The RAD Collective – Watch This Space

Everybody Eats – Everybody Helps

Street Wise Presents: Everybody Eats – Everybody Helps

Hosted by Exchange Christchurch – XCHC

Saturday, August 4, 3pm – 9pm

Exchange Christchurch – XCHC: 376 Wilsons Road North, Waltham, Christchurch

On Saturday, Street Wise and Exchange Christchurch – XCHC are joining forces with a bunch of other good folks to host an event that brings a number of communities together, and to celebrate the things that unite us and create a space where people, including the city’s street whānau, can come together and share food, experiences and skills. As part of the Everybody Eats – Everybody Helps project, members of the RAD Collective have helped transform the XCHC space, covering the walls in graffiti and street art in a transformative gesture that brings the outside in and encourages us to ask questions about our assumptions of the streets. This is only one aspect of the wider programme, but it is an important reminder of the way urban art can serve as a transformative, subversive communicative visual culture, one that traditionally has a connection to the experience and reading of public space in ways very different to the grandeur of large scale commissioned murals that might be viewed as having been co-opted as tools of gentrification.

We caught up with Preston Hegel from the XCHC to talk about the event, what it will mean, and how urban art has a role to play…

Preston, how did Everybody Eats – Everybody Helps come together?

It was inspired by Everybody Eats in Auckland and seeing the sensibility of diverting food waste and repurposing it, seeing people wanting to contribute, chefs wanting to volunteer some time to make it happen for people who maybe weren’t seen as worth being given that time. I didn’t think that was something we could pull off here, but I still knew that there’s a similar need here, people have immediate needs. Maybe we can’t organise diverting waste from supermarkets and the strategies that go into something like that, but I knew that there were probably enough people here wanting to help so that if everybody did their little bit, we could achieve something, which is why we are doing the potluck concept. The potluck idea is something we as a community do at the XCHC once a month. We all make a dish and put down the tools and just have a meal together. We all get to know what each other is working on. We all take the time to listen, and we always end up really excited and having a good time. So, I just figured, that works for us here, so why not try to do something like that for the street whānau. I don’t know anything about the situation here, I just know that it’s bad. So, I started to look around and see who was really doing the hard yards for the street whānau, and I came across Street Wise because they were new and are higher up on the thread of activity in the city. So, immediately I just reached out and said: ‘I don’t really know much about this, but we do have a building and we have a pretty tight community and were keen to help out if there are any opportunities…’ So, I met with River from Street Wise and we found similar things inspired us and that we wanted to achieve the same thing, so we put our heads together, out came a few ideas, and we decided on a date just like that.

Headlines are so often framed in ways that ‘solve’ homelessness by moving people out of sight, by banning begging in areas, but this approach isn’t about ‘solving’ anything, it is about a positive, communal experience, and central to this is bringing people together. Often, we pass by people on the street and we may contribute something, or we may not, but I think that ability to actually come together and share an experience is really telling. So, what does the actual event entail?

I think another thing to add to the ‘sometimes we do, sometimes we don’t’ thing, is that nine times out of ten we actually want to, we just don’t know how. So, this event is about addressing how you can help in a small way, because money isn’t really the right option, but some people don’t know that. You know, you see a sign that says this is what I need, and you are kind of like, ok, but it can be confusing. So, I guess the idea is to make that process a little bit easier, not that we’re going to be walking around the streets with our baked goods every day. The XCHC is a place where people are supposed to be able to come together and have the freedom to be themselves without judgement and to have a supportive community around you. No matter what someone’s creative practice is here, you’re surrounded by people all developing their own practice, so there’s a very automatic sense of acceptance and support. You come in and the walls are down, and that is kind of a driving idea of this event as well. This event started as a way to use food to bring people together, but then we realised that it was about much more than that, it was about being able to spend time in a place where you actually feel looked after and you actually feel like you have enough time to get to know people, so it’s actually more about a social setting. So, then we thought, what pieces of a social setting do we enjoy? What might others enjoy? So, things like haircuts, I love being cleaned up, I love talking to my barber, and just the pieces of it, you know you come out looking good, and feeling even better, on the other side. But there’s also that social element, and that was automatically part of it. We knew how much My Father’s Barber has been involved with the City Mission, and the regular things they do for them, so that was something we thought we could put out there and see if it was able to come together. It’s the same with coffee. I didn’t know this, but a real thing of choice for our street whānau is coffee. They love coffee, and I had no idea, and our roaster [Mark Chirnside of Chirny Coffee] is an incredibly talented young barista and all-round coffee lover, and when we said we wanted to do something around coffee, he was just like: ‘Can I give you the beans? Can I give you support? I want to be able to give one on one attention to people who just show up.’ The haircuts, the coffee, it isn’t just for the street whānau, it is actually for anyone to come in and be a part of. It doesn’t make sense for me to arrange an entire day for this particular community I don’t intimately understand, so the idea is to open this up and then it won’t feel like it is for them, it will feel like a day of activity for everyone.

And that comes back to the idea of the communal experience, it’s not about isolation in that sense, it’s about actually engaging together as a community in a broad sense…

And we see it in a lot of ways too, we see it with Arts Access and creative organisations helping disabled communities. If you do something for the disabled, then you are really singling them out, and they want to be involved in stuff as much as anybody, and it’s exactly like you said, it’s about coming together and not being about one specific community, the XCHC is a bridge between communities, between people…

In terms of the RAD Collective, they have been working out of the XCHC for a month, what was the idea of getting them involved as part of Everybody Eats – Everybody Helps?

The RAD Collective moved in about a month ago, and I was just so blown away by their ambition and determination. There are quite a few in the group and a number of them had been exploring quitting their jobs and focusing on their creative outlets full time, which is exactly what XCHC wants to support. You know, they are going into that vulnerable stage, they need support, they need some business, to be around other creatives to stay motivated and I guess with the showcase space not being used for the couple of weeks coming up to the event we had a perfect opportunity to give them the freedom to do what they do best. This is really what the XCHC is about, you really have that support to develop and produce your work but also to showcase it and the public can come and see what you are working on and get involved themselves, so it was really a perfect invitation to come into the XCHC as a whole unit and do what they do best and contribute to something that the XCHC cares about and they were all keen. They were grateful for the opportunity, to do what they do, to do something which I think is kind of unheard of in this city, I don’t go to a lot of cafés where people are painting the walls on a regular basis. But also, to get behind this event and what it represents, and they were so willing to do it.

You have touched on the duality of this element as well. As you say, there is a chance for the RAD Collective to exhibit in a unique way. You are presenting them with the chance to be quite authentic in their presentation, because often in that transition into a full-time creative role, formative roots can be washed out somewhat, things have to look nicer, have to fit a certain expectation, so there’s a recognition of where these young creative people are coming from. But, there is also an inherent reflection of street cultures, the streets as a space for people to occupy, and to utilise as a creative expressive forum, so there is a conceptual relationship too, right?

Absolutely, the ability to bring the best of what they do into where they work and in front of an audience in a supportive space, but also for the event, to bring a community into a space who aren’t necessarily used to this sort of space, to become a home, to give a positive space, surrounded by street art, and we are in that space there with them. I don’t know if I’m going to follow through, but one of the ideas for the night was for everyone to bring to the potluck a mat or a pillow and we’re going to put all the chairs away and we’re going to be on the same level and all eat together on that same level, and appreciate the art, we’re going to have music on the night and bring all the senses together, in an experience that shows that the streets have a different look and feel to them in a positive way.

It’s not just bringing the streets inside, it is also making us think about our preconceived perceptions of urban spaces as well. We are often conditioned to think that when we are surrounded by graffiti, we are in a dangerous space, but that’s a construction, not necessarily a reality. So that’s another value, by transforming an interior space it is playing with the expectation of an exterior space, our expectation of shared environments…

I’m completely blown away at how the RAD Collective took that to another level by hosting the Coffee and Cans event on the night the exhibition was being built. They gave the opportunity to people to engage with street art and graffiti and the whole process, to grab a can and give it a try, or to meet the artists who are behind some of the work in the city. I think that’s actually the point, not to just come in and enjoy it as a finished product, but actually inviting people to come along on that whole journey and how it excites us and inspires us in that process, and I thought that was such a cool way for them to do it. I’m not an artist, so I kind of assumed that an artist doesn’t want their work to be seen until it is finished, and with my experience running the studios here, that’s usually the case, an exhibition isn’t seen until it is all ready to go, so I don’t see things through this lens, but to see them do it that way was really cool.

For sure, it is an interesting landscape now, generally speaking, with process videos and public performance elements a significant part of urban art at a number of levels, it allows a new level of consideration, both for those who haven’t had a chance to be a part of it, but also for those who are fascinated by process. So, what are the key things you want people to know, to get out there, about Everybody Eats – Everybody Helps?

I want people to know that this project and having the RAD Collective here is a perfect representation of what the XCHC is all about and to explore that over this couple of weeks. As for the event, I really want people to know that it is about more than the XCHC and it’s a very small prototype of something that is being worked on in the city. Nick Loosley, who started Everybody Eats in Auckland, talked about wanting to spread across the country, so this is about eventually honing into that model of diverting food waste, which is so important for Christchurch right now, and leveraging the talent of the chefs in Christchurch. It is not a replica of what Nick has done, it is just something that’s inspired by what he has started, but I want people to know that there is more to come on that front and I want the city to be as active in supporting it as Auckland has been, so it is about being in on it, bringing a plate, if you can’t make it, make a donation to go towards helping make future Everybody Eats events in Christchurch happen.

Get along to the XCHC on Saturday and be part of a special event. If you can’t make it on the day, you can still contribute by donating, so find out more through the Facebook event page: https://www.facebook.com/events/230716677577645/

And check out a selection of progress shots from the RAD Collective’s take over of the XCHC for the Everybody Eats – Everybody Helps event. Photos courtesy of Josh H. Jones (@harryj_jones)…

Kophie Hulsbosch – Future Proof

Kophie Hulsbosch might be softly spoken, often punctuating sentences with gentle laughter, but it is quickly apparent that she is driven by a desire to use her creative output for good. I was introduced to Kophie when I was preparing for our story about the RAD Collective, and as I got to know more about her, I discovered the diversity of her practice, from her clothing brand, Future Apparel, to illustration, via graffiti and surrealistic painting. In her own words, she isn’t someone who ‘just sits back and lets stuff happen’, and as such Kophie’s output is always entwined with her socio-political and environmental beliefs. But her work also reveals the exploration of identity as a constant theme to be unpacked. This exploration is not solely an act of self-reflection, there is a sense Kophie is interested in identity in a broader stroke, in what it means to be an individual amongst a collection, not just in her quirky characters and portraits, but also in the inherent nature of graffiti, and her vocal concerns about consumption, our complicit involvement and its impact on our surrounding environment. Another example of a young Christchurch creative emerging from the influence of urban art to explore a diverse range of artistic approaches, Kophie Hulsbosch is a reminder of the potential to connect a creative impulse with a desire to change the world, regardless of the scale of such actions. We sat down and discussed how art became a vessel for her beliefs, how these ideas were fortified in her practice, and the dark side of the ‘fast fashion’ industry…

So Kophie, let’s pretend this is a superhero movie, what is your backstory?

I came from Wanaka, surrounded by the outdoors and people skateboarding. Then, when I was about ten, I moved to Christchurch. I never finished high school, I dropped out in year eleven, it just wasn’t for me. I worked terrible jobs and I just kind of figured out what I wanted to do through that. In high school, I had only ever really studied in my art classes (laughs), so after working those horrible jobs, I decided to do the foundation course in design at ARA. I loved the course and decided to continue with graphic design. My goal was to be self-employed, but I also wanted to use art for social commentary, mostly environmental issues. After I completed my Bachelor of Visual Communication, I received a scholarship to do an honours degree in Media Arts. At the same time, I decided to launch a business, making use of the facilities at ARA and combining everything I had learned; drawing, branding and graphic design. I wanted to make some sort of environmental comment with my work, so after discovering that the clothing industry was the second most polluting industry in the world, I decided to re-purpose clothes. I guess I’m not the sort of person to just sit back and let stuff happen! (Laughs)

When did that drive crystallise? Did it take a while for you to realise the direction you wanted to go, or was it engrained in your worldview from a young age?

Well, I enrolled at ARA because I just wanted to get better at drawing. But when I was 11 or 12, I became a vegetarian, and that sort of set off my ethical conscience, because once you start learning about one issue, all these other things pop up that show how so many things are interconnected. I started learning about the impact on the environment of animal agriculture, and the associated social issues, and then when I did a philosophy paper at ARA, I started finding out how the world works and how messed up a lot of things are, and I started exploring how to potentially change it…

Importantly, you have utilised art to engage with those issues. Was that just something that made sense to you, to communicate and explore ideas? Is drawing a way for you to problem solve?

I’ve always known it is one of my strengths, in Maths or English at high school, all I would do was draw on my hands, and I would just constantly get in trouble. I just think it’s the only voice that I have, or at least it’s the best outlet I have to get the message across.

Gig poster for The Settlers x Local Elements, digital illustration, 2016

One of the first things I noticed with your work is the diversity; illustration, graffiti, figurative drawing and painting, design work, branding… Is it just in your nature to constantly explore different approaches, or is it necessary to express different ideas?

I think I just always want to try different things and learn. But sometimes I think I probably should focus more on one thing! (Laughs) But I just want to be creative in any way, and I mean, you can learn anything off the internet now. I taught myself how to sew on YouTube! There are infinite possibilities…

In some ways, the need to pigeon hole yourself has been broken down by the possibilities of the digital age to explore ideas and cross-pollinate. But would you proclaim yourself to be any one thing more than anything else?

I mean I started everything from drawing and illustration, just weird, obscure drawings and naked women! (Laughs)

There is a definite sense of the surreal or fantastic in some of your work, but there is also often a grounding in some sort of psychological reality, an exploration of identity, or that sense of social awareness that you’ve already talked about. Do you try and find a balance between intentionally expressing ideas and a subconscious approach?

Every project is different. Sometimes I think when it is from my subconscious, I look at it and I’m like, how did that come out of my head? But with graphic design work and commissioned projects, it is more controlled, I know what I’m doing. Most of the free stuff is influenced by hip hop, hip hop music and graffiti and those cultures.

Above the Clouds, ink and pen on paper, 2018

What do you find the most attractive element of graffiti? Is it the creative element, the search for style? Is it the idea of the social communication? Or is it the act, the adventure of graffiti?

I think all three; I love the thrill, I love the idea that you can do whatever you want, whenever you want, and make spaces come alive. You see little areas and you’re like, that could be a face, or that could have a personality. The style is important as well, I mean I look up to people who have a really defined style and I always think of style over spots, personally…

With graffiti writing, obviously the issue of identity is a central concept as well, albeit couched within the expression of style. Do you make the connection between letterforms, style and the idea of identity?

I think my letterforms are probably the weakest element of my art, so I like to practice them a lot. But I try and paint every piece differently, so I never really have a particular style. Some of my stuff is quite creepy, and creature-like, but then other times it can be quite straight and sort of masculine. I like to make it look like a girl didn’t do it, whatever you think girly graffiti looks like, like love hearts and pink colours… I like to make my stuff look not necessarily feminine…

Christchurch, 2017

The discussion of gender has long been a part of the analysis of graffiti, at least from a scholarly approach, because there is this perception of graffiti being a very masculine pastime. When you think of the likes of Lady Pink, there is an acknowledgement of gender in her moniker. But, your name doesn’t have to be representative of reality, you can mask your identity when you write graffiti. By developing a personal style, that in itself can become the identity, is that your approach?

I guess so, because on my Instagram, and it is just my art Instragram, I never really post selfies or pictures of myself, because I like the idea of people not knowing who I am, if I’m a girl or a boy. People do tend to have a judgement if you’re a girl.

The pursuit of style can be all consuming, and with the digital age, the number of available influences has become so wide-ranging, that it seems harder to develop that distinctive signature in some ways, everything has a danger of seeming derivative, just because more people have seen more things…

The internet! (Laughs) I know back in the day, each town had a certain style, you would know if it was New York graffiti or whatever. Whereas now everything is just a massive collage of everything; every era, every style, and it is harder to find that identity, because there is so much that’s already been done. You have to think outside the box all the time, or just accept the fact that everything’s being re-purposed.

Queenstown, 2018

How did you become a member of the RAD Collective?

I was making clothes at ARA just before a pop-up shop. I was really stressing out and just running around the classroom getting things done. Becca and Jimirah (founders of the RAD Collective) came in to see one of my other mates, and I just had my clothes on the table and they were looking through them, and they were like: ‘Wow, this is amazing!’ Then a few months later they gave me a message on Facebook and said: ‘We are doing a thing. Do you want to be a part of it?’ And I was like, ‘Yeah!’

What do you personally see as the greatest benefit of the RAD Collective? That type of network, people with different skills, and the energy it generates, must be really helpful in the transition from a learning institution into the ‘real’ world…

They have been so amazing. They have just uncovered countless opportunities for me. They look out for me so much. They are just always so supportive, which is really cool. They are trying to suss out a space, find walls and organise exhibitions… You can’t do all that stuff by yourself…

That story about meeting Becca and Jimirah also introduces your clothing brand, tell us a little bit about Future Apparel…

As I said before, the main drivers of the brand have been the environmental and ethical issues, things like the conditions for workers overseas, and the number of animals killed for materials. The crazy thing that I can’t understand is the environmental and ethical impact of the day to day things that we do. By consuming in the over the top manner we do now, we keep making it worse and worse and worse, but we kind of just accept it. I know people notice things, but we are so used to the consumer culture we live in, it feels like you have to abide by it…

Second hand denim jacket with Future Apparel design, 2017

There is an unwillingness to explore alternatives because they seem too hard.

Yeah, is it cognitive dissonance? Is that the one? (Laughs) Through Future Apparel, I want to change the mindset. My ultimate goal is to create a different culture around how we buy and consume, to encourage people to think about the actual human aspect of things when you buy. Like, with clothing, most of us probably think it jut appears on a rack by magic, you don’t see any of the process behind the item.

Is it important to find the balance between your creative outlet and the real-world application; to not be dragged down by the realities of the political side, to ensure that you remain inspired by your creative outlets?

Yeah, it’s a constant battle: I want to change the world, but then sometimes I don’t think I can do anything, and that the world’s fucked! (Laughs) Sometimes you feel isolated, because you see people around you and you tell them things, and they are like, oh that’s terrible, but they don’t really do anything, they don’t care enough to make it their life to change the world for the better…

I feel like it is a result of how we receive and process information in the digital age. The internet allows avenues of widespread and instantaneous communication, but we seem to use them for the worst possible things. The potential is so amazing, but the reality can be so mind-blowingly frustrating! (Laughs)

Memes! (Laughs) I think it is crazy how we have all this information at our finger tips, but it is used, I’m not saying by everyone, but it is used by so many people to just watch silly videos. I can post a selfie on Facebook and get 130 likes, and then I share something about the planet, about the extinction of sea creatures, and people give me like maybe two likes! I don’t know…

You must have learnt a lot about the tricks of the corporate world, what things have you discovered that have fed into Future NZ as a concept?

I have looked at the idea of green-branding and green-washing, and how a lot of brands are using these ideas to drive profits, even though they aren’t necessarily a ‘green’ brand, so that was something I wanted to avoid…

Explain the idea of green-washing a little bit…

So, with green-washing, someone like Apple Computers say they recycle their products for new computers, and they have this whole eco-brand called Apple Renew, but they are also bringing out new products every couple of months and trying to push consumerism while also trying to have this other identity of being eco-friendly…

So, they are producing a semblance of a response to an issue they have helped create and are still creating…

Or say toilet paper companies who say they are donating one cent from every sale to help save forests; it is like a pretend persona, just to try and drive sales. One of my lecturers suggested there is a chance to do some further research, he thinks the whole sustainability approach can’t work under the capitalist construct, that it will always be undermined by profit and exploitation, even if it is green-branded or a green product…

It’s not a fair battlefield, right? The field is being created by those who gain most. How do you fit your conception of graffiti and urban art within the issues of sustainability and ethical consuming? Do you see it as a natural way to address that uneven battlefield?

I wouldn’t say my graffiti is eco-based, because I know spray paint isn’t the best for the environment, but I have made paste-ups in the past, and I always have ideas of big signs I can put up everywhere, like guerrilla campaigns around the city. I do want to do that sort of thing, but I’m just figuring out how to get it across. I think it could be a really good form of getting a message out there. You are forced to look at it, with social media you can just scroll past it, like ‘meh’, but if it is in your face in the streets, if you are driving past it every day, you might think about it…

Live painting for The RAD Collective event Under the Influence, Boxed Quarter, central city, 2018

You recently had something of a run in with a well-known fast fashion company, what happened?

My friend sent me a picture of basically my exact design on a fast fashion shop piece. I didn’t really think much about it, but then I was lying in bed and I saw the image I created because I had put it on my wall, and I was like, it is exactly the same, like exactly the same: same colours, same font! I put it on Instagram and my friends got way more worked up than I did, Becca wrote a big post about it, and it got around a bit on Facebook. The New Zealand Herald contacted me, but I didn’t talk to them just in case, you don’t want to get sued. Then I found out about another girl from Australia whose work they blatantly ripped off as well, but she didn’t do anything about it, she couldn’t be bothered. So, I emailed them, I said, I think you’ve copied my design, and they basically replied that it was a coincidence and showed me their process. (Laughs) But they said like, ‘this was done at 11.50’. They gave an exact time something was done. When you’re doing your workbook process, you don’t write the exact time and date when you are doing it, unless there is something strange going on. But, I mean, it is what it is…

I guess in that situation, you have to decide how worthwhile the expenditure is, because it is a lot of emotional energy, right? But at the same time, it must be frustrating to think that as a result, companies probably get away with a lot, because their resources are greater. Did it also make you think about the role of social media? How when you post something, it is visible anywhere around the world and it immediately becomes so public?

I instantly thought of the recent thing with H&M and Revok, the graffiti artist, like they think they can just take anyone’s work because they are the rich big guns and they kind of have immunity because they are so well-known. But yeah, the most frustrating thing was the mass production side; they are making money from exploitation of labour and other ethically dubious practices, where I make one-off designs, re-purposed from fast fashion! (Laughs)

It’s the exact antithesis of what you want Future Apparel to be and to be associated with, which must have made it so much more frustrating than someone who was maybe trying to enter that world. In many ways I would hope it has steeled your resolve to opening people’s eyes to the realities of fast fashion and the alternative options that are available…

Yeah. I also think about how sustainable clothing tends to be elitist in a way, like it is always quite high-end and targeted towards more well-off people. But I wanted to also use street wear, skateboarding, hip hop, and cultures like that, and incorporate them all and make something for youth, because I feel like it’s a missed market. I want to make it affordable for that group and remove the elitism. So, like I know a lot of people my age, they care about this sort of thing, and they want to buy sustainably, but it is out of their price range, they are often studying and would never be able to afford one-off nice items…

Thoughts, acrylic, aerosol and nail polish on wood, 2018

You obviously have some long-term goals, but what do you have going on in the short term? You’ve got a few things on the go, right?

I’m illustrating a children’s book for the Crusaders (The Super Rugby franchise), it’s going to be in every school in New Zealand, which is pretty cool! But I’m not allowed to make the horses smoke cigarettes! (Laughs) The Under the Influence exhibition was obviously a few months ago, I exhibited two portraits and painted live at the event. Some of my projections were also in the courtyard. I haven’t worked on Future Apparel much, (laughs) but hopefully I will find time to do that. I’m also working with a sustainability company, but I can’t say much because they haven’t got copyright yet…

You’ve got some mural work?

Oh yeah, I’m doing a mural at BizDojo!

With that many things on the radar, have you reached that goal of self-employment? Are you sustaining yourself through your creative outlets?

I’ve got the student allowance at the moment, without that I’d be screwed! (Laughs) I’m doing a business course as well…

As an artist, and being that your ethical concerns are pretty central to your approach, do you find that you are an odd one out in that environment? I am always interested in how ethics and morality are incorporated into commerce-based education…

Yeah, I just can’t mentally justify having a business without making it for the greater good, like not just for profit, I just can’t wrap my head around being driven by making money at all costs…

There are probably a lot of people who are exactly the same way and yet there are those who see business as a by-word for profit-making, so it is an interesting challenge to become comfortable in an environment and reach the goals that you’ve set for yourself…

Yeah, maybe that could be something, changing the consciousness of business, maybe its compulsory to have some profits go to a charity, or help impoverished communities. I mean another big thing I looked at was the idea that profit was just another word for stealing…

‘Making’ money is really just ‘taking’ money…

I still think the majority of people think that if you are not making money, you are not doing anything. That’s something I struggle with… (laughs)

It’s the idea that our value in society is based on the money we make, which is flawed thinking…

Money is evil! (Laughs)

That’s sounds like a pretty good sign-off! Thanks for talking to us Kophie!

Follow Kophie on Instagram via @kophie or @future_nz, or check out her website https://www.yoitskophie.com/

Featured image credit: Handmade Photography

A Tribe Called Haz – Garage Days

A Tribe Called Haz, the pseudo identity of Harry King, a young artist and member of the RAD Collective, is in many ways indicative of the alternative and do-it-yourself approach of a number of Christchurch’s young, urban creatives. A Tribe Called Haz’s twisted, low-brow imagery and raw, low-fi style is reflective of an outsider style; his background as a skater and graffiti writer more important than any arts training. His strange, playful compositions and juxtapositions, collating his various influences, experiences and even momentary preoccupations, are wrapped in a subversive and often anarchic energy, full of bright, at times acidic colours, applied in swarming washes of acrylic paint. While his work is very much of the digital and internet age, it is also refreshingly hand-made, imperfect and intentionally unpolished. His work may not be pretty, but it is playful and punkish, reflecting his sense of humour and a desire to confront and unsettle unsuspecting viewers; to garner a reaction, good or bad, challenging the viewer’s ability to be in on the joke. After following A Tribe Called Haz on Instagram for many months, I was glad to get a chance to sit down with him and find out more about his work, how various influences inform what he does, and what impact being a part of the RAD Collective, and social media, has had on getting his work out there…

So, should I call you A Tribe Called Haz? It’s one of the longer monikers I’ve come across, but I feel like it should be used in its totality! (Laughs)

Yeah that’s all good! (Laughs)

I was recently talking to Becca Barclay, one of the co-founders of the RAD Collective, and she said that the running joke is to describe you painting in head to toe black denim, drinking a dozen Diesel bourbon and cola cans, listening to Bon Scott era AC/DC (which in my mind is being played from the radio of a mid-eighties Ford Cortina). While she admitted it is more a joke about stereotypes, would you say it is a fair description?

Ahh, it is about eighty percent true! (Laughs) Yeah, I do love a bit of black denim and you can’t go past Bon Scott, but I don’t really paint so much under the influence, even though that was tied into the last exhibition name. But yeah, it is mainly just me painting in the garage, so it does seem to fit!

But, of course you are made up of more diverse elements than denim and classic rock; you’ve been a skateboarder since you were young…

Yeah, I started skateboarding about 11 years ago.

And you have a background in graffiti as well…

Yeah, that came about through skateboarding as well.

You also work as a builder, right?

I’m a third-year apprentice builder…

So, amongst all those influences, have you had any ‘traditional’ training, or are you self-taught as an artist?

I did art at high school, so I think the highest I’ve been trained would be level two at high school. But I hated doing art at high school. I didn’t like being told what to do, or how to do it, you know, I feel like it is stuff you can pick up by yourself. I don’t really see the benefit in that type of thing. I think it is good that they teach art at high school, but I think it should be kind of like a free period, where you can experiment more.

So, your experience illustrates how influences like skating and graffiti can be as formative as a formal training, in both technical and conceptual approaches to making art, right?

Yeah, it’s definitely just that I like to follow my own path. I pretty much pull stuff out of thin air, or if I just see stuff that looks somewhat eye-catching, it inspires me to do something. I can’t really put my finger on it, but yeah, it’s a time and place kind of thing, and I kind of think that comes from things like skating and graffiti.

What explicitly do you take from skateboarding? Do you connect skating and making art? Is there a shared spirit between the two for you? Is there something in the physical, practical act of skating that translates, or is there a distinct influence in terms of skateboarding’s visual culture?

For me, skateboarding is just something that is free. There are no rules, no one’s telling you what to do. It’s something that can be taught, but it doesn’t mean you will be good at it. Even if you are taught how to do stuff, everything is different for everyone. But yeah, it’s the sense of freedom, it’s just like a good way to put my mind at peace for a wee bit.

I guess the same could be said for the attraction of graffiti? It’s also about freedom of expression, in both similar and divergent ways. You mentioned that you got into graffiti through skateboarding, so did that mean you came at it with a less traditional approach, more San Francisco than New York? Or were you still drawn to the hip hop tradition of graffiti writing?

Graffiti and skateboarding can go both ways. There’s the punk side, and then there’s the hip hop side, and it all depends on who you are, you know? There are lots of punk skaters out there, and you see the old pentagrams everywhere and the anarchy symbols, that A.C.A.B. kind of stuff (an anarchic acronym for All Cops Are Bastards), and then there’s the hip hop sort of stuff, the bolder letterform-based stuff. In my eyes that’s real graffiti, the hip hop side. So, yeah, I lean towards New York for sure…

Do you think Christchurch has that sort of diversity amongst the local graffiti culture? It definitely seems, outside of some figures, that the hip hop tradition has always been the most prominent.

There is definitely some quirkier stuff out there, but overall the scene is more traditional. So yeah, there is a bit of a gap between the two, people can be set in their ways.

Although there is obviously an inevitable overlap in terms of influence, do you separate your work as A Tribe Called Haz from your graffiti output? Are they ever in conversation stylistically or thematically, or do you keep them distinct?

No, they are two separate things. You see a lot of old school graffiti artists, or graffiti artists in general, go through just being hardcore graffiti writers, and then they get to a point where they start doing exhibitions and they go off in a totally different way, and then everyone who is still about graffiti, who grew up idolising them, they kind of turn on them for doing that, and I think it’s just easier to keep them separate…

It means there’s a fidelity to both as well, you’re not having to worry about those distinctions: one is one, the other is the other. Which means they keep fresh when you jump between them. I guess it also means you can be as experimental as you want to be in each realm, and that each can take really divergent paths.

Yeah, they don’t have to correlate at all, it is kind of like a split personality kind of deal!

How did the name A Tribe Called Haz come about? Is it just a moniker or is it more of a concept?

I’d say it is more of a concept. When I first started out, I called myself Postal Services, it was just something out of the blue, it didn’t need to make sense, I just didn’t want to put my name to what I was doing. That way you can do whatever you want, and I chose Postal Services. I ended up changing to A Tribe Called Haz obviously because of the hip-hop group A Tribe Called Quest, but also, back when I first started skateboarding, there was a guy and his name was A Tribe Called Steve, and I used to see that written everywhere, so I was like, I’ll see what I can do with this and it has just sort of stuck…

So, there is a lineage there, a reference outside of the obvious one that many people probably aren’t picking up on, a little bit a local/subcultural reference…

Yeah, like I never met the guy, but I could’ve been in the same place, who knows? That’s the cool thing about having a separate identity.

Your work clearly has a sense of humour, it’s often a pretty acerbic humour too. It comes through both in the imagery and in the visual style as well. Stylistically, how did you develop that rough, raw aesthetic? Is it a natural direction for you or have you refined it through exploration? And do you see it as an important part of the sense of humour of your work?

I think with my style and stuff, most of it is just natural. I think it is heavily graffiti influenced, big black outlines of stuff and lots of bright colours. I don’t try and sugar coat anything and visually I just try and make it as simple and as eye-catching as possible. Its not even that I’m trying to make other people laugh necessarily, I guess its kind of selfish in that I’m just painting things that make me laugh.

You mainly paint in acrylic, do the mediums you use play a big part in how you conceive of your work? Do you see a specific difference between using brushes and paint from spray cans?

It’s mainly acrylic. I’ve never touched watercolour. I’d like to branch out a little more. I’ve used a lot of Indian ink and I’ve recently started putting gloss finishes and all that kind of stuff on works as well. Yeah, I’d say the mediums I use are an important part of my work. I like acrylic because it is easy. Pretty much every can of spray paint is acrylic, so it goes hand in hand, it dries quickly, it’s easy to use, all that kind of jazz. I guess I also like acrylic because it doesn’t look like spray paint too.

There is a certain colour quality in your paintings, colours that are quite harsh, and applied in a certain way, quite flat and thick, is that all intentional to create a specific effect?

I like to think of my use of colours and how I put them on paper as kind of bulky, I am trying to make the images quite dense I guess.

Your images are a real mixture; scenes filled with strange going-ons, juxtaposed objects, pop culture references, phrases, mysterious characters, it seems like anything goes. But there is also a sense that whatever you are depicting, they can seem at once mysterious, obvious and filled with potential narratives that the viewer can unravel. How do you come up with your subject matter?

I like confusing people. I like making people think, and maybe if I can offend people, it would be good as well. I’m not really pushing the envelope at the moment with anything I’m doing, but I like that kind of stuff, I like controversy and really topical stuff. My pictures are just based on whatever comes into my head at the time, so they could be anything really, sometimes from my life, but other times just from crazy thoughts. I often do something and then think, this looks boring, I need to chuck some fun stuff in there, to sort of twist it. So that can make stuff pretty out there…

By working with controversial, confronting or bemusing imagery, are you trying to elicit a response from the viewer? To make them feel a certain way?

Yeah definitely. With controversy and people being offended by what they see, it’s all their choice, it doesn’t have to be what they make it out to be. Everything has got two sides to it, or even a third side coming from someone else’s point of view, nothing is the same to everyone…

If you can offend someone in some way, it also means they at least have to consider why they are offended, right?

Yeah, and maybe they can come around to see it from someone else’s point of view, and be like; actually, it’s not as bad as I think… Or maybe the more they look at it, the more they hate it, which is also fine. I just like getting reactions out of people, whether it is good or bad, you know, it is better than someone just looking at something and having no thought of it whatsoever. I would rather make something that someone looks at it and they might ponder on it, even if it’s in their head for a minute, it is still confronting them.

Does building play any influence in your work? Do you see a connection between the rigorous process of building something and the way you create a painting?

Yeah, well I see everything in layers, like you’ve got all your steps you go through to get a house to where it needs to be, and that’s the same with painting; you do your background, then you put whatever you want on top and then it’s just layering and layering. I think with building, it has made me think about other mediums and stuff, but apart from that I haven’t really taken those ideas too much further…

Have you thought about making three-dimensional work, actually building sculptural objects?

Not really, or at least it’s not on my radar at the moment, although I wouldn’t rule it out. In high school I did sculpture as a subject. I think I was in the last sculpture class that Hagley High ever had. I think I was one of the only students, there were three of us, but I was the only one in my year.

Untitled, Aerosol on a trampoline, 2018

How did you come to be a part of the RAD Collective?

I met Becca Barclay about a year ago. She was really good mates with my neighbour and one night we were having a party and one of my flatmates, knowing she is a graphic designer, was like: ‘Oh, Harry draws…’ She came and looked through some of my blackbooks and was like: ‘This is crazy!’ I didn’t really hear anything for a while and then we ended up hanging out a little bit, and she said: ‘I’ve got this idea, I want to get this collective going, I want to do something in Christchurch.’ Eventually we moved into a flat, and now I live with her and Jimirah, the other co-founder of the RAD.

Without the RAD Collective, what avenues would you have explored for your paintings? Would your work have stayed in the blackbooks, or were you trying to find ways to get your work out there anyway?

I think I would still be floating around not really having any sense of direction. It’s good having something to work for and towards. It gives you fuel for the fire. I’ve had so many opportunities so far because of my involvement in the RAD Collective. I think I’ve featured in three exhibitions. Without the RAD, my work would probably have still been in the blackbooks…

It feels like in post-quake Christchurch young creative people have been somewhat empowered to make things happen, and I feel like the influence of urban art is part of that too, just as a source of inspiration, or an alternative approach. In the past it seemed like a battle to get things off the ground unless you were exposed to the more traditional networks. Now it feels like there’s more willingness for people to come together and put things on, and people who may not have taken that step are now exploring new ways to get their work out there…

Yeah definitely, especially with the RAD, I see it as having kind of a do-it-yourself mentality. If no-one’s going to put your work out there, then you’re going to have to do it yourself. You are going to have to try a lot harder, but I think that as long as you’re doing something, you know, you can’t go wrong. So, yeah, I guess Christchurch does seem to have sparked up a bit more of a start-up attitude and things are happening that might not have happened before.

Has being in the RAD Collective inspired you to explore any new ideas?

Yeah, I’m starting to dabble in digital art, like everyone! At first, I was a little bit dubious about it all being on computer because you don’t get the same feel, you don’t get the same effects, all that kind of stuff, but it’s a lot more accessible. You don’t have to carry around your paint brushes everywhere, you can be sitting on the bus or whatever and just be smashing stuff out. I’ve been trying to get back into photography as well…

I feel like your work would translate well digitally, but photography is an interesting direction, because it feels a little at odds with your visual style. Are there any particular influences or interests there?

It’s a little bit of everything, just day to day life. I like urban nature as well… I guess I’m mostly influenced by skate photographers and people from that scene, like Ed Templeton, and even Moki (another member of the RAD Collective), I really like how raw his photos are.

In many ways we are all photographers now, not only do we all have access to cameras, but because of social media, we are also a lot more aware of how we compose and publish pictures. But a lot of people are embracing traditional elements of photography, inevitably inflected with the social nature of ‘everyday’ photography, but with more awareness of the process. Are you part of the movement to reclaim photography a little?

I wouldn’t say reclaim (laughs), but I do like the old school 35mm, all that sort of stuff. I think the digital side has helped with that change, because even though it’s pushed it out a little bit, it has also sort of brought it back, the digital technology kind of became a gateway back to the traditional stuff. It’s definitely a lot more popular than it was when they started bringing out digital cameras and all that sort of stuff…

Like millions of others, Instagram is a primary way for you to put your work out there online and to gain exposure. Do you feel like your work is able to operate as effectively within that digital realm as it does in an actual physical presence, or do you still make your work for people to see face to face?

Yeah definitely, I wouldn’t say it is made for Instagram, but I will do a painting, take a photo straight away and try and get it up so a lot more people will have access to it, as opposed there just being all these paintings sitting in my garage and I would have to ring people, and be like: ‘Yeah, come round and see what I’ve done…’

Do you ever hesitate before posting something, or are you pretty quick to put stuff online?

Nah, I don’t really edit my output, but I might give it a day or two before posting, so I’m giving different posts a bit of space, a bit of breathing room. I never use filters either, it is always a case of what you see is what you get.

A Tribe Called Haz painting at the RAD Collective event Under the Influence, Box Quarter, April 2018 [Photo credit: Lindsay Chan]

The RAD Collective recently held the exhibition Under the Influence, and you and a few other RAD Collective artists painted live on the night. I know you had some nerves about painting in front of a crowd, so how did you manage? Did you get your music playlist right?

Yeah, I was really nervous, but it did give me a good adrenaline rush for a couple of hours! I ended up listening to Powerglide by Rae Sremmurd and Juicy J on repeat for two and a half hours, that seemed to work…

So, you didn’t listen to Powerage!

Haha, yeah nah, no AC/DC that night. It was a really good turn out to the show though, I think everyone involved was really pleased with the reactions…

What else is on the horizon for A Tribe Called Haz?

My books are open! There is nothing concrete, but definitely more paintings and hopefully more walls. I need to hone the A Tribe Called Haz style for my wall work, but I’m keen to explore that…

Cheers man, keep up the good work…

Thanks very much…

Check out A Tribe Called Haz on Instagram:

@atribecalledhaz

Cover image photo credit: The RAD Collective