Hello 413 Local Gallery!

I recently caught up with Jay ‘Daken’ Skelton in advance of the opening of his new exhibition space 413 Local Gallery, based out of A.J. Creative Glass on Tuam Street. We sat down at Switch Espresso in New Brighton as he took a break from painting a wall in the café (featuring a gnarly giant octopus no less) to give us the low down on his vision for 413 Local, how it came about and what has inspired him in the process. The new space will open on October 4th with a group show of local artists, Hello Christchurch, a celebration of connections to and reflections upon the Garden City…

Jay, you are in the process of opening a new exhibition space, 413 Local Gallery, how did that opportunity come about and what approach will you be taking to shows?

I work with my parents, they own their own business, A.J. Creative Glass, and they came to me about three or four months ago and asked if I wanted to take part of the big showroom at the front of the store and turn it into a gallery space. They know that I have always wanted to do something like this, and like anyone in my position I guess, I jumped at the chance. So, now we are in the process of building walls that will make up this exhibition space and building towards our opening show. As the name suggests, I want people to represent their local, wherever they are from, whatever represents them as a person or as a community, and to show it through their art, whether that’s painting, drawing, sculpture, or any other medium…

Does that mean showing artists whose work explicitly deals in those themes, or encouraging artists to engage in such ideas through the shows the gallery will host?

I think it is a little bit of both. In the beginning, I want the first couple of shows to focus on local artists and to give them a stage to show their work, representing Christchurch obviously. But as we grow I would like to bring in people from other countries or different parts of the country and the work itself doesn’t have to be focused on where they are from, but I feel like any artist who makes art, there is a little bit of them that goes into it, you know what I mean?

That creates an interesting platform, what people or spaces have informed the gallery’s identity, because that idea of community might share a kinship with certain types of galleries, while your own experiences might suggest connections to other ‘art worlds’, particularly the rising kind of urban/low-fi scene that is growing in Christchurch…

There are a couple that come to mind straight off the bat. One is Fiksate obviously, everyone there has been super kind to me, and I’ve been part of shows there with so many different people from so many different backgrounds, it has been inspiring. Also my time at ARA, formerly CPIT, is still important to me, especially the experience of being in a classroom with really diverse classmates, like being one of only three males and the rest of the class were female, as well as the fact that people were all from different countries and backgrounds, that was definitely inspiring in terms of my relationships with people. I think people’s stories impact me a lot, and knowing what makes someone ‘them’ is so important…

You have a graffiti background, and I think you would also pretty proudly fly your ‘pop culture nerd’ flag as well…

Yep!

Do you think that those interests will influence the type of artists and work you show? I know we all like certain things and gravitate towards them in our expressions, so will your passions inform the identity of 413?

Definitely, but I’m actually looking at this space as a bit of a transformative moment for me. I have always done very bold, very colourful, graffiti, comic book, cartoonish stuff. I want to keep that, or at least keep some elements of that, but also, I want to add some more aspects, to try and bring my graffiti background into a more refined process. So yeah, I’m kind of like a butterfly, you know, I want to try and evolve…

 

Switch Espresso cafe table painted by Jay "Daken" Skelton, 2018.
Switch Espresso cafe table painted by Jay “Daken” Skelton, 2018.

To emerge from your cocoon, wings spread out! (Laughs)

Exactly! (Laughs)

There is a sense that there is much more freedom for artists to engage with a wider array of things. Are there any particular artists who have inspired that desire to evolve? For example, I’m such a fan of Revok and the directions he has gone in over time, from graffiti to process driven abstraction, is there anyone like that who has been an influence?

It’s funny that you say that, because Revok is someone I follow closely on Instagram, because I find it so interesting how far he has taken it, from being such a hardcore graffiti person to pretty much now doing straight up abstract art. Also, Chimp’s show Aliases at Fiksate, the jump that he talked about, how he was just a graffiti guy and now trying to go more into the contemporary area, I found that quite interesting. Off the top of my head though, it’s really hard to name people, there’s are heaps of people who influence me in that way!

Yeah, like, here’s a million things, pick three! (Laughs)

Yeah!

So, tell me more about Hello Christchurch, which opens on the 4th of October, who is involved and who are you excited about?

We have thirteen different artists, I think. We’ve got the likes of Porta (Clint Park), Uncle Harold, Josha Holland, Morepork, Louann Sidon, oh, and my dad’s in it! My dad growing up did a lot of art projects, but he never really committed to being an artist. He doesn’t consider himself an artist, but I think he is an artist. There is a whole bunch of people, and I’m looking forward to seeing all of them. They are all going to bring something different and exciting to the table.

The show’s title, and its expression of a connection to place, reflects what you talked about in your vision for the gallery. When you developed the idea for this show, what were you hoping to encourage artists to think about?

Hello Christchurch, it’s an opening, so it’s literally a ‘hello’. I guess I wanted people to look at where they live, and how it makes them happy, to think about the things that they see around and feel about Christchurch and how they put into those things into their art. I told everyone that they could do anything they wanted, use whatever material, as long as it relates back to Christchurch in some way, even if it is the smallest thing, just something that relates to Christchurch and what it means to them.

Have you had any previews of work yet?

Funnily enough, no! I have no idea what anyone is doing, except my best friend, who works at A.J. Creative Glass with me and is in the show, and my dad, they have kind of given me a rough idea of what they are doing, but I haven’t actually seen it! The only person’s work that I’ve seen is my own…

You are going to have about three weeks to hang everything from when you get the work, is that right?

Two weeks, I think…

What approach will you take to curating the show? A group show means you must honour individual works and give them space, but at the same time try and expose interesting links, even though the artists haven’t necessarily thought about how their work relates to others in the show, especially since you have given them such a broad allowance.

Yeah, I feel like it will be a bit of both really. You want the work to make its own statement, but at the same time it is a group show. But because I haven’t seen any of the work yet, I obviously don’t know how its going to work together. That’s kind of the challenge, it’s kind of the fun for me, finding out how things fit together. Figuring out how people connect, it’s the same thing as making the works connect, but on a visual level, you know what I mean? Colours really affect me a lot, I think about them all the time, so they will definitely affect how I group the work; what colours complement each other, which fight with each other…

I look forward to the show and to the gallery getting up and running and being a new voice in the city. It’s great to see a new space and a new energy, I can only assume you feel excited for the journey to begin…

Definitely, you know being part of the Christchurch art community has always been a really amazing feeling, it has always felt really supportive. I want to make someone else feel that, I want to be the support for someone else, and that I’ve been given the opportunity to do that is beyond awesome. A lot of people don’t get that opportunity, so I plan on making the best of it. I have been struggling at times, it has its ups and downs, but again, it is all part of the fun, it’s part of life!

Follow Daken on Instagram and Facebook

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Hello Christchurch opens at 7:00pm, Friday October 4th, at 413 Local Gallery, 413 Tuam Street.

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And That Was… August 2019

August might not have had the greatest weather, but it still provided a number of highlights that served as doses of sunshine, from exhibitions to the New Zealand International Film Festival. For good measure, I even managed a trip out of town to Wellington (it rained, but I got breakfast at Sweet Mother’s Kitchen, so I didn’t care), where you can always find something interesting while exploring. So, if you can get over the disappointment of not having a guest columnist this month, here is my personal top five from August 2019…

Chimp – Aliases 

Flier for Chimp's Aliases exhibtion at Fiksate, August 2019

Wellington artist Chimp was already familiar to Christchurch through his fantastic Justice and Emergency Services Precinct mural Organic Matters, and in August the city got a deeper insight into his evolving practice – the technical flourishes and superb detail of his mural work were joined by abstract forms and urban references in the body of work that formed Aliases. Chimp spent the week building up to the show in town and hanging out with the Fiksate crew, doing radio interviews and filming promo material, not to mention the busy opening night…

A Weekend in Wellington 

A Togo piece in central Wellington, August 2019
A Togo piece in central Wellington, August 2019

I heading up to the capital for a friend’s birthday party in early August, and it was a timely reminder of why a new environment can energise your appreciation of your own surrounding landscape. Following my nose and wandering down alleyways in central Wellington, punctuated with their amazing coffee and restaurants (thanks SMK, Burger Liquor and all!), I was refreshed and returned home determined to put in the footwork here with more regularity.

Martha: A Picture Movie 

The NZIFF had some amazing films on offer, but personally I was no more excited than to see the first feature documentary by the amazing Selina Miles (herself no stranger to Christchurch, having been part of the Rise and Spectrum shows), Martha – A Picture Story. The film explores the life and times of the legendary Martha Cooper, an iconic photographer of graffiti and urban art (amongst other bodies of work), who into her 70s, is still keeping up with the likes of the chaotic 1UP Crew on train missions! As I settled into my seat at Lumiere on a Monday lunchtime, I realised the crowd were largely a similar age to Martha, so here’s hoping there were some inspired viewers!

Fiksate presents Glen 

Fiksate's Glen installation, part of the Winter Wander presented by Glitterbox Pursuits, The Terrace, August 2019
Fiksate’s Glen installation, part of the Winter Wander presented by Glitterbox Pursuits, The Terrace, August 2019

While it was completed in late July, Glen, an installation by the Fiksate crew in The Terrace for GlitterBox Pursuits’ Winter Wander project was officially on view through August, so it fits in this month’s list. An abstract painting come to life, the space was filled with cut outs and changing lighting. Rumour has it Glen may or may not have been inspired by a namesake encountered at a festival, you decide…

“Cars are for Chumps”

Cars are for Chumps, unknown writer, central Christchurch, August 2019
Cars are for Chumps, unknown writer, central Christchurch, August 2019

What would this list be without some cheeky urban inscription? This was a personal favourite in August, from the legible form, to the content of the message, the seemingly impossible height, and the ellipsis ending, what’s not to like? Shout out to the writer (Setle?) and shout out to the walkers, skaters and cyclists, and to the city’s cycle lanes, who seemingly upset so many people to a disproportionate level…

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And That Was… July 2019 (with Aaron P.K.)

O.K., first of all, apologies for this month’s And That Was… entry being so late (total blame at my feet, but let’s not get into that), but, as they say, better late than never! This month I asked the man about town himself, graffiti artist and photographer Aaron P.K. to run down a list of things that he enjoyed in Christchurch through the wintery month of July. Exactly as I had hoped for, he came back with a collection that touched on so many elements of Christchurch urban (and suburban) life; from small eateries, to the Christchurch Arts Festival and local music, and, of course, graffiti and street art. So, let’s see what made Aaron P.K.’s July…

Wild Dogs Under My Skirt/Christchurch Arts Festival

Posters for the 2019 Christchurch Arts Festival, including the stage production of Tusiata Avia’s Wild Dogs Under My Skirt. (Photo Credit: Aaron P.K.)

 I was blessed to be given a ticket to Wild Dogs Under My Skirt, a theatre show based on the book of the same name by Christchurch poet Tusiata Avia that featured as a part of the Christchurch Arts Festival. It’s about Samoan womanhood, and it was both heavy and humorous, leaving me amazed. They did an awesome job with this year’s Arts Festival, with a huge amount of local artists, I wish I could have caught more of it.

Kool Aid – Family Portrait EP

Violet French's artwork for the cover of Kool Aid's Family Portrait EP (2019)
Violet French’s artwork for the cover of Kool Aid’s Family Portrait EP (2019)

Christchurch band Kool Aid released an album, titled Family Portrait, in July and it’s really good. Listen to it here https://koolaidnz.bandcamp.com/ or you want a hard copy, buy the cassette at Ride On Super Sound.

Adventure Time

(Photo Credit: Aaron P.K.)
(Photo Credit: Aaron P.K.)

For a while I’d started to think Christchurch had ran out of neglected spaces where you could have a leisurely afternoon walk around and feel somewhat alone. This month I’ve been doing a lot of walking off the beaten path then down the goat trail and it’s been pretty rewarding…

Chanakya’s Dal Spinach

Chanakya in New Brighton (picture from Chanakya's website)
Chanakya in New Brighton (picture from Chanakya’s website)

I’ve been coming to Chanakya for a few years now. There’s always something new to try and in July I had their Dal Spinach for the first time and it’s now my favorite. They’re a small South Indian restaurant down the same alleyway as Bin Inn in New Brighton Mall and they’re definitely worth a trip out from Lyttelton…

Cathedral Junction Stickers

Stickers adorning a street sign in Cathedral Junction. (Photo Credit: Aaron P.K.)
Stickers adorning a street sign in Cathedral Junction. (Photo Credit: Aaron P.K.)

I would have liked to have featured something a bit better in the graffiti/urban observation genre. Whenever I’ve seen something cool I haven’t thought to take a picture of it, but I did manage to snap this. It’s been quite a long month so it’s hard to recall what’s been popping up but I’ve enjoyed seeing what the new generation AOC have been up to. And Oink, Oink’s cool as well!

Follow Aaron P.K on Instagram: @aaron.p.k

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And That Was… June 2019

This month’s contributor to our And That Was… series is Christchurch artist Uncle Harold (also known as Josh Bradshaw). Known for his dripping constructions, including a recent body of nostalgic 90s cartoon characters, reimagined with melted and warped glitches, Uncle Harold took the opportunity to follow a slightly different path to our previous lists. Regularly crossing the city on foot or skateboard, Uncle Harold is a keen observer of the quirks of our cityscape. As a result, his June recap is less about events and examples of public art, and more about small details, things often overlooked by others, but that left some type of impression on his daily experiences. As he explains, these are not things “I intentionally set out to find”, these are things that “just happened to catch my eye on my daily walk to and from town, to work and the studio.” So, what caught Uncle Harold’s eye during the month of June?

Pikachu

A chalk drawing of Pokemon character Pikachu on a restaurant menu board.

Do you ever accidentally keep making eye contact with someone for way too long? That was me and this chalk Pikachu drawing on a sign for a Cathedral Junction restaurant. I walked past this at least twice a day, every day. I have never walked through and not stared at him. Eye contact. Every. Single. Time.

“I Want Death Please”

Blue graffiti styled writing declaring "I want death please" on an urban surface.

I’ve always liked this kind of graffiti. Half of the time it is not so much the tag itself, but the backstory I can instantly conjure up: the what, when, who and how that brought about its existence. It just so happens that in this case, I really do like the style as well, so it’s a win-win.

PKAY

A PKAY tag on a large wall in central Christchurch.

Even if you aren’t familiar with this tag, I guarantee that you have seen it at least a million times without realising. I’m always on the lookout for new tags. I picked this one because I almost didn’t see it. On a fifty-metre long, plain grey wall, this little tag sits right in the middle. Having all the space in the world, this little guy hides perfectly in plain sight. Genius.

ZIG ‘Ski Mask’ sticker

A hand drawn sticker by ZIG, featuring a ski mask wearing character.

I’ve always had a soft spot for stickers. From getting free stickers as a kid from skate shops, to now making my own, I often stop to check out sticker spots around town. I had just been given some stickers from ZIG the same day I spied this guy on my way home from work. Sketchy ski mask guy. How could you not love it? ZIG’s stickers are cool.

Grace

A piece of paper featuring nice things written about an unknown person by the name of Grace...

Again, I chose this one because of the complete lack of context and the imaginary backstory that it allows me to create. Who is Grace? Did this card ever reach her before it was lost? Does Grace know her friend loves that she is a “cute animal lover”? These questions, paired with the epic illustrations, ensured that I thought about his card way more than I should have. It was a no-brainer to go into my top 5.

Follow Uncle Harold:

Facebook: @thejournalofuncleharold

Instagram: @thejournalofuncleharold

Web: https://www.thejournalofuncleharold.com/

And while you are at it, check out our interview with Uncle Harold from February 2018 here

 

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And That Was… April 2019

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…

  1. 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.

Hambone, Christchurch, 2019 (photo credit: Gavin Fantastic)
Hambone, Christchurch, 2019 (photo credit: Gavin Fantastic)
Hambone, Hereford Street, Christchurch, 2019 (photo credit: Gavin Fantastic)
Hambone, Hereford Street, Christchurch, 2019 (photo credit: Gavin Fantastic)
  1. Go Hard or Go Home

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.

VESYL, YMCA, Hereford Street, Christchurch, 2019 (photo credit: Gavin Fantastic)
VESYL, YMCA, Hereford Street, Christchurch, 2019 (photo credit: Gavin Fantastic)
VROD, Christchurch, 2019 (photo credit: Gavin Fantastic)
VROD, Christchurch, 2019 (photo credit: Gavin Fantastic)
  1. International Visitors

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.

RESR47, Hereford Street, Christchurch, 2019 (photo credit: Gavin Fantastic)
RESR47, Hereford Street, Christchurch, 2019 (photo credit: Gavin Fantastic)
DESUR, YMCA, Hereford Street, Christchurch, 2019, (photo credit:  Gavin Fantastic)
DESUR, YMCA, Hereford Street, Christchurch, 2019, (photo credit: Gavin Fantastic)
DESUR, Christchurch, 2019 (photo credit: Gavin Fantastic)
DESUR, Christchurch, 2019 (photo credit: Gavin Fantastic)
  1. Jacob Yikes Pop-Up

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)
Jacob Yikes’ pop-up shop, High Street, central Christchurch, 2019 (photo credit: Gavin Fantastic)
  1. 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.

Yikes and Ikarus, Jungle tributes, Christchurch, 2019 (photo credit: Gavin Fantastic)
Yikes and Ikarus, Jungle tributes, Christchurch, 2019 (photo credit: Gavin Fantastic)

Follow Gavin on Instagram (@rubblecity), and keep an eye out for more guest contributors in the coming months…

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Jacob Root – Distranged at the XCHC

Over a year ago, we profiled young stencil artist Jacob Root, otherwise known as Distranged Design. In that interview we discussed his entrance into the world of stencil making, his experiences in group shows, and his goals for the future. On Saturday, at the XCHC, he presents his first solo exhibition of work, Distranged. We caught up with Jacob to discuss the show, how it came together and how his practice hs developed in various ways since we last sat down…

Jacob, it has been a while since we last caught up, what’s been happening?

I have just been getting more and more into my stencil work, adding more layers, more details, just practice, practice, and more practice. I’ve done a couple more murals as well. But really just getting to grips with the finer details in my work…

Are there still some specific influences who are helping to define your style and technique? Or are you focussing on developing a sense of independence?

I feel like I’ve found my own way and grown my own style now. I am sort of adding my own feelings and influences, through movies and music and stuff like that. I’m liking that a lot more because I’m not taking little bits of people’s stuff trying to find my way…

I guess most stencil artists, as they develop, need to reconcile the balance between process and imagery. Is one more prominent than the other for you?

I think just finding an image and seeing if I can change it into my own style is quite cool. I am adding more of my own details to the stencil image, like adding flowers and things like that to the hair, trying to find a different way so it doesn’t look like every other stencil artist’s work.

Jacob Root painting Biggie Smalls at a private residence, 2018
Jacob Root painting Biggie Smalls, Debacle Flat, Dunedin, 2018

With that said, is there anyone whose work you really admire?

My favourite artist currently would probably be Tristan Eaton, I just like how his stuff has so much going on. It’s not just a face, it’s got heaps of other different details in it, details that some people would never even notice…

So, his influence is more about the construction of images than stylistically? Because his graphic style isn’t quite suitable for stencilling…

J: Yeah, definitely, I just like how his stuff isn’t hard blocks of lines and stuff it all kind of flows really nicely, which is something I’m trying to add to my work, not look like a background with something hard on top of it…

Tristan Eaton is a good reference actually, as he shifts between smaller scale studio work and his large-scale murals. Having spent a fair amount of your time in a studio space recently, are you finding that as a prefered site to explore and define your style, or are wall works and murals still a chance to push your work and experiment with new ideas as well?

The studio is great. I’ve just moved into a flat, so I have a whole garage now, which is better than a wee shed. I can do bigger pieces and paint over them if they don’t work, so it’s just practicing, practicing, practicing, finalising new ideas and adding to them…

Jacob Root's studio, 2019
Jacob Root’s studio, 2019

What mural works have you completed recently?

My last mural was the Gloucester Street mural of the new Christchurch Synagogue, which was cool, but it was all hand painted and the people who commissioned it had a specific design in mind, so it wasn’t something I’d probably do again. But after my exhibition, I’m looking forward to doing a few more murals of my own designs…

Christchurch Synagogue mural, Gloucester Street, 2019
Christchurch Synagogue mural, Gloucester Street, 2019

Your mural works have progressively gotten larger, especially from the smaller Chorus boxes you painted early on, what has that process been like? Do you want to explore the potential to go even bigger?

Yeah, I’m pretty keen to do something similar to the Synagogue piece in size, except with stencils. It is just finding a way of doing that, finding a good routine or whatever. But I think the bigger the wall, the easier it is to crank it out because the stencils don’t need that much detail, the viewpoint is from further away…

The main reason we are sitting down today is to talk about the show you have coming up at the XCHC, Distranged. Tell us a little bit about the show and how it came together…

This is my first solo show. I got asked by the XCHC if I would like to host it there, so they’ve been really cool about organising it. They’ve helped out a lot, which is really cool, and made it a whole lot easier for my first show. It’s a bit scary. I’m a bit nervous, but it has been cool getting to spend three weeks in the studio just cranking out pieces for it…

You have had works in group shows, at places like The Welder and CoCA, did you have to sit down and think about what a solo show might say as a body of work, as opposed to a singular contribution to something?

I’ve kind of been thinking about how to take my art to the next level, and I thought a solo show would be a good way to go about it because with group shows, most of the people who are going to them are looking at the top artists, they didn’t really come for my work. With this show, people are coming to see my work, which is pretty cool.

That raises the question around promotion and how you go about getting your name and this show in particular, out there. How have you found that side of it?

I’ve been making posters and posting everywhere on social media, getting friends to put them up all over the place, things like that. My family and friends have been helping out a lot as well, telling their friends and their friends’ friends about it, which has been pretty cool. It’s been a pretty fun journey so far.

I saw the short teaser video that went online, it looked great. How was that experience of putting that together?

It was cool!

Did it take a bit of time to get used to being told to do things for the camera?

Yeah, it was different being told what do, just sitting there, clinking cans together and stuff, it was pretty funny. But I quite liked how it turned out. I’m definitely keen to do more of that.

So, will that video become something bigger, or was it just a teaser for the show?

At the moment it is just a teaser, but we are looking into doing a longer ‘short film’ in the future.

Is there a discernible theme to Distranged? Is it an exploration of certain images, or is it an exploration of your style?

It’s kind of both; it’s an exploration of my style along with images of celebrities. I enjoy painting celebrities, mainly female celebrities, just because I feel they make for more interesting images.

Pink, aerosol and mixed media, 2019
Pink, aerosol and mixed media, 2019

Within that idea of ‘celebrity’, is there a commentary that comes with that? Is it a straight-forward celebration of these personalities, or a sort of critique of the cult and reverence of celebrity in today’s society?

I quite like how not everyone is going to like the same celebrity. I quite like the conflict between that, where someone might say, I really like that piece of Scarlett Johansson, and then somebody might walk in and not like it at all, I quite like how it differentiates from other people’s perspectives, depending on their perception of that celebrity.

What about the collusion between the chosen subject and the stylistic depiction? You’ve talked a lot about developing your own style, but is there also an attempt to infuse stylistic flourishes that relate to the figure you have selected to paint?

I do some research on them, and I pick out what colours they might wear, their passions and things like that, then I add those elements into the background. I’ve just done a Karl Lagerfield piece and that’s fully gold, because he was renowned for his use of gold and black, and then I added a couple of quotes in there too. I’ve been trying to hide quotes in the backgrounds of a lot of my works, they don’t stick out or anything, but I know they are there. They are more something for me, I guess…

Untitled, aerosol and mixed media, 2019
Untitled, aerosol and mixed media, 2019

Are they stencilled or freehand?

They are stencilled.

Because last time we talked, we discussed the backgrounds of your work at that time and the construction of this kind of urban surface that you then stencilled over the top. You have also been using a lot more materials, like gold leaf, so there has obviously been a bit of development of those background compositions…

Compared to where I started, with lots of random colours and stuff, I feel like I have refined my colour palette, I have also added acrylics, crayons, heaps of different media in the backgrounds. I just keep going until I’ve cut the stencils basically, and then I have a go at it and if I don’t like the background, I will just start again.

Kit Harrington, aerosol and mixed media, 2019
Untitled, aerosol and mixed media, 2019

What’s going to determine the success of this show for you? What’s the best outcome? Is it about selling works, or is it about going through the process and figuring out what it takes to put this type of thing together?

I’m just pretty stoked that I’m able to do a solo show. I’m just happy that I’m giving it a go. It’s not really about selling works, it’s about people seeing my work.

I always like to ask, because we’ve talked about the studio works and some of the commissioned murals, is there any desire to do any guerrilla street stuff?

I was thinking about, not like Banksy-style, but just some little singular stencils around the place. But that is something I will probably look at in the future, just little bits here and there, but I won’t put my name on them…

You like the idea of maintaining some secrecy? I will keep an eye out! Do you view your stencil plates as kind of works themselves? Obviously, they are an integral part of the process, but the audience doesn’t really get to see them, yet they can often be really interesting…

I have thought about framing stencils before. I’ve had a few people ask if they can have the stencil plates with the artwork after I’ve sold it, but I think that’s more because they don’t want it remade. But most of my stencils are just a one-time spray, then they are munted after that because they start peeling and stuff. I’m trying to find a way of making stencils last longer…

Let everybody know the details of Distranged

It opens on Saturday the 13th of April, at 5pm at the XCHC on Wilsons Road in Waltham. It will go for a week, but the opening night is the one I’m looking forward to the most. I also have to thank the people who have helped put it together, including the XCHC, Scapegrace, HireKing, and 27Seconds…

Thanks for sitting down, I look forward to seeing the show…

Follow Jacob on social media:

Instagram: @distrangeddesign

Facebook: @Distrangeddesign

 

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And that was… March 2019

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)
Dcypher, Jungle tribute, Los Angeles (photo credit: Dcypher)
Ikarus and Wongi 'Freak' Wilson, Jungle Tribute, Sydenham (photo credit: Millie Garrett-Peate)
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 City
Dmonk, This is Your Home…, Central City
We Stand As One poster, central city, Christchurch
We 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
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
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

Edo Rath, Manchester Street, Christchurch, 2019
Edo Rath, Manchester Street, Christchurch, 2019
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And that was… February 2019

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…

  1. 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
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…

  1. Style Walls 2019
Competitors in the middle of battle for Style Walls 2019, Lichfield Street.
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…

  1. 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…

  1. Who is that Lurq-ing?
Lurq, Hereford Street
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…

  1. Dove and Wongi – Bode tribute
Wongi 'Freak' Wilson and Dove, Bode colab, Hereford Street
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.

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And that was… January 2019

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…):

  1. Face Value @ Fiksate Gallery

Face Value Promotional Poster

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.

  1. 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.
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.

  1. Macadam Monkey chills in North Beach
Macadam Monkey's North Beach and Chill wall, Marine Parade, 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…).

  1. Juse1, VRod and Torch in New Brighton
Juse1's B-Boy chilling 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…

  1. 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.

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Face Value at Fiksate Studio & Gallery

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…

Facebook: Fiksate Studio & Gallery

Insta: @fiksate_gallery

Web: http://www.fiksate.com/

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