I’ve never really trusted August as a month. I know, it sounds silly, but its a tricky month. It is at the end of Winter and is cold and wet (more other than not), which means a constant struggle with not being able to wear t-shirts more consistently. And it’s place in the calendar means you can only reflect on how much of the year has passed you by. It isn’t helped by the imposter syndrome – you know, being a renamed month in the Gregorian calendar and all… I guess I’m just skeptical. Luckily, there have been some cool happenings, discoveries and teases this August to supersede this lingering distrust and warm my apparently cold heart just enough to be ready for the arrival of Spring and the goodness I’m sure we will find in the coming weeks and months… So, here’s what we loved last month…
Jessie Rawcliffe’s Spotlight Projection
Not the last mention of the Spotlight project in this list, but Jessie Rawcliffe‘s haunting animated image was a perfect start to the new iteration of the projection series. The rotating image (each frame individually rendered by the artist) alternated between a strong female portrait and a hooded red skull – an evocative contrast that illuminated Rawcliffe’s exquisite illustrative talent.
Ghostcat’s Leave No Trace Trail
Ghostcat‘s Ghosts on Every Cornerproject will encompass a range of elements: an exhibition, a book, and a public art trail. The first installation of the latter went up in August, a tribute to a true Lyttelton icon. On the corner of London Street, the small red and yellow frontage of the famous Volcano Cafe is strapped to a lamppost, just metres from the home of now fallen building. A loving memorial, this is just the first of a series of works that will pay homage to the places and spaces that made Ōtautahi Christchurch, well, Ōtautahi Christchurch…
River Jayden’s Te Tihi o Kahukura for the Spotlight Series
The second work from the Spotlight series to appear in August was River Jayden‘s stunning Te Tihi o Kahukura – a contemporary piece of toi Māori, brightly coloured and alive with subtle movement. The animation appeared like water, shimmering on the wall of Te Pae and, just like its namesake Kahukura, bringing light, colour and beauty to its surroundings.
Rock Art in the Hurunui
We were lucky enough to visit a site of Māori rock art in the Hurunui District in August. A fascinating collection of iconography (apparently painted over in emulsifying paint in the early twentieth-century), it shows the long lineage of decorating our physical spaces in acts of communication, of expression and of existence. Found on private land, the rock art is not readily accessible, but is an important piece of history.
TMD x CCC
Talk about an iconic collaboration – in August we found out about this project bringing together legendary New Zealand clothing brand Canterbury Clothing Company (CCC) and urban art heavyweights, Tāmaki Makaurau crew TMD. The tough Terrain range is perfect for the urban adventurer and the upcoming collab is sure to be fire! (Image from https://www.canterburynz.com.au/terrain-i454)
That’s the list of our favourite things from August 2023 – what were some of your highlights? Let us know!
The second work of our Spotlight 2.0 series is now live and illuminating the exterior of Te Pae – Christchurch Convention Centre with vibrant light and alluring movement. Artist River Jayden‘s stunning Te Tihi o Kahukura showcases the beauty of toi Māori, while adding a bright contemporary twist. Jayden explains that ‘Te Tihi o Kahukura’ translates to ‘The Citadel of Kahukura’ or the pinnacle of the rainbow. In te reo Māori, Kahukura is one of the names given for a rainbow, and it is said, specifically the arch of a rainbow. Te Tihi o Kahukura is also the first name of Castle Rock, the famous outcrop on Summit Road. Kahukura, a spirit guardian, is an important figure in the Kāi Tahu (Ngāi Tahu) creation story. To Kāi Tahu, Kahukura is an atua (god) and the decorator of the whenua (land), bringing light, colour and beauty to all surroundings. Jayden’s work acknowledges Kāi Tahu as mana whenua, while emphasizing the importance of Kāi Tahu oral traditions and Mātauranga Māori (Māori knowledge). Drawing on traditional design elements and employing strong line work, the bold use of colour, essentially neon-like, adds a contemporary flair. Nicholas Keyse’s slow, understated animation, including a blinking eye and fluid movement, imbues Jayden’s work with a calm, yet fascinating quality, drawing the viewer in. Te Tihi o Kahukura is visible from distance, a beacon calling forth and reflecting our region’s history, beauty and future.
River Jayden (Ngāti Tahu – Ngāti Whaoa, Ngāti Tuwharetoa & Ngāti Maaniapoto) is a painter and graphic designer who uses traditional Māori toi (art) and design within a contemporary context. Te Tihi o Kahukura was developed with support from digital artist Nicholas Keyse, founder of Immersive Reality Ltd.
Spotlight 2.0 shines a light on four talented female Ōtautahi artists, giving their work a new platform, projecting animated pieces on the exterior of Te Pae. With a diverse range of artists, displaying unique visual and thematic interests, Spotlight 2.0 illuminates our powerful creative communities and raises new possibilities in the cityscape. Spotlight 2.0 is supported by ChristchurchNZ and the Hine te Hiringa – Empower Women Utilising FIFA Women’s World Cup 2023 Fund to help celebrate and empower women.
We now proudly present the second iteration of the Spotlight project, again supported by ChristchurchNZ, this time highlighting four talented female artists from Ōtautahi. Made possible by the Hine te Hiringa – Empower Women Utilising FIFA Women’s World Cup 2023 Fund, this series of digital works will highlight the diverse practices of the artists, giving a new dimension to their work through scale, animation and light.
The first projection is a haunting rotation by multi-disciplinary Jessie Rawcliffe. Painstakingly creating each frame, Rawcliffe’s work is a study in craft and the understanding of movement, a new approach for the artist. The individual aspect of each image, pieced together with help from Immersive Reality’s Nicholas Keyse, heightens the recognition of each mark, the hand of the artist made evident even in the digital render. The effect is painterly and human, a quality that is also found in the portrait-based subject. The slowly-moving image transitions from a female face to a hooded red skull, an evocative juxtaposition made even more powerful by the almost emotionless expression. This figure is an archetype, allowing the audience to reflect on their own experiences, and ultimately, mortality.
With a quicker rotation of works in this series, stay tuned for the next projection. The remaining artists, River Jayden, Bloom and Jimirah Baliza will be featured in the coming weeks. To see the Spotlight works in person, head to the intersection of Colombo and Gloucester Streets after dark.
Living in the South Island of Aotearoa, American band The Decemberists’ song July, July was always confusing, the upbeat tempo a far cry from the rainy cold I was surrounded by. Likewise, this time of year can often feel loaded with FOMO, the Northern Hemisphere, bathed in warm weather (in some cases too warm, thanks to the effects of climate change), is hosting festivals and festive projects, t-shirts and sun hats abound. But to dream of elsewhere is to ignore the charms of our own surroundings – and to be sure, we had some great things going on – and, of course, we all know the sun is not far away! With that anticipatory feeling in mind, here are five things that we loved this July…
The Street Art Flea Market @ The Mid Winter Session
Tāmaki Makaurau and Aotearoa urban art legend Component opened his first solo show in eight years, and first Ōtautahi exhibition, Living in a Loop, at Fiksate Gallery at the end of July. A wet Friday night (yes, there is a theme here) didn’t deter a healthy crowd from checking out the beautifully executed stencil works, many on alluringly distressed signs. A timely reflection on a range of social concerns, Living in a Loop displayed all of the traits that have made Component one of the most important figures in Aotearoa’s street art history.
Tīrama Mai @ Victoria Square
Tīrama Mai celebrated Matariki in Victoria Square with an array of light installations and productions, a lively way to warm up on a chilly July (there’s that theme again!). With creative uses of space and light ton tell a variety of indigenous narratives, Tīrama Mai is becoming an annual highlight of Matariki in Ōtautahi.
Jessie Rawcliffe kicks off the new Spotlight Project
We have already seen two Spotlight activations on the side of Te Pae – Christchurch Convention Centre, with Jacob Yikes and Dcypher’s work projected on the famous building, but now, local painter and illustrator Jessie Rawcliffe has kicked off a new iteration, with a celebratory focus on local female creatives! Supported by the Hine te Hiringa – Empowering Women fund and ChristchurchNZ, the next few months will see four talented wahine artists’ works projected onto Te Pae. Rawcliffe’s initial work, a haunting, painstakingly crafted rotation of a female face (with a surprise twist), is first up and you need to get down to Gloucester Street to see it for yourself…
Barbenheimer
What else could we finish on but the cinematic event of 2023! Whether you fall on the side of the iconic Mattel toy or the theoretical physicist, it truly is a pop culture moment!
These things made our July as sunny as any Northern Hemisphere summer, what would you add? Let us know in the comments!
Tāmaki Makaurau’s Component opened his first solo show in eight years, and first in Ōtautahi, at Fiksate Gallery on Friday, 28th July, giving Christchurch residents the chance to see one of Aotearoa’s most accomplished street artist’s work in the flesh. A founding member of the Cut Collective, Component has long been at the forefront of stencil art in New Zealand, his technical virtuosity matched with a social message that recognises the public status of urban art. Living in a Loop continued this direction, beautifully painted stencils on an array of found and recovered surfaces drawing on the monotony and complexities of life over the last few tumultuous years. From pandemics to migration, innocence to cynicism, Component’s work captures a sense of the now, all through a lens of an art form with a much longer lineage…
The Viral Huntress, 2023A good crowd gathered at Fiksate Gallery for Living in a LoopWhile it may have been cold outside, the good vibes warmed every up…Desensitised to the State of War, 2023The Liberation Equation, 2023Hope’s Silent Echo, 2023Digital Refuge, 2023
If you have an event or exhibition coming up – let us know by emailing hello@watchthisspace.org.nz
Winter is coming… Annnddd it’s here. Just like that the dark nights got colder and the rain more persistent. I guess I shouldn’t be surprised, it happens every year, but it is still somewhat jarring when it creeps up on you, seemingly out of the blue each year. Undeniably, June is a quieter month given these circumstances, but that isn’t to say there aren’t things to celebrate, whether it is little treats of street pizza (IYKYK), or treasures to be enjoyed inside the warm confines of home. This month’s And That Was… is a compilation of the things that have kept us warm and fuzzy in the grey climes…
Dcypher x Immersive Reality for the Spotlight Project
Following up from Jacob Yikes and Immersive Reality‘s first projection piece, Dcypher and Nicholas Keyse’s work, an animation of Dcypher’s Welcome to the City illustration brought a graphic, mysterious celebration of the city’s overlooked spaces to the Te Pae Christchurch Convention Centre wall. A roving adventure that acknowledges the way graffiti and skateboarding subcultures find possibility in the urban jungle, Welcome to the City suggests our surrounding environment is a stage for exploration…
Dr Suits X Cameron Hunt
This shot of Dr Suits‘ geometric mural at the Giant Cans space on St Asaph Street, taken by Cameron Hunt is a stunning view of a work that is not easily seen in totality. Capturing the full composition, this is evidence of the multiple profiles of artworks and the perception of our surroundings…
Boost Ōtautahi Launch @ Te Puna O Waiwhetu – Christchurch Art Gallery
We got along to Te Puna O Waiwhetu at the beginning of June to celebrate the range of projects fundraising via The Arts Foundation’s Boosted platform. A massive task, it was great to see the support and hear the pitches from those passionate about bringing projects to life – special shout out to our pal Bloom and her Ōtautahi Urban Gardener project!
TOYOTA – No Peace, People Mover
New music from electronic duo TOYOTA provided some driving rhythm (shitty pun alert) for June… Check out their new release, the four track EP No Peace, People Mover on Spotify…
I Think You Should Leave Season Three
I’m going to finish with my favourite thing on television – Tim Robinson’s I Think You Should Leave – a Netflix sketch comedy show that is all about awkward situations that escalate to insane amounts of cringe. I wasn’t sure anything would top the Sloppy Steaks/Dangerous Nights Crew (“this baby doesn’t think people can change”) and Brian’s Hat skits (“I’ve never fought for anything in my entire life. I’m fighting for this hat”) from previous seasons, but the first episode drops the Zip Line/Summer Lovin’ sketch and I know I can’t leave…
These were some of our favourite things in June, what about you? Let us know what kept you warm in July…
Friday, 18th February saw the opening of the collaborative exhibition Liminal Beings – a collection of work by Jonny Waters, Dark Ballad (Joe Clark) and teethlikescrewdrivers at TyanHAUS. While the mix may not seem like an obvious one, the infusion of pop and urban culture – from Dark Ballad’s skateboard decks referencing iconic cinema (the carpet of the Overlook Hotel a particular favourite), to Waters’ remixed album cover paintings and, of course, teethlikescrewdrivers’ treasure trove of repurposed objects, from old maps to place mats, cricket bats and more, provided a sense of chaotic unity. The placement of each artists’ work interspersed rather than delineated into separate sections added to the overall effect. With aspects of typography, punky, gestural expressionism, and clean, graphic design work, Liminal Beings had something for everyone. We headed along to check it out…
Nothing like a doodle board when you are inspired…Rather than each artist having a defined space, all three artists’ works were intermingled through the space…teethlikescrewdrivers, 2023teethlikescrewdrivers, The Kaikouras, 2023Jonny Waters, Electric Warrior, 2023Jonny Waters, London Calling, 2023Dark Ballad, The Terminator, 2023Dark Ballad, The Shining, 2023
If you have a show coming up, please let us know – email hello@watchthisspace.org.nz or contact us on social media @watchthisspacechch and we can share your creative goodness!
I love Ōtautahi, but I also enjoy getting away. Admittedly, the serene greenery of Aotearoa often plays second fiddle to paint covered urban walls when it comes to my preferred haunts, so it is no surprise that my postcards generally come from our larger cities, this time, Auckland. Tāmaki Makaurau always provides a stark reminder of the differences between Aotearoa’s biggest metropolis and our own smaller city. Personally, it is the size difference that is always the most striking, traversing Christchurch can be taken for granted. Staying in different pockets of Auckland each trip means encounters with fresh pieces of street art, from Karangahape Road to Dominion Road, the central city to Avondale, there are distinct features to be found on the various streets and blocks. Our recent trip north was based in Grey Lynn, but also allowed for visits to a range of places, such as the iconic Powerstation, the Auckland Art Gallery – Toi o Tāmaki, the laneways of the central city and more. We thought we should share some of our favourite finds, from the monumental to the overlooked, from recognisable creatives to newfound names…
Owen Dippie’s Hine (2015) greeted us over the surrounding greenery as we arrived…While we also caught what remains of Elliot Francis Stewart’s blue work at the beginning of Karangahape Road… Unknown artistSeems fair… (Unknown artist)A Gary Silipa skull slap is always a good findA doorway anime stencil by an unknown artist on Queen StreetOscar Low’s unmistakable style on display in the central city Not sure if this is for or against… Perfect placement at a bus stop though…I couldn’t help but include this JACY tagHaus of Flox and Eyes on Fire gallery feature work by Flox and Sweats at the entrance…Where do you start? It’s a thing of beauty…A slick Cut Collective piece in PonsonbyA weathered Levi Hawken BLM concrete piece was a nice find tooRonnie van Hout’s Boy Walking looked pretty cool at night as we passed Potter’s ParkPaul X Walsh’s Edie let’s you know where you are…I’d agree, I love some tofu…Drips are always a winner in my book…
Do you have any favourite pieces of Auckland street art? Share your photos on our social media!
November brought BIG news – almost 10 years after the landmark Rise exhibition, Canterbury Museum will stage SHIFT – an urban art takeover of the iconic institution and a final hurrah to the building before redevelopment. But, this exciting news isn’t all that made November memorable! From international rock stars to small street art, summer is shaping up to be exciting!
SHIFT – Urban Art Takeover @ Canterbury Museum
Perhaps the biggest news of November was the announcement of SHIFT – Urban Art Takeover – a massive artistic takeover of the Museum, with over 50 artists transforming 5 floors of the iconic cultural institution! A completely unique exhibition, this is sure to be an unprecedented event!
Dcypher @ Chiwahwah
A fresh new work appeared along the lively Terrace strip in the central city in November, with a striking Mexican-inspired anamorphic mural by local legend Dcypher on Chiwahwah Cantina’s exterior wall. The mural stretches along the wall and is best viewed from a specific vantage point – make sure you find it!
Ikarus goes small…
Dcypher’s DTR crewmate was also busy, but at a different scale, with a series of small urban diorama’s covertly placed around the city. The grimy settings like tiny stage sets that blend into the surrounding environment.
Archetypes @Fiksate
Archetypes, a collaborative show by Dr Suits and Jessie Rawcliffe ran through November at Fiksate Gallery. The alluring paintings combine Rawcliffe’s stunningly meticulous portraits with Dr Suits’ dynamic abstraction, the results forming a beautiful suite of works that illuminated new readings of each artist.
Klaudia Bartos @ TyanHAUS
Another exhibition that we loved in November was Klaudia Bartos’ Haus of Heads at TyanHAUS in Sydenham. The beguiling series of surreal, devilish visages, produced mediums ranging from watercolour to fabric, were haunting and intriguing, inviting closer inspection…
And a Bonus…
Normally And That Was… is capped at five entries, but I couldn’t leave the return of live gigs by international artists returning to Christchurch! I may have missed UK band Idles, but a week later I was able to witness an impressive performance by US alt legend Jack White, and, it is safe to say, I’m glad I did! There was a request for no videos, so the video below will make do to replicate the energetic opener Taking Me Back…
They were out highlights from November 2022 – what were yours? Let us know in the comments!
The fourth and final artist in the Paste-Up Project is Mark Catley – one of the city’s longest tenured paste-up artists. Mark’s nostalgic vintage toy paste ups have been a familiar site across Christchurch for many years and as such he was a natural contributor to this project. For his installation, Mark continued his toy parade, this time with huge images of Barbie, G.I. Joe, He-Man and more circling the bollard like a line-up awaiting identification. Catley’s work evokes nostalgia, warm recollections of childhood favourites, but it also illuminates the darker side, from the ridiculous body shapes and reinforced gender stereotypes to the problematic materials used in production. We chatted with Mark and dived into his experiences pasting art around the city and the Paste-Up Project specifically, and, of course, a specific Star Wars character…
It seems like you have been pasting art up around Ōtautahi for a long time, do you remember when you started?
Well, according to my Instagram page, it was 2015. I only worked that out based on when the photos were taken of the big Batman and Robin faces opposite Victoria Square, it’s some fancy restaurant now…
The Permit Room…
Yeah, that’s it!
So, what was the inspiration?
Well, a lot of people were doing it at the time. After the earthquakes, things had changed, and I just thought I’d give it a go. I honestly don’t even remember now. I would’ve had a friend print them out for me. I was doing my insurance work at the time, and I would get emails about toy figures and I would open them up and put them on my computer monitor and I just started taking photos of the faces of Batman and Robin and then I went home and made them bigger and I just pasted them up. At first, I didn’t actually know anyone doing it personally, so I just had to Google how to do it myself. I remember going to one of those Instructables websites about how to make wheat-paste glue. I just used the first recipe I found and I pretty much stick with it even now…
Did it always make sense as the medium to use to put your art out in the streets?
Well yeah, I mean, I’d never tried using spray cans or anything like that and I figured this was the quickest way to get it up there. Then by chance, the first time I put them up, I think it would have been the Batman head, I remember walking back to my car and turning around to have a look, thinking that’s pretty cool, and there’s some guy yelling out to me: “Hey you!” I was like, oh shit! I mean, it wasn’t that late, it would have been daylight savings, so it had only just got dark, and this guy shouted out to me. I turned around and I just replied “Yeah?” And he asked me: “Did you just do that over there?” I said “Yeah”, and he said it was pretty cool, but he wanted my details, and I just gave them to him. I told him my name, I gave him my cell phone number, and then nothing happened. It wasn’t until six months or a year later that The Press ran a story about this mysterious street artist and it turned out the first guy was a reporter and after the first story was posted on Stuff, that reporter spoke to another reporter and they knew who I was straight away. So, someone from The Press phoned me and said: “Oh, so was this you?” And stupidly I just said, “Yeah it was”, being the good boy I am. I remember hanging up and thinking, shit! So, I rang them back and said: “Hey, why don’t you just not put that it’s me and have a bit of fun with this?” But he was like, “Nah, it’s too late.” So my dream of being a mysterious artist was washed away…
You were never able to become the Banksy figure of mystery…
Exactly, I never really had enough time to give myself a cool name or anything.
I don’t think I’m creative enough to come up with a good name…
I’ve got a good name now, a podcast gave it to me: BosskCat, because Bossk is my favourite Star Wars character and my last name is Catley, so BosskCat. They even made a picture of TopCat, but with Bossk’s head stuck on it. That was some guys in England who thought of it…
You have become known for your annual May the 4th Star Wars bonanza, has that become something that you look forward to each year?
I really like to do it. It’s just a bit of fun and I imagine even if no one else cared, I would just put them up for myself for fun. It must have been a few years ago now, but I remember it was hosing down on the night of May the third, it was stupid weather, you know, there was no way anyway should have gone out putting up paste ups, although some of those pieces have lasted for years. Anyway, one of them was over in Lyttelton, on the old fire station, it was a Princess Leia paste up, but there were about 10 or 12 Russian sailors all hiding under that spot, with bottles of vodka and a plastic bag of cooked fish. They were just drinking and pulling out bits of fish meat to eat. The smell was revolting. I was annoyed because that was the spot, you know, I’d worked out a few days earlier that was the spot, and because it was raining I thought no one would be there. Anyway, I half tried to explain what I was doing but they had no idea what I was saying, they just laughed, so I just quickly did it and got out of there, looking back it was pretty funny…
Interestingly enough, other people started to add to that piece, right? Was that cool to see?
Yeah, they put like little pockets and a big mouth on there, that was cool…
It gave the piece its own life after you walked away, and that’s a good lead-in actually to the Paste-Up Project, because although you haven’t got any Star Wars figures, obviously the vintage toys are a central element, so explain the concept that you’ve installed…
I really wanted to do something interactive and get the public involved. I was treating it along the lines that it’s going to be pretty hard just to keep it updated, let alone with people playing with it, so I just thought I will have some larger figures up there from generic toys from my memories; I really wanted to have a massive Barbie from the 80s, a Sport Barbie in an 80s leotard, showing how crazy the body shape was. I also wanted a He-Man up there too, because I’ve been talking a lot with my friends about how it is so weird that He-Man is such a macho figure, but he’s always in his underwear. It’s the same with fantasy novels like Conan, it’s always fighting monsters in loin clothes, it’s very weird to me. Anyway, I added Raphael, a Teenage Mutant Ninja Turtle, and a G.I. Joe from the 60s. Back in the 60s, all the boys were taught to go to war and fight and kill, this very macho thing, and all the women were taught just to stay home and look after their man and the family, that was the lifestyle, so I wanted to question that. Then I just asked the public to send me photos of the toys that they had as kids. I’ve still got quite a few to put up as well…
The thing with toys is that they have such a powerful sense of nostalgia for us and yet they are often highly problematic and that was one of the things you said that you were wanting to illuminate. But it’s not just the questions of gender identity and body image, there’s also actually the literal toxicity of older toys…
Yeah, it’s crazy when you look into all the plastics that they used, especially back in 50s and 60s, right up to the 80s and 90s and probably still now a little bit with the mass-produced toys especially, all the knock-off toys. They’re getting better now, but its the hidden stuff like all the glues, the paints. I think Fisher Price is one of the first companies to actually come forward and say publicly that you can still collect these vintage toys, but by all means do not let your children use them. It’s quite interesting because a lot of people just really don’t want to hear that. A friend told me that this local Salvation Army store posted that they had all these great toys from the 80s and someone replied saying, hey, this company’s actually come out and said that these are to collect, not for kids to play with, which is a hard thing to hear. Right now I’m holding a 1980s plastic figure, I love all this stuff, but I will wash my hands after playing with something like this, and I don’t really like letting my daughter play with some of these toys. It’s not because they are collectible, they are toys that are meant to be played with, it’s more that we try to get her toys that aren’t toxic. It’s hard, because I still buy vinyl, but ideally, they should be using recycled plastics to make records. It’s just bewildering, it’s crazy…
You have actually worked quite consistently at a reasonably large scale, some of the previous Paste Up Project artists haven’t worked at such a size. Was this project less daunting because of your previous experience?
Yeah, it was good. Really the only issue was the curve of the bollard and learning about the materials, like soaking the adhesive paper for half an hour. But it went up so easily, I couldn’t believe how fast it was. It was really good how it adhered, so it went well, and I enjoyed working at that scale…
That sense of scale seems quite important for your work because that nostalgic element takes on more emphasis when it is larger. As you get older, things seem smaller, so to make them bigger again plays on our memories of them, it brings back that sense of magic. When you see something after a long time and you’ve gotten older and bigger, it never seems as impressive, so recreating them at this massive scale, it brings back that wonder. It gives them a sense of agency as well; it makes them seem like they can talk back. The large size seems to be a good fit with the concepts that are being teased out in your work…
Yeah, I mean it does make a lot of sense. I mean, I like Ghostcat’s tiny builds, his small stuff, with surprises that you have to look out for, the detail’s just amazing. But then I love things that are just stupidly large, oversized and just really like: Bang! There’s Barbie, standing on Manchester Street. I love the fact that everyone just knows what they are straight away, yet it’s still a surprise.
It automatically attaches people to something familiar, right?
They go in for a closer look and they go, oh it’s He Man! I remember that as a kid! It starts all the conversations about what their childhood was like. Hopefully it makes people smile…
You talked about a few people commenting as they were passing, have people been responding to the work?
Most of it has been positive. I’m always personally surprised that more people don’t stop and have a chat. I’m the sort of person that if I saw someone doing that, then I’m always like, wow, that’s cool, and I’ll go ahead and try and find out what someone’s doing. But you know, most people just live in their own worlds, looking at their phones. Big groups of drunk people are the worst to be honest, that’s why I try not to do it on a Friday or Saturday night. There’s nothing worse than a whole bunch of drunk people, going “what are you doing?” With this work, when people asked, I could tell them that it’s an official project, and they like to hear that as opposed to just putting something up, but then it’s a bollard, you are not just going to put things up on it are you?
That’s the other thing with your installation, the connection with the bollard. Because they are toys, it automatically raises the idea of advertising, so it starts to become an interesting interplay because it’s not advertising and it’s actually doing the opposite because it’s raising some of the issues of consumption. The way you have composed the work, that large-scale parade going around the bollard, was that in some ways to stop it looking too much like advertising posters?
Yeah, it was. At one point what I wanted to do was like a line-up, like The Usual Suspects mug shot. But then I realised that the heights were all different, and it wouldn’t have worked. I mean, I’ve sort of done that, but not really. I just wanted to make something that you walked around, a big continuous piece to look at, and then to add to it over the weeks. I’ve been there a few times and added stuff to it…
I have one last question and this one is probably pretty hard to answer, you’ve mentioned that you’re a toy collector, what’s the one toy you would buy if price was no object?
I’m a Bossk collector, so there is the famous toxic-limbed Bossk from Spain. There are about 50 of them in the world, some say 29. I’m really into the Spanish Star Wars stuff. Basically, they’ve made like 600 million little tiny figures, mainly in China or Taiwan, places like that, but then Spain got a contract, and started producing some Star Wars figures, but the company that produced them, the quality of plastic they used wasn’t as good and so for some reason the Bossk figure’s plastic has degraded and has turned his limbs, his arms and legs, a green colour. They call it the toxic green Bossk and this figure is sought after all over the world, it goes for stupid money. It’s not like the Boba Fett Rocket Launcher, but…
That’s the famous one, right?
Yeah, but it really annoys me, and I’m getting my geeky hat on here, there are fewer figures of the toxic Bossk, but because it’s Boba Fett, it’s given more cred. But Boba Fett is just a dude in a space helmet, he is literally just a guy in a space suit! He’s a cool figure too, but the Bossk is the one! I know that if I ever got it, it wouldn’t be that amazing, I would have it in my hands and it would be, ahh, its OK, but that’s the one I would buy.
Did you want to give any shout outs?
Thanks to yourself and Phantom, JZA, Cape of Storms, and teethlikescrewdrivers, he’s always handy with his advice and he is so enthusiastic. I love the fact that he is all over everything…
That sense of community is driven by a lot of people, but he is right at the heart of it…
If I was younger, I would hang out with them all the time. But I do kind of like working by myself. I have so much work, but it just takes time. It always looks so cool and it’s great when there are new fresh walls. I often think what would my mum think? But she would probably drive right past and that’s alright.
Thank you to Phantom Billstickers and the Christchurch City Council for their support of The Paste-Up Project!
