One More, More The Show

More The Show returns this week with One More, More the Show – once again celebrating local wahine artists and raising funds for The Period Place. One More, More the Show will fill the walls of Clubhouse Creative on Southwark Street with art by a wide range of Ōtautahi creatives, painters, illustrators, makers and more. As organiser Lydia Thomas explains, More the Show came from the lack of wahine art at local art shows: “I haven’t been in Ōtautahi long, but I can already see and know of extremely talented females and I wanted to create someone just for them.” The More shows are short and sweet with a playful energy, intended to function like a gig or a festival (music will be supplied by talented local female DJs), a limited window to experience the event. This time, Thomas has a selection of almost 30 artists, featuring returning creatives like Robbi Carvalho, Kyla K and Harriet Murray, but also new contributors, including Emma Turner and Lily Wenmoth. Whereas previous shows have allowed artists to present multiple works, this show is more focused, with each artist contributing just one work, giving each a more unique value. The show will also donate a minimum of 10% of every sale to The Period Place, whose mission is ensure every person with a period in Aotearoa can have access to period education and products. As Thomas declares: “People should come to see the show because the talent of wahine artists in Ōtautahi is out of the gate – we are so lucky be able to head out and enjoy it, to drink wine, eat cake and celebrate!”

One More, More the Show opens Thursday 6th October, 5:30pm – 7:30pm at ClubHouse Creative, Southwark Street. Drinks and food will be supplied by from Buzz Club, Good Sh*t Soda, Young & Co Wines and Full Time Tart.

TUNE! with PK

One of the best things about the TUNE! project is seeing the diverse range of influences different artists reveal. The spectrum of musical collections is a great reminder that nothing is monolithic. It is easy to assume graffiti writers and street artists are all simple stereotypes (hooded vandals or hipster artists), the reality is, of course, not so monochromatic. For this edition of TUNE!, we talk to enigmatic local graffiti writer, photographer and urban explorer PK, who drops an eclectic mix of tunes, from Grace Jones and The Brian Jonestown Massacre to Dam Native and The Birthday Party, a perfect example of spiraling influences…

PK: Music is my second biggest obsession (the first isn’t hard to guess!). I think music is definitely the cooler of the two. I don’t often listen to stuff while I’m painting or going about my day now, but I have fun memories of boosting around on all night missions as a teenager listening to my punk cassettes and BBC One In The Jungle mixes. I wanted this list to have a bit of everything I enjoy but it got to like 50 songs so I cut it down to a lucky 13 that I think represents most of what I’ve been listening to recently…

Burning Witch – Stillborn

Lydia Lunch – Friday Afternoon

Joanne Robertson – Hi Watt

The Brian Jonestown Massacre – E to G

Flipper – Shed No Tears

Townes Van Zandt – White Freight Liner Blues

Alexander ‘Skip’ Spence – Grey/Afro

Scraps – Baby Baby

Grace Jones – Me! I Disconnect From You

Strawberry Switchblade – Trees and Flowers

The Birthday Party – Sonny’s Burning

Dam Native – Battle Styles

Marilao – F*@k Me Moon [Morph]

TUNE! is an ever-growing playlist of the music that inspires our favourite creatives – stay tuned for our next edition!

And That Was… August 2022

I am actually skeptical August even happened. I have the most fleeting recollections of some days that purported to be in August, but I have no certainty, such was the speed with which it passed. On the bright side of this hurtling stream of months is, of course, the impending arrival of weather conducive to art making outdoors – longer days, warmer nights and a bigger audience… But before we get to all that, let’s use all of our available resources to paint a picture of what happened in the mysterious month of August…

Jay Hutchinson @ Fiksate

We have been fans of Ōtepoti artist jay Hutchinson’s work for a while, so it was brilliant to come face to face with his hand-embroidered refuse in our favourite gallery. From a discarded Subway napkin to a greasy KFC chip box (both presented on chunks of asphalt), the jarring juxtaposition of delicate beauty and overlooked mundanity striking and alluring.

Seaside Session

It’s always great to to see familiar spaces get a spruce up and in mid-August, a popular New Brighton spot was the site of a communal re-paint, featuring a range of contributions, including Burga, Peaz, Tepid, Nemo and teethlikescrewdrivers. This evolving space is always good for a gander, full of intentional and accidental collaborations…

IRONS X Yikes (Kind Of…)

Yikes’ startled character, seemingly locked between brick pillars on Manchester Street has been a favourite for years, but a recent addition by IRONS highlighted the way pieces can become a harmonious pairing. IRONS’ painting above Yikes’ work feels entirely organic due to the green background echoing the older piece, a perfect understanding of how to seamlessly fit in…

Ikarus X YSEK

If the Yikes and IRONS juxtaposition was more a response from the latter, Ikarus and YSEK’s Sydenham collaboration was much more planned, a combination of each artists’ iconic style – the unmistakable letter forms of Ikarus and YSEK’s signature animal characters, in this case a blue-skinned lizard, all tied together with a sewer background and unified colour scheme. Chef’s kiss.

Black Panther 2 Trailer

OK, so technically it was released in July, but let’s just say I only saw it in August. The trailer for Black Panther 2 is pretty epic, adding new elements to the story and hinting at the handling of the tragic loss of Chadwick Boseman. Technically it isn’t urban art related, but as someone suggested, the mural of T’Challa spotted in the trailer looks like a Retna and El Mac collaboration, which is good enough for me!

What were your highlights in August? Let us know!

Counterfeit – A place for things that don’t have a place…

A few weeks ago, I was lazily scrolling through Instagram and a striking black and white image flashed past. I scrolled back and was drawn by the raw energy of a puffy face with a swollen black eye, the grainy image accompanied by a Gothic script reading Counterfeit. The stark minimalist look contrasted with a punky DIY quality and I was immediately intrigued, it was a nice contrast from a lot of the manipulated bluster of social media and I wanted to know more about this Counterfeit presence. When I visited the website, the content was an impressive reflection of local talent, from zine publications to photo essays, all capturing a sense of low-fi outsider attitude. After some low-level sleuthing I was able to connect with the semi-anonymous founders of Counterfeit, ‘J’ and ‘S’ and chat about the goals of the platform, the art it represents and how it is a “place for things that have no place’…

I must admit, when Counterfeit appeared on my Instagram feed, I was immediately intrigued by the raw aesthetic and by the mystery of not knowing anything about it, and I love when that happens, because it feels a bit more rare these days, to find something that feels new and authentic. What inspired you to start Counterfeit?  

J: It seemed like there was a lot of stuff that I love that hasn’t had a place to exist, stuff that was not ‘fine art’ enough to go in a gallery, and stuff that didn’t fit in aesthetically or stylistically with local group shows. I just felt like everything I wanted to see and the work by the people I like, there just wasn’t that space where you could see it. There are a whole bunch of rad people doing rad stuff, but it was all really separate and spread out and I just wanted a place where it could all come together…  

Did you think there were enough people making work that fit the Counterfeit aesthetic to make it work, or was it also about making a platform with the whole, ‘build it and they will come’ mantra? 

J: I felt like the work I was making didn’t fit in anywhere and I just noticed a fair few other people in the local art scene that I thought might have been in that same position, and then the more you start to think about it, the more you notice there are plenty more people out there you can try to pull in to be part of it…

S: From my perspective, when I started making and showing my work publicly, I noticed a fair few other artists whose work thematically aligned with what I want to see out there, within one show, one platform, one zine. By gathering all these artists under one proverbial roof we hope that it will draw in more people alike in one space. 

Image by Josh Bradshaw

How would you categorize the cross-section of art and artists presented by Counterfeit? There seem to be elements of skate culture, punk culture, zine culture, a kind of outsider art, there’s a sense of the urban influence… It probably doesn’t need to be pigeonholed, but did you spend time thinking about exactly what makes something right for Counterfeit or is that an ongoing and evolving discussion?

J: I reckon it’s easier to figure out what’s not it. All of the elements you mentioned are exactly all of the things we really like so are naturally drawn to. It’s quite obvious quite quickly when something doesn’t fit that, haha.  

S: What I looked up to was always somewhere else and when J and I came together, it was like, oh actually, there’s a big cross-section of people here who we find really appealing and it coincides with a lot of things that we really like, so it’s become much easier to understand what it is that fits on the platform.

For me, elements of the Counterfeit aesthetic feel very Ōtautahi. The gothic text, the black and white, the grime, although the positive spin has been the bright and colourful post-quake city, the reality of being a cold damp Southern city feels fittingly represented by the Counterfeit aesthetic. Is that something you recognised, or is the influence more global than that?

J: I just wanted something that feels real. Just like the grime, the devastation, the dirt of Ōtautahi represented through the content of the website; the logo, the general aesthetic, all juxtaposed with the clean look of the website itself; like the new emerging parts of the city neighboring with ruins and dingy car parks. 

S: While it is inspired by Ōtautahi, it is definitely global. We find solace in the not-so-pretty aspects of the world and we find a lot of artists on social media from across the globe share the same view. I think this aesthetic is about finding beauty in the raw energy of everything that’s around us, it is not necessarily ‘pretty’, it recognises the grimy, gritty elements that you can’t erase from the streets and makes them worthy of attention…  

Image by Miiekes

That kind of leads to the question of Counterfeit as a platform in the increasingly digital world. I would suggest the art Counterfeit champions needs an actual physical presence in the world too, is that a goal, to have that real world presence?

J: The goal is to be curating exhibitions and producing physical artworks and merchandise and actual tangible things. At the moment we are just trying to establish the digital side, so when people go to it, they can get a feel for what Counterfeit actually is and if it aligns with any other shit they’ve got going on, and eventually, once we build up that sort of network of artists, then we can look at putting on shows…

Were there people you knew you wanted to have involved straight away?

J: Definitely, there are so many local artists that we have close relationships with that we could reach out to, so we just hit up friends who fit that style first and then the more we collect, the more people will come in from outside that circle that we don’t know, and as long as the work fits the themes and feeling we are going for, we are happy to take it.

Did you give any thought to creating a manifesto, or a declaration, or something that summarises your goals? Even if it was a declarative statement that defines what it’s not, an anti-manifesto?

J: As someone who loves punk, owns Doc Martins and shaves their head, being in Christchurch and hearing the word manifesto, I immediately recoil! But we didn’t really write out our intentions, we do have an ‘about’ section on the website, but we don’t really know what it is yet. We came up with the phrase ‘a place for things that don’t have a place’, and I guess that’s as close as it gets.  

S: I feel like a manifesto could get quite limiting with what we want to present, so I think at this point of what we’re doing it’s not particularly necessary. I feel like the work speaks for itself…  

Do you each have designated roles within Counterfeit?

J: We definitely have designated roles, because I can’t work the Internet and it’s a digital platform! Luckily one of us has some idea of web development and how to use Instagram, so, they have that covered, and in theory that person has done most of the work so far! I just know a whole bunch of people that do stuff, and I really know what I like and don’t like, so it’s pretty much my sort of vision for it. It is kind of the perfect mix in the way it works…  

S: From my perspective, I’m not very good with social things. I’m supremely awkward, so I am responsible for the technical side of things while J is taking care of the curation and actually talking to people, which works perfectly for us…  

Image by Sofiya R

Are you open to bringing new voices in? 

J: I like the possibility of people contributing ideas, because there is a whole bunch of stuff that we are playing around with that isn’t on the website and that’s for further down the line and that would be cool to get other people’s input, but in terms of the actual operational thing, the core of it will just remain the same, a small team. If people want to jump in and help on projects and stuff like that, I’m open to that…

The website looks great, it is clean and yet raw. What should people be checking out on there?

J: I really like the digital zine library. We’re just going to be forever adding to it as we get zines from people. There are other places in Ōtautahi that have zines, and we didn’t really want to step on any toes, so we like the idea of collecting zines that are out of run and that are almost forgotten about. You make zines, you give them out, you sell a few, and once the run is over everyone forgets about them, so it’s nice to collect those dead zines and have a place where they are all kept nicely. We have also introduced the X Counterfeit collab which will be an ongoing series with work made specifically for Counterfeit. Then we want to have work by people that might be something they do that’s not their normal practice, you know, someone who shoots photos might have a sketchbook that they do drawings in and we are just as interested in those as the other work. Again, it’s a place for things that don’t have a place.

The latest X Counterfeit contribution is a photo essay by Cammy H, how did that come about?  

J: I noticed that he was posting photos that looked a bit a different to what he would normally shoot. I love Cam’s photos and with the black and white stuff that he was starting to post, S and I would look at each other and be like, this is perfect for Counterfeit, we should add these! So, I asked Cam if he would want to submit some new ones to the website. He was super keen and we showed him a preview of the website so he had a feeling of the look, and the photos we got from him were just perfect.

Image by Cammy H

You also have a selection of zines from local skate crew FAUP. What is your relationship with them?

J: I’ve skated most of my life, so I’ve seen some of those kids come up, watched them form their crew, skate and then as they got older break off and form punk bands and stuff. But just watching them shooting their own photos and videos, making their own clothes, making zines, all for no reason, just for the fact that they love doing it, that’s the feeling I was talking about, it’s fucking real, it’s so perfect, it’s everything that I feel a lot of stuff is missing these days with the internet and shit…

FAUP Bitch, Vol. 3 by Gianni Ruffino

I guess the big thing is that you have to be willing to dive in, like in skating you have to know you will probably get hurt at some stage, but you have to do it anyway, and it correlates with creativity…

J: There’s no one making you jump down those stairs for hours. When you’re falling over for that long, for the possibility of success, I think it teaches you how to overcome challenges and deal with failures.

S: I would rather see a spectacular failure than a boring success…  

What is next for Counterfeit?

J: Zinefest, on the 17th of September, we will have a table there. We will have artist zines for sale, some older ones, some new ones and a first Counterfeit issue with a bunch of contributing artists, which is actually a real physical thing that you can look at, instead of just clicking through on the website…

And beyond Zinefest?

S: We have been speaking with quite a few artists, so we will hopefully source some work from them in the future. We plan to sell stuff as well, Counterfeit zines, Counterfeit merch…

J: Like I said earlier, we also want to stage some group exhibitions…

I imagine finding the right venues will be really important for Counterfeit shows…

S: The grimier the better!

J: I really want to have some shows at the Darkroom, that would be perfect because the exhibition could roll on into a punk show straight afterwards, making it an event. I think we just want to make it fun. There’s plenty of people doing cool shit, it just needs to be organised a bit better…

I’m a massive advocate for creating platforms for things to be seen and shared and celebrated, because in Christchurch, it’s big enough to have people doing cool stuff, but small enough to not have enough platforms…  

J: A lot of the artists and the work I like you could call lowbrow or gritty and people just do that stuff for the love of doing it. A lot might fall through the cracks or be forgotten, and I wanted to collect all that work. The thing with Counterfeit is that it might be grittier but I wanted it to be presented really well, to be respected, and I wanted the website to be super clean and to focus on the artwork and the artists, rather than Counterfeit. Exhibitions and stuff as well, it might have some shitty punk kids and beers out of a trash can, but all the work will be presented really well…

S: We just want to encourage more people to create or continue to create. If someone knows that, not only can they make something but they can actually have it seen by other people, they can make it a more significant part of their life

Image by Bethany Ponniah

And creating a platform that ensures people can feel like they can do that, that they can feel part of something, that encourages them to put something out there, is so important, because until they are visible, they go unknown and who knows who will connect with it…

S: That’s why we are open to seeing what’s out there and deciding what works for us and what doesn’t. At the end of the day our platform isn’t the only one to showcase work, it is specifically for things that we have seen a lack of representation around, so we are just happy to fill the gap.

Follow Counterfeit on Instagram and stay up to date with their newest projects…

Street Treats, Vol. 7

For the latest installment of Street Treats, we are serving up a selection of pieces, pastes, pixels, petals and beyond. From a reminder of an old pal’s legacy, to epic collaborations and tiny treats, the streets have provided a range of goodies. That is, of course, the joy of the urban environment as a setting for creative (and naughty) interventions, there is no curation. The result echoes the physical presence of our cities, where thousands, indeed millions of people interweave as they go about their own concerns, trials and aspirations. Any city is a collection of individual voices and the art of the streets reflects this diversity, each piece the compulsive expression of an individual that can be read in infinite ways by the passing audience. In a world where online communication has become increasingly toxic and antagonistic, the art in the streets provides something different, still capable of asserting beliefs and ideologies, but devoid of the escalating tensions or echo chambers of comment sections. Indeed, as one image attests, often the response to uninvited additions is not so much beautification as silencing, ensuring a monochromatic environment. So enjoy this platter of pictures and relax, our cities and our communities are not monolithic, and the streets provide the platform for that multiplicity…

Exploring Aerosol – A Masterclass Workshop with Wongi Wilson

Back in June, we were lucky enough to work with local aerosol legend Wongi ‘Freak’ Wilson, Toi Ōtautahi and the Ministry of Culture and Heritage to deliver the free masterclass workshop Exploring Aerosol. Hosted at the iconic CoCA on Gloucester Street, where the white-walled upper gallery provided a stunning setting, attendees were given the chance to learn from Wongi’s mass of accumulated knowledge. Learning about the building blocks of graffiti as a gateway to can control, from the simple tag to the more developed three-dimensional effects of a larger piece, guests were let loose to explore techniques as Wongi presented his insights. The afternoon session dived into Wongi’s approach realism, from landscapes to his mastery of hands, the crowd in silent appreciation of how his images came together.

The free workshop was one of the first of a series of classes targeting practicing artists and providing the chance to expand technical skills. In developing Exploring Aerosol, the goal was to enable artists to develop aerosol techniques while also exploring how the spray can might be used for a variety of forms and styles, elevating the tool to a broader perception. With an energetic response (with limited spaces, not every applicant was able to attend), we hope this was just the first of future workshops that might explore the toolbox of urban art…

We want to hear from more people interested in these types of workshops and initiatives – let us know in the comments or via email to hello@watchthisspace.org.nz

Flare Festival- A Photo Essay by Centuri Chan

Flare Festival may have come and gone, but it’s legacy lives on – an array of amazing new murals and a bolt of energy in the local urban art scene putting graffiti and street art back in the limelight. The flurry of activity that saw a pop-up gallery, guided tours, panel talks, mural painting, graffiti jams and live painting sessions was a lot to take in – luckily we had our man, Centuri Chan, on hand to capture some of the magic…

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Centuri Chan is an Otautahi-based creative, photographer, tour guide, designer and LEGO builder…

The Flare Street Art Festival, March 2-12, 2022

Christchurch’s street art reputation is, in many ways, built on the legacy of festival events. The likes of From the Ground Up, Rise, Spectrum and Street Prints Ōtautahi established the city as a destination for artists to find opportunities and for a new audience to experience amazing examples of urban art in a setting that was forced to re-imagine it’s creative profile and identity. It has now been five years since the last significant festival was staged in Ōtautahi, but with the emergence of the Flare Street Art Festival, Christchurch is braced to once more flex it’s status as Aotearoa’s leading urban art city. We sat down with Selina Faimalo, project manager for Flare, to discuss the challenges of developing a street art festival in 2022, what Flare promises, and who we should be excited about…

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The Flare Street Art Festival is just days away, how are you feeling? Are the nerves jangling or is it just excitement? 

I’m really excited to see it all, well nearly all, coming together! Obviously, I’m still a bit nervous because things can change between now and then, as we know, but we’re pretty fool-proof under the red traffic light setting. We’ve adapted.

What are some of the significant changes you have had to make? 

We originally planned to have a large celebration of street art culture, hip-hop and urban art at the end of the festival. We were going to close down High Street and have a big market and festival with live music, dancing, skateboarding, food trucks, urban stallholders and a pop-up gallery, all sorts of things. That part of the festival had to be cancelled, so instead we’re doing micro events over the ten days; we’re going to have street art tours with Watch This Space, which we were always going to have, they can still go ahead. There will be tours on each weekend of the festival. We’ve still got a pop-up gallery and kind of hang out space, that will be open during the days. Fiksate and Offline Collective are collaborating and going to do some street art projections in some vacant spaces in the SALT District. We have the panel discussion with the artists, that is also with Watch This Space, with some of the headlining artists at 12 Bar, which will be an awesome way to interact with the artists and get to know a bit more about them. It’s going to be live-streamed as well, which is really cool as we can’t host as many people as we wanted to…

It still is a really good program. I think it is important for street art and mural festivals to provide chances to engage with different elements…

Absolutely.

The festival or market day would have been amazing, but I guess there’s a silver lining in that you can now perfect it for next year and grow the festival as a recurring event… 

Totally, it might be a bit of a blessing in disguise. I’ve spent about eight months on the process of organizing this festival, so I think it gave us a lot more time to re-evaluate things and put that energy into different things. Obviously, it’s unfortunate that we had to cancel those elements, because we have musicians and vendors were relying on that income from the event. Cancelling those individuals and businesses was really sad, because you have already committed and turned down other bookings… It’s been tough for all in the events industry.

Wongi ‘Freak’ Wilson is one of the headline artists for the Flare Street Art Festival

Bringing together the wider urban art community is really important. As you said, there are the headline artists, but that’s not the whole picture, you’ve got other artists too, like the Fiksate team, the artists with work in the pop-up gallery and some smaller live painting events as well. There is a much wider array of people than the names on the posters… 

It was important to involve as many Christchurch artists as possible, to make it inclusive and diverse, including, the “OGs” as well as the younger generations, as well as making sure there are female artists represented, who are not always as predominant in the street art scene.

Can you give us a little bit of background on ARCC, who are the organization behind Flare

ARCC is a group of business leaders and place-makers, who just want to make a bunch of cool stuff happen in the city and revitalise what’s happening here. George Shaw from OiYOU! is a part of ARCC and is obviously a big advocate for street art and he recognised that a lot of the murals from the Rise and Spectrum festivals are not there anymore, as the city is being rebuilt the visual aspect of street art is not there as much, it’s being built in front of or covered, so he just wanted to bring that back, putting it on new buildings and filling these blank walls with street art again and retaking that status as a street art capital, we were obviously in the Lonely Planet as one of the street art capitals of New Zealand and the world…

A lot of that recognition came from the festival events, because you’re seeing a lot of work appear in a short time, there is a rush in activity that captures the attention. So, Flare becomes an important way of re-claiming that title. How did you come to be the project manager for Flare

I’m actually a trustee of the SALT District, so I already knew about ARCC because a lot of the team are on the SALT District board as well and they had mentioned it. I was going along to the street art meetings and they were talking about it and I’d already been in touch with George anyway because I’d mentioned to him ages ago that I really wanted to do some type of hip-hop street art event and I wanted to know how you would make that happen. He said let’s keep in touch, maybe there will be something that we can do. I also run the Conscious Club with Kophie (Su’a Hulsbosch), we do social and environmental events in Christchurch, we’ve been doing it for the last two years, in which we weaved creativity into the majority of our events. We have held exhibitions together and shared creative working space with her for a while now. I’m not part of the street art community, but I’m a massive fan of street art culture and hip-hop in particular. I really wanted to do a hip-hop event, I talked with Red from the Hip Hop Summit about all the different things that we could do. George’s plan was to run Flare, but he had another exciting project come up. The timing wasn’t great for him to project manage Flare, so he asked if I would be interested in project managing it with his help and guidance, along with the rest of the team at ARCC helping out as well. As business leaders they have great connections to building owners to help make this happen. One of the biggest challenges of a festival like this is getting a building owner to agree to getting their wall painted without knowing what it will be, so without those connections and networks I don’t think it would be possible!

Local legend Ikarus of the DTR Crew is another Flare headliner for 2022

There’s a fine art to that side and you probably had to learn on the fly a little bit! You want wall spaces that are visible and attractive, but you also want to ensure that that building owners are supportive of artistic credibility and freedom. You have to find that balance of great walls with the right people, right? 

Yeah, we’re telling artists they will have creative freedom, but obviously it can’t be anything offensive or inappropriate, and when we say inappropriate, like when we spoke to John Hutchinson of Team Hutchinson Ford, about painting his wall, he said as long as you don’t paint a Holden! It was little things like that, I just wouldn’t think about. In general I would say building owners can be a little bit conservative, and like to play it safe, might not want certain things on their walls, so it’s a balancing act of letting some know and showing them designs and then we will be surprising some!

I’m a big believer that part of the job of street artists is to bring the audience along, rather than being dictated to creatively to fit a popular trend that supposedly speaks for everybody. The reality is that we are incredibly diverse as a population, made up of individual voices, so why not let murals be a voice of an individual and in doing so, present a little bit of a challenge to the public audience to come with the artist rather than the artist having to go to the audience? What other skills that you maybe didn’t expect to draw on were needed to bring Flare to life? 

I guess navigating the street art scene is something I didn’t know a lot about. I’m quickly learning it is tricky! Obviously, graffiti comes from the streets, which means there an element of rebel and conflict. Having people involved in the festival like DTR crew and Kophie, has helped with those situations. The panels along the Smash Palace pathway will be painted with local graffiti artists, and I don’t think that was my call as to which artists would be involved in that, so I asked Dcypher and Ikarus to facilitate that part of it, so they have led that part because they can navigate the relationships within the graffiti community. Even curating the headlining artists, that was tricky. George actually curated that aspect, but I was part of the conversation, and I don’t think I would have thought about who you should choose in case their work gets tagged over because they’re not respected in the street art community. That is a huge thing that I’ve learnt a lot about recently, if you put the wrong person on a wall, then it’s likely going to get continuously tagged over because they don’t have that respect or that mana in the community…

Kophie Su’a Hulsbosch is the third Christchurch-based headliner for Flare 2022

In terms of the final headlining artist roster, from Christchurch we have Kophie, Wongi ‘Freak’ Wilson and Ikarus, and from out of town are Elliot Francis Stewart from Auckland, Kell Sunshine from Gisbourne, Swiftmantis from Palmerston North and Koryu, who is kind of itinerant, kind of travelling around NZ, right? 

Yeah, well, he’s based in Geraldine…

That street art mecca!

Yeah! He is based in Geraldine, but he travels a lot, he is originally from Japan.

Gisbourne’s Kell Sunshine is one of the visiting artists headlining Flare 2022

So out of that list, who are you excited to see? 

Out of all seven? I mean, I’m going to say Kophie, big respect to the wahine! Being a woman in general is hard and being a woman street artist is even harder and I think she has really stepped up. she has been doing it for over ten years now and I think this is her time to leave a mark in her own city. She’s done commissioned murals but this time she gets to paint what she wants to paint and she’s so talented.

I’m a big fan of Kophie too, she is super talented and its great to see her given this platform. Anyone else? 

I would say Koryu, I think his mural will be very cool! I’ve seen his design as well, so that’s why I’m really excited to see what he’s doing. I’ve been watching him this summer, watching every mural that he’s painted and it’s incredible.

He’s relatively new to it as well, right? But he’s developed a style that is both very distinctively his, and I think also speaks to his heritage, but also something that you can understand why the public gravitate towards the detail. It’s graphic and pictorial, you can easily see a crowd going, wow! He also just seems like a lovely guy! There is some amazing footage from South Sea Spray where he won the ‘People’s Choice’ award and he did a break dance because he’s a b-boy as well… 

I know, he’s so amazing! That’s one thing I’m really sad about, as part of the festival we were going to have hip-hop and break dancing, and it would have been really cool to have a headline artist paint and dance!

Japanese artist, Koryu, now residing in Aotearoa, is another headline artist

Maybe he could still do that at the panel discussion! 

I think so, just break it out!

So, the Flare Street Art Festival begins on the 2nd of March, when the headline artists start painting, but how can people find out more? How can people get involved in the various events? 

They can head onto Facebook for the Flare Street Art Festival or the website which is flare.nz. The full program is on the website and if you want to book tickets to any event, you can do that online. I recommend having a look online because that will be have the right information, it is the digital age, we can update things!

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The Flare Street Art Festival is located across the SALT District with a range of activities – follow Flare on social media or visit their website for more information and booking options. Flare runs from the 2nd March until the 12th March, 2022.

And That Was August 2021… with Mitch Barnard

When I asked Bear Trap drummer Mitch Barnard to compile the And That Was… for August in mid-July, things were relatively normal. Then, things got… difficult. Lockdown made it tricky to make a list of things Mitch had enjoyed around town, any plans for gigs, exhibition openings and general revelry were kibosh-ed. But with the steady hands that are a prerequisite for percussionists, Mitch soldiered on. While this entry of And That Was… is a bit different, it still gets to the heart of what this column is all about – celebrating our city and its treats, be they art in the streets, beats, reads or feeds. Alongside his musical exploits (check out Bear Trap’s anarchic anthem Bad Boys and it’s amazing lo-fi video), Mitch is well-known face in the local hospitality scene, slinging fine coffees at Grain, and here, he pays his respect to what some of Ōtautahi’s best eateries have been doing in these challenging times…

So here we are again. All seemed well in little old New Zealand: beers at the pub with ya mates, nights out with your partner, life was pretty normal… Until BOOM! Lockdown is back again.

When I was asked to write this wee piece I was super excited as there were a ton of events that I was looking forward to covering, but that’s the hand I’ve been dealt hey. From art exhibition openings to local bands playing gigs, August was looking alright. Adjusting this write up on the fly, I’ve decided to just write about a few Christchurch restaurants and cafes that I love, covering how they adapted their menus to work within the Level 3 Covid19 regulations and reminding you all to support them!

5th Street

The restaurant 5th Street is photographed at night from outside.
5th Street’s lockdown sandwiches receive the praise from Mitch (Image via 5th Street’s Facebook page)

Down the industrial end of Durham Street in Christchurch, 5th Street changed to their menu completely and offered up takeaway sandwiches. Anyone who knows me knows I love a good sandwich, so as soon as I saw this I jumped on it and ordered right then and there.

Nashville Hot Chicken, Philly Cheese Steak and Eggplant Parmigiana were my choices and all three were outrageously good! Quality ingredients put together by quality people, that’s a winning combination I reckon.

Caffeine Laboratory

A picture of a delicious fried chicken burger
Cafe Lab’s Fried Chicken burger was a winner for Mitch… (Image via Caffeine Laboratory’s Facebook page)

I decided one Saturday to cycle down to the legends down on New Regent Street to sample one of their breakfast toasties I saw posted on Instagram (takeaway, of course!). Boy was it banging!!! Soft scrambled egg, beautiful house cooked leg of Ham, pickles, cheese, this guy had it all. I washed it down with a simple long black (coffee by Lyttelton Coffee Co.). It made for a pretty damn good Saturday morning.

Saturday night I returned to try their Fried Chicken burger on the recommendation of a good mate of mine. I was not disappointed, a really good burger not dressed up to be something it wasn’t. Simple, honest and bloody tasty!

Child Sister

Some barista's prepare coffee inside the Child Sister cafe
Child Sister is one of Mitch’s go-to cafes in Otautahi (Image via Child Sister’s Facebook page)

This list wouldn’t be complete without a shout out to one of my favourite cafes. This place hits the spot every single time and I always leave feeling better than when I went in. My go-to order is a long black and a Kimchi three cheese toastie. I’m aware this list is very carb heavy, but how good is bread! Also you can find a pretty good slice of lollie cake at Child Sister too.

There’s many places I haven’t listed in here but these three are just the ones that are fresh in my mind.

To anyone trying to run a business in these weird times, hospo or not, my hat goes off to you. Keep going! We’re behind you!!

Anyway, I’m off to watch the Alert Level update on the telly now, if you’ve made it this far thanks for reading!

Check on your mates, check on your family and SUPPORT LOCAL!!!

Follow Mitch and Bear Trap on Instagram and support local hospitality!

And That Was… May 2021

They say good things take time, and this edition of And That Was… is cutting it fine! It has been a busy few weeks with lots happening and as such it seemed like the months have melded into one. But when looking back over images from the month of May, it was quickly apparent that those four weeks had their own flavour, a flood of memories came rushing back…

For this recap, we run back some our favourite paste ups, wall paintings, slaps, shows and even a doorway! We have largely stuck to urban art this month, temporarily returning to our formative roots, but that doesn’t mean we have forgotten the fact that all of these things are also entangled with our broader experiences of Otautahi’s central city, and in particular the food, the bars, the music, the people and all the vibrant things on offer. All of these things make up our urban culture and it is vital we celebrate and support these events, occurrences and interventions to keep our city lively!

So, after much delay, here is your And That Was… for May 2021…

Gary Silipa’s UFO Slaps…

I have been a fan of Gary Silipa‘s work and simplified iconography for years, especially his skulls and spaceships, which I found all over Wellington’s streets on a trip to the capital in April. The orbiting red UFO’s then appeared here in Christchurch in May, a legacy of the artist’s brief trip here. The ubiquitous presence in spaces high and low suggest the idea of exploration and observation, our strange contemporary customs intriguing to these small visitors…

Mark Catley’s Ascending Freak Angel

Mark Catley added a couple of fresh paste ups to the Boxed Quarter‘s ever-expanding collection of urban art. Taking his poor sack girl toy (pasted on Manchester Street) and twisting the image into a strange new appearance, the girl becomes a three-eyed ‘freak angel’ as the artist described, her outstretched hand now seemingly elevating her into the sky. Lit by a coincidental spot light, the seemingly celestial being is a trippy sight!

Jessie Rawcliffe’s Marriage of Figaro Mural

Jessie Rawcliffe‘s mural for the NZ Opera’s production of The Marriage of Figaro (which will be staged at the Isaac Theatre Royal here in Christchurch as part of a national run) was completed in May, with the artist’s stunning dry brush style giving the piece a stunning beauty against the smartly used graffiti-ed wall on which it was painted.

More: The Show

Back to the Boxed Quarter for More: The Show, an exhibition and event featuring talented Otautahi wahine artists. With a slew of our favourites and some new talent to explore (such as Sofiya Romanenko, who recently produced a beautiful photo essay for us), the show was a convergence of amazing talent and featuring a range of activity – unfortunately we forgot to take quality pictures! It was a one-weekend show so you had to be in quick!

Our favourite doorway…

Last, but definitely not least, we just had to include this doorway. OK, so it technically isn’t something that ‘happened’ in May, but we took this photo then, so it counts! Just look at it, it is a thing of beauty and couldn’t be left out!

Let us know what would make you list in the comments and if you know someone who would be a great guest writer for And That Was… – drop you suggestions there too!