The Giant Cans – Notepad, Incubator, Constantly Changing Canvas…

With the upcoming refresh of the three ‘permanent’ art cans at the St Asaph Street Giant Spray Cans site, we have been thinking a lot about these unique surfaces and their evolving appearance. While the three cans to the west serve as commissioned installations, with a revolving roster of artists and crews decorating the cylindrical forms, the other three cans, situated to the middle of the space (closer to the basketball court) are a type of legal wall space, an open source option for people to adorn with markings and makings of all kinds. The impact of each set can be strikingly different. The cohesive ‘permanent’ designs serve as aspirational inspiration, but the more haphazard patina of the ‘legal wall’ cans can be equally as interesting – from signals of presence to gestating visual ideas, the cacophony of tags, handwritten messages, characters, patterns and icons are a wide gamut that becomes a thick layer of paint. The legal cans change as quickly as the weather in Ōtautahi, new chapters are constantly added. So we decided to put some of our favourite finds from the history of these iconic cans together (from both their current location and the previous Lichfield Street setting). The selection of images here features local talent from Ōtautahi and artists who have visited the city and left their mark on the metal surfaces. Some examples form part of initiatives and projects, others were created independently, but in each case, they are examples of how the unique approach offered by the Giant Cans affords a space for creative and restless energy to manifest… The outward appearance of the cans is chaotic – intentionally so, because they represent the multiplicity of voices in any city – when they change constantly, they are simply a reflection of our shared landscape. So, while many of these examples have disappeared under fresh layers, that is exactly how it should be – after all, a city never stops…

The Dark Countdown Begins! An Interactive Installation by Centuri Chan

Centuri Chan is a multi-faceted creative – one of the forces (excuse the pun, it will make sense later…) behind the Humans of Christchurch Ōtautahi project, he is a photographer, content creator, Lego block master, and, importantly, a ‘Star Wars guy’. In his upcoming project Dark Countdown, he will fuse his fixation on a galaxy far, far away with a visual commentary on the waste created by mass commercial marketing and short-term collectible fads. The result will be an interactive installation that is an impressive patch work image, and a deeper commentary on contemporary consumerism and capitalism. We took the chance to let Centuri fill us in on this intriguing project, giving us an insight into the concept and execution…

“In 2016 a major supermarket chain released a set of Star Wars collectibles as part of a gimmicky advertising campaign. A grocery spend of $20 or more would be awarded with a single blind-bagged ‘Cosmic Shell’ featuring a character from the Star Wars films. Collectors were encouraged to collect and trade for the complete set of 36 to fill an exclusive collectors album. 

I conceived this Dark Countdown artwork around 2020 after finding hundreds of cosmic shells at op-shops, flea markets and online marketplaces after the promotion ended. I have always been a collector, and I have been a huge Star Wars fan since I was a youngster. My past-self would have spent countless hours and grocery trips completing the set. 

Instead, it was after the hype died down that I started. I spent several years collecting bulk lots, bags of spares, and even unopened boxes of these small plastic discs.” Chan will now utilise this vast collection to create a 5-metre wide mosaic image at the St Asaph Street gallery space The Art Hole. In collecting the required amount of discs to create the massive artwork, Chan is able to highlight the problematic nature of such gimmicks, which intentionally cause a furore of excitement like a brief sugar rush, before most of the collectible trinkets are discarded and forgotten. It is easy to imagine which side of the galactic unrest the producers might fall on (insert Imperial March here)… 

The Dark Countdown installation is almost five years in the making. The final work will be a giant photo-mosaic made from thousands of these discarded Cosmic Shells. The exhibition comprises two parts, the interactive installation of week one, where the public is invited to help create the giant mosaic in situ at the Art Hole gallery space from Tuesday 20th May (opening 5:30pm to 7pm) until Saturday 24th May. The second stage will see the completed artwork on display for a week, open to the public from Tuesday 27th May (the unveiling at 5:30pm – 7:00pm) to Saturday 31st May.

Screenshot

Be part of Dark Countdown by helping install the giant mosaic work and visiting the exhibition:

Interactive Installation:
Opening – Tuesday 20th May, 5.30pm – 7:00pm
Gallery Open Hours: Tuesday 20th May – Saturday 24th May, 9:00am – 4:00pm

Exhibition:
Opening (Artwork Unveiling) – Tuesday 27th May, 5.30pm – 7:00pm
Gallery Open Hours: Tuesday 27th May – Saturday 31st May, 9:00am – 4:00pm

Follow Dark Countdown on Facebook for updates and follow Centuri Creative on Instagram

Tune! A Creative Playlist with Klaudia Bartos

We are stoked to bring you the newest entry to our growing playlist! We reached out to 2024 Little Street Art Festival artist Klaudia Bartos to find out what music inspires her creativity and keeps her going in the studio. As the multi-talented artist explains, much like her wide-ranging approach to visual art, her musical tastes are also varied: “There are so many different genres of music I like that I could never pick a favourite- especially while making art!” So, what songs will Klaudia never skip and what might we find her listening to as she creates the paintings, prints, sculptures and everything in between that we have come to love? Read on to find out!

Tiesto – Adagio for Strings

This is a classic for me. I heard it a lot growing up, so it has a super super nostalgic vibe for me. Kinda sad but up beat- I love it!

Foreigner – Waiting for a Girl Like You

Just a guilty pleasure song – it’s moody and I love it…

Q Lazzarus – Goodbye Horses

I mean, what can I say? It’s a bloody banger…

Guns N’ Roses – This I Love

Mid painting and this comes on… It pushes me through to the end. I might even replay it, hahaha…

Nirvana – Where Did You Sleep Last Night

🖤🖤🖤🖤

Linkin Park – Breaking the Habit

I would have added a whole album of Linkin Park to this list if I could, but let’s just go with this one. RIP CHESTER 🖤

Phil Collins – A Groovy Kind of Love

My Mum used to listen to Phil Collins all the time when I was growing up and it stuck with me. I kinda just love sad sounding songs I guess!

Rainbow – Rainbow Eyes

Soft singing Dio, guitar, melancholy – lovely!!!!

Robert Miles – Children

This song always makes me think of Dad ❤️

Ayla – Ayla (Taucher Remix)

To be honest, I’ve gotta have a good mix of trance to keep me going…

Make sure to follow Klaudia’s work on Instagram

Tune! is an ever-growing list of the music that inspires Ōtautahi creatives – stay TUNEd for more entries here at Watch This Space!

Piece of Mind – Dcypher, Graffiti Muralism and Changing Perceptions…

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!

Flare Ōtautahi Street Art Festival 2025 – What, where, when and how to get involved!

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

Wahine Graffiti Jam – 9 March, 608 Colombo Street