This month, we are stoked to welcome a guest contributor to our And That Was… series: the man behind the Instagram feed Rubble City (@rubblecity), Gavin Fantastic. The idea of this series is to cover a wide selection of what’s happening in Christchurch’s urban art scenes, so it was natural to throw our net wider and make use of those people, like Gavin, with their fingers, and cameras, on the pulse. Rubble City is a go-to feed for fresh, and often highly temporary, pieces of art across Christchurch. So, what has been on Gavin’s radar in April? Read on to find out…
Hambone
Local artist Hambone is certainly setting the scene alight lately with his neo-trad style characters. From pumas with snakes to gorillas armed with bananas, the characters are certainly eye-catching.
As the nights get longer the ability to lurk in the shadows also increases for those smashing the scene.
Two artists who have been dropping nasty steez are V-Rod and Vesyl. It has been interesting watching the style of these two artists evolve over the last couple of years from tags and rollers, to the next level pieces seen this April.
Our walls have been graced with additions by painters from afar this month. Showing how the other side of the world gets down were two of Europe’s finest. Resr47 was throwing down snow-capped letters from the Swiss Alps, while Desur managed to fit in a couple of Hamburg burners during his stint at local tattoo studio Otautahi Tattoo.
Situated next to World on High Street, Yikes’ pop-up shop hit my Insta feed (and my wallet!) this month. The man from DTR is selling both originals and prints in a space that is occupied for the next few months selling eclectic furniture. Check it out and support your local artist!
Jacob Yikes’ pop-up shop, High Street, central Christchurch, 2019 (photo credit: Gavin Fantastic)
RIP Jungle
As featured in the ‘And that was … March’ blog post, we saw the passing of local O.G. Jungle. Tributes have been popping up all over Christchurch City and around the world. I’ll sign off with a tribute piece from two other 03 O.Gs – Yikes & Ikarus.
When I started the ‘And that was…’ series, I didn’t expect this column to be as difficult as March proved. The month got off to a terrible start with the passing of a true graffiti king, the legendary Jungle. Then, on March 15th, the horrific terror attacks sent shock waves across the city, and indeed, the world. Even in these awful times, the art on the streets has played a role and performed acts of tribute, memorial and communication. And it has continued to do its own thing as well, providing distraction from difficult realities. So, although it is not really fitting to describe this list as a ‘best of’, here are five things that made March 2019 unforgettable…
Jungle – RIP to the King
Leon Te Karu, also known as Jungle, was an absolute legend of Christchurch graffiti, and without his presence, the city’s culture would not be what it is today. As Ikarus confided in me, without him, there would be no Freak, no Dcypher, no Lurq, no Pest5, and no Ikarus. His influence is that important. L.A.-based Dcypher noted that he had never met anyone who embodied their graffiti more than Jungle, an important acknowledgement in a culture built on a visual form becoming a signifier of one’s presence. It is little surprise then that tributes to Jungle have appeared across the city, the country, and indeed, the globe, from Christchurch to Chile, paying respect and honouring a massive influence.
Dcypher, Jungle tribute, Los Angeles (photo credit: Dcypher)Ikarus and Wongi ‘Freak’ Wilson, Jungle Tribute, Sydenham (photo credit: Millie Garrett-Peate)
The Christchurch Terror Attacks
By the time of writing, the impact of the March 15th Terror Attacks had not manifested explicitly in the city’s urban art, but there were quickly messages of support, not just at memorial sites, but also as annotations of graffiti, highlighting the sense of solidarity the city was importantly trying to extend… The importance of public space as a site for communication was revealed once again. Will more responses appear as artists figure out the discussions these events have created? And importantly, what forms will they take?
Dmonk, This is Your Home…, Central CityWe Stand As One poster, central city, Christchurch
Joel Hart – Dopamine
Another event impacted by the Terror Attacks, Joel Hart’s second ever solo show, Dopamine at Fiksate, was due to open that Friday. Understandably delayed, the show eventually opened a week later to a bumper crowd. Hart even ran a silent auction of a work on the night, with all proceeds going to a victim support charity. The show’s impressive collection of fascinating portraits and explorative use of materials such as copper and brass sheeting, mirror surfaces, light boxes and intricate hanging sculptural cut outs, as well as a diverse colour palette, have ensured its popularity, while also hinting at new directions for the artist.
Joel Hart, Hush, mixed media on brass panel, 2019
Dead God
Although lower in profile than some other entries, I have been enjoying these Dead God stencils around the city. The intricate cellular cut-outs and overriding punk vibe catch my eye whenever I stumble upon them, often in spaces I probably shouldn’t be hanging out. With little information about the artist, it’s time for some research…
Dead God stencil, central city, Christchurch
Edo Rath
So, technically it was the last couple of days of February, but it felt right to include visiting Dutch artist Edo Rath’s playful cartoon serpent on one of the Giant Cans amongst the darker tone of this month. The bright palette, sharp, crisp line work and fun use of patterns and shapes made this small addition stand out. Check out Edo on Instagram…
Caelan Walsh is a thoughtful guy. The often faceless and pseudonymous nature of graffiti writing leads to perception of graffiti writers as senseless destructive forces. Caelan is eloquent and intelligent, and importantly, well-versed in the complexities and contradictions of both the world of graffiti, but also of the public perceptions. He also represents the tensions graffiti writers feel when moving into the realm of commissioned work, and the dreaded sphere of the ‘street art muralist’ (dum-dum-dummm!). In the latter stages of last year, with support from Watch This Space, Gap Filler and the Enliven Places fund, Caelan produced a sprawling ‘kiwiana’ mural on Tuam Street. Walsh segmented the long wall into an angular geometric grid populated with icons of Aotearoa; from a gumboot wearing farmer, sheep, and a rugby-playing kiwi, to a horde of sunglass-wearing penguins, a tuatara, a pohutakawa tree, and the tino rangatiratanga flag. Laced with bright colours and patterns that differentiate each segment, the playful comic stylings are a perfect fit for the still in-progress area, with Gap Filler’s pump track sitting directly in front. After a long back and forth to actually sit down and chat (this seems to be a theme with my interviews!), when we did, Caelan deftly jumped between a range of topics, including graffiti history, the various ‘moods’ of the culture and how he navigates those divergences, and his experience on the pump track wall…
Let’s start by talking about the ‘kiwiana’ mural you completed along the Gap Filler ‘Roll with It’ pump track on Tuam Street. How did that project come about?
Thanks to you guys! (laughs) I kind of got thrown in the deep end on that one! It was the first properly commissioned wall I’ve painted, full stop, and on top of that, it was also the biggest wall I’ve ever painted, so it was obviously pretty intimidating. That’s why I came up with the idea of sectioning the wall up into smaller parts, each with different images and colours. Along with trying utilise all the space effectively to avoid it getting tagged through. I could look at it as twenty-two smaller pieces rather than one big wall, which would have been more intimidating…
I imagine that the idea of segmenting it up into pieces was necessary when you haven’t had a lot of experience working on commissioned murals of that size. Your background in graffiti means that even with bigger pieces, you are often collaborating, and as such you are using a smaller space rather than the entire wall, so is that must have been quite a big change…
Yeah, definitely. There were other challenges too. I’m horrible at working with colours. I just can’t put them together. So, a lot of the time when I’m painting, I’ll push other people to come up with a colour scheme, so it’s like: ‘Cool, whatever you said, we are doing that 100%’! But, working on my own and having to conceptualise that on a larger scale, it was definitely something that I couldn’t plan ahead. A lot of the colour choices were made by starting with just picking one colour up and going from there. Obviously, then in the section next to it I would use a different colour to create that contrast and develop it from there. Then I would step back from the wall and think, oh I haven’t got enough pink in that section, I’ll work with pink now…
Do you approach graffiti pieces with that openness to change as well? When you are working on a piece, do you have a strong idea of how you want it to look, or are you open to change as well?
With graffiti, I really have quite a strict idea in my head of how I want the process to work, and how I want it to sit on the wall. But I also don’t like to complete a sketch because I feel as though then it has become its own entity, and then you are just replicating something until it’s completed on the wall and there’s not really much fun in that. So, sometimes I’ve gone to walls with three different sketches and I might like different parts of each one and there will be other ideas in my head as well. So, I guess if you were to look at my sketches, they would look like big scribbles, but they will turn on different lights in my head…
So, when you are drawing or sketching for a piece, it’s not so much about creating a plan as it is exploring ideas that you can then explore further on a wall. But with a commissioned mural you often have to show a more developed idea and some kind plan, which means they are necessarily distinct processes for you…
Yeah, I think I was pushed a lot more with the mural work because obviously the owners and everyone involved wants a proper idea. With Graffiti, my basic style or structure is in my head, I can see it already on the wall, but when I’m explaining a mural to people, often I can tell that they don’t really get it until they physically see a drawing of it. So, that was a big challenge for me, because like I said, I don’t like finishing sketches, I like it to be more open, especially going from ballpoint pen to using a spray can, there are completely different effects involved. I am definitely more confident with a spray can than a brush or a pen. I can’t show that I’m going to shade here or have some drips going down here…
Collaboration with Tepid (left) and Dove (centre), New Brighton, 2019
Technology is making that transition easier though, at least in some respects, right? I was recently watching a video of someone using a Posca pen with a Crayola add-on airbrush piece, to create the effect of a tiny spray can painting a stencil. Obviously, there are problematic elements to the embrace of technology, but it must at least make some of that transition easier…
I think with some of the programmes they have on iPad’s and that sort of thing now, it is crazy the different ways you can digitally replicate how you would paint on a wall. It is not something I’ve had a chance to muck around with a lot, but in some of the work I’ve done with Dove especially, he’s used that technology to map out how something would sit on a wall, and that just makes a crazy difference when it comes to actually visualising a large-scale project…
Collection of sketches, 2018/2019
Do you have a process to scale up from a sketch to a wall? Often artists have a specific approach that is slightly different depending on the individual…
For me, it’s the same with everything; graffiti, murals, I just start by taking steps. I step out the length of the wall. Say it is twenty steps and then for example, if it’s piecing, and you’ve got four people, sweet, you’ve each got five steps, and I just mark it out and work from there…
Even that simple approach, it essentially represents one of graffiti’s core attributes: the ability to solve problems. There’s always been that DIY nature, where you can do more with less by problem solving. You are constantly having to overcome problems when you are painting graffiti or making art in the streets in that manner, and that’s why I guess that transition to large-scale work is so achievable, because of the skillsets you pick up painting without permission, or painting without the support mechanisms of a studio space, or a commission…
In terms of proportions, even with my graffiti, my work is quite mathematical. I guess it ruins some of the natural flow when you explain it, but I’m literally looking at the first line I did on the wall and following it from there. I’ve got maths going in my head, like, that width between each line is twenty centimetres, so I should make it about that the whole way through. I’m stepping back and judging widths of the letters themselves and the space between them along with the thickness of each individual line itself. So, I’m actually thinking about how certain attributes that come later will affect the piece as well, especially adding shadows, it’s something a lot of people seem to struggle with, but there’s almost a mathematical formula to how a piece sits on the wall. I also use shadow to help add dimension to my pieces rather than one flat image sitting on a wall, so it is a series of intertwined connections overlapping and underlapping each other.
Game piece with Dove character, Christchurch, 2017 (Photo credit: Caelan Walsh)
With drop shadows and those types of effects, it is literally mathematical, right? It is about the angle created by the light source, the angle you are trying to project and those types of things. It’s also something where you can fall onto either side, though, right? You can be looser, more chance driven, and all about how it looks and feels, or you can be more precise and adhere to spatial relationships and certain effects that you are trying to achieve. Your graffiti letter style is kind of angular and quite strong in its line work, do you that comes out through that kind of mathematical approach?
Like you said, you can go either of two ways with it. I’ve probably wished I was more comfortable doing a more natural approach, but like I was saying earlier, my pieces are very controlled. To add even more mathematics and numbers, I’m also always trying to add my work into a certain slot of where I feel comfortable. Like, I want to do pieces at the moment, I need to do everything in my head that justifies it being a piece, to then fit into that slot where I can be like: ‘O.K., now I’ve done forty-seven pieces.’ If it’s missing certain elements to it, then I can’t class it as a piece.
So, there’s a classification process going on in how you are building your body of work?
Yeah, so, it’s something that I’m almost forcefully trying to do. I’m sort of restricting myself. I’m not going out as much and doing more creative stuff, stuff off the top of my head, because in my mind, that would fit into a different slot. Which is perfectly fine, it’s just my sense of control makes want to be able to categorise what I am doing…
Social piece, Auckland, 2010 (Photo credit: Caelan Walsh)
Is there an end goal in mind then when you are taking that approach?
Like you were saying, it is just building a body of work. Not so much to show other people, it’s more just self-confidence, knowing that I have got that body of work behind me. That will allow me to feel more comfortable going out and doing weirder, less-appropriate sort of things…
Does it give you a good sense of how far you have progressed already? Does it become obvious to you?
Yeah, with my letters at the moment, I do make some dramatic changes, but generally speaking, each piece I paint, I’m trying to develop one letter. So, there are four letters in the name I write, right now I’m working on developing the ‘O’, so if you look back at previous works, the other letters will be the same, but the ‘O’ will be different. The next piece, I might decide I’m happy with the ‘O’, so I will start developing the ‘D’, so then, like everything, you will actually see the natural progression of how it’s changing. Right now, I’m actually reverting back to a lot of my earlier work from the beginning of last year, stylistically, because I feel like I drifted off in the wrong direction and now I’m going back to that body of work and seeing where I was going with that. That’s why having that control of doing a piece is important I guess, I can see where I was going wrong, or what I need to do instead. Even with that amount of control, you still make mistakes. I’m not particularly happy with my style at the moment, I think it has sort of regressed a bit over the last few months and that’s why I’m looking at the older work and hopefully bringing it back…
Character piece, Auckland, 2016 (Photo credit: Caelan Walsh)
That’s a really mature, thoughtful approach. Was that compulsive element, repeating a tag or developing letters over time, was that always one of the attractions of graffiti for you? And how do you relate that sort of approach to commissioned projects? Do they require a slightly different approach?
You could definitely say I am a bit obsessive compulsive and that definitely is evident in the way I paint. With the commissioned work, I think as long as you get the O.K., I’m a lot more open to switching things up. The pump track mural, I did control that a lot as well, specifically to ensure it had that more comic effect, with very bold colours. There were a lot of parts, especially the birds, where I would have liked to have thrown in more detail, but it would have taken away from the rest of the mural. Although I knew there was more that I could add, I had to control myself and let it be what it was. But now, after doing that, I’m definitely a lot more confident in being able to wing it a bit more, to chuck my own flavour in there. There are definitely challenges that come with painting concepts and ideas that I have never really attempted on paper, let alone a wall.
Commissioned work also generally allows more longevity. You can often physically revisit a work over a longer period. Does that affect your thinking as well? Which reminds me; we were just told that your mural will stay in place for longer than originally thought as well, the project has just been extended, which is good news! So, what is that shifting mindset like between a work that might only be there for a day and then disappear, and a work that is somewhat more protected? For someone who is so analytical and thoughtful, is it tricky constantly being reminded of a work, thinking I could’ve done this, I could’ve done that…
Yeah, absolutely, especially with that mural, because I was working between a lot of other commitments. There were a lot of hurdles I had to get over, so it ended up taking a month and half of on and off days. So, yeah there were a lot of sleepless nights thinking about something I really wanted to do before I forgot about it. I was borrowing my friend’s ladder, and near the end I just got him to pick it up so I couldn’t really do anymore work without having to organise more stuff. It was almost a case of someone having to just take the can out of my hand and be like, that’s enough, it’s’ done.
Collaboration with Dove, Hereford Street carpark, 2019 (Photo credit: Caelan Walsh)
I guess when you are having a jam, generally you are looking to finish within a shorter time frame, although there are other reasons you might finish when you finish, but with the longer time afforded a commissioned work, it is probably good to have some limit imposed on you…
Yeah, well, graffiti is incredibly speed-based, especially in New Zealand. It is almost frowned upon to spend any longer than a day on a piece, although, in my opinion, if your piece needs three days of work, then put three days in, make it the best possible.
Some of that comes down to the spot though, right?
It’s definitely tossing it up a little bit. But yeah, with my pieces, especially doing the fill and the initial outline, I am sweating trying to just get it done, to get the piece up on the wall. Then I will spend the same amount of time just tidying it up, stepping back and looking at it. My main goal is to try and finish it before everyone else, so I’ve got that five or ten-minute window of being able to step back and look at it. I took a similar approach to the mural as well, but with no experience or any time frame to go off it was really hard for me to tell what speed I was meant to go.
You mention the New Zealand scene as a whole, you are based here now because you are studying here in Christchurch, but you are from Auckland, right?
Yeah, born and raised.
So, growing up in Auckland, what influences were the strongest impact on you growing up? What got you involved? Auckland is so different from Christchurch, what were the biggest things you noticed coming down here?
Well, since coming down here, I’ve always looked at Christchurch as almost being in a time warp, almost ten or fifteen years behind. Not as far as skill goes, there’s some amazing artists down here, but the train tracks down here now look like how Auckland looked in the early 2000s, and that was the era that got me into graffiti, so I love the scene down here, it’s what we’ve now lost in Auckland because of the buff…
The Christchurch Rail Corridor, 2017 (Photo courtesy of Caelan Walsh)
It’s almost nostalgic for you… (laughs)
Yeah, and the creative energy, with so many blank walls, like in Auckland, every spot has been done to such a high level, that it is almost like: what’s the point? It’s already been ‘kinged’, someone’s already done something better, whether it’s a stomper, a tag, a piece, it’s already been done. Down here, even along the train tracks, you’ve got walls that have literally never been touched. Whatever you do on it, it’s going to be the best thing that’s ever been done on that wall…
There are two ways to look at both of those things as well, like you say, if somebody has already done something amazing, it’s either what’s the point, or there is a real drive to try and better it, or, when the are no precedents, you’ve got the freedom to do something without expectations, or you can get lazy and the level gets pulled down…
I guess from my point of view, being a bit older, I can really see opportunity down here. When I was younger in Auckland, I didn’t appreciate how lucky I was to be a part of that scene at that time, even in the early 2000s, I remember thinking, I wish I grew up in the 90s! Then when the buff hit in 2011 (when the Rugby World Cup was staged in New Zealand), it was like, oh crap, we were painting in the golden era of Auckland graffiti and we took it for granted! We should’ve been out doing pieces on all these spots instead of tags! But down here, it’s different for me, with that maturity that comes with age, and a desire to just do pieces, just being able to have that confidence in my style, I can quite confidently make a wall look better than it was…
Which again is a mature attitude, it is not what every writer is trying to do…
I do contradict myself quite a lot, and I still feel a lot of the different moods of graffiti. I think it’s important though, it can be very restrictive sticking to one set of views. But, generally speaking I like to paint for the act that I am making the wall look better than it was. It might not be publicly appreciated, or aesthetically pleasing to everyone, it’s still graffiti, but its better than the tagging that was on the wall before. This is also my general argument or, I guess, defence if I was to be approached by the public.
Studio works, including a benchtop and painted fridge, 2015 (Photo credit: Caelan Walsh)
For most people, it is the legal issue, the private property issue that is the most upsetting, and that is what leads them to say they don’t think graffiti is aesthetically pleasing, and that is sort highlighted by the way a buffed wall, with patches of mismatched paint, is clearly not an aesthetic improvement…
I find that very ironic, there are some very bad clean up jobs around that look worse than the tagging itself did. A particular example of this for me is when people tag using their fingers on a dirty wall or window, obviously it is still vandalism, but it is simply moving dirt around on a neglected surface that no one has taken the time to maintain. I would argue the wall was not aesthetically pleasing to begin with and the tagger simply pointed that out. With that said, I do hear the argument, even from writers, that they would be pissed off if their fence got tagged. But for me, I’m a pretty placid human being, if someone did paint my fence, I would go and paint it out and get on with my day, it’s not something that really stresses me out…
A fence is an object that defines territory, and as such it invites responses in some way, right? I’m not saying a fence deserves graffiti, but it does say: ‘this is my space, keep out!’ So, both because of that symbolic presence, as well as the physical form, something is likely to end up on them… it’s almost inevitable, even if it is not necessarily pleasing.
It comes back to that core emotion that people look for from graffiti, why people paint, we’re looking for that mental reaction. nothing beats being in the city at two or three in the morning, with no one else around, you’re walking down the middle of the street, and whatever you want to write on, whatever you want to climb, no one is stopping you, the city is yours, you own it…
[American graffiti historian] Roger Gastman has written that at its core, graffiti is about young people exploring the city, and as you say finding that freedom, those boundaries seem to vanish. On the flip side of that, how did you make the decision to take on commissioned opportunities? Were you influenced by what other people were doing? Did it germinate in Auckland, or was it more a case of the opportunities in post-quake Christchurch? Was it something you always thought you might do, or was it something you came around to?
Like I was saying before, I contradict myself a lot. I go between wanting to be a reclusive vandal and wanting to screw society up, to wanting to make society better, make it more beautiful, be a part of the wider community, go to events, talk with people. In Auckland, I guess, I got into the concept of tagging, not that I ever thought I would do it, but my older sister, who is in her late thirties now, a lot of her friends were ‘gangsta’ taggers, they don’t tag anymore, they have all moved on to actual serious crime, a lot of them are in jail now. But I was opened to that at a young age, and a lot of them were amazing graffiti artists, classic old school wildstyle painters. I can remember being eight years old, and trying to copy a drawing I had found, and I was just drawing heaps of arrows, and being like, how do you do this? That lasted maybe a couple of days, then you move on to the next little game or whatever. But then I revisited it as a teenager. One night I was staying at my mate’s place, and he was like alright, we’re going tagging. I was like, what’s that? I thought only people from the hood did that? Which is a racist view, really, that only poor neglected kids go out tagging. Why would a proper citizen, from a private school, who has the opportunity to be successful, start tagging? But ever since then, I caught the bug for it.
That’s what they have said about New York, that because hip hop was very Afrocentric, everyone assumed graffiti was the same, primarily the realm of poor black and Hispanic kids. But the reality was that graffiti was broader, it wasn’t as defined by your position in society as some of the other elements of hip hop…
It’s kind of funny, when you get more involved in the world, people still have that view, that it’s brown hood rats out tagging, when its just as likely to be middle-aged men with full-time jobs and families. Some of the most prolific taggers I knew in Auckland as kids are looking at owning their own home, or already own it, dealing with full-time job, a lot of them are sober of everything and they are still out every second night painting. I remember seeing an article years ago about Deus from Auckland, and the article was so racist, the actual headline was like: ‘Taggers are not just brown, poor and from South Auckland’, or something like that, and then it had a picture of Deus, an older white guy with missing teeth, quite an eccentric guy, dressed like he’s a bit homeless, and he’s one of New Zealand’s best artists, the complete opposite of the stereotype of what people think of graffiti, and he is at the pinnacle, especially of character work in New Zealand…
What are your next goals? You have talked about this cataloguing approach to pieces, and this increasing commissioned work, is that just a case of balancing the two, or does one become a focus?
I think that the commissioned work motivates me to do other things, because I don’t want to be known as a muralist. I enjoy painting murals, but as soon as I allow myself to be known as a muralist, or a ‘street artist’, that’s what really opens up my work to getting destroyed by younger taggers. So, there’s that certain aspect of keeping up my rep, whatever rep or street presence that may be. I’d like to let people know it’s cool, if you want to do it, take the opportunity if you can…
Some people decide it’s one or the other and go for it whole-heartedly, so actually deciding to do both and how you go about contending with both worlds is quite challenging…
I was having a discussion with Juse from Wellington, and we were saying it takes maybe like ten or fifteen years into your career before you can really know your work, which to some people sounds like a hell of a long time, but in art and graffiti, it’s really just the tip of the iceberg. If you look at people like Askew, he has been doing it since the early nineties, but its only just in the last like five years you can see that he has really found his purpose and found comfort in doing what he wants to do, and that’s more than twenty years of work that’s got him to that point…
The penny doesn’t necessarily drop quickly, right?
Yeah, like I remember starting out and being like, I’ve done graffiti for like two years, I’ll be good soon! My first piece was around the beginning of 2006, so I’ve been doing it for over ten years…
It’s a constant journey of self-discovery, right? You admitted earlier how there are always elements of your work you are unhappy with, and that is kind of what makes it such a long journey. It’s about your own standards, developing ideas, there is no end goal…
It’s bloody hard, you know? For anyone thinking of taking this up, it’s a big commitment, and you are never going to be satisfied. There’s always another spot, another piece, a different colour scheme, there’s always something. There are so many people in this scene, even since I got into graf, the scene is crazy big, and every country has a heap of cities and every city has suburbs. There are some amazing artists from all walks of life doing it, constantly pushing boundaries. I don’t think anyone could have imagined where graffiti would go…
It’s crazy, when you think about the roots in Philadelphia and New York, and now everywhere has its own scenes and micro-scenes; the hip hop tradition, punk, skateboarding, trash, anti-style, and then within all of those, you’ve got people doing different things, and with so many people…
It’s like all art, everything is influenced by your surroundings. We have the internet now, there’s obviously a lot of hate for it, in some ways it’s not as natural, but at the end of the day, it has just opened the doors of where you can take influence from, we’re no longer taking influence from our scene or street, we’re seeing every single suburb in the whole world…
The key thing is that if you are taking influence from somewhere, you need to know why something looks the way it does. If there is a cultural influence, there is a responsibility to understand that influence, and you also need to understand the relationship to space and place of where you are, and how it relates to what you want to do. There are a lot of things to acknowledge…
That’s exactly right, New Zealand has a great example of that; the tagging style ‘straights’, which is actually a very, very refined, rigid typography which takes a lot of discipline. It developed in the early nineties, from an old FDKNS member’s trip to Los Angeles I believe, and he came back with a lot of photographs and that developed this style and it’s since become a completely unique New Zealand style. Like you said, without understanding it, you could copy it and it would look like straights, but it’s not straights, it hasn’t got that discipline, and you need to understand why the letters look like that. Even now in Auckland, there is a West Auckland style of straights, an East Auckland style of straights, and you can’t just mix the two together, which I noticed in Wellington or Christchurch, where people just kind of copy the idea of straights, and there’s something missing from it or added to it. It makes it unique I guess, like Christchurch has its own form of straights, Wellington does too…
But they are not strictly the form that developed in Auckland, which brings its own specific influences…
Even just growing up in Auckland, if you showed me a set of straights, I’d be able to tell you what era it was done, because every year it is changing, or there was a particular style or letter that was pushed, and that was another thing, I guess, biting, copying was sort of expected with straights, if you were pushing it, you were expected to know what went before…
Perfecting it rather than pushing it because it is a specific visual language you are aiming to replicate. Shifting focus, tell me more about your field of study, because there is an interesting connection…
I’m doing a Batchelor of Criminal Justice, which is a Criminology degree essentially…
RCH container mural, March 2019 (Photo credit: Caelan Walsh)
Did your graffiti writing background influence your decision to go in that direction?
Yeah, not so much in the sense of actually writing graffiti, but the consequences of it. I’m not embarrassed to say I do have a criminal record, I’m very strong in my morals, if I think it is right, I’ll do it, even though it might be against the law. I think I’m pushing eight or nine times just on wilful damage charges. Just dealing with the court system, I’ve seen a lot of people who have been abused by the system, just because they have a lack of knowledge of how to deal with it. I’ve been lied to, I’ve been taken up the garden path, and told we won’t charge you, and then you admit to something and it’s like sweet, you’re under arrest. I don’t know about other countries, but in New Zealand they don’t teach your rights enough in school. I think every school should have some class about knowing your rights, because Police and anyone with authority can abuse their power…
I’ve always believed that any education programme should have some moral or ethical philosophy component. If we had more people who understood, not only their rights and how the justice system works, but who also have the ability to make up their mind about what is morally and ethically right, it would go a long way. So, when you finish, will you try and connect those worlds?
Obviously, I do have issues with a criminal record, which does impact where I can go for now, it will take time, but I will get where I want to go. I definitely want to end up doing some sort of social work. I’m already putting myself out there as someone willing to talk to people. I’ve gone to a lot of my friends’ court cases as support, because it’s a scary, intimidating thing going to court, even if it is just for drinking in public and its just a $200 fine, it’s still really intimidating. So, just having someone there, telling you it’s all good, that the worst that can happen is you might get home detention. They are thinking they might go to jail for two years, so it’s important to have someone who can say it is alright, don’t stress out and be confident with what you are doing. I’ve always found the worst punishment is not knowing, once you get charged, you got a couple of hundred hours of community service, O.K., I will knock that out, and move on. But that few months of: Am I going to get charged? Could I go to jail? Just getting stuck in the system is an incredibly scary thing…
Thanks man, it’s been really interesting, I look forward to seeing what comes next for you… Do you have any shout outs?
Yeah, shout out to Watch This Space obviously and Gap filler, also my boy Dove, the FOK and AOC crews and anyone in Christchurch that is doing their thing at the moment. And thanks to Cent for documenting the scene and helping out with some photos!
So, after kicking off this recap series last month, it became apparent how fast each iteration would come around! Luckily there has been plenty to keep us going, with good weather, a number of spots and new initiatives, February 2019 saw Christchurch’s urban art scene keep up appearances, from the return of a big name, to the return of an important event, it was a good month…
Jenna Lyn Brown with Porta and Dr Suits – Viva New Brighton
Jenna Lynn Brown with Porta and Dr Suits, Viva New Brighton, Hawke Street carpark, New Brighton
A fun addition to the seaside village (along with a spattering of new paintings throughout the mall) the text-based painting on the old Couplands building deftly co-exists with Auckland artist Berst’s dynamic piece, with shared echoes of colour, albeit in contrasting styles. The declaration ‘Viva New Brighton’ becomes a proud celebration of the community’s rebellious spirit…
Style Walls 2019
Competitors in the middle of battle for Style Walls 2019, Lichfield Street.
In early February, the local institution Style Walls returned, once again pitting an array of talented artists against each other in a battle format. Utilising the giant cans as the canvasses, Style Walls 2019 focussed on characters rather than letters, and the hand-picked line-up were allocated four hours to impress the judges. Ysek7 came out on top, beating out Kieos, Dove, Daken and Sewer. Stay tuned for an interview with the champion, and some further insight into Style Walls with co-founder Ikarus…
Black Book sessions
While not strictly a February event, we just had to shout out the Black Book sessions that have been running for several months now, encouraging graffiti artists of all ages and levels to commune and create. Established by Wongi ‘Freak’ Wilson, Emma Wilson and Ikarus, the sessions are held weekly on Thursday afternoon/evening at the Youth Space on Manchester and Lichfield corner. See their Facebook page for more details…
Who is that Lurq-ing?
Lurq, Hereford Street
It is always good when local legends leave their mark, so seeing a number of pieces around the city by Lurq deserves a mention for the month of February, that recognisable style featured in a number of productions in different spots…
Dove and Wongi – Bode tribute
Wongi ‘Freak’ Wilson and Dove, Bode colab, Hereford Street
Definitely a personal favourite, the tribute colab by Dove and Wongi ‘Freak’ Wilson in Hereford Street combines the stylistic flair of each artist while celebrating a seminal influence on graffiti culture. The underground comic artist has been a massive inspiration on a number of graffiti writers, and his iconic Bode Lizards and Cheech Wizards have been included alongside pieces and in productions across the globe.
In basketball they talk about being a triple threat: a player who can score baskets, defend, and provide assists for others. This concept is fitting when it comes to Christchurch artist and designer Joel Hart, not just because he has his own history in the sport of hoops, but because he is also a true all-rounder. A talented and popular artist, whose captivating work is found on walls both in the streets and in galleries, he is, to top it off, a heck of a nice guy, unassuming and relatable. It has been a goal to sit down with Joel to discuss his work and career for a while, and the opening of his new show Dopamine at Fiksate provided a perfect opportunity. For an artist whose work embraces a number of processes and materials, and as a figure who perhaps represents an alternative entry into the worlds of muralism and urban contemporary practice, there was no shortage of conversation…
What was the inspiration for the title of this show, Dopamine?
Where did it come from? I can’t actually remember…
I did a bit of research, and from what I have read, bearing in mind my limited scientific knowledge, dopamine refers to chemical neurotransmitters in the brain and they impact a range of emotions and capabilities, including the ability to see and obtain rewards, which was interesting to me, is that what you had in mind when you came up with the title?
Yeah, it is that idea of the visual experience, when you see something cool, and it releases that dopamine feeling, and I guess that’s how I like to explain my work, it’s very much about a visual experience…
You see your work as a very visual, visceral experience, and the immediate response triggering an emotional response?
Yeah, I think so, so that’s where Dopamine came from.
Just Motion, mixed media on canvas, 2019
The show opens March 15th at Fiksate, and having talked to you for a while about a solo show, it feels like a long time coming, do you feel that way?
Yeah, it has been over three years since I had my last solo show, so all these ideas that I’ve been pulling together, it has been a long, long time coming. But it also feels like it has snuck up really quickly as well…
That long gap must mean there has been a fair amount of progression in your work, which must be more satisfying than successive shows of the same stuff, but at the same time, it must mean that there is a lot to try and condense into one coherent show that explains that progression. The ability to have a solo show in a dedicated urban contemporary space, like Fiksate, must be satisfying too. Did you feel a different responsibility than you feel painting a mural, having work in a group show, or even a booth in an art fair, a responsibility to have a more coherent, cohesive body of work and presentation?
Yeah definitely, you want to be tying it all together as a consistent body of work, which is really hard to do, because I’m constantly working with a lot of different materials, I’m pushing towards sculptural elements, there are layered works, and there are works on metal as well. I’ve tried to work around the female portraits, which is mainly what I do anyway, so that consistency ties it all together, the themes are similar…
The female face has long been a central icon of your work, what is the allure? Is there an inherent commentary?
I was thinking about that the other day, and it sort of stems from my journey as a graphic designer building into the art works. I’ve worked for magazines, I’ve done a bit with photographers and fashion magazines, I worked for a student magazine as well, which was more of a grungy, underground culture, and then I’ve worked in screen printing as well, so it all plays a part, and the images I work with have come from various elements of all of those worlds and experiences…
Tragically Hip, mixed media on copper panel, 2019
Does the imagery work in relationship with the formal material approaches? The use of layers, the reflective surfaces, the fragmented effects, do they intentionally combine with the beautiful faces, and the other references to make a statement?
Yeah, a little bit, the faces come from a way to build on my stencil stuff. The face really builds the emotional quality of the works, and that’s why I started to build around those images. That probably doesn’t answer your question!
Are the faces you depict drawn from media, like magazines or advertising?
Yeah, a little bit, I suppose that is my background, commercial art, design…
Have you ever considered photographing subjects yourself?
It has always been on the list of things to do. At the moment I just destroy magazines and images and signs and that sort of stuff and fuse it all together. But maybe being able to focus on a specific angle I want, or a look that I want, and being able to build around that from the start will be a lot easier to make a more consistent look, rather than pulling a lot of stuff from everywhere. Sometimes it is hard to build a narrative around a piece when you’ve got all this stuff floating around. I could pretty much build an image from this room, I will see it in my head, all the objects and signs and textures around us, I will pull it all together, but I guess I have always tied my compositions together by building them around faces.
I recently saw a newer work of yours that depicted a male figure, is that a first? Is there a reason the female face has been a more prominent motif?
I’ve done probably half a dozen male figures, but probably most of my work features female figures. I guess I kind of feel like you get more emotion from female eyes, especially in high fashion photography, the lips are more interesting, I don’t know, I guess that is what I’m more interested in working with. Some of the recent stuff I’m playing with allows me to see my work as a snapshot of a larger story, some of the works in this show have a broader narrative, and the faces I see as just something more to explore the formal elements I’m working with…
Those other elements include text, skulls, animals, patterns, natural elements like flowers and foliage, so what is the relationship between all of those aspects, especially the text, it often seems that a piece of text will have an apparently evocative connotation, but at the same time they can be quite ambiguous in relationship to the other pictorial elements, there is a duality between meaningful and meaningless…
Yeah, I quite like to do that, I will have this idea for the visual side, and then I might hear a line in a song, or see something written in a book, just something small, a couple of lines or something, and I will cut it out, and then the text takes quite a prominent role in the piece.
Hush, mixed media on brass panel, 2019 (Photo credit: Joel Hart)
Often the text forms the title of your work, right?
Yeah.
With the typography of the text, are you playing around with that, or using the found visual? Is the text both a signifier as language and as a visual form?
I have always had a big interest in typography, especially in my commercial design work, but the text I use in my work is more often found than a decision to use a trendy, disposable typeface, or even one that is timeless, they are often a bit low-res…
That process of collation, putting all your ideas and images together; scanning, compiling, composing, is there an equal balance between that process and actually producing the work from that sketch?
Oh yeah, there is lots of preparation and planning, so probably sixty percent is that preparation, and forty percent is the application. But in saying that, a lot of the new processes I’m working with, the structures and layers, they are making it more like fifty/fifty…
Within the structures and layers of your compositions there is also a gestural and apparently free-form mark-making, which almost seems at odds with your design background, how open are you towards the end goal when you are making work? Do your sketches reveal how something will look, or can they change over the process?
The scanned image will pretty much be the final product, but in saying that, once I start, I might cut bits out. It is a pretty loose process but the actual appearance of the face, I’ve got the scale right, I’ve got the stencil size right, so that element will generally look like the sketch. Going into my street works, it is really helpful to be able to show a client how a piece will look. So, I guess my smaller works are similar to my larger works in terms of process.
I always remember Porta saying how he respects your ability to solve problems, that you handle things on the fly and find solutions. Is that something you take pride in? Having watched you paint, particularly outdoors, you are use a raft of techniques, from stencils to screen printing directly onto the wall, and in your studio, I imagine it’s even more diverse, because of the extra freedom that kind of space provides. Is a challenge a necessary part of the art-making process for you?
I was saying to someone the other day, I need a challenge, I’m always trying to push the boundaries. It is kind of why I got out of design, because I found I was just doing the same thing over and over. But at the same time, I guess the problem-solving element comes from my design background, where you are solving a problem for a client essentially; they have no collateral or visual presence and you are solving that for them. So, I suppose it comes from that. I guess I like to always explore ideas, and on a wall, you know you will learn something new every time. In my studio works as well, I will be like: ‘Next time I will be able to do that, because I can see where I want to be heading…’
Supreme Supreme mural, Welles Street, 2017
You can see a larger tapestry?
Yeah, like heading into some sculptural work is a massive learning curve for me, working with steel, with timber, engineering stuff…
Is that something you are leaning into yourself? Or do you have people helping you? A lot of artists will work with fabricators and technicians these days, but I feel like you are more hands on, that you would want to be on the tools…
I’m very hands on, but I have very limited knowledge in that area. So, I’m just learning different things, like welding, not that I’ve done much, or steel fabrication, getting ideas and asking questions to see if it is possible to do stuff. The work that comes from it will still be my style, I still want to work in layers, but I am interested in making things that can occupy public space…
Is there any work in Dopamine that represents that direction, or is it a longer-term goal?
It’s probably more of a longer-term goal, but I’ve got a couple of things I’m trying to pull together, so hopefully I can pull it off, but it’s only a couple of weeks away!
Escaping Reality, perspex, 2019
You have been working with layered plastic and copper sheets, what other materials have you been working with? What are you seeking from these different materials, especially as they become more and more important parts of your work?
Yeah, I’ve been playing around with iridescent lighting effects, with film, and mirrors, and just playing with how light can sit in a room. That’s something that has always interested me, spreading the layers out so I can work with shadows, exploring the angles of shadows and light, and how light reflects off surfaces. I’ve always been interested in repurposing things, ever since I was a kid, I loved finding stuff and making something. It’s experimental, playing with different things…
When you decide to use a copper surface or a mirror surface, how do you decide what type of image to use, and how do you develop the relationship between those two elements?
It sort of just comes naturally, because it just starts as a rough sketch and develops from there. I’ve got all this material in my studio that I think will work with something later, so if I know I’ve got a piece of mirror that’s six hundred by six hundred, I can sort of build my composition into that mirror. Often, I will just put something aside, like a rusty bit of steel, and once I start on piece, it will be like, oh that will be perfect for that…
Obviously, you enjoy the ability to experiment with these materials in the studio, but do you prefer that environment to working on a mural? Do they feed into each other, or is there a preference?
At the moment, I’ve been stuck in the studio, so I can’t wait to get outside on a wall. But then when you have been on a wall for a week, you can’t wait to get back to the studio! It’s quite nice to have that balance. And it’s good to have the design, not that I do much at the moment, but it is sometimes quite nice to do some of that, to have a more structured brief.
In terms of public, or street works, you aren’t from a street art background as such, but your work definitely has the urban contemporary aesthetic and obviously stencils form a massive part of your work. Have you ever had a desire to do smaller, intervention-style stuff? More post-graffiti street art, rather than the larger muralism?
I’ve always been interested in it, and being a stencil artist, you would have thought I would have had that background, but I don’t know, I was always inspired by graffiti, but I never really liked the idea of painting someone’s wall, I don’t know! But I love the history and I guess I just have always taken it more as a studio practice…
Untitled, New Brighton, 2017 (Photo credit: Joel Hart)
What was your introduction to stencilling? I always ask that, and there always seems to be a common entrance point, like making a stencil of some type of pop culture icon, and then progressing from there. What was your early influence? Was there a particular artist who influenced you? Which stencil artists do you look at now and respect?
I think I saw Rone’s early stencil stuff, it might have been in Wellington? At that stage I was studying graphic design, so I had the tools to make a stencil, and then all my work started to look like that, I used that aesthetic on every project. Then I started cutting and I always just used fashion magazines, because I had them around, and my Nana always had them, as a kid I remember she had stacks of them, so I would cut pictures out, female models in black and white, and I always liked that look for stencil stuff. Logan Hicks was a massive inspiration for me, the massive scale stuff and the process of learning how to break it down…
To break down an image and build it back up? That always fascinated me as well. Did you have those moments where the penny drops with your process and the whole image changes, it unlocks the potential of what you can do with a stencil?
Yeah, it’s amazing right? I got up to twelve-layer stencils at one stage, but I realised I only needed three or four, sometimes only two, I don’t need all those layers to get across what I’m trying to do. Logan Hicks used to do massive thirty-layer stencils, but he basically said you don’t need to do that…
I admire the approach of artists like Flox, Alice Pasquini or C215, where there are only one or two stencil layers, which serve as just like a defining marker over the top, while the gestural painting plays underneath to build the composition…
That’s sort of how I do my larger stuff. I have one stencil essentially and cut the black lines and the grey and white lines, all as one, so its all lines and then you are pretty much colouring in once you take the stencil away…
This all makes me think that your stencil work could be a really nice surprise if it was made on a smaller scale in the streets. The transition between street and studio shows that your work can scale up and down, so it is a real possibility…
It has always been in the back of my mind, I’ve just always been so busy with commissioned works and stuff, it’s just taken off, so I’ve been pushing that…
Untitled, Colombo Street, Sydenham, 2015
Your use of screen printing, has that been influenced by stencilling, or has it influenced your stencil technique? Do you delineate between the two? Because they form big parts of both your public and studio work…
A screen print is just a stencil essentially, just a different application, pushing the ink through instead of spraying it. But I worked as a graphic designer for a screen print company for a while, so I got the basics of splitting my image, then breaking down that image further for t-shirts and stuff. I didn’t really think about using it in my art work until later on, when my wrist was killing me from cutting stencils, so it just came from a negative really. It has become a main feature of my work, the main detail is in the screen print and I will then stencil behind it, if that makes sense. I also use kind of a grungy approach to make a screen, I wouldn’t use it commercially, like some bits wash out when you are trying to hold it, it’s quite a back-yard process…
As a stencil artist, do you have that feeling of inadequacy around can control?
I’ve always used stencils and relied on stencils, so I’ve tried a little bit but I’m not very good with a spray can. You watch people do it, like Wongi and Yikes, and it’s like, how they can do that! In my past I would do pencil or charcoal drawings, so I’ve got that drawing background, but it’s just another thing, even with a stencil sometimes, it’s hard to get the effect you want…
With your use of digital approaches, how much do you find that you draw in the ‘old-fashioned’ way now? Do you try and keep that habit up or have you found it less necessary?
I used to do it lots, just because that’s where it started for me. But even with my sketches, you can hardly tell what they are now, they are just quick scribbles. I would like to bring it in more, it would be like going in a circle, because the roots of what I do come from drawing, I used to do pictures of people’s dogs and kids, they would commission me to do that, and that’s where it started. I worked for an architect as well, way back, drawing renders of houses and stuff, so it has all come from that…
It has always been there?
Yeah, but I’ve found other ways to do it, I don’t know, I guess it comes from that experimental approach of every time I do something, I try something new, and it has been replaced. I always have my tablet, and I always draw, but it is straight onto the screen, I guess it’s the way it is going….
How did the show at Fiksate come about?
It is exciting for Fiksate to be in town now. It is really cool to see where it started and where it is heading, it feels like a big step up. It’s a really cool space and I really like what all the guys are doing there. They are also really nice people to deal with, and I guess that’s the main reason. It fits my work perfectly too, as an urban contemporary space.
As a specialised space, it must be helpful to not have to compromise, or to have to put extra work into finding and transforming a space. How does the experience with Fiksate relate to previous experiences?
My original thought for this show was to have a big warehouse, and to run it all by myself, but working with Fiksate, I can focus on the art and not the space and the marketing, they are taking care of that. I think Yikes said the same, it’s nice to focus on the art for a change, because there is a lot more that you don’t think about behind the scenes…
All the little stuff, right? A lot of urban artists are using alternative spaces, like DSide and Extincted, where he made a fake gallery, or the Underbelly Project in the subway tunnels of New York, or Hanksy’s (now known as Adam Lucas) take-over of an empty Los Angeles mansion, was that your thinking around a warehouse space?
Yeah, absolutely, you always want to push your work and display it places that blur that line between inside and outside worlds…
Popular by Demand, mixed media on perspex and board, 2019 (Photo credit: Joel Hart)
Blurring that distinction between gallery and urban spaces?
Yeah, for me, I really want to show how I can tie together all the elements of my work, the outside works, the studio works, the sculptural elements that I am really interested in. Like, how Vhils makes the image out of the wall, that really interests me…
The idea of urban excavation…
Using what is there and building on that…
The last few years have been pretty crazy for you, right? Your work was included in the Australian Stencil Art Prize touring exhibition, and despite not being at all comfortable, you were featured on a reality television show, what has been the most unexpected thing to happen over the last few years?
Being on The Block! I hated it, aye! I was so nervous! I hate the idea of it, but I like pushing myself outside of my comfort zone because if I don’t, I don’t feel like I’m going anywhere. So, it was a good way to meet people and push my brand out there…
It is important to help grow your profile, but a show like Dopamine will ultimately be more important in terms of your artistic development, a cohesive body of work is a more important proposition than just putting your name out there, right?
I suppose so, yeah. Like we were saying before, pulling together all these ideas I have and trying to show them in one body of work, and, as opposed to sending bits out, or working on this project for this show, it’s different. It has consumed me for a few months, it is all I have been doing…
I assume you can see the light at the end of the tunnel now, and for someone like you, are you straight into the next thing, or do you take a step back and relax?
Nah, I’m onto the next thing. I’m always thinking of what I’m going to do next. I’ve got a couple of murals to do and commissions to work on, and of course I will be trying to develop the sculptural stuff…
What sort of experience have you had working outside of Christchurch? Do you see that as an inevitable and exciting pathway?
I haven’t done that many street works outside of Christchurch and I would like to, just to get out and see more of New Zealand. I would like to do that more, so it’s been a goal of mine to make contacts over the last six months. I am also looking at maybe Australia, and approaching a few galleries there to do some stuff…
Untitled, Kaiapoi, 2018 (Photo credit: Joel Hart)
Have you looked at the festival circuits? There seems to be a new event every month, and in increasingly surprising places, so it seems like it could become a more viable option, right? With the likes of Street Prints, Sea Walls, and various other independent events, you could potentially be all over the country…
I haven’t been a part of them, but I would like to, I just haven’t had the opportunity yet. I haven’t really pushed it though, so if it comes it comes about, I will just say yes to everything, although that’s how I ended up on The Block!
I guess it could’ve been worse, it could have been Married at First Sight, right?
That’s addictive bro!
I can’t say I’ve exposed myself to that addiction yet! I’m fascinated by the different backgrounds of people, and part of your story is your time as a basketball player. Do you see any overlap between playing high level sport and making art? I know a lot of people might not see that connection, in fact they are often set up against each other, but I’ve always had a relationship with sport as well, and I’ve always thought about the aesthetics of sport. Basketball in particular has that mixture, with the branding and the visual identity, but then as well, the physical performative element of sport and the repeated perfection you search for, searching for your stroke when shooting, your handles of the ball, did you ever think about the connection between the two? I know you kind of moved between the two rather than occupying both, but do you see that connection?
Yeah, I definitely do, I always think about how I got to where I am as an artist, and my former career as a basketball player. I have always had an addictive personality, and if I do something, I want to do it as best I can. I did that with my basketball, and you end up training three times a day, it consumed me. I loved it, it was all I did. But then I don’t know, I stopped, I had kids. Whenever I was on basketball trips I was always drawing. I never had a style, but I was always drawing cartoons and typography, and then as soon as my basketball stopped, my art career took off. I always had my design background, or trade I suppose, and then I put all that hard work, that training mentality I took from basketball and I applied it to my art making, and I just didn’t stop doing it. I wanted to learn new techniques and master them, just like you perfect your skills in sport. Like you said, the aesthetic side all links together as well, the branding and design work and the aesthetic side of sport all work together.
Speaking of that visual branding in basketball, do you a team that you really like their branding and visual culture?
I like the Golden State Warriors and how the logos went from being eighties-styled to being really colourful, back to being really simplistic. As a kid I used to draw all the logos and laminate them and stick them on my wall…
I did that as well!
I suppose that’s the process, the aesthetic side of it. I like the singlets as well, the design of singlets, how they have gone back to really simple concepts, with bold colours…
To finish, what can people expect from Dopamine?
I can’t compare it to my last show, but I kind of see this show as a big progression from that show. My finishes are different, it’s just a lot different really. It’s more experimental I suppose, I see it as a stepping stone for me to show some of the stuff I want to be doing. There are quite big pieces that I have been working on, and a few more prints. I’ve only done one print before, so there will be a few more prints…
Prints are accessible, which is why urban artists have embraced them. Have you worked with a printer to get the standard you want? I imagine it is really important to get the right image quality and replication, especially since you have such an interest in surface textures and finishes. Was it easier because of the digital rendering process?
I kind of mix them together a little bit. The prints are a bit of digital and screen print, so there is that tactile feel. That’s something that interests me as well, from that design perspective, the combination of the digital and the real. So, it should be quite interesting, no one print will be the same…
I’m sure they will be popular! Thanks Joel, good luck for the show!
Cheers!
Dopamine opens 5:00pm on Friday, March 15th, at Fiksate Gallery, 165 Gloucester Street, running until April 25th.
Well, January flew by, right? We thought that since life is so hectic, and the worlds of urban art are often so fleeting and ephemeral, it would be helpful to recap each month with a kind of top five list, you know, like in the Nick Hornby book High Fidelity (or the John Cusack movie adaptation, where Jack Black steals the show, take your pick), or a truncated Letterman Top Ten. We will list five things that we loved during the previous month – from new works, big or small, to events and exhibitions, or even just general talking points. And of course, we would love to hear what you think, so jump in and comment, or send us a suggestion for our upcoming lists…
So, without further delay, here, in no particular order, is the inaugural ‘And that was…’ list for January 2019 (drum roll please…):
Face Value @ Fiksate Gallery
The team at Fiksate followed up the Jacob Yikes exhibition, Bad Company, with another impressive showing – the second incarnation of the Face Value: an exploration of portraiture, figuration, faces and characters through the lens of urban art. The show featured a range of talent, from emerging and established locals, to big names from wider Aotearoa and further abroad, such as Anthony Lister, Elliot O’Donnell (AskewOne) and Tom Gerrard (Aeon). Highlights included O’Donnell’s monochromatic apparition Chloe (Beta), the collective strength found in the juxtaposition of local artist Meep (Kophie Hulsbosch)’s bold self-portrait and the works of Auckland’s Erica Pearce, the elegant chaos of Lister’s Ballet Dancer, and Koe One’s typography-laced black and white portrait of urban youth.
The Giant Cans get a makeover…
The Giant Cans got a make-over with new work by (L-R) Wongi ‘Freak’ Wilson, Fluro (Holly Ross) and Ikarus.
While five cans remain a constant open platform, the three cans that stand aside are designated as semi-permanent. Initially painted by Wongi ‘Freak’ Wilson, Ikarus and Jacob Yikes, in mid-January, the three metal sentinels were re-painted by Ikarus, Wongi and Fluro (Holly Ross), giving them some fresh evening wear for 2019. With Ikarus’ slick letterforms, Fluro’s elegant typography, and Wilson’s photorealism (with some nostalgic cartoon fun thrown in as well), the cans represent a variety of approaches and styles.
Macadam Monkey chills in North Beach
Macadam Monkey’s North Beach and Chill wall, Marine Parade, North Beach.
French artist Macadam Monkey spent several weeks in the city in late December and January, and he made the most of his time here. Hitting a few spots with his almost Art Deco-styled, elegant females as well as more traditional lettering, our favourite was probably his appropriately titled ‘North Beach and Chill’ wall beachside in North New Brighton. The refined (and recurring) colour palette of black \, grey, yellow and white added to the chilled vibe and the work itself seems to have the potential to be something of a small-scale landmark for the area (although time will tell of course…).
Juse1, VRod and Torch in New Brighton
Juse1’s B-Boy chilling in New Brighton.
It was something of a meeting of generations and locations when Wellington legend Juse1 visited Christchurch. He spent time painting with local writers VRod (who hails from Auckland but is based in Christchurch) and Torch, and while the Hereford Street spot was a blink and you’ll miss it deal (in fact there have been a number of pieces there that could have made this list, shout out to Tepid, Lurq, Ikarus, Dove and more), their sprawling production in New Brighton has shown more legs. The pieces add to a vibrant setting, and Juse’s iconic B-Boy character adds a perfect nod to hip hop culture, as if it is straight off a New York subway train circa 1982, albeit still fresh to death…
Jonny Waters, Dizney Dreamz @ Anchorage
Jonathan Waters, Goofy, from Dizney Dreamz, mixed media on plywood cut-out, 2018
Dunedin-based artist Jonny Waters goes by a few names, but one thing is always consistent: his playful, twisted aesthetic, which was on full display in Dizney Dreamz at The Anchorage on Walker Street. Presented by Kin Art, the show featured a new series of Waters’ cut-out characters, this time iconic (and several overlooked) players from the world of Disney cartoons (his previous works have taken on Looney Tunes, Rugrats, Sonic the Hedgehog and The Simpsons). While the silhouettes are familiar and intend to invoke a feeling of nostalgia, the details take the viewer on an unexpected trip; eyes where they shouldn’t be, limbs and heads protruding from fresh wounds. All these features are accompanied by a fine technical detail, with layered sections, perfectly imperfect lines and a use of various media.
When I sat down with Dunedin-based artist Jonny Waters the morning before his new show Dizney Dreamz opened at The Anchorage, it was the first time we had met in person. Yet, even outside of the collection of social media messages and e-mails we had exchanged in both arranging an interview and as part of other exhibitions Jonny had been a part of, such as CAP’D at Fiksate in 2017, I had been encountering Jonny’s work for such a long time, I kind of felt like I knew him already.
From Christchurch to Wellington and more recently Dunedin, in addition to the digital realm, his stickers, fridge magnet installations, paste-ups and more recently graffiti and character paintings, as well as his studio works, have always been distinctive and memorable, showing an exploratory, inquisitive and playful nature (a fact exacerbated by the various monikers he has employed). This sprawling body of work is reflective of his own journeys, and, for me at least, has provided touchstones of different time periods (like a Christchurch chalkboard message from 2010 that was recontextualised, and protected, by hurricane fencing in the wake of the earthquakes, indeed it is still there today) and places (I still remember literally stumbling upon a small sticker in the fringe of the Wellington CDB a few years back and immediately making a connection between similar versions I had photographed back in Christchurch).
We caught up with Jonny on his return to Christchurch (where he lived and studied for several years) for his new show, which features a new batch of quirky cut-out characters, playful riffs on his love of nineties cartoons, their recognisable silhouettes framing transformations that rip apart nostalgic expectations. We spoke about these works and their relationship with his previous work, his experiences in different cities, and mixing his roles as both an educator and an urban artist.
Jonny, your show Dizney Dreamz opens tonight (January 25th) at The Anchorage…
Correct.
You are currently based in Dunedin, how did an exhibition in Christchurch come together?
It’s been in the pipeline for probably four or five months. I was looking for a space in Christchurch, where I wanted to have a show. I’ve had lots of shows in Dunedin, but I really wanted to push for a show in Christchurch because it’s close to home. I grew up in Ashburton and left when I finished high school to study here for three years, and those three years were super fun and I learnt a hell of a lot and made some amazing connections and friends. So, I wanted to come back here and have a show to, I think, spread my wings a little bit, but also to get back to my roots a little bit more, you know? To be back on the old Canterbury soil…
You are working with Kin Art for this show, how did you make that connection?
Yeah, I’m working with Justin from Kin Art. I’m pretty sure Justin hit me up on Instagram, and he said: ‘Hey, I’m actually in Dunedin in a couple of days, do you want to meet for a coffee?’ So, we met, had a yarn and then he came to the studio, and checked out the works. At that stage, Mickey and Minnie (two of the works in Dizney Dreamz) were half or three quarters done, and he really liked the look of those. I showed him the other cut-outs. Obviously, they were unpainted, but he was really keen to talk about having a show. Then a few months later I came up to The Anchorage, checked out the space and the size was perfect.
It is an interesting space. It is a café, but it offers a decent environment to show work, it’s not like those cafés where there is not really any suitable or even defined space for work…
It’s got a clean aesthetic. It’s functional for people to walk around without being in the way of anyone else. It works really nicely as an exhibition space and a café space. It has nice walls as well. I like that it’s got different sections, so you can show this work over here, that work over there on that wall, and kind of split things up a little bit…
I want to come back and talk about Dizney Dreamz in more detail, but I’m also interested to talk about your background. You mentioned that you grew up in Ashburton and came to Christchurch and studied at CPIT, or what now is ARA, but since then you have lived in a few different places, and I have to admit I have stumbled across your work, under various identities, in a number of cities. Has art, and in particular, urban art, always been a way for you to get to know a new environment?
I think so, definitely. A lot of people may not agree with this or may have a different opinion, but it is actually a lot easier to meet other writers or street artists and link up with them and become part of their community and their environment than it is to try and connect with people in the art world, generally speaking. I don’t know whether that’s the traditional elitism or that feeling of exclusivity, but I have definitely found that. A lot of people have this weird stereotype of: ‘Oh, big bad graf guys, isn’t it scary to reach out to them?’ But ninety-five percent of the graffiti and street art people that I have met have all been the most lovely and nice natured people, so that’s been a really good foundation to discuss art and graf and to find spots to paint. But a lot of the time, the people that I’ve met through graffiti in the different cities that I’ve lived in have been in touch with the art world as well, not the fine art, high art world, but the low brow, funky, weird, illustrative, urban contemporary thing… It all depends. The artists that create urban work in every city shape the feeling and vibe of the environment. A classic example is the BMD guys when they were going full gas in Wellington. They created an environment that felt more friendly, creative, playful and relaxed.
Just a Kid with a Vision, fridge magnet installation, Poplar Lane, Christchurch, 2010
You are now based in Dunedin, you have lived here in Christchurch, briefly in Sydney, and in Wellington, does that ring true for all of those places? How does each city compare in terms of their own distinct vibes and scenes? Obviously, this can depend on timing and who you connect with, but how have you found different cities?
I think each city has a really different flavour, but I think that depends on who you hang around with as well; the people that influence your view about where you are going, whether you push it one way or go in another direction. Unfortunately, I haven’t painted here that many times. I’ve painted a few times with Gerald and Hurls, just my regular mates in the crew, but my graffiti and street art foundations are here through mostly stickers and random wall installations. There are also more guys in Christchurch who are just into bombing, which is awesome, I respect that one hundred percent, but I just can’t afford to live that type of graffiti lifestyle. It’s always been a more fun outlet for me, the legality of it comes secondary. But Dunedin is so chill. It’s like, we’ll go for a paint, we’ll buy a box of beers, it’s more about hanging out, it just so happens that we’re painting as well. In Dunedin we have also got so many spots that you can do that, it’s like a grey area. Yes, it’s illegal, but the cops aren’t going to arrest you, they are kind of safe spots in a way. I don’t think they mind because it keeps it somewhat ‘contained’. Wellington is similar as well. There are a lot of spots you can go paint and not worry about people stressing out. I’ve painted a lot up in the gun emplacement barracks up near Brooklyn, and people are always up there walking their dogs or having a few beers at a picnic, and they are cool, they are interested in what you are painting, they are not like: ‘What are you doing?’ I prefer a chill vibe and would rather not get paranoid about shit.
Does that also allow you to be a bit more adventurous in what you do?
What I enjoy doing is mixing it up and being deliberately quirky. If every tag I have done is slightly different in some way I think there’s something funny about that and creates a style in itself. Same thing with pieces. I literally paint how I’m feeling on that given day. I might have painted something I have actually sketched out beforehand maybe 2 or 3 times max? It’s fun to say: “Well what could I have a crack at today to mix it up”. Sometimes it looks good, sometimes it looks shit! (Laughs)
Did your experience within educational institutions impact your feeling of a city as well? Because you also studied in Wellington, right?
I did, I was at Teacher’s College in Wellington at Victoria University.
And here in Christchurch you were studying visual arts?
I did a Design degree. At ARA you’ve got three streams, and I think it is still the case: Multimedia, Visual Communications and Visual Arts. I did Visual Communications, so basically a Graphic Design degree…
Was that environment important for you, not so much from an educational perspective, but a social one? Did you find yourself surrounded by a certain crowd, or in a certain creative community, that changed the way you think about art?
Changed the way I thought, or fostered it?
Either. Was it there that you started to think about the streets as a site in which to work, or was that already happening?
It was interesting, because I grew up in Ashburton, where you are not surrounded by any urban art whatsoever. The only time I ever got to see any urban art was on the internet or when I came up to Christchurch as a kid, and that cemented quite a strong idea of what I thought about Christchurch’s identity. I loved it, and I’d try to talk to my dad about it, and he’d be like: ‘That’s just bullshit!’ So, I was like, ‘Oh, cool, so it’s bad as well! It’s rebellious!’ Aside from that, it had a real impact on me and that’s why I started doing stuff outside of my normal artwork under different names. But the guys who I went to ARA with, they had a bit of an influence as well. We all started going out doing stickers and stuff like that, but we each had our own interests. In the classroom or studio, we all developed our own niche and our own approach. I guess we figured out the ways we each operated best and what mediums we preferred and that sort of thing, and that was completely supported by our tutors. I specialised in things like 3D studies, design things but pushing them into an art world. I also liked illustration, and I really enjoyed life drawing. I was putting an artistic twist on graphic design, whereas other guys were getting way more into typography, web design and stuff like that. I was always swaying towards art…
Did that reflect a desire to be using your hand, rather than technology?
I hated the computer. I got sick of it. I just wanted to draw all the time, so I was like, I will just scan it in and chip away at these works, I’ll literally just use Live Paint, Illustrator, whatever, and be like: ‘Cool, that looks awesome!’ I did this final year project, Monster Mash, a big alphabet poster, all the letters were really weird and quirky and humorous, a little bit distasteful, not P.C. It was purely illustration, the only graphic design that was involved was how they were laid out and the type face chosen for different titles and stuff. That is sort of where I headed in the end, and I wouldn’t change anything about that. Honestly, some graphic design I find tedious. I don’t like computers so much… Did I mention I don’t like computers so much?
That ‘Do-It-Yourself’ quality has long been a part of urban art culture; did you make that connection?
Definitely, I think it has always been pretty obvious. The crossover, the look of the different characters that I draw, is really obvious. I didn’t think so back then, but it is. I mean there is always going to be a crossover, and some artists do it really well, they have a really natural crossover in their aesthetic for the urban stuff they do and the art practice work, but for me I think it is unavoidable. (Laughs)
It is also interesting that you started with more of a post-graffiti, character-heavy style, and then moved into letterforms later…
Yeah everything at the start was character-based.
Alphabet, digital print, 2017
Often your lettering has embraced characters not just as accompaniments, but as part of the letterforms themselves…
I’ve always loved that, creating, making characters out of type. That Monster Mash poster, that sort of thing. It’s almost like problem solving: how am I going to create this letter that is still a letter but is also really funky and cool, weird and quirky, you know?
That is at the heart of graffiti, right? How do I take a letter and recreate it where legibility is no longer the primary goal?
I guess I’m not necessarily taking the traditional approach, but yeah. I’ve had a lot of traditional dudes, who follow that path, say to me: ‘That’s really cool, you’ve got your own twist on it.’ Then, I’ve got other people who would be like: ‘What the fuck are you up to? You’re like dissing the culture of graffiti!’ I think these days there so many people doing amazing weird shit that you have to be open to change.
Mural on the ‘LegenDairy’, Dunedin, 2016
But people have been pushing letterforms so far for a while now, so you aren’t alone. There are the likes Augustine Kofie and Remi Rough, who have taken their work towards the abstract, but it’s developed from letters…
Exactly, it’s the same with what Askew is doing, a lot of his abstract patterns all developed from letters…
As a teacher, how do you balance celebrating the rebelliousness that was a vital recognition when you first discovered urban art with the responsibility of teaching?
The two worlds? That façade? You’ve got to be a careful with what you say, how you frame things…
I’d love to be able to say to every kid, this is important because it is illegal, or it developed from illegal roots…
Because the artist did illegal stuff for ten years, that’s why this is important! (Laughs)
So, how do you approach that with students, or in the workshops you run?
When I was at Kings High School (in Dunedin), for three years I ran a street art camp. All year ten students had to choose a camp each year, there was no art camp, nothing cultured, it was all sporting or academic, science camp and stuff like that. So, I was like, stuff that, I’m going to create an art camp! Every year we came up here to Christchurch, we did a graffiti workshop with Ikarus, and then we always had a look around at the street art. That was when all the big walls were still up, you had Lister, Owen Dippie, all these amazing walls to check out. We would do a trip out to New Brighton as well. The boys really loved that trip, it was great. It was letting them in and showing them who you are, but only so much, you know? It wasn’t like I was taking them out and showing them how to do a tag, it was framed in a street art context. It just so happened that I chose graffiti to be framed within that…
But that’s the challenge now, right? Urban art is so complex now. There are so many approaches…
It’s such a melting pot…
But those rebellious roots need to be acknowledged…
Sure, especially with the way the street art movement is sort of being defined as ‘more important’ now…
It’s easy to take kids to see amazing big murals, and the artists are amazing, but it’s important for kids to not think that that is what street art is exclusively…
Exactly, and that is what I tried to ensure, actually doing a graffiti workshop and learning about letterforms, about painting a piece, not a character, not a ‘street art’ painting, they were actually learning about a graffiti piece. Shout out to Ikarus for all those workshops as well, because he was amazing with all the kids. Even in the classroom, the kids know that you are in that world, that you are part of that world, but they don’t know much more than that. I was always really careful about any specifics, and generally I was pretty quiet. I wouldn’t say like: ‘Oh, I painted this sick piece in the weekend, you should go and check it out’, you know? I was very much, this is me as an artist, this is the work I do as an artist, and I sort of left that stuff out of the spotlight when it came to anything professional or school related…
I guess the most important thing to do would be to let them make their own decision around the socio-political motivations for making art that isn’t permissioned. If a young person is able to decide that they believe in something enough to do it in a certain way, that’s empowering for them.
Exactly, and the thing is, if a student was getting into graffiti, I would never deter that. I would actually support it, and probably, if I trusted them enough, and they trusted me, I would give them some advice, a heads up, and you know look out for them a little bit. But there is a very, very, fine line. You’ve got to stay professional.
Just because of urban art’s longevity, we are now seeing more and more people in ‘upstanding’ positions who have grown up writing graffiti, or making street art, and not just as artists, but in other realms as well.
There are lots of people moving within these different worlds, like Berst is in education as well.
And it isn’t just that direct crossover, but there are more people who recognise graffiti and street art’s validity and importance as visual cultures.
As forms of expression…
Coming back to Dizney Dreamz, we’ve touched on that illustrative and character-based approach, which is very evident in these works; these sort of grotesque, surreal, re-imagined cut-out Disney characters. A lot of the influences and ideas we have been talking about come out in these works, there is a trace of your work over time in these works…
I think so, but in a cohesive way. Obviously, it helps that they are all Disney characters, but they have all got a similar aesthetic in the way they function as pieces as well. There are different linkages, the pieces flow with each other, I think that there are certainly a lot of those influences coming together, but it’s also about how they interact with each other in this specific show. There’s a little bit more thinking involved. When I’m doing all the sketches for these pieces, figuring out how I want to design them, there’s always so many different options or varieties with how things can go. There will always be one piece where I’m not happy with that, or that’s not right…
Goofy, from Dizney Dreamz, mixed media on plywood cut-out, 2018
That relationship between each other is even more important when the added context and information of the street is removed as well. There is more emphasis on how they work as distinct objects of display.
Exactly.
Rather than each character being framed within a block or a canvas, they have an autonomy or sense of independence through the cut-out shape, and that allows that flow through each one to another with those whips and angles and lines. The eye is led around each piece and on to the others as well…
They are just really interesting to view. That space they create, negative or positive, is really interesting. I’ve always wanted to choose characters like Mickey and all his mates, because they are really interesting silhouettes. They are so recognisable, so I’m able to communicate almost instantly. Most people are aware of Mickey and these Disney characters, so you’ve got that initial connection sorted, and from there you can go further and get closer and get a feel for what the work is about…
Yet, because the silhouettes are so recognisable, you are then surprised and intrigued because that recognition is blown apart by the detail…
Exactly, it might annoy some people because it ruins their image of Mickey Mouse, or whatever character, but the whole idea is about nostalgia. The early nineties or mid-nineties, for me, was super cartoon-based, it’s got a real strong place in our subconscious and I think that’s what nostalgia does, it’s like a collection of dreams, and hence Dizney Dreamz. I think the work in this show is trying to change the way we feel about our own nostalgia. So, if anyone sees a silhouette of Mickey Mouse, they know straight away its Mickey Mouse. Then, whether you like it or not, you get a feeling like: ‘Oh when did I last see Mickey Mouse?’ It’s all tracing back, but it’s recreating an experience when you see these works, it’s like reinterpreting nostalgia. I’ve had this fascination for a little while and it started with a show at Kiki Beware in Dunedin, it was really off the cuff, and I wanted to do some paintings on cut-outs. I don’t even know why I thought of it, but these silhouettes were so cool. That show was smaller, there was Bugs Bunny, a smaller version of Mickey, Sonic the Hedgehog, Speedy Cerviche from Samurai Pizza Cats, Chucky from Rugrats. They were awesome, and a lot of the feedback I got was that these were something new, that people had never seen shit like that before. So, I was kind of inspired after that, I guess. Then I eventually got to planning my first solo gallery show, Tooney Lunes, taking Looney Tunes characters, fifteen of them, and turning them into warped, fucked up characters. It sold really well, it had big numbers going through, and I was feeling pretty positive and good about it. Then this show follows on, and the whole crux of the idea about it is trying to manipulate your feelings of nostalgia towards characters or things that you may be attached to…
Art Bimpson/Bart Simpson, from Neo Nostalgia, mixed media on plywood cut-out, 2016
That sense of the grotesque, which has been a feature of your work for a long time, aids that approach…
Yeah, I never thought of them as grotesque, more playful. But now that you mention it…
Yeah, there are limbs coming out of unexpected places, that then disappear into each other, there are wrinkles and bumps…
They are all smiling and everything, but it’s like, are you happy though? Are you really happy? (Laughs)
Are you attracted to that imagery because of the fun you can have in creating it? It allows you to do almost anything you want, because you aren’t seeking perfection or beauty…
I think again, it’s like a problem-solving thing, like I said with the letters; you’ve got this silhouette, you’ve got the frame work, what are you going to do to make it look interesting? It doesn’t necessarily have to look pleasing to the eye. It’s good if it does, but it doesn’t have it at all. In regard to inspiration, I’m really inspired by Kaws, I’m really into his work, and I think there’s probably some similarities in taking familiar characters and changing them, morphing them and layering them. Another huge inspiration is Rob McLeod from Wellington. He works with cut-outs as well, my work would probably be more Pop, with brighter colours, whereas his works have gotten more subdued and darker. Some of his stuff has got pretty grotesque and quite dark, so he’s a huge influence. But my favourite artists are Jean-Michel Basquiat, and Francis Bacon, even if it isn’t as obvious in these works…
Sketches from Dizney Dreamz, mixed media on paper, 2018
With someone like Basquiat, there is an urgency in the mark making, but there is also an often a violence that comes through, an unease…
Even when you’ve got those happy colours, this doesn’t feel right, you know? (Laughs) That’s how I feel when I look at Francis Bacon’s work as well, you’re a little bit unsettled…
Which is what you are trying to do through the lens of nostalgia, right? Speaking of Kaws, considering you are working with cut-out shapes, longer term, have you thought of expanding into three-dimensional sculptural pieces?
Wow, I don’t know. I’d certainly be open to the idea of things like that, but I just love painting. I love painting in two-dimensions. These works are still two-dimensional surfaces obviously, and I don’t think I will ever lose that attachment to painting, but I’m not really into the traditional canvas thing, at the moment anyway. I might go back to it, but I want to keep exploring other ways of creating paintings that are two-dimensional, but different in some way.
I suppose it comes back to the fact that you were more interested in drawing and painting even when you were studying graphic design. These cut-out works have that certainty, that sharp line work, but there is always a sense they are created by hand…
There is no mechanical quality.
Donald Duck, from Dizney Dreamz, mixed media on plywood cut-out, 2018
Yeah, there is no mechanical production, which can become hard to replicate in that sculptural process. When you start dealing with fabrication and manufacture, that process impacts that freedom.
Exactly. But I don’t know, I probably need like a month to reflect and think about where things might go. I want to have a few more shows this year, wherever it might be, whether it is in Dunedin, or in Sydney, when I go over there for a cousin’s wedding, I might try and tee something up there. I feel like maybe the cut-outs may have done their dash, but with these ones, the whole idea was to be bigger in scale and because of that I could play around in media. There’s spray paint in there, there’s a thicker use of paint, there is a little bit more of an abstract quality to the layering. I think that’s almost pushing it as far as this sort of aesthetic can go, because the previous ones were really flat and clean, and in some ways, it looked really nice. But I really like the layering and detail that has come with these works. I don’t know how much further I could push that…
Are you more likely to develop those ideas in the studio, or on walls? How much influence do those different approaches feed into each other?
I think they are always cross-contaminating. It’s what you are confident with; I wouldn’t use spray paint in these works if I didn’t feel comfortable with that medium, because it’s high risk. You don’t want to fuck up a work when you want to have a decent show. So, it’s a confidence thing. It’s what you are safe with, which sounds bad, because people say art should take risks, but I think there is already that risk-taking in other elements. When I’d finish cutting in and doing the different layers of these works, I thought about doing some splatters and stuff like that, like a big line through it. I thought about seeing how it goes. I did a few tests of that idea a few times, and it looked cool, but it actually detracted from the design too much. It took too much away, it drew the focus away too much to the action of doing that, so I was like, nah I’ll keep it subtle…
Wile E. Coyote, from Tooney Lunes exhibition, Dunedin, mixed media on plywood cut-out, 2017
Are you still trying to create a character that has a sense of being able to function as a working body? The silhouette gives that suggestion, and while the details subvert any expectations, you still read them as functioning, albeit mis-formed, creatures…
Yeah, I still want them to function as a whole.
Any shout outs?
Shout outs to The Anchorage for hosting obviously, big thanks to Justin and Kin Art, thanks to Watch This Space for the interview. Big ups to Christchurch in general, I’m loving being back here and having a show!
Dizney Dreamz is at The Anchorage until February 23, 2019…
After the success and popularity of Jacob Yikes’ exhibition Bad Company, Fiksate are set to launch their next show, with the return of Face Value. Initially held at Fiksate’s previous location in New Brighton in late 2017, Face Value was an exploration of portraiture through urban art, design and illustration.
The 2019 incarnation of Face Value continues this theme, but with a more specific focus on the presence of faces, figures and characters in the work of graffiti, street and urban contemporary artists. This takes the identity-centric and infographic qualities of urban art (think of the centrality of the name in graffiti, and the instant recognition sought by post-graffiti artists) as a starting point, to consider the varying ways artists utilise portraiture, self-portraiture, characters, figures and faces, at times within their work. This spans somewhat traditional approaches to portraiture, to repeated, iconic emblems that are as much about their material or performative creation as their visual appearance, akin to a tag as much as a representational image.
The stacked line-up provides an array of artists whose work engages with this realm and highlights a variety of stylistic, material and conceptual approaches, from internationally renowned Anthony Lister’s frenetically composed images that shift between high and low cultural references, to Elliot O’Donnell (you may know him as AskewOne, either way he is undeniably one of New Zealand’s most successful and thoughtful urban artists) and his portraits that consider cultural identity. There are also works by Australian artists Handbrake (Perth), Tom Gerrard (Melbourne), and Mulga (Sydney), who all bring a playful, graphic quality to their character-based work, and UK and US artists KoeOne and Voxx Romana respectively, the former elegantly combining greyscale figuration with bold typography, and the latter, subversive cultural references with a stencil precision. Auckland artists Erika Pearce and Component bring further diversity though their distinct approaches to cultural identity, while local artists, both emerging and established, ensure a vital representation of what is happening right here. Local artists include Jacob Yikes, Ikarus, Joel Hart, Porta, Dove, Tom Kerr and Meep, each representing distinct personal perspectives; from bold self-portraits, to recurring motifs and characters developed over years of extended practice.
Face Value opens on Friday, January 18th, 5:00pm – 9:30pm at Fiksate Studio & Gallery, 165 Gloucester Street.
Check out Fiksate’s social media for more information…
With Christmas fast approaching, and the hectic lifestyle that comes with it, A Tribe Called Haz has decided to get a jump on it and do Hanukkah instead (Hanukkah falls between the 2nd and 10th of December this year), and that means a one night only, pop-up show at Embassy on Colombo Street in Sydenham on Friday, December 7th. Haz insists the timing is perfect, as any later and he would be “killing off some brain cells in Wanaka” post-Christmas, which, amongst other obvious respects, ruled out a Kwanzaa themed event.
Haz Does Hanukkah is a quick turnaround from his recent one-night show, A Tribe Called Exhibition, also held at Embassy, which Haz suggests reflects his constant work rate, increased productivity and conscious use of time. The show will feature a number of smaller works, indicative of this constant output. The same acerbic, acidic and quirky qualities remain, a constant reminder of Haz’s unique approach to image making, however, the show will also include more patterns and textures than previous work, as well as works influenced by tattoo flash and some digital works.
Alongside original paintings, there will be prints and stickers available (the stickers bigger than the last, inadvertently cute, batch!). This variety, and the melting pot of images, means you should be able to get all your Christmas presents in one go!
As he continues to undertake more and more events, commissions and opportunities, Haz is growing in confidence in getting his work out there, continuing to develop his identity and aesthetic through such support. Last Sunday Haz completed a live colab painting with Fiksate’s Jen at a Notion Touring event at Smash Palace, further signs of the flourishing opportunities for emerging and more established artists in Christchurch.
Haz Does Hanukkah is supported by the good ship Embassy and by Ghost Brewing, who are supplying the all-important beers.
In Part One of our interview with Auckland’s Berst, we discussed his approach to teaching graffiti, and in Part Two that theme continues, along with a deep dive into the way graffiti has developed over time and across the globe, including New Zealand, his advocacy for graffiti, the challenges the culture faces, gentrification and the commodity of culture, and the importance of ideas…
Berst, Auckland, 2018
In terms of Aotearoa, how distinct can we be when we are talking about the history of graffiti? Do you see distinct scenes in specific cities more so than an overall feeling, or is New Zealand small enough that it can be condensed down to an overarching scene?
Are you talking about stylistic lineage?
Yeah, but also in terms of a more social history of the culture. Like, do you think different scenes have had both distinct stylistic trends, and specific social developments? Or is the scene small enough to mean that that overlap occurs around the country, both stylistically and socially? And I’m asking this because in Christchurch, this city has that position of being younger and smaller than particularly Auckland’s graffiti culture, so when you travel and talk to people, do you see a distinction between the places that you go?
Well, I think first and foremost, in terms of a stylistic lineage, it usually goes in five-year cycles. Like every five years, there is a new crew that emerges that fuels something, that’s kind of what I’ve noticed…
A five-year cycle?
There’s a five-year cycle where crews form, and they make some sort of impact and they do something, and they are active…
Do you think that is related to a time span of maturity for a writer, age-wise? Or just a natural period of growth, influence, assimilation and repeat?
Yeah, definitely, definitely, you know most of the writers I hang out with now, they are anywhere between eighteen and thirty-five, mostly, so that’s the kind of age bracket of people who are writing. So, there are now kids that are beginning at eighteen and I’m totally disconnected from them. l don’t know what they are up to. But anyway, with stylistic lineage, I feel like we look back fifteen years, there used to be styles passed on because of who people painted with and associated with and were influenced by. One thing we talked about in the past is regional styles, and I think, particularly in Wellington, that’s probably the best case-study. A couple of crews down there, they were really influenced by hip hop, and they proactively worked together to have an integrated look and way of doing things, so their pieces were really traditional, classic New York looking stuff, whereas in Auckland we had quite a few writers where international writers came over and that kind of shaped their styles…
Like the German influence?
Yeah, that shaped the scene, definitely. I’m not too sure about the Christchurch scene and other cities, but I definitely know that for me, at that very early period of time, it was kind of just Auckland and Wellington, they were the two main places. When the internet came and remixed everything and you know it became so easy for one person to look overseas and say: ‘O.K., what’s happening in Brazil? I’m going to take a little bit of that aesthetic…’ So, definitely, styles are changing quite fast and it’s become a bit more hybridised for everybody, I don’t think you can trace the history as easily…
Berst, Auckland, 2018
There’s an interesting danger there as well in some sense, right?
In terms of appropriation?
In terms of appropriation, obviously in regard to cultural sensitivity, but also when using something as a building block for your own practice or style, without any real understanding, it can become problematic in your development conceptually…
That is what happens when it’s an organic kind of art form, whereas with something like Pop Art, which was developed within, or at least formalised inside institutions, when you are in art school, they will say you do Pop Art like this. So, there’s an educational aspect of studying Pop Art in University, but then it could also maybe stifle creativity because you think that you have to make art a certain way, if that’s the aesthetic you are wanting. But with graffiti, each person is different from the next. In general, you would say most people start looking at New York graffiti first as a foundation, because you need letterform and structure, but I think nowadays people aren’t necessarily looking at those guys for inspiration. But you know, an artist said to me in one of my Real Time episodes: ‘New York, that’s the real deal in terms of style.’ Everything that is being painted now is just a replica, an interpretation of that in its various manifestations. That is still the core, that is still what we are trying to do and that’s still our bible, the blueprints of what we’re trying to create. So yeah, its an interesting one, I think partially that’s what I’ve been trying to do with some of the Auckland writers, is influence them. Going back to this idea of religion, its about practice and is also about preaching certain types of principles, and I’m not religious, but, what I’ve realised is most important is actually passing down ideas. So, you know, at the end of last year I actually brought together ten graffiti writers and I had a meeting with them about all sorts of shit, from the law, to style, to painting pieces, getting up. When I get back to Auckland I’m meeting with another ten. What I’m actually doing is developing an army…
Yeah? (Laughs)
I’m meeting another ten, and then next year I might bring together another ten. Then suddenly I have a whole new generation of thirty writers to work with. But most importantly, it’s about leaving behind some ideas, be it around style and how to construct letters, or how to do graffiti, ways of getting up, putting it into this context or making a living from it, you know? It’s mostly because the people that come to those meetings, these younger guys, they do only have that one perception of what graffiti is: ‘I tag’, or ‘I bomb’, ‘I get up and write everywhere’ and that’s their only conception of what it is. I’m just trying to open that a little bit…
Graffiti’s public perception means it largely is unable to rebut to any charges brought against it, it doesn’t often get a platform, but there is also a perception that graffiti writers aren’t necessarily thoughtful…
A perception from the community?
Yeah, that graffiti writers aren’t eloquent enough to express ideas around what they are doing, which isn’t true, I find a lot of young graffiti writers have very crystallised ideas of why they write. Talking to young people, do you find that there is that real sense of understanding, even if it is only that one perception, but there is understanding there of the complexity of graffiti that the wider public often discredits them from having? That maybe they just express them in different ways?
Well, one thing that I say quite often is that there are two things to take away from graffiti: the first is to make the statement that graffiti is not art, as we talked about before, and secondly, that graffiti often leads to other forms of crime…
The Broken Windows theory…
Yeah, the Broken Windows theory, and I’m O.K. with that, because I do partially believe that if there is a bit of graffiti somewhere, someone is likely to paint some more graffiti beside it, because it didn’t get buffed. So yes, I do believe that to a degree, but not fully, as I would also argue that graffiti can also lead to creativity. In many cases where I’ve interviewed artists for my own work, that has been the case, the journey. They haven’t taken a formal art destination route to becoming an artist, they have gone through graffiti and it has led them there. So, it proves that it is possible, right? We see graffiti and street art and all these other forms of public art, urban art, and its place in transforming a city post-whatever, there are many things occurring, not to mention the massive street art festivals, that are changing the perceptions. I definitely think that graffiti has the potential to lead people into a career as an artist, but of course it depends on each person. But, equally at the same time, I believe that there is something that works against that as well, because writers are also painting illegally, you know, balaclava over the face and painting trains, that’s also perpetuating an ideology of what graffiti is and who they are, and what they represent. So, there’s that social connotation towards graffiti and once again it is tough, because it’s an art form that’s contradicting itself in many ways, it is art but I’m going to go break the law here…
Berst and Haser, Tauranga, 2017
Yep, but that comes back to the question of how exclusive art and legality are, whether they are mutually exclusive…
No, of course not, of course not…
That’s the thing, they don’t define each other…
It could be art and still be illegal. But yeah, I think, once again, it comes back down to the context of what that is. My fight, my advocacy for graffiti is not necessarily to make it legal, to make it mainstream, to make people accept it or appreciate or even validate it, because I know that there are things that are working against graffiti that keep it in its pure essence of how it is manifested. In some ways part of me doesn’t want it to be accepted because when it is accepted…
It loses something…
It loses something, right. It’s kind of like in some ways street art is something that is mostly created illegally, when it first began, but equally if you were to teach street art in school, you know, you can teach someone to do an intervention in a space, you can teach them practical things, you can teach what it means working outdoors, the subject matter people use…
But teaching the motivation is a different thing…
Yeah, the context is really important, because that should then shape how people perceive it. It is actually a conversation I had with Ikarus just the other day. He was saying that there was a mural somewhere, Owen Dippie’s Elephants, and recently the Council painted out the little tags and throwies in the background which were by some really prominent graffiti artists, and they were actually part of the wall that Owen Dippie wanted, and Ikarus was saying that he was pissed off about the Council painting them out. But then, when you go into an exhibition room or a gallery and people do throw ups and tags and bubble letters, then suddenly some old man will appreciate it because it’s in that context. The reality is in their minds that it’s the context, the setting. The perception of how they see it is quite different, because in this context I see some money, some value to it. But on the street, it looks like the stuff that is illegal, even though it is legal, and it’s: ‘Oh no, I don’t like that!’
Yeah, we are conditioned to accept things in different contexts…
So, there is that thing where the community doesn’t quite understand it, or value it in art, and I think the space and context is the real big factor in that…
That context becomes important when you are talking about something that doesn’t have to change form to occupy either space, which adds confusion for a public audience, because they are looking at the same thing, right?
In a different place, it will be received differently, absolutely. But equally, I asked Ikarus and Wongi, why does it piss you off? You’ve done a throw up on a legal wall while people still do it illegally, and then you put it in the gallery and they appreciate it, like that’s kind of to be expected, because that’s what they see illegally, so its kind of like there is no point being upset about it…
Berst, From the Ground Up, Sydenham, Christchurch, 2013
You are probably most notably remembered for your presence in Christchurch for Spectrum a few years ago, although you were also here for From the Ground Up and Rise as well. How often do you get down here?
Yeah, this is my fourth time, or maybe third time, coming down here. I haven’t really had the opportunity to travel around New Zealand all that much. Most of my travel has been spent overseas. But, I’m also doing my doctorate, I’m six months away from finishing, so I’m kind of in that peak period where I probably shouldn’t even be running a workshop, and I’m also working full time, so it’s hard to travel…
That must be a hectic schedule!
It’s been a bloody juggle, to work, stay focussed, do projects, balance my relationship, you know, and also do the PhD, so not too much travelling. But again, taking this idea of religion, when the doctorate is over, I plan to do this kind of tour thing, where I am painting and preaching and starting to link up with people, not just from Christchurch, but from all over New Zealand, and just spread some ideas. I still recall, there was this writer I linked up with in Rome, his name was BRUS, dope writer, very good, and he did an interview with a spray paint company who supports him, and they asked him about his best painting experience. He’s a veteran graffiti writer, he’s painted just as long as me, but he said: ‘One time this guy from NZ, Berst, he came over to Rome, that’s probably my most interesting experience because we actually collaborated together, we worked on each other’s pieces and I’ve never worked in this way.’ And that’s actually an idea of working together, not just: ‘You work here, and I’ll work there.’ That’s not a collaboration, that’s just painting together. So that’s one of the practical approaches I take to painting graffiti. People like Askew, we’ve worked together collaboratively to develop ideas, explore certain aesthetics, approaches to breaking traditional ideas of graffiti that were established over fifty years ago. I want to revamp that, to ask why do we have to do it that way? I tried to take that approach with BRUS and he was appreciative of that, and so what I take from that, was not what I created with him, but the fact that he experienced that idea of how to approach something, and I think that’s really important. If I can have that same kind of impact on the future generation of graffiti writers here in New Zealand, that’s a great thing. A lot of people I interview always talk about the people that influence them, and a common theme that emerges is: ‘Oh, the moment this person came to New Zealand, or the moment I linked up with this person, we were doing things in this way now, it’s evolving, instead of doing one piece, we were doing ten, instead of using three colours, we were using twenty colours…’ So again, it’s about ideas…
Yeah, ideas push evolution and development…
Ideas are hard to come by, because there are so many people who do graffiti now that go out to do graffiti that is just graffiti, just the standard thing that you would do if you were doing graffiti, in terms of style and the approach, for me the thinking is about how can we do that differently?
Berst, Christchurch, 2018
The chance to see what people are doing in different instances, that must allow that idea to be reciprocated as well. Not only are you out preaching as you say, but you are also obviously receiving a heap back from all these people…
Totally, I’m not claiming that I know it all or anything. My mind is still a sponge, which is why once again it is all kind of two-fold. For the Real Time episodes, I’m trying to preach and spread the knowledge, and create the resources, but equally I’m learning. When I interview Wongi, I learn something. That’s the motivation, because you actually have to take initiative, to want to learn, to open your eyes, to get a bigger perspective on this whole thing, because most people when they come into graffiti are very tunnel-visioned: ‘Oh I just want to tag, fuck art’, people have those kinds of attitudes. For me, the learning part is really important, which is why I make a lot of these videos, because, it got to a point, where if you go on YouTube now, ninety percent of the videos are just people painting hardcore graffiti, which is cool and it builds the ethos of what graffiti is and it maintains the roots, but you watch this three-minute clip of someone tagging the whole city or somebody painting trains for like an hour, doing really hectic stuff, but you don’t learn anything from it. I don’t get anything from that, you know what I mean? We were talking before about reality shows, and it is almost like you are living your life through someone else, you’re watching someone paint a train, so what? I don’t get anything from it…
That’s a very different experience from painting or being with someone when they are doing it as well, right?
That’s different, yeah, that’s the buzz, right? That’s the adrenaline…
So, what is your take on what’s happening in Christchurch at the moment? What have you seen this weekend, doing the workshop with writers of different ages and experiences, filming Ikarus and Wongi, and exploring the city, what’s your take? Especially now as we’re sitting a long time after the earthquakes created an environment where graffiti, and urban art more broadly as we’ve talked about, has really shifted into a more visible position…
One thing that I’ve heard Wongi and Ikarus say, as locals, is that the perceptions have changed post-quake, that all the dickheads have left, the real conservatives, like the ‘graffiti is tagging, and tagging is vandalism’ people, you know? I think there is less of that, which is great, and I think sometimes it’s like a cause and effect type thing, which happens. It is not a positive thing that there was an earthquake, but it does restart something, a cycle again, and you can ask: What are we going to do? How are we going to rethink things? How can we do things differently? Sometimes things need to do that, and when I think about Auckland, at one point in 2010, the Rugby World Cup eradicated all of the graffiti, it took away all of the history, years and years and years, and that really challenged a lot of writers. A lot of people gave up. A lot of people moved on. A lot of the young kids stopped doing quality things, because they were like: ‘I’m not spending this much to have it painted out in six hours, what’s the point?’ In some ways it regressed, we saw more tagging and bombing and just quicker things. But now there is graffiti again, and it’s staying up and people are trying to make quality things again, so there is a cycle…
Berst, New Brighton, Christchurch, 2018
There’s a cycle and a maturation process that runs through, like you were saying earlier…
Totally, so while I was upset that people didn’t invest in doing quality stuff, that’s just what happens. So, I think of it as the same thing happening here in Christchurch, except you guys had an earthquake. After that everything just got graffed the hell up, which personally I think is quite cool, because it’s just such a pure thing for people to take space and interact with space in its various ways. I think the beautiful thing as well is graffiti as kind of guardians of the streets. You see people painting murals, people from all sorts of artistic backgrounds, coming like a flock of birds to the space because there are opportunities and potential for things. But at the same time, kind of like we talked about, we need to be careful as artists, to make sure that we know what we are fighting for and what we value when we are making art and not losing the ethos of what we want the context of our art to be, as opposed to just wanting our art out there. We are talking about this idea of curation and a panel of council people responsible for public art that have no art background necessarily, or understanding of it, that are making decisions, like, I want a portrait, I want a landscape… So, we just have to be careful about becoming too conservative, because that is the position councils will take, they are not going to do anything offensive or that’s going to get attention. They just want something nice and pretty that’s going to fit in and not piss anybody off. There’s that part that’s also a positive, but you have to be aware of that. I think equally, when art gets involved, let’s say a mural or something, this idea of gentrification arises as well, so it could also have negative consequences. Like a real shitty derelict suburb, nobody wants to live there and suddenly you put up lots of art and then a cool café, and then suddenly an apartment block and then it’s a hip place…
And then the family who has been living there for generations can’t afford to live there…
Exactly, and then they might even get rid of the art, because it’s now a really expensive area…
That’s actually something that I’ve thought about as well…
It becomes about real estate and that previous graffiti wall, we don’t want that anymore, that’s not going to suit the area now…
In some ways, I wonder if that discussion of art gentrifying areas is actually misplaced, it is still developers and the like, they are still the agents of gentrification, right? Can you actually blame the art for the gentrification?
But the real estate agents are exploiting that art, right? Because they are aware of the cultural value it has, the human capital it has associated with it…
The cultural capital…
That’s what art is, it may not have economic, monetary value, at least at the street level, but it’s culture, it is a manifestation of culture and what it represents…
Berst, Tauranga, 2017
I guess that comes back to the important idea of graffiti maintaining that outsider status…
That’s what I’m talking about…
It’s still a form of culture, but because it can maintain an antipathy to mainstream, it has the ability to combat that process of capitalisation as well…
I am aware that I’m deeply rooted in graffiti and what makes it pure, but I’m also willing to step out of that frame of mind into these new spaces because I want to push the boundaries and I want to open the door while I’m still grounded here. I want to be the tester that goes into the water. If I fail at doing something, if it doesn’t work, at least I can report back to the graffiti community and say I’ve tried this, it didn’t work, or maybe it did, or maybe try it this way. But I think maintaining the purity of it is very important, and if you have it any other way it just falls into the dominant ideology of art and for me that’s what I’m thinking, how is graffiti an outsider thing? Why is it different from other fine arts? What can we do to keep it different? Why does it have to be the same? Like, if everybody did it and accepted it, would it even be cool to still do what we do?
There’s got to be that distinction…
Would it even be cool if painting freight trains were legal? I don’t know…
That’s kind of the beauty of graffiti, that question, that balancing act will continue to play out as it evolves, as new generations enter the culture and redefine it. Thanks so much for sitting down with me, it has been a blast! Any shout outs?
Shout outs to Ikarus, Wongi and Emma, my boy Alpha, for linking up with me over the weekend here in Christchurch, I really appreciate that, and shout out to GBAK and TMD, my two crews back up in Auckland!
