea Spray, Graffiato, Boon, how important is it that Flare, just like Christchurch, has a unique vibe and feel, rather than it sort of replicating what’s already happening elsewhere?
SF: I guess it’s co-created, I think that’s the whole the thing about Flare, it’s created by everyone if that makes sense, it’s Dcypher, it’s Kophie, it’s Ikarus, it’s you, it’s everyone. It’s us trying to make it happen together…
D: I think just geographically the city’s layout and architecture is perfect for a thriving mural scene especially after the earthquakes it just really put Christchurch at the top of the list for muralism in New Zealand. All the prior festivals, Rise, Spectrum, all the stuff that OiYOU! did, you know everything that came before any of this started is super important as to where it’s going to go and why it is the way it is right now. All the work that everyone’s put in beforehand is finally culminating with Flare.
K: The incorporation of graffiti as well, is unique.
There’s a sense of authenticity because Flare is representing something that is organically and authentically happening in the city already. It’s incorporating those parts of the culture that matter in a way that maybe some other places are unable to do for various reasons. We’ve been through so much that half of the sell has already been made, its established. We need this type of event because we’ve got such an embedded urban art culture here. That goes along with making this event work, that sort of authentic, organic aspect, it’s a response to our city’s history, and it feels quite powerful.
SF: I think as well like I don’t know other cities, but everyone’s pretty easy and knows each other, it’s not too hard to get people to work together.
D: The Christchurch scene has always been like that, even back in the day all the different graffiti crews, even though there were obviously conflicts, more often than not everyone just got along and painted together…
Detail of the FSA X DTR X BRS Crew Production on Colombo Street in Sydenham
That is important because everyone is pulling in the same direction, everyone wants it to be successful rather than having people wanting to tear it down. Kophie, you were at an important age when like the likes of Rise and Spectrum took place and you got to be part of those festivals, how much of an influence did those experiences have on your pathway to becoming the artist you are now?
K: I was already writing graffiti and stuff, but just hanging out with all those international artists was just really inspiring, so I kind of like forced my way in there to volunteer and hang out with everyone, I just hung around and didn’t stop hanging around people until they let me paint!
SF: That’s how you make friends!
Do you hope that Flare will do that for another generation?
K: I hope so, but a lot of people don’t want to put in the volunteer work, or they just expect things to be handed to them, so get in there and do stuff…
For you Dcypher, this must be so pleasing, because when you were coming up we didn’t have these types of events here in Christchurch, it must be awesome to see that that evolution from your point of view.
D: Yeah, I mean half the reason I moved to the States was because I didn’t necessarily see a career path here strictly painting murals . I knew Project Legit wouldn’t have longevity with the City Council’s viewpoint it wasn’t necessarily going to fund it forever, so it was time to leave. So coming back to Christchurch and seeing how much it had developed after the earthquakes was awesome…
Surely a programme like Project Legit would have benefited so much from having something like Flare, because it is a pathway, right? Project Legit was helping young graffiti writers explore positive outcomes, but where could they go from there at that time?
D: Yeah, at the time, I don’t think a lot of people saw a direct career path. I definitely did early on, but all the other guys I would work with, not many of them saw that same career path, everyone just wanted to keep it just strictly graffiti and unadulterated which is obviously the core ethos of graffiti culture. I think some people had that line of sight and a lot of people have differing viewpoints, it was either something that faded in their twenties, but now new generations can see a clear career path, even if they may not be hyper focused on it, they can still kind of see it as a potential direction.
So, how can people get involved this year in Flare?
SF: Come to everything!
D: Support your local artists, buy stuff! Exchange ideas!
SF: Go to the show, come to the talks and learn about the headlining artists, go on the tours and learn about what’s there already, volunteer…
D: Just bring life back into the city. After the earthquakes, all the malls took people away from the city, so this is a massive draw card to bring people into the city and make it feel alive.
Flare Ōtautahi Street Art Festival kicks off on February 28th, with the programme running through March 9th. Stay tuned for full Flare coverage – including the full programme, interviews with artists and updates! Get excited!
Los Angeles is an iconic city, but it never quite feels like it lives up to any sense of beautiful grandeur, the architecture is more post-modern than historic, the sun bleaches so many of its surfaces that there is always a sense that it has been washed out, and the sprawl makes it hard to contextualise your location. But despite this, there is an undeniable quality to the various haunts, whether it is the air of Hollywood Boulevard, the familiar locations from film and television, or the eccentricities of Venice Beach. The wide streets and the open expanse above give it feeling not dissimilar from post-quake Ōtautahi, although on a completely different scale. So when we were recently in the city, there was an unsettling melange of familiarity, strangeness, expectation and reality. But, for all that, there were lots of artistic treats to discover, from large murals to smaller interventions, with some big names thrown in the mix. It is impossible to cover all of such a sprawling city, and even the places we did explore are often hard to fully navigate, but here are some favourites we did find. Dive on in and check out some of our highlights from the City of Angels…
Yarn Bombing on Melrose AveWRDSMTH in West HollywoodAmerican Vintage on Melrose AvenueWRDSMTH in West HollywoodArt is War on Melorse AvenueEl Mac and Kophie in West HollywoodEd Ruscha at The Broad MuseumWalter Schels in West HollywoodMiss Van in HollywoodEsao Andrews in HollywoodTristan Eaton in HollywoodUnknown in HollywoodJonas Never in Venice BeachCats and Kobe in Venice BeachAbe and ZBoy in Venice BeachSlaps on Venice BeachNychos in Venice BeachThe Weird Crew in Venice BeachVenice BeachSHANE in Venice BeachTRIXTER in Venice BeachSlaps in Venice BeachUnknown artist in Venice BeachRip Cronk in Venice BeachOBEY slap in Venice BeachVhils in Venice BeachHiJack in Venice BeachMark Bradford at LAX
So, we have an apology to make – July kind of slipped by and we didn’t get our monthly list of favourites completed on time (can you see the shame on our face? We look like a dog who got into the rubbish). But don’t fear, that means this month you get a two-for-one! We even made it a little bit bigger, so it is kind of an end of winter blockbuster. Grab some popcorn, slurp your soda and check out the things we loved from the last 8 weeks!
The Giant Cans Get a Refresh
The Giant Cans on St Asaph Street are designed to be split between free wall spaces (the three cans to the east) and more permanent works (the three cans to the south-west). To keep things fresh, the three ‘permanent’ cans are re-painted routinely and the latest transformation was a unique collaboration between Jacob Yikes, Ikarus and Jessie Rawcliffe – a sprawling tribute to Dragonball creator Akira Toriyama. Mixing familiar landscapes and characters with the artists’ signature styles, it has to be said that the work is “over 9000!”…
Ghstie Goes Nostalgic…
We have loved finding Ghstie’s three-eyed tributes to the cartoons of our past – whether Slimer from Ghostbusters or Casey Kelp from the Snorks, we are suckers for a trip down memory lane…
FSA Catch the Train
With their signature flair in full monochrome effect, the FSA’s crew’s tribute to subway trains and graffiti is both a bold addition to the Manchester Street bus stops and a wink to the subversive culture…
Rest in Peace…
Just like Ghstie’s slaps, Dark Ballad’s reflective stickers bring some nostalgic heat with the stencilled image of wrestling legend The Undertaker, fitting for an artist with a love of life’s darker side!
Drows’ Connection
We were proud to support the production of Drows’ striking Connection on Colombo Street – an activation of a long vacant site by the Christchurch City Council. Alongside the landscaping of the area, Drows’ colourful hoarding work speaks of his, and by extension the viewers’, connection to place – from the maunga to the awa and beyond, Connection is at once personal and universal…
A Summery New Brighton Jam…
It is always good to stumble upon a surprise, and when we noticed some activity across the carpark on a quick trip to New Brighton, we had to investigate… We quickly found members of the DTR crew, Dcypher, Ikarus and Drows, along with Jessie Rawcliffe refreshing a popular wall, a good reminder of Summer’s impending arrival and the increased activity that is sure to come with the longer days…
Just Eating my Iskender…
We love a little story and wandering down Hereford Lane, we couldn’t help but be struck by the poetic tone of Kaepe’s waxy statement. We love our city, but that doesn’t mean it is perfect, and sometimes, it is the margins that remind us…
Monti in New Brighton…
We love Monti Masiu’s paintings, celebrations of his Tongan heritage in striking compositions that are both traditional and contemporary. His work on a temporary hoarding in New Brighton is awash in warm brown, ochre and orange tones, brightening up an otherwise stolid setting…
Jacob Yikes at Smiths City
Jacob Yikes is one of Ōtautahi’s most iconic urban artists, with his instantly recognisable style and aesthetic, so it was fitting that he adorn the iconic Smiths City premises on Colombo Street, a local company that has been in the location since 1918, familiar to generations of Cantabrians. We love the vibrant tones and serene scene…
teethlikescrewdrivers’ Doodle Session
We were stoked to launch our new Doodle Session video series – where we chat to artists while they draw – exploring their process and their creative mindsets. First up is teethlikescrewdrivers, who ran through a range of his fixations, from chairs and pencils to words and self-portraits – a lovely, chaotic, creative ramble! Stay tuned for episode two – it will be live by the time you read this!
They were our highlights for July and August – let us know what you think!
Our new Doodle Session series is a deep dive into the creative process of some of our favourite artists. We sit down and let the creative energy flow as they draw, doodle and mark a page, all while we ask a few questions and explore what makes them tick, the role drawing plays, and how it all comes together.
Episode one of our Doodle Sessions features none other than teethlikescrewdrivers – whose energy is evident in the way he annotates our conversation with drawings, from school chairs to pencils, self-portraits to phrases – check it out and get inspired!
Keep an eye out for future episodes on our YouTube channel!
Kophie a.k.a Meep One is such a prominent part of the Ōtautahi and wider Aotearoa scene that it is hard to believe she has not staged a solo exhibition of work – until now! Trials is the artist’s first foray into a solo gallery exhibition, fittingly staged during the 2024 Christchurch Hip Hop and hosted by Fibre Gallery, key connections for Meep, whose work is rooted in the influence of graffiti and hip hop culture and her proud bi-cultural Dutch and Samoan heritage. While gaining widespread attention for her public mural work, Meep is well-versed in studio work, from painting to design and even fashion and jewellery. Trials will focus on her imaginative creative output without the restrictions of public commission conditions. A fiercely principled individual, Meep’s art is always imbued with meanings and discourses drawn from her experiences and observations, even when it appears more surreal than topical. We sat down with Kophie to chat about Trials, the process of bringing it all together, hip hop culture, subversive influences, and a number of other topics…
Your upcoming exhibition, Trials, will be staged at Fibre Gallery in October – I was surprised that this will be your first solo exhibition, for someone with your body of work and profile, it’s been a long time coming…
Yeah, I’ve always wanted to do it, I just haven’t really had the guts! It’s been terrifying because I really don’t like being the centre of attention or anything like that. But art is an important part of my life, and it has been ever since I was born really, so I’m happy to finally do it. I’ve wanted to do a show with a big research project behind it for ages, but it’s just too much and it’s hard to get funding for that scale, so for this show I’m focussed on painting stuff that I want to paint in the moment, experimenting and just showing it really…
There is so much work that goes into organising a show, the logistics of funding it and organising a venue, the promotion and all those things, but an exhibition also needs to have something to say, and it takes time to develop a body of work out of formative ideas. The fact that this has taken a while to manifest, does that mean you feel more confident in terms of what you’re saying?
Yeah, and I feel like once I get my first show out of the way, then I won’t feel so stressed about doing it again. In the past I have put too much pressure on myself to make it perfect, but I have just let that go and just made art.
Trials is taking place as part of the 2024 Christchurch Hip Hop Summit. The influence of hip hop has always been a strong element of your work, how much did street culture, graffiti and hip hop inspire this exhibition?
One of my first introductions to graffiti was seeing the wall at Waltham Park from the first Hip Hop Summit in Christchurch, and the guys from the Summit team have always been supportive of me. I was supposed to do one for last year’s Summit, but I wasn’t able to secure funding, so they’re kind of making me do it this year! Hip hop and graffiti are a massive part of my inspiration, and so is street culture in general, like skateboarding. I wasn’t good at skateboarding, but I was around the culture. Growing up in Wanaka, it’s very outdoorsy, so things like snowboarding were also an influence. Then we moved to Christchurch and seeing all the graffiti when I was a teenager was a big part of my growing up. Once I was transfixed with graffiti and art, apart from non-stop drawing, I would always either bunk or walk after school to the South Library and pour over all the graffiti, art and skateboarding books they had there at the time. When I was at school, I would just sit in class and basically draw on myself all day. A lot of the stuff in Trials is inspired by that feeling I had when I was younger and seeing graffiti for the first time and how the world was back then without social media. I think there is a nostalgia for that time, most days I just want to throw it all out the window and just play in the street like I did when I was a kid. It just seems like the world now is completely different…
I assume the show’s title refers to the trials and tribulations that you’ve been through, but it also suggests the concept of criminality that is associated with graffiti, the challenge of transitioning graffiti into a career in the arts, and perhaps the trials of modern-day life, especially the impact of technology and social media. Was the title intentionally so wide-reaching in its suggestions?
Yeah definitely, when I was trying to think of a name, I wanted something that had multiple meanings. The name evokes the trials I have been through to get to where I am now. I guess I had a hard upbringing, but despite dropping out of school, I was able to get an education and then to do what I do now, I’m very grateful of how far I’ve come and how I’ve gotten through all that. Trials also reflects the fact that I wanted to do a lot of experimentation in this body of work. I’ve had so many ideas for so long and I just haven’t had time or the ability to take time from work and focus on painting. It takes a lot of time and money, which is proving to be difficult even right now. I start at 9am and then finish at 9pm and I’m still working on the same painting…
Obviously, there are a lot of very personal aspects embedded in the show, but something I admire in your work is that when you are painting real people, including your self-portraits, you imbue your subjects with a symbolic quality, a feeling of being an archetype rather than an explicitly specific person…
I like to create the whole character. I don’t like doing realism, it’s not something that I really enjoy. It’s just a skill rather than being able to use creativity and imagination. So, for this show there is a lot more of my cartoony stuff, abstracted and surrealist stuff, subversive stuff. There are a lot of hidden messages. I find straight ahead realism quite boring because you are just painting what’s there. I want to create characters from scratch and give them back stories that reflect how I was feeling in that moment or something that inspired me. I doodle all the time, so I’ve taken a lot of stuff that I have drawn and remember how I was feeling and then I try to turn them into better works…
What does the process look like? How do you go about taking an initial drawing that captures an idea and turning it into a more polished painting?
Working on an iPad makes it a lot easier because I just take a photo of a random sketch and refine it. It’s easier to play with colours and stuff before I paint it. But other times, I just start drawing on a piece of wood or canvas and then I just paint it. So, some of them have a refined sketch, some of them don’t. I’m mostly playing with oil and acrylics on ply, which is my favourite surface. I’m largely using recycled ply that I’ve cut into shapes, it’s reminiscent of some of my paste-ups in the past, big cut out figures, but they’re on ply and nicely painted. There are probably only going to be two real portraits, one inspired by me, because it’s hard to get a reference photo of someone else and I don’t want to use AI, and one of Callum [Kophie’s partner, who is currently finishing a music production degree in Australia] because I miss him! But in both cases, they’re not just portraits, they’re abstracted and stylised, with stories behind them.
You mentioned the presence of subversive elements in your work. How important is working in the studio for the expression of subversion when you are increasingly creating commissioned public works where creative freedom is lessened? Does that become part of that nostalgic element that you’re looking for as well?
Yeah, one hundred per cent. I feel like a lot of my big murals are be watered down a lot because of the client relationship, so this show does take me back to my roots. I’ve always been outspoken and political. I care about issues, so that’s always been a central part of my work. In my first year of study, we had to draw a portrait of a friend. He told me he worked in the meat works, so I drew him like Hannibal Lecter as a joke, and I made this big melting-globe-world-monster thing, and a fish made of scrap materials symbolizing a radioactive fish after the Fukushima disaster, which had just occurred. I guess it comes from the influence of satire, political art, like Obey, and the likes of Adbusters. Skate graphics as well, they have a history of being subversive and they definitely influenced me. That stuff’s always been cool to me. I played a lot of video games growing up and they always had funny subversive stuff, like in Tony Hawk’s Pro Skater, there was a Sasquatch character…
I like that with games now, where you see custom builds and skins, so you’ll have these relatively normal worlds, and then, all of a sudden, they’re populated by giant bananas. The more ridiculous something is, the more it reveals the underlying absurdity of what we perceive as normal…
I like the balance of silly but serious at the same time, it makes you think. All my works are very topical in one way or another, some are just more obvious than others. I feel like a big thing in my work is the impending doom of climate change and how we are all heading towards a fiery death, but no one seems to care. It’s just like head in the sand stuff…
It’s that whole This Is Fine meme, the dog sitting in a flaming room…
That’s exactly the aesthetic, that whole ‘I’m fine’ thing…
We have discussed some of the themes and subject, but is this body of work a progression in terms of visual style?
I feel like it’s me being true to my original style. If you look at my old workbooks, I drew the same sort of stuff but just way worse, so it is an evolution of that. I haven’t really been able to paint big versions of my sketches. I do a little bit in my graffiti when I have enough paint, but not as much as I would like.
It feels like a balancing act of how to express yourself in different spaces…
I guess it comes back to the duality of doing illegal stuff while also trying to go to meetings and be professional. I always feel so fake in a way. But I look at businesspeople who are doing horrendous shit and they don’t bat an eyelid. I’m a genuine person that sticks to their guns, so I just feel really weird about living a double life. I don’t know how to act half the time…
How do you think the idea of a more genuine expression relates to the broader context of hip hop? At its heart, hip hop is very much a DIY culture, but it also has been through so many incarnations; you had the earlier stages of hip hop, street parties and making something from little or nothing, then you had the ‘get cash’ and bling kind of attitude of the nineties onwards, that hustle ethos, and now hip hop has evolved into something different again as it is more commercial today. What hip hop ethos do you identify with most strongly?
I guess hip hop has become very commercialised nowadays and I never want to be a commercial sort of artist. I just want to be someone who makes art about things that are happening in the present moment. I like a lot of underground music.With the Full Steam Ahead crew, we wanted to try and incorporate all the hip hop elements. Even though we mainly do graffiti and rap at the moment, we do have B-Boys in the crew. I love the origins of hip hop. Street wear, clothing and fashion is also a big part of my inspiration. When I was a kid, a lot of the time I would just draw the different outfits that I dreamed of having because I had to wear second hand clothes. It wasn’t cool to wear second hand clothes then! I would draw all sorts of cool outfits. I’d draw girls and then cut them out and make them different outfits like paper dolls. I thought I was going to be a fashion designer! Drawing my characters with cool clothes and accessories is a central part of my art, I guess. The t-shirt as an important platform for messages is another idea I really like. When I was painting recently, I was thinking about all the clothes I had when I was a teenager and stuff, I had this cool t-shirt that said like ‘Big Brother is Watching’ from the 2000s, why did I get rid of it! I want to paint it now, just thinking about that!
That captures the DIY element of hip hop for me, it was created by young people who didn’t have access to things so they made use of what they could, whether it was street corners or subway trains…
That’s definitely a central part of my work and my whole life really. I’ve always made stuff that I didn’t have. I’d make clothes for my dolls from scratch or like second hand fabrics. I just did it out of necessity really. Even now, like I built a fence at home when we needed one. I make do with what I have, I upcycle things, I learn to make and fix what I can. I have always been a DIY type. I’d cut out posters from free magazines when I was a kid, take the posters and cut them up and collage them and poster my room with them. I don’t know, it’s always been like that. I made the hat I’m wearing because I was playing the video game Harry Potter Legacy, and I liked the hat one of the characters was wearing. I was like, I need it, so I made it. My art has always been from second hand stuff or acquired items. Right now, I’m using recycled ply because I had it. It comes down to my ethos of not buying new things for the good of sustainability. Everything nowadays is so crappily made anyway.
The clothing your subjects wear is important, whether a t-shirt with a message or your works that explore Pasifika identity and traditional clothing, these are a reflection of your background and the way fashion has always been so important to hip hop, punk, any kind of street culture…
Yeah, I made the weirdest outfits when I was a teenager. I had a big emo phase and a Boy George phase, like an eighties phase, a gangster phase, haha. I think fashion plays a big part in personal expression, so it is important in my artwork. Especially drawing things that I couldn’t get or creating my own fashion designs…
I want to see some photos of Boy George era Kophie! You mentioned your crew Full Steam Ahead, but of course you are now also a member of TMD [The Most Dedicated]. How big an impact has that had on your work, knowing you are part of a globally celebrated creative collective? Does that bring pressure, or does it just reinforce your self-belief?
I mean, I think about it every single day because it blows my mind that I’m in TMD! I’m so inspired by everyone in the crew. When I was younger, I would use my friend’s computer, because I didn’t have one at home, just to look at pictures of TMD productions and stuff, so it blows my mind really. It did give me the push in confidence to have my own exhibition, because I wanted to in the past, but I was worried that no one would really come or turn up, but I have gotten to the point now that I don’t really care anymore. I am also not making art to for the intention of anyone buying or anything like that, I’m making it because it’s stuff that I’ve always wanted to make and it’s a reflection of myself. Although it is all for sale!
That’s really important I think, because it is quite rare. For a lot of people an exhibition is a way to sell work, to make money, so to have an exhibition where you can be more honest in terms of what you want to say and you can make work that’s important to you, it must make the whole process more satisfying on a personal level…
Yeah, as I mentioned, I wanted to do a whole research aspect and have detailed stories behind each work, but I didn’t have the time and funds to do all that. But it feels more freeing to just do what I feel like doing in the moment and do whatever is topical or influenced by whatever podcast I’m listening to, or if I’m angry or sad or happy, then make something based around that. I feel like it takes the pressure off, and I feel like it gives it more authenticity…
Do you have a defined idea of how the whole show will look?
Sort of, but not really. I’m not sure if they will all really match or anything, it’s just like my brain spilling onto a painting. But I have four paintings so far, and it’s quite a big space so I’ll see what happens. It was quite a short turn around, they asked me a couple of months ago, so I guess I’ve had four months to get it all ready, which sounds like a long time, but it’s not really, especially when you’re trying to do a hundred other things. Paintings take so much longer than anything else. But yeah, I’ll see what I can do!
Who do you want to thank?
Red and Tommy from the Hip Hop Summit and YCD [Youth & Cultural Development], Nina from Fibre Gallery for making me do it, Selina and the FSA and TMD crews, and of course, Callum!
What do people need to know about Trials?
The show will open on the 4th of October at Fibre Gallery on Cashel Street, where my mural Navigation is on the side of the building. I think it opens at 6pm. We have DJ INFARED playing. I might bring some Speights…
The next artist in control of our ever-growing music playlist is Noose! The man behind Rinley’s Writer Supplies took some time out to give us a selection of tracks that soundtrack his painting career – as he explains, music plays a key role in setting the tone for his work: “Music for me while I’m painting gets me moving and flowing while painting helps me tune out and lets the muscle memory kick in.” A diverse range of tunes reflects Noose’s different moods and influences, but also the full spectrum of the graffiti experience; from shout outs to the local graffiti scene, to each stage of painting and all the drama that goes with it – whether its blissful peace or angry rage, this selection perfectly encapsulates the culture… Check it out!
Frankie Valli – Grease
This is for the flow state you get into when having a good day piecing…
CeCe Peniston – Finally
The rhythm of this song is the feeling you get when you pull a long swooping line on a outline…
The Rolling Stones – Midnight Rambler
A great song to fill a piece to, the bumpiness of the song gets you in a great rhythm for filling…
The Smiths – What Difference Does It Make?
This song is for when my piece isn’t coming out like I thought it would and I’ve given up all hope…
Viagra Boys – Research Chemicals
This is for street bombing after 4-5 pints at a pub of your choice…
Lost Boyz – Jeeps, Lex Coups, Bimas and Benz
The feeling driving home after painting a freight or a sick piece…
Black Moon – I Got Cha Opin
For the inner rage when you see someone has gone over you…
