And That Was… January 2020

The first month of 2020 has raced by, but not without a heap of activity. The month started with an ominous red sun hovering above us with an almost artificial energy, and ended with some lovely summer weather. In between, there were BBQs, drinks, returns to the real world, and a flurry of activity within the world of urban art. From some overseas visitors, to established powerhouses and rising profiles, there was plenty to reflect on…

Long Trip of the Kokos

On the final day of January, the culmination of Robert Seikon and Anastasia Papaleonida’s residency at Fiksate was unveiled with the exhibition Long Trip of the Kokos. The collaborative works capture both a cohesive harmony, with subtle gradients and tiny details, while also proudly displaying each artists’ signature style: Papaleonida’s microbiological dots, squirming and humming, and Seikon’s crisp diagonal lines and spiky geometric shapes, providing optical illusions and paths of surveillance. From the clustered canvasses to the wall painting directly encountered when you enter the gallery, the show is filled with intriguing touches and impressive effects, washing over you without overwhelming. Long Trip of the Kokos is open until February 29th, 2020

Hip Hop Evolution – Season 4

I have a soft spot for Canadian rapper Shad, see his Pharcyde-inspired video for Rose Garden, and his likeable, intelligent, yet reverential nature has made him a perfect host for the Netflix series Hip Hop Evolution. As a fan of the culture’s history, he is never an overbearing presence, allowing the subjects to tell their stories. Hip Hop Evolution’s fourth season dropped in January and it quickly continued to dive into the various scenes and threads, including the rise of Bounce in New Orleans, and the emergence of super producers, which led me to nostalgically revisit N.E.R.D’s Lapdance from 2001

Aaron P.K. in the Boxed Quarter

I was able to work with the BOXed Quarter and Aaron P.K. to install two large scale photographs, finally completed in late January. P.K. might be known for other street interventions, but his photography has always been eye-catching, capturing a slice of life in various settings, including those peripheral spaces that make the viewer aware of their isolation. The two images at the Boxed Quarter are distillations of urban exploration and graffiti culture, rooftop shots where the distant city glows, but the surrounding industrial fixtures remind of the precarious yet claustrophobic position of the photographer.

Seikon on Manchester Street

Alongside the exhibition with Anastasia Papaleonida, Polish artist Robert Seikon also produced a subtle, obscured wall painting, one that rewards more inquisitive viewers. Tucked away on Manchester Street, the square image uses Seikon’s signature barbed shapes to create an abstract composition that seemingly draws on the history of graffiti’s transformation of letter forms. The subtlety of the colours also seems perfectly harmonious against the blocks of buffed grey surrounding the painting.

Yikes and Dcypher pay tribute to Terence McKenna

With a spruce up of the Tuam Street carpark that has become an open-air gallery, Yikes and Dcypher added a tribute to American ethnobotanist Terence McKenna, whose advocacy for naturally occurring psychedelics is evident in the mushrooms and molecular structures that populate the image. The image combines many of Yikes’ signatures, while Dcypher’s mastery of the spray can is also evident in the portrait, a reminder that these two are right at the top of their game…

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And That Was… 2019 (Actually, That Was A Decade…)

With 2019 now wrapped, we decided to round up a number of our friends to take stock of the year that was. But then we realised it is also the end of the decade, and to be fair it has been a pretty challenging, fascinating and memorable ten years, especially for the residents of Ōtautahi Christchurch. We asked this selection of artists and creatives about their own experiences, the people and work that inspired them, the events that mattered and their hopes for the future. The results were wide-ranging, although, of course, there were a number of events, artworks and ideas that came up repeatedly, highlighting the impactful events and developments that have coloured our collective consciousness since 2010…

Reuben Woods – Writer (@bolsamatic)

  1. What has been your personal highlight of 2019? There have been a few, from working on Urban Abstract, to curating Dr Suits (Nath Ingram) and Josh O’Rourke’s projects in New Brighton, but probably top of the list was having work published in the Nuart Journal…
  2. What piece of someone else’s art in Christchurch has been your favourite this year? It may be that they are fresh in my memory, but TOGO’s rooftop piece to the South West of the city is a favourite, the angular FOLT slaps are rad, and pretty much anything by Vesil over this year.

    TOGO, central Christchurch, 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Aryz’s work has been stellar, Selina Miles’ Martha: A Picture Story was great, I love Elliot O’Donnell’s new direction with the glitch studies of urban surfaces, and Bond’s graffiti pieces are super fresh as well. I also really enjoyed Nike Savvas’ Finale: Bouquet at Te Papa…

    Nike Savvas’ Finale: Bouquet at Te Papa, 2019.
  4. What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was the culmination of a long process and it was so great to see it well received, as it wasn’t clear that there was a massive thirst for that style locally…
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Obviously the earthquakes, and I think the March Terror Attacks signalled a change in the city’s psyche as well. More widely, the increasing division across the world, politically, economically and ideologically, cannot be ignored.
  6. What is the biggest artistic/pop cultural moment from the last decade? When Childish Gambino released the video for This Is America, it felt like a really impactful conflation of pop culture, art and social commentary that captured the zeitgeist. Locally, I don’t think I can go past what George Shaw and Shannon Webster of OiYOU! pulled off with RISE here at the Canterbury Museum…
  7. Which artist or artists have stood out over the last decade? Internationally, Vhils, Aryz, Revok, Stoop Kid, Nina Chanel Abney, Askew, Dside, Katsu, Steve ‘ESPO’ Powers, Timothy Curtis, Deconstructie, Connor Harrington… So many. And of course, locally there have been so many people who have left their mark in the streets, from little tags to big walls, I couldn’t possibly name everyone…
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I really hope the energy that the city saw for a sustained period can be recaptured, with things happening not just within commissioned frameworks, but also more organically, especially as the city evolves into a ‘finished product’ to contest. To see local artists continue to gain wider profiles and in turn to see exciting visiting artists come here and leave their mark.

Tom Kerr – Artist, Musician (@ditchlifetattoos/@_nervousjerk/@toyota_bleeps)

(photo supplied by Tom Kerr)
  1. What has been your personal highlight of 2019? Quitting my job as a builder and becoming a full-time tattoo artist. It’s been a goal of mine since I was a teenager.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? I just love seeing a nice tag to be honest. I haven’t really been involved in the graffiti scene since I started putting all my artistic energy and time into tattooing. However, once you’re in the graffiti culture you never stop turning your head when you go past a tag that has something special about it. My favourite tags are the cheeky ones done with a paint pen or a big marker.

    A drippy FUZE tag, captured 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m a big fan of Josh Solomon from Auckland, both his tattoos and his ‘fine art’.
  4. What exhibition by an urban artist(s) has been your favourite this year? Rory Grant had an exhibition [Babylon is Burning] at Spooky Boogie in Lyttelton last month and I think his paintings are super impressive.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes, it goes without saying, haha! Starting a punk band (Nervous Jerk) and being welcomed into a whole new world and experiencing kindness from strangers like never before. Putting out a record with that band five years later. Becoming a qualified builder. I learnt so many things, but most importantly it taught me to never give up on something and to always have a crack at taking that broken thing apart and trying to fix it or whatever. What’s the worst that can happen right? Buying a house with my girlfriend. So many things. I was 15 at the start of the decade so I’ve been through a lot of first times and probably shaped by a lot of things I’m not even aware of yet!
  6. What is the biggest artistic/pop cultural moment from the last decade? Smartphones, I think. I hate everything about them and love them for the same reasons! But you can be so creative with them and write things down and brainstorm on them and I think so many creative things were probably started as just a note on a phone…
  7. Which artist or artists have stood out over the last decade? To be honest I think over the last decade all the big artists I’ve gotten into haven’t been doing anything this decade. I just really like older music and most of the art I’m into is more traditional stuff too, I guess.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Less people being fussed about how many likes they get for whatever they’re making and just making it for the sake of self-expression. Hopefully by then everyone will be over that shit and just enjoy being themselves.

Ikarus – Artist (@highdoctornick)

  1. What has been your personal highlight of 2019? I quit smoking cigarettes after close to 25 years, does that count? Relating to art stuff, it’s hard to say, there’s been a few cool projects but nothing that blew me away…
  2. What piece of someone else’s art in Christchurch has been your favourite this year? I’m not even sure. For big murals, the photographic piece Dcypher and Yikes produced with OiYOU! looks like a real banger.
    Dcypher and Yikes at work on the OiYOU! curated photo roll mural in Colletts Lane in the SALT District, December 2019.

    As far as traditional graffiti, which obviously is what I’m most interested in, this year has to go to Vesil, that dude is producing some dope work in high profile spots. An honourable mention to Dofus as well, he’s been killing the streets and yards with tags, pieces, throws. A solid all-rounder. The AOC crew have been putting in the heavy efforts and definitely produced some of the rawest graffiti this year.

    AOC by VROD, central Christchurch, 2019.

    Even though he’s been quiet this year, I’ve got to mention WeksOne (IMK), his 2017- early 2019 run is one of the heaviest and most impressive examples of all-round graffiti mastery in Christchurch history. Dude had the streets, yards, rooftops and more crushed, with everything from tags to throws to chromes to pieces to characters and straight up burners.

  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I’m super ignorant about what’s going on outside Christchurch most of the time. Everything Odeith does is insane though. 1UP’s coral reef project is on some next level shit. I really have no idea honestly. I can tell you all the current 2020 releases for Hasbro’s Marvel Legends line though, if that helps at all.
  4. What exhibition by an urban artist(s) has been your favourite this year? Ahhhh, I see. This is all an exercise to expose how little I actually know about art, well played. OK well, I didn’t actually go to it, but I’m gonna say TOGO’s work in the Urban Abstract exhibition at Fiksate Gallery (see what I did there, guys? You’re welcome). I didn’t see the show but his mix of abstract paintings both on canvas/gallery and on walls/public, coupled with his raw traditional illegal graffiti work and his eloquent descriptions of his experiences lead me to assume I would have very much enjoyed the exhibition.

    TOGO’s video and photographic works from Urban Abstract at Fiksate, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? That’s a brooooad question. Part of me wants to just say ‘Thug Life’ and move on, because thinking and talking too deeply about graffiti and/or street art sometimes feels stupid or falsely high-brow, too forced. But part of me also takes it all really seriously. So, I dunno what to say to be honest. Grow and evolve but don’t change. When you work out what that means and how to do it, lemme know, it might be the key to the struggle.
  6. What is the biggest artistic/pop cultural moment from the last decade? The Internet. The exponential rise of social media and its various platforms to some extent make every moment the biggest moment for artistic/pop culture. Everything has the potential to be the next big thing. Marketing and branding overtook advertising as the true modern art form.
  7. Which artist or artists have stood out over the last decade? There’s too many dope artists and writers to name and I’d be afraid to forget somebody. On some level everybody is an influence but it’s really only my crew and the writers and artists from my city that I think about though, without them I couldn’t exist. Two people I will mention though, are George Shaw and Shannon Webster from OiYOU! While perhaps not the traditional definition of “artists”, they have been incredibly important to the growth of public appreciation towards graffiti and street art in Christchurch. From organising the biggest graffiti and street art exhibitions/shows/festivals in New Zealand, including the historic RISE at the Canterbury Museum, to their continual support behind the scenes, these guys have been a huge factor in the growth of graffiti and street art in post-quake Christchurch.

    OiYOU!’s Spectrum at the YMCA, 2016.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I’ll just keep doing what I do. We have workshops and the Blackbook Sessions starting up again in the new year, as well as a festival or two pencilled in for 2020 already. I’d like to see traditional graffiti art represented more at the many street art festivals and shows that are happening now. It’s great to see the art form evolve and see events that support the new wave of art/artists, but it would also be great to have traditional graffiti art represented in that positive light. Locally I’d like to see the implementation of more legal walls and evolving art spaces where novice artists can practice freely, and more funding toward workshops and tutorial classes for at-risk youth.

Jacob Yikes – Artist (@jacobyikes)

(photo credit: three-six-six media)
  1. What has been your personal highlight of 2019? I’ve had a somewhat quiet year with painting outdoors for various reasons, however, a highlight of mine was displaying some works at Chambers Gallery. I felt those works were a shift in the direction I see my work heading in 2020.
    One of Jacob Yikes’ works from his Chambers Gallery show with Hamish Allen and Steve Birss, October 2019 (photo via Jacob Yikes).

    Another highlight would be getting a solo show in a local gallery that I have been visiting since I was young, I can’t release any info about it yet, but the show will be towards the end of 2020…

  2. What piece of someone else’s art in Christchurch has been your favourite this year? Hmmm, that’s a hard one, personally I feel that overall it’s been super quiet in Christchurch this year… I’ve been locked away in my studio for a lot of the year so I’m not sure I’ve really seen anything new from anyone that’s really stood out, and that’s not a negative thing at all but nobody is really being that active. I guess I need to get out more, haha!
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Yeah, again, I’ve not being paying attention enough to what’s been going on, so I really couldn’t say, hibernating in the studio for the cold months will do that!
  4. What exhibition by an urban artist(s) has been your favourite this year? No answer.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Easily the influx of street-based work in Christchurch, the events that have opened up doors for me and helped me progress as a full-time artist. I quit my job as a house painter about 6 years ago, took the leap to be a full-time artist and it’s not been easy, especially trying to keep my work original and true to my vision and not just to please the masses. That can be hard, but it’s all been worth it.

    Jacob Yikes, Manchester Street, 2019 (photo via Jacob Yikes).
  6. What is the biggest artistic/pop cultural moment from the last decade? No answer.
  7. Which artist or artists have stood out over the last decade? That’s a tricky one, a lot have stood out in their own way, I really couldn’t say, I really should pay more attention!
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that in 2020 we will see our local Council actually contribute to keeping the street scene alive and to stop using the work we do to promote the city but not putting anything into it, but we’ll see…. I personally have some things in the works for 2020, but I’ll keep that close for now, haha!

Jacob Root (Distranged Design) – Artist (@distrangeddesign)

  1. What has been your personal highlight of 2019? My personal highlight of this year was definitely my trip to Los Angeles. The work I was able to do there and the contacts I’ve made from it is still surreal.

    Jacob Root painting in Los Angeles, mid-2019 (photo via Jacob Root)
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Ahh, I haven’t actually seen a whole lot. But Dcypher’s Seagull was dope!

    Dcypher and Ikarus in New Brighton, 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? All of Triston Eaton’s murals!
  4. What exhibition by an urban artist(s) has been your favourite this year? Chimp’s Aliases at Fiksate.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The last decade has really been the start of my life, finishing high school, then being able to work for myself and do what I love every day is a major factor!
  6. What is the biggest artistic/pop cultural moment from the last decade? I really don’t think I’m fit to answer that as I’ve really only been painting for the last couple of years.
  7. Which artist or artists have stood out over the last decade? Triston Eaton, Martin Whatson and Alec Monopoly.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? For me, I’ve got a few festivals planned and quite a bit of travel, so I’m really hyped to be able to have my artwork outside of NZ! For the local scene, I really hope there is a street art festival curated for Christchurch…

A Tribe Called Haz – Artist (@atribecalledhaz)

  1. What has been your personal highlight of 2019? Being invited & participating in a roughly six month long art exhibition with Burger Burger.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? The walls of New Brighton.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Gareth Stehr’s Have a nice day.
  4. What exhibition by an urban artist(s) has been your favourite this year? Joel Hart’s Dopamine at Fiksate.

    Joel Hart’s Escaping Reality from Dopamine at Fiksate, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The Rad Collective’s Under the Influence, the ‘Graffiti Quake House’, my first A Tribe Called Haz exhibition.
  6. What is the biggest artistic/pop cultural moment from the last decade? Ilma Gore’s painting of Donald Trump with a small dick.
  7. Which artist or artists have stood out over the last decade? Locally, Uncle Harold, Hugo van Dorsser, Vesil & anyone I’ve painted with. Outside of Christchurch, it would be Askew, Sofles, Dside, Valentin Ozich, Pablo Dalas, Neckface, Jeremy Fish & Haser.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, more Inspiration, hopefully pull together another exhibition or two. Locally, more legal walls & more art collectives.

Jessie Rawcliffe – Artist (@jessie.e.r)

  1. What has been your personal highlight of 2019? Finally having a solo show, an opportunity which encouraged me to get away from working digitally and experiment with my preferred medium.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Dude, I suck at favourites… I really enjoyed Evangeline Edilson’s show Melpomene and the Sock at CoCA in August. There are some similarities in our work, so I probably related to it stylistically, which being a surrealist figurative artist I don’t get often. But honestly there’s been so much good stuff I can’t remember. Last week is hard enough. And I accidentally deleted my camera roll the other day, so I can’t even look back at visual cues.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Too specific. But in general Michael Reeder had a stellar year (last few really) and I’m constantly seeing his stuff and thinking “fuck you”. His development and refinement is such a pleasure to watch.
  4. What exhibition by an urban artist(s) has been your favourite this year? Fiksate’s Urban Abstract is the most memorable for sure. The range and standard of work was really great and that opening had such a good atmosphere. I think the space has worn in a little, there was such a nice crowd, I dunno, it was the warmest opening in recent memory.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Moving to Wellington at the start of the decade and realising that there were weirdos out there just like me. I’ve moved cities and started gaining some momentum with my practice that was non-existent near the middle of my post-university years. Christchurch has been home for four years now (woah!) and I think it takes at least that long to either get comfortable or figure out how that new environment affects you. Working from The Welder Collective in 2017-18 either directly or indirectly introduced me to everyone in the Christchurch art scene I now know, with a few in particular being a vital influence on my current motivations and interests. The explosion of social media and its relationship to art really stands out. For better or worse. It can be pretty numbing being bombarded with imagery all day, every day, it’s often demotivating to go out and see art in person. The flip side though, is that I’ve connected with artists all over the world because of it and think it can be used as a tool for making art friends and expanding your art business wise. I’m inspired as much as I’m crushed by looking at other artists work (lol). Social media is probably a contributing factor to why I can’t remember what the fuck I’ve seen or done in the last decade.  This might seem mundane, but I was given a copy of Young, Sleek and Full of Hell to read in 2017, which documents all the wild shit that went down and the careers that launched at Aaron Rose’s New York gallery ALLEGED in the 90’s (Mark Gonzales, Chris Johanson, Rita Ackermann, Susan Cianciolo, Barry McGee, Margaret Kilgallen, Harmony Korine, Mike Mills, Ed Templeton…), and it is so memorable and jumps out at me, because it fucked me up for a solid week. I was convinced that I was born in the wrong place/era. The sentiment of this time and place really resonates with my inner punk who wants to be allowed out, except, well, I’m too nice. And it got me worried that what went down there won’t or can’t ever happen here, because Christchurch for the most part is the cultural equivalent of a loaf of pre-sliced white bread.
  6. What is the biggest artistic/pop cultural moment from the last decade? Yeah, maybe it’s still the hangover from the decade before. ALLEGED crew and affiliates are everywhere. Or maybe more generally, the sentiment that came out of that time, all the good stuff of the late 90’s – skateboarding, art, graffiti, film, fashion, photography – has been polished, monetised, derivatives on derivatives. We’ve been in this post-postmodernist depression. And look what’s in again, the 90’s! But did it ever really go away? Another thing that stands out is the multidisciplinary artist/creative – the lack of needing to specialise in one field, like the the skateboarder/artist, or not needing to stick to one artistic medium. Also, the collab. OMG the collab! Big companies approaching (big or small) artists, as they try to capitalise on underground cultures and just basically commodify anything cool.
  7. Which artist or artists have stood out over the last decade? HUGE question, I’m avoiding it! Every year my attention has been drawn to different stuff depending on what I was up to. During university it was magazines like Juxtapoz and Hi-Fructose where I was getting inspiration from – lowbrow pop surrealism. 2009/10 was really my introduction to graf, hanging out at Manky Chops gallery in Wellington and with various members of Pirates crew (who are now graphic designers, tattooists, fine artists and the likes), very much the new gen of graf meets fine art, and the rise of the mural/street artist. The last few years in Christchurch it’s been a mix, which isn’t surprising given how varied the art scene is here, with the very traditional and more low-brow often right next to each other. There’s been a lot of looking back going on, at CAG for example, so many of the stand-out work has been old work from artists I should probably have known. Maybe we’re in a lull?  Otherwise it’s a bit blurry. Specifics are hard. It feels like it just happened and I need a little more distance to work it out.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope the art scene can get a bit more momentum and general support from the wider community. There’s a cultural divide that I find really evident in Christchurch, with rich white people who want to buy landscapes and tell their friends they went to an art opening, then a bunch of super skilled and hardworking artists who will never see any of that support. The underground scenes are supported mostly by the people in them, and this city is too small to sustain that. A bit more overlap and progression of the traditional and contemporary art worlds.I’d like to keep painting, but also not be fucking broke for the 11th year in a row. I have way more focus and direction (and Ritalin) than I ever have before, so we’ll see where this new motivation takes me. It’ll likely be reaching out to galleries in the States to better connect with my audience. NZ has little fucks for figurative work, but the US love it, so I’ll be exporting goods!

Dcypher – Artist (@dcypher_dtrcbs)

  1. What has been your personal highlight of 2019? My personal highlights for this year would have to be working on the Salt wall designed by Paul Walters (I added the additional ‘Otautahi’ piece beneath it), it was a fun collaboration and I learned a lot of new techniques. Also, the more recent negative film strip mural depicting historical photographs of the SALT District was fun, again working with the Oi YOU! team.

    Paul Walters and Dcypher’s SALT Otautahi Mural, curated by OiYOU!, 2019.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? It’s a biased viewpoint, but all of Yikes’ new work, murals and artworks, would have to be my favourite in Christchurch for 2019.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Internationally, I would say Sainer from ETAM crew and Aryz from Spain would be my two favourite artists of 2019.
  4. What exhibition by an urban artist(s) has been your favourite this year? I haven’t had a chance to attend many shows this year but based on what I did see Levi Hawken’s sculptures from Fiksate’s Urban Abstract stuck in my memory.

    Levi Hawken’s Mini Graffiti Cube 2, from Urban Abstract at Fiksate, 2019 (photo credit: Kirsty Cameron).
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I spent the last decade living and working in Los Angeles so that has had a massive influence on my work.
  6. What is the biggest artistic/pop cultural moment from the last decade? I think for Christchurch it would have to obviously be the earthquakes and the mural festivals that proceeded it and put the city on the map as a cultural hub of New Zealand.
  7. Which artist or artists have stood out over the last decade? Internationally there are so many amazing artists that stand out in my mind. And the mural art movement has been pushed in lots of amazing directions but someone who really stands out I would have to say is Vhils, his work is super impressive.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I’m looking forward to 2020 being super productive. Hopefully producing more and more murals and having more mural festivals and bringing in international artists to add to the already extensive public mural catalogue.

Jenna Lynn Ingram – Artist, MC, Gallery Owner (@jen_heads/@fiksate_gallery)

(photo via Fiksate Studio and Gallery)
  1. What has been your personal highlight of 2019? In 2019 Fiksate came to the central city and we’ve so many had great exhibition openings, the highlight was probably the latest one, Urban Abstract, for sure. Also, I quit my 9-to-5 and am focussing on being an artist and running Fiksate full time, that is definitely a highlight!

    The opening of Urban Abstract at Fiksate, October 2019 (photo credit: Kirsty Cameron)
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Levi Hawken has blown my mind with his sculptural work. It was so good to have it in Urban Abstract
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? There are too many to name! I have really enjoyed Remi Rough, the abstract urban artists coming out of Poland, all the female mural artists out there. I have to say that I’m constantly amazed by the stuff that comes across my Instagram feed. I don’t always take in who it is by, but there are so many artists out there that are so talented. I’m blown away everyday by urban art culture, it’s a huge vast ocean of talent.
  4. What exhibition by an urban artist(s) has been your favourite this year? Every single Fiksate exhibition opening! We have had such great vibes, the other exhibitions this year that have stood out have been Jessie Rawcliffe’s shows at CoCA and now at Absolution.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? In 2010 I met Nathan and we fell in love. Then in 2011 the earthquake struck, you can’t not mention that, but that’s also when our street art journey began and we became a team and since that day when we made paste ups of Band Aids or Nath’s Dr Suits character, that energy has never faded away.
    One of the Band-Aids by Jenna Lynn Ingram and Dr Suits, c.2012.

    With Fiksate, we are here to give a leg up to artists who don’t get that from other contemporary art galleries, we are here to give urban artists the prominence they deserve because they are a talented bunch of people. We want to give local artists the chance to show alongside international artists, showing the standard here.

  6. What is the biggest artistic/pop cultural moment from the last decade? Man, it’s a long decade! I’d say the emergence of Anderson Paak.
  7. Which artist or artists have stood out over the last decade? I really enjoy Gary Stranger. Every time Cleon Peterson puts out something it blows my mind, his latest work, it’s so dark and dirty. I’ve got to say that the artists who have been part of our shows at Fiksate, like Askew One, Pener, Joel Hart… And of course Dr Suits, he blows my mind every time and I hate it because he makes it look so easy!
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I hope that I will become a full-time artist and that Fiksate will become a solid grounding for urban art in the city, a mural agency is part of that plan too, working to get more murals around the city. I also hope urban art is given more education and acceptance of all its aspects.

PKAY – Artist (@aaron.p.k)

  1. What has been your personal highlight of 2019? Shooting Steven Park’s 6×4 summer collection.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? Vesil’s entire output this year.

    VESIL, 2019 (photo via PKay).
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? No answer.
  4. What exhibition by an urban artist(s) has been your favourite this year? Urban Abstract was great.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? I feel like I’m giving a very obvious answer but the earthquakes have been hugely impactful, particularly for people like myself who were in their early teens, as it changed the way people my age experienced the city (or lack of one) during our formative years.
  6. What is the biggest artistic/pop cultural moment from the last decade? Mass meme culture (and muralism).
  7. Which artist or artists have stood out over the last decade? Consistently over the whole decade DTR have pulled it off.

    DTR crew colab (detail), Embassy, Colombo Street, Sydenham, 2014.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? More creative opportunities and some failed rebuild projects to retain the city’s spicy ‘bando energy

Dr Suits – Artist, Gallery Owner (@_dr_suits/@fiksate_gallery)

  1. What has been your personal highlight of 2019? The basketball court [Forces] in New Brighton was a big highlight for me. Just making it through to the end of the year is also a feat.

    Dr Suits’ Forces, New Brighton, 2019 (photo credit: Millie Peate-Garratt).
  2. What piece of someone else’s art in Christchurch has been your favourite this year? TOGO all day, without a doubt.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? I don’t think I have even left the city! I looked online a couple of times, probably Remi Rough. He’s fucking killing it.
  4. What exhibition by an urban artist(s) has been your favourite this year? I wouldn’t want to be biased, but Urban Abstract was off the chain for us. That was a mammoth project and something that we worked on for a long time. I love urban abstract artwork and I just like to push my agenda! It’s like I love this so you should at least consider it, because I don’t even know if people even knew it existed. It’s really exciting the direction urban abstract art can go. I mean abstract art has been at the forefront of driving contemporary art for a long time, it naturally fits, but the murals and the scale and the insane concepts that can be translated, even stickers, paste ups and graffiti as well murals, it is all so exciting. Graffiti is essentially an abstraction of letter forms, but now artists are just completely letting go altogether.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Meeting my wife Jenna and forming a whanau with her.
  6. What is the biggest artistic/pop cultural moment from the last decade? Over the last decade rap music has just become so mainstream and dominated the music industry, I have to wonder if rap going to become rock? All the good rock songs are by artists from the 60s and 70s, is hip hop now just people reinventing the wheel, with the best hip-hop artists from the 90s? It’s gone so far from its original roots, it seems like the pure reason hip hop music came to the foreground is so contradictory to where it is now, where it used to be about the little guy, now its all about celebrities and big names. What’s next, what’s the next new music?
  7. Which artist or artists have stood out over the last decade? Anderson Paak, TOGO, Leon Bridges… Polish abstract artists are bonkers, they are just driving it. I don’t know if it’s just my preferred aesthetic, but they are so amazing. They are next level. Maybe it’s the Soviet influence of propaganda. Living in New Zealand, I can’t even picture what a day living in Poland is even like. You come across an artist 5 years ago and they take it somewhere even better, what is in the water over there?!

    Pener’s Deconstruction 03 from Urban Abstract, 2019 at Fiksate.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? I need to spend some more time with my family, that’s a personal goal. As for urban art and the city, I’m obviously an advocate for abstract art and I want the city to embrace more abstract murals. Sanctioned works need to celebrate the artists, rather than give them a brief. In those situations artists can show their technical ability, but they can’t always show their voice. We need to have that diversity. The public will then become more aware of the issues artists are confronting, whether it is process driven or socially-minded. The process currently is dictatorial and often driven by people who lack an understanding of art.

Wongi ‘Freak’ Wilson – Artist (@wongi.wilson)

  1. What has been your personal highlight of 2019? Painting the second stage of Boxed Quarter was cool because it was nice to be back again to add to the first round of works I did there. They give me full creative freedom. It’s great to have clients like that who know my work, trust my process and let me do my thing. I’ve had lots of positive feedback on the greyscale portraits and photo real paintings that I did. One painting is of a photo I took of one of the foster pups we had which makes it personal.
    One of Wongi’s works at the Boxed Quarter, 2019.

    Teaming up with DOC and the Godley Heads Heritage Trust who commissioned me to paint the Godley Head gun turrets was pretty cool too. The paintings are based on historic photos of men and women who were the soldiers that manned the turrets during WW2. It was an amazing site to paint as was the subject matter. Another highlight were the pieces I painted for the Fresh Produce exhibition in Auckland. I never get the time between commissions to paint on canvas but I really wanted to include some work once I was invited. I got into the studio every chance I had and painted still life images of my wife from my personal collection and they turned out great. Finally, the Rollickin Gelato commission was a great way to end the year because I’d been wanting to paint a hand holding an ice cream for some time and it fit perfectly with their brief. They wanted it to represent their employees and they had a photo shoot of one with the tattoos and jewellery and sent me a few dozen photos to choose from. It was nice to be painting in Cashel Mall again, which I haven’t done since the first few years after the quakes.

    Wongi at work on the Rollickin’ Gelato piece in City Mall, 2019.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? My favourite pieces this year were any and all Jungle pieces that were done, but specifically Weks did two mean ones and Lurq did a dope one too, on top of that the bro Elias did a great portrait of Jungle which was awesome.
    One of the many Jungle tributes across the city following the graffiti legend’s passing in 2019.

    Although, if I needed to point out a specific piece of work, I really liked he UV/Aztec styled characters that Sirum, Linz, Dem189 and Bryan Itch did at the Ten Pin Bowling spot. Mad cool stuff.

  3.  What piece of someone else’s art outside of Christchurch has been your favourite this year? The artist Royal Dog did some outstanding portraits this year and Bust’s graffiti/cartoony combination styled work has been awesome too. 1UP’s boat piece or their underwater reef piece were ground breaking, and Blesea One’s character steez was also mad cool, specifically, I thoroughly enjoyed his Dragon Ball Z series.
  4. What exhibition by an urban artist(s) has been your favourite this year? Two shows from this year that would have been amazing to see would have to be Tilt’s exhibition Future Primitive, and, without a doubt, Martha Cooper and 1UP Crew’s one night exhibition in Melbourne. Such a mean team up from some heavy hitters in the scene.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? The earthquakes were obviously a huge part of the decade, as well as the abandoned buildings/graffiti playground that they left behind. Getting married to my wife and having an amazing partner and best friend. The RISE exhibition was also a memorable part of the decade, being part of a street art show in the Canterbury Museum was crazy and with all the artists that the show brought through.
    Wongi and Ikarus Blackbook Wall (detail) for Rise in 2014, featuring a number of artists who visited the city for the event.

    A huge event from the last decade was getting the chance to travel to and hike to Everest Base Camp as part of a commission for Kathmandu. It was an absolutely amazing experience that was an adventure of a lifetime and extremely memorable. Baby Yoda.

  6. What is the biggest artistic/pop cultural moment from the last decade? The end of Breaking Bad, Game of Thrones, street art becoming mainstream, the final season of Samurai Jack, Baby Yoda, memes of Baby Yoda, Dragon Ball Super
  7. Which artist or artists have stood out over the last decade? There’s been so many amazing artists from the last decade, but Pichi & Avo’s paintings and sculptures really stood out to me, 1UP Crew’s work was also high impact, and Insane51’s portraits were great, his red and blue 3D-style murals also stood out. I’d also like to mention Tasso and Case from Ma’Claim Crew, they were the first photorealistic painters I saw back in the 2000s, but their works from the past decade have stood out as far as skill levels go.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? Personally, I’d like it to be a positive, progressive and prosperous one, full of love, laughter and learning with lots of highlights and happiness. Specifically, I’d like to push my work further and further, expanding on my skill level and developing my pieces, processes, portraits and photorealism to new levels. As for the local scene, I’d love it to be more active on all levels, more cohesive across the board, as I feel it’s quite disconnected and disjointed at times, and for there to be more large scale murals painted, more fully themed productions, and more festivals and artist events to help grow and push the scene.

Jane Maloney (M/K Press) – Designer (@mk.press)

  1. What has been your personal highlight of 2019? Travelling to Europe again for the first time in 5 years. It felt like a long time away so I was very happy to go back. Also making the decision to quit a great job that didn’t serve me well mentally and emotionally.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? All of the works in Playing the Drums by Bill Hammond at Christchurch Art Gallery, with notable mentions for the works Volcano Flag (1994), and Eating, Drinking, Smoking (1972).
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? Nature Lovers (2003) by Tony de Lautour  which I saw at NMG Arrowtown, Snakes (1969) by M.C.Escher, a coloured woodcut from the Escher and Nendo show Between Two Worlds at Melbourne’s NGV, and Nan Golden’s photobook The Ballad of Sexual Dependency (1986), which I saw at the Tate Modern.
  4. What exhibition by an urban artist(s) has been your favourite this year? Face Value, the group show at Fiksate Gallery, and Convo by Tom Gerrard, Matthew Fortrose and Elliott Routledge at Stolenspace Gallery, London.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Starting my business M/K Press in December 2013, becoming self-employed full-time in December 2016, having my first art studio space (The Welder) in September 2017, and becoming a part of Fiksate Gallery and Studio in April 2018.

    M/K Press in action at Fiksate (photo credit: Charlie Rose Creative).
  6. What is the biggest artistic/pop cultural moment from the last decade? The creation of Instagram in 2010 and its impact on the art world.
  7. Which artist or artists have stood out over the last decade? The 2010s was the decade that ‘Street Art’ became the new ‘Pop Art’. Banksy, KAWS and Shepard Fairey stand out to me as the most prominent street artists who first broke into the mainstream.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? The growth of M/K Press, as I am back to running the business full-time. This includes working on some personal projects and hopefully starting my MFA. In the arts scene in Christchurch, I just hope that the support we are getting from local council and the general public continues to increase. Pay local artists appropriately for their time, buy their work and give full credit when sharing their work, and we should all be able to keep on growing.

Josh Bradshaw (Uncle Harold) – Artist (@thejournalofuncleharold/@joshuamarkbradshaw)

(photo supplied by Josh Bradshaw)
  1. What has been your personal highlight of 2019? A personal highlight of mine of 2019 was the decision to branch out and fully delve into new mediums and explore a lot of new ideas and work that are really breaking away from the style that people would be used to seeing from me. None of this work has been seen publicly yet and that in itself is really exciting.
  2. What piece of someone else’s art in Christchurch has been your favourite this year? My favourite piece by a local Christchurch artist in 2019 was What Do You Write Bro? by Tom Kerr from Face Value group exhibition at Fiksate.
  3. What piece of someone else’s art outside of Christchurch has been your favourite this year? My favourite piece by an artist outside of Christchurch was I Never Learned To Tie My Shoes by Julio Alejandro from his solo exhibition Apple Eaters at Blackbook Gallery in Colorado.
  4. What exhibition by an urban artist(s) has been your favourite this year? My favourite exhibition of 2019 was the group show Urban Abstract at Fiksate Gallery in October.

    Opening night of Urban Abstract at Fiksate, October, 2019.
  5. It isn’t just the end of a year; it is also the end of a decade. What events or sentiments have defined the last decade for you? Some key events of the decade that were super impactful for me were moving from a small rural town with absolutely zero form of culture to do with the arts into the city, which was a pretty big eye opener, then shortly after was the opportunity to start a city all over again with the earthquakes. The city became a playground for any artistic endeavours. From the graffiti and street art that resulted from fallen buildings and newly exposed building facades to the rise of small collectives and exhibitions run by local artists that for the most part were met with great support from peers and the public.
  6. What is the biggest artistic/pop cultural moment from the last decade? I don’t know a damn thing about any art movements or anything but I do feel like the introduction of social media has absolutely had a huge impact on the art world. Anyone and everyone is an artist on Instagram.
  7. Which artist or artists have stood out over the last decade? Michael Reeder is one that stands out off the top of my head. He has produced an incredible amount of work and I’m always impressed how he is able to do so many different variations of his work. Materials and techniques are always being explored to keep it fresh and exciting.
  8. Lastly, what do you hope 2020 has in store, personally and for the local scene? For me personally I hope 2020 brings a lot more freedom for me to go down different avenues with the work with the work I make and to not just feel restricted by anything that doesn’t seem necessary. For the local scene this year, I hope to see more small, gritty, underground DIY exhibitions being put on by local artists.

 

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Highlight – Street Art Street Party

If you follow us on social media, you will know by now that we are super excited about Saturday’s Highlight street art party! That excitement is for good reason, as Highlight is shaping up as one of the most impressive urban art events the city has seen in several years. Hosted by a number of SALT District businesses, and occupying SALT Square and nearby locations, the one-night only party is a result of the collaboration between a number of entities, including Oi YOU!, the masterminds behind the massively popular Rise and Spectrum festivals, as well as the recent SALT mural produced by Dcypher and Paul Walters of Identity Signs.

Dcypher and Paul Walters, with Oi YOU!, SALT Mural, SALT Square, 2019
Dcypher and Paul Walters, with Oi YOU!, SALT Mural, SALT Square, 2019

Speaking of Dcypher, the recently relocated artist (having returned from a decade long stint living and working in Los Angeles) will be joined by his DTR crewmates, Ikarus, Wongi and JacobYikes in painting live at Highlight and producing a pop-up gallery of their work. Another pop-up gallery space will be created by the city’s leading purveyors of urban contemporary art, Fiksate, who will present work from their impressive collection. On top of that, Nelson’s Shady Collective (of Spectrum infamy) will present demonstration stalls for screen-printing, t-shirt and stencil-making, giving punters the opportunity to both make and take pieces!

Ikarus and Dcypher, Christchurch, 2019
Ikarus and Dcypher, Christchurch, 2019

Being that urban culture extends beyond graffiti and street art, there will also be live music (thanks to Bassfreaks and RDU DJs), food and drink (from the Little High Eatery and surrounding restaurants) and retail pop-ups of street wear from some of the city’s leading urban fashion masters, including Hunters and Collectors, Curb and The Recycle Boutique. Oh, and did we mention that once the official street party winds up, there are multiple after party options, from The Retropolitan to Smash Palace, The Slate Room and Dux Central.

Fiksates 2016 show CAPD, photo credit Charlie Rose Creeative
Fiksate’s 2016 show CAPD, photo credit Charlie Rose Creative

And of course, another of the ‘Highlights’ will be the live video projection animation of the SALT mural, the first of it’s scale in Ōtautahi. This is sure to be an impressive, eye-catching activation of one of Christchurch’s newest pieces of street art muralism.

Highlight will kick-off at 5pm on Saturday at SALT Square on Tuam Street and is free entry. For more information, check out the event page on Facebook.

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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 Yikes – Immersed (Part Two)

When I arranged to sit down with Jacob Yikes, I had a feeling it could be a lengthy conversation; I have long been a fan of his work and here I was presented an opportunity to delve deeply into his approach to making art, his reflections on how his work and life are intertwined, and as I realised as soon as I stepped foot in his studio, the new directions signified by the impressively-scaled works he had been busy creating. I wasn’t wrong, over an hour after we started recording, it was time to catch a breath. We covered a lot of ground, and it was quickly apparent that our interview would be a bit of a monster, necessitating two parts. Here, in Part 2 of our interview, we jump straight back in and pick up where we left off…

You said before that you have felt that some of these works have been speaking to you in some way, not literally, but kind of telling you when the time is right to work on them and when it’s not right. The process of giving them time and stepping back, which you can’t do to the same degree with a wall, does it lead to frustration, or has it been satisfying being able to work in that way?

It has both. There’s definitely frustration, but I guess with the frustration, because I will start multiple works at a certain time, that time has to be right. I think that is when I feel that, not like that painting is talking to me, saying I have to paint it (laughs), but it’s more instinctively, I will make certain marks and certain gestures with whatever materials I’m using and then I get to point and it almost says ‘that’s enough, don’t touch me right now!’ (laughs) ‘You need to move on from that part!’ While you’re in this head space doing that stage of the works, basically, because the paintings are in stages, I can’t jump from stage to a different stage, from another painting, so I find that working on one or two can be helpful, because now working on a bigger scale, it’s a lot harder to set up five paintings. It’s a big space but it’s not big enough for that, I’ll smash things if that’s the case! it’s just not going to work, so you put that stage down and while I’m in that head space, I’ll move to the next one and then it will stop but there will be a while in between sometimes of me going back to that painting because the feeling is not right. Again, I think it comes down to how I’ve approached the works in the first place, of them being really personalised in terms of so many things, like it’s a real sort of expression, I guess, it kind of changes the look of the painting too, to an extent. There’s certain marks there for a reason, I’m kind of like putting those pieces back together, well not putting them back together, but putting them together when creating the other stages of the works. It’s probably my own little consciousness telling me: ‘Don’t work on that right now!’ I do work quite sporadically, one minute I’m doing something then the next minute I’m onto the next thing and it is kind of just how I’ve worked. It’s even how I’ve worked outdoors sometimes, I could be doing something and I’m not having it, so I leave. But then I’ll go and start the rest of the wall at like four in the afternoon, because I’ve found for me, if I try and force it, just too much negative energy comes out, and I’m not having it. The painting won’t go anywhere from that, so those first stages are super important in the studio works, not so much in the big works because there is a different process to painting them, but there is still that erratic quality, I can only work on them at this point in time, I think that’s more doable in the studio, for sure, but I haven’t really felt that I’ve gone too far with any of the works yet, so I’m just going on that initial instinct with them at this point…

Mixed media on paper, 2018

Because of the intense concentration involved in the finer details of your work, I assume it would be easier to know when the time is not the right for that approach, but with the more gestural stuff, which is such a strong element of these works, there’s a real sense of your physical exertion, and in many ways it must be really necessary to have that ability to know when to stop, because it must be so easy to be swept up in that…

Yep, absolutely man.

These works really have that dynamic sense of the movement of your body, but it’s so different from wall work, which will often, and this isn’t specifically about your work, but often it’s the scale and the size that reflects that, rather than the texture, or those kinds of elements, but these works really seem to reflect your physical presence, either above or in front of a work and engaging with that surface. Do you see the differences between the way that your mark making reflects your movements both on a wall and in the studio?

Yeah, well, it’s all very freestyle, even with the walls too. When I would work on a wall that was a little more expressive with marking making and how I used the line work and stuff, as opposed to the more structured ones that had that room element going on, it was all kind of whatever comes up was coming out, and I will deal with it once it’s on there, to an extent, because I can always visualise what I’m trying to achieve with it, but it’s never ever going to look like that, it’s just a blueprint in my head, to get to that point. I’ve taken movements from painting large works and graffiti and put them into how I achieve those first initial marks and sort of bits, and it’s pretty much the same process in terms of how I attack it, it’s just narrowed down in the studio. I don’t have to step back fifty metres and check out what have I done, I can just do it there. Also, it is completely different mediums, so, while I know the technique to get to there, the result is going to be different. And that result, to be honest, has come about by experimenting. I didn’t one day decide I’m going to start throwing it this way and start putting it here, having a wrecked, half dry brush and doing that with it (gestures), it pretty much was just messing around for a long time. And I mean a lot of the stuff in the past especially, I’ve just biffed, it’s never really come out, and there’s a reason for that too. At the time I’d be pissed off and in a foul mood because I’d just wasted a whole day and a whole bunch of stuff, you know, and then that comes back to me doing things at a time in my brain or whatever, in my day, that I shouldn’t be doing it. I’ve always kind of been a workaholic to an extent, not to the point where I would say I’ve neglected any of my responsibilities, but I would sacrifice sleep to do this, so I’m trying to use the time I get, and if it’s not happening , then I pay for it in the end, because I’ve spent that energy trying to do something I shouldn’t have even bothered doing. But that negative energy, not all the time, but sometimes, I’ve been able to channel that into that first process of making the gestural bits on the paper, building it basically. The paintings essentially have been built the way I look at them, I create a background or a distant sort of space for these images to sit in and go from there. They are always at stages, but I can always fix mistakes, by working with them, not necessarily ‘fixing’ them, but you know, and again it comes down to me thinking actually, that’s meant to be there for a reason, that might not be how I want it be right now, but I can actually work with that. It’s not all the time, but there have been times where I’ve been: ‘O.K., I’ve just messed that up, hang on I’ll put it away for now…’.

Mixed media on paper, 2018

In reference to the idea that your works often have these landscapes and environments in which structures and scenes are built, despite how tricky those settings are visually or spatially, they feel like real spaces, like something to inhabit, when you are painting them, do you place yor self in those settings?

I pretty much put myself in there, and I’m still really trying to figure out what they are. I think they are an element of my subconscious, kind of a dream world that I can escape to, and I can have full control over. There’s not that much in life that you can have full control over, so I find them an escape, and I think that’s where a kind of therapy does come into my work. When I get to these certain stages, the final bits in these works, its like, I built the set and now I’m creating everything else that ties that all together. While each one might have similar attributes, they are always different, there is always a different concept behind them too, that’s just part of my style. That probably works with that idea, there are certain images in my work that have become quite popular, but each one has its own feeling when I’m doing it, so I engulf myself in those worlds…

With this scale, viewers will be able to feel like they are being enveloped, which raises the logistics and potential approaches to exhibiting works of this size. Over the years you’ve exhibited in a number of different places; Am I Confused? was at the Art Box, which presented a unique space…

Yeah, it was.

Detail of the on-site work created as part of Yikes’ show Am I Confused? at the Art Box site on Madras Street, 2017

It was quite a tight space in terms of how people were able to filter through, with these works it feels like they need a very specific environment in which to be exhibited…

They do, they do man…

Is that a challenge in Christchurch?

It is really difficult. It’s probably the hardest part at the moment, because in the past I have always done the hard work to try and get these shows happening and I like that, but it is hard. Finding a space in Christchurch is hard for anything, so finding the right space for this sort of show is probably going to present a few difficulties, but it’s so necessary. I have to find the right space because for my works at the moment, I’m trying to really put people in a setting as such, whether it’s in my head or whatever, or it’s a setting controlled by me, because visually I know what I want to feel from these paintings and that’s going to be completely different from anyone else seeing them, but if I can also add in the elements of sound and lighting that I want to, then that’s going to help to build the story of them a little bit. It’s a deal breaker for me, and I’m not going to show them until I can get those elements happening. Because of my process of creating these works and how I approach them, it would be so stupid if I didn’t show them in the complete environment. I would just feel like I didn’t achieve what I set out to achieve, if I can’t put those final nails in…

The ideas that you are talking about; the control of the lighting, the sound, that’s a sign of the maturing practice of exhibiting. It’s not about just finding somewhere that will let you hang pictures, it’s about a whole experience of creating an environment for people to view your work and for you to have more control over how it is received. I feel like, for the growth of the urban art scene in Christchurch, there hasn’t really been that opportunity, or an environment that has allowed that in many ways, so that is, as you say, a big challenge, but it’s absolutely necessary for these works…

So much gets put in behind the scenes too, with getting the sponsorship, getting all the little things, all the logistics of it, so you’re putting in a lot of work just to show them, so for me, it makes sense to put in that work and just push a little bit more. With these works as well, the subject matter, it’s really real this time, not that it ever wasn’t, but it’s something that I haven’t really addressed ever, so I know I’ve amplified that, I’ve amplified the scale, but the scale thing for me is only going to really work with those other elements, with the sound, with the lighting, and that will ensure it all makes sense. It’s a specific thing that hasn’t even probably come to be in my own head yet, but I know where it has to go, and I know what has to happen with it. Like you said, it’s something that hasn’t been able to be done with these sorts of shows. I’m not being offered a mint set-up, a humongous space with all these things, and I’m not even asking for that. To be honest, I kind of like the control I get with not having to deal with that, I’m not saying I wouldn’t, but at this point, I’m trying to build this profile for myself which isn’t just about what I’ve done, but it needs to be different. So, for me to do that, I just have to literally make these ideas that have been pushing at me, come to be, and I think that the easiest way to do that is to have that control. My partner’s really good, we’ve worked together on these shows for a long time, she does a lot of the background stuff as well, because at the end of the day if I can focus on this stuff, it is better…

And it’s going to come out in the work…

Yeah, and we’ve learnt that from trial and error, just from having these shows. I’ve had some good shows and some bad shows, but at the end of the day you learn from each one.

Yikes at work in his studio, February 2018

In terms of your growing reputation, and to some extent the reputation of the Christchurch scene, have you investigated the potential to show these works outside of Christchurch?

I’m sort of in discussions at the moment with a few places up in Auckland, so it’s definitely been discussed. To be honest I was battling the idea of just doing the show in Auckland, not here, but I still I want to do both, I want to make it hard for myself! (Laughs) So I think whether it will be a travelling show or I will produce enough work that I feel I can even have two that are kind of co-existing with each other, I’m not sure on the final details yet, but moving them out of Christchurch is definitely something that I think needs to be done too. It’s a daunting thought because I would feel way more comfortable just going to another city painting a giant wall! It’s different exhibiting works, you have to get people to turn up to these shows, because they are not going to stumble across it by themselves all the time like a wall, and I guess I invest a lot more into these things than I do a wall…

There’s a finite timeframe too, a wall can be there for the next ten years…

Exactly.

You might only have the chance to display these works for three weeks…

It’s about getting the works there too, I’ve not made it easy for myself with the scale, but it’s definitely do-able, it’s just a matter of really making it happen. But it’s in the pipeline for sure, I think I need to make it happen this year. I would like to exhibit a little bit more regularly than I have been, it’s not through lack doing any of the work, it’s just through pretty much having to deal with everything else you have in life. It’s definitely going to happen and I’ve made those first initial relationships with a few places, it’s just about taking it from there, and it’s something I’m going to do.

Without sounding forceful (laughs), I think it has to happen, you deserve that exposure, you’ve put in so much hard work and developed such a unique and impressive style…

Absolutely, I am my own worst enemy. I know that I have put in work, and I always will. It’s not like I’m done now, I’m just going to do this now, it’s not that at all, but I know that I am physically here doing stuff, it’s just what I do. I know that there’s only so much I am going to achieve by not moving it around. I don’t want to just let it all unfold, I need to really push that too. I think for me, I always want to put my best foot forward, it’s a matter of what I take with me, what am I going to run with. It’s about not being so indecisive about what I want to take out of Christchurch. It’s a funny one, it’s definitely something I’ve felt for a while, and not even to the point that I’m going to move away and try and make it away from here, I’m not going to approach it like that, I don’t feel the need to have to move away from everything to just start trying to do things…

With Christchurch’s recognition as an urban art location, it also needs to mean artists can succeed here and thrive everywhere, it’s not about becoming a breeding ground for people then to move away, which is the typical kiwi, Christchurch story, right?

It doesn’t need to happen at all, that’s the thing, it really doesn’t. Even in just the past four years, just by producing works outdoors, it shows that it’s all about what you do to make this place what you want it to be. It’s funny, I mean I think people have their own opinions on how they want to approach it, but if everybody thinks they have to move away, what’s left? And that’s kind of what happened in Christchurch, I know a lot of people who just up and gapped it, and that was their own personal thing, which is cool, but that doesn’t mean nothing’s happening here, it’s all about how you perceive it really, and it’s all about what you’re looking for too.

It feels like there is a growing ecosystem locally, there is more diversity in terms of what people are doing, there are things here that can help make it all more entrenched. I guess as well, it’s also about continuing to attract people here as well, not just with opportunities to paint walls, like festivals offered, but if there’s spaces for people to come here and exhibit work, that can prove important too…

I think it’s important to not just all be floating in the same boat. It’s funny, I think oversaturation of one thing just kills it, and each festival, if that’s what’s happening, needs to bring its own thing to it, because at the end of the day, it is what people who were living here were doing, it’s just painting walls, it’s a do-able thing in Christchurch, it’s probably a lot easier than any other city, so you can’t just come and do that , you’ve got to bring something else to the table…

Exactly, I think that’s a really good point, in global terms as well, festivals pop up everywhere, every week, the biggest challenge and the most important thing now is to be unique, to have an thematic or ethical standpoint in some regard, you know, say ‘this is what this represents’, it’s not just about getting colour photos in the paper, it’s about achieving some other type of goal, which is really important.

Yeah man, I think so.

Thanks for taking the time to talk, I must say, I’m really looking forward to seeing you exhibit these works…

Yeah man, in the next couple of months, or sooner than that, I’ll be releasing dates, but yeah, it’s coming up soon. We are just kind of doing all the finer background work now, bringing it all together. When I get close to a new show I always like to go out and do some public work as well…

Do the PR act!

It’s just a way of saying ‘I’m not dead, I haven’t become a hermit just yet!’

Thanks Yikes! 

Keep an eye and ear out for Yikes’ upcoming projects on Instagram and Facebook, as well as his website: 

@jacobyikes

https://www.facebook.com/jacobyikes.artist/

http://www.planetyikes.com/

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Jacob Yikes – Immersed (Part One)

Jacob Yikes needs no introduction. His distinctive wall work has been a familiar element of Christchurch’s post-quake landscapes, turning walls into vistas filled with intricate, impossible architectural forms and characters who are in turn both playful and nightmarish. But while his large-scale murals might provide a pathway to ‘Planet Yikes’, his studio and exhibited work has shown an artistic evolution that delves even deeper into the themes at the heart of his expression. His works on paper and canvas show an artist coming into full bloom, imbued with personal symbolism and exploring a range of imagery, expressive physical processes, and experimental and expanding mediums and materials. We caught up in his studio, surrounded by a series of still-in-progress new works, evidence of his soon-to-be-exhibited recent output; large paintings pulsing with dynamic energy. And yet, fittingly, our conversation took place just before Yikes’ March trip to Dunedin to paint a large wall, a reminder of his ongoing occupation of public spaces. With the sun shining outside his studio, we discussed the transition between street and studio, his latest body of work and the process of their creation, and how life has a way of keeping you honest…

Yikes, the last few times we have caught up it has been while you were painting outdoors, so it’s a nice change to be here in your studio. Your practice has always had that inside/outside dichotomy, shifting between walls and canvas so to speak, but considering how much work you have put in painting outside over the last five years, it’s easy to assume you have slowed down somewhat on that front! 

Yeah man, yeah… (laughs)

Has that been intentional, to allow you more time in the studio?

It’s a mixture of things really. I guess life catches up, you know, I’ve got two small children, so that’s definitely a factor, and they’re getting bigger, so that’s a thing, trying to fit that in. I think I’ve definitely felt a transition from wanting to produce works outside to being in my studio. Obviously, my studio is at my home, so I’ve got a very good set up now. I can kind of work quite erratically sometimes, so now when it is time to work, I can literally do it. Christchurch is pretty small, and I’ve done a lot of painting here, it’s not like I’m bored, but I am the type of person that has to keep doing new stuff. There’s definitely been a shift, and it’s not like, I’m never going to produce big works outside again, it’s nothing like that, it’s more like a certain tick that I need to itch! (Laughs) I feel like it’s a pretty natural progression as well, I don’t feel like I’m missing out on anything. I’m still here, I’ll still do whatever, it’s good…

Jacob Yikes’ Alice in Videoland mural, 2017-2018, Tuam Street. [Photo credit: Jade Cavalcante]
It’s not that they are mutually exclusive, they are both part of what you do…

Yep, and they always have been, and they always feed off each other. There are only so many hours in a day, and in a week, so putting it all into one thing, it’s really hard to try and find time to do the other. In the past I’ve sacrificed a lot of sleep to get that happening and it works for a while and that’s cool, but it’s not physically possible for me, and you learn the hard way. I’ve learnt that, and having children they will let you know… (laughs)

For sure…

So, yeah, it’s just about what do I want to do? What do I see myself doing? At the moment, I think the studio-based stuff is really where I’m trying to focus. But again, I wouldn’t be doing any of this studio stuff if I hadn’t done certain things outdoors. They always feed off each other, and they always will.

And of course, painting walls is built into your profile as well, right? It affords certain opportunities and exposure…

Absolutely.

From a material point of view, both approaches obviously have different potentials, as well as different challenges. What do you see as the main differences, in terms of what you can do in the studio that you can’t do when you’re working in the streets?

There’s always a certain element of impact that I’m trying to achieve with both, and that’s achieved very differently outdoors than it is indoors in the studio. So, with my outdoor works, I was introducing bold colours with quite wild imagery, wild in the subject matter and often how it is executed, like with a lot going on. And then I brought that into the studio to a certain extent, and I’ve been able to, even though because the works I’m doing at the moment and in the past have been quite large, not massive, for canvas or paper work, or board whatever, they’ve been quite big but they’ve gone bigger, I can focus way more on a smaller scale but still get good impact as well, whereas outdoors, you can, but it is a lot of effort. It’s like, for those bigger works, I tend to just do them myself because of how I work, it’s completely different to painting pieces of graffiti with any of the boys, it’s a different process, it’s a different mind-state. In saying that, while a lot of my work outdoors has been very busy, it has also zoned in on certain areas and really worked them, but to be honest it’s a lot of time and effort and often you’re not really getting to the point of that’s what I was trying to do, so you have to kind of walk away from them, feeling like ‘I could’ve done that’, ‘I should’ve done that’, and that’s come from graffiti too, like every every piece you see, there’s something that you just wish you’d fixed, and you know that’s just part of it, but with the studio stuff, I can’t walk away from it, it’s not a wall in town, I’m living with it. In a bizarre way, it sort of speaks to me when I’m doing it, so that’s reinforced the idea that I can work really hard on these areas of the painting and achieve something where there is more impact.

Mixed media on paper, 2017. Exhibited in Face Value at Fiksate Gallery, November, 2017

When you are painting a wall and you stand back and take stock, there must be a strong awareness of the public nature of the process, simply because of the surroundings, whereas in the studio I imagine you can get really invested in producing work which is increasingly personal, you can be completely focused on it and enveloped by it…

Definitely, because as an artist there’s always, I mean, I can’t speak for every artist, but there’s an element of being self-conscious about what you are doing. When you produce public work, you do pretty much need to wear a hard skin, or you can retaliate, which is also something that I’ve probably done a lot in the past! (Laughs) But that’s just kind of who I am too, I don’t have lot of patience for dickheads in all formats (laughs), so it all just kind of comes with it. But with the studio stuff, it’s me, myself and I, and that can be good and it can be bad, because I can be my own worst enemy. I guess it’s that little voice just kind of kicking you in the ass, it’s good, but outdoors you’ve got your self to deal with and what other people think. But at the end of the day, I’m not really doing it for what other people think. I mean, yes, there’s this massive amount of positivity that’s come with public work, street art, whatever, but I feel like I get away with a lot (laughs), you know I’m not out to paint pretty pictures, I wouldn’t even say I’m trying to beautify things, it’s not the reason I go and do something, if that happens that’s great, but I know not everyone’s going to think that way…

It’s something that’s a problem with the adoption of urban art into the mainstream and it’s perhaps at odds with the roots and the intentions from which it has grown. Essentially urban art is about personal expression going public, it’s not solely, or even explicitly about acts of civic duty or beautification…

That’s right, it’s not community murals…

Yeah, they are a completely different thing. At the heart of it, urban art is about personal style, personal communication, and that’s often the hardest thing to explain. People celebrate and champion these beautiful things, whereas what graffiti and street art are really able to do is take art and put it in the streets, it can be beautiful, but sometimes it can be challenging, or visually unexpected…

Yeah.

Manchester Street, central city, 2016

And that means it is lot of things, and that diversity is really important in retaining relevancy and potency. We are surrounded by a number of your latest studio works, the scale of your studio pieces has been growing over the last few years, and these works are another step up in size…

They are. I think they have to be…

Yet for me, they are still clearly distinct from your wall works as well. Even though the works are getting larger, the things you can do in the studio are still really clear and obvious, from the detail, to the actual style of painting and the material approaches. Is that something you are wary of, that despite the size increasing, they are still going to be honest as studio works, rather than edging towards murals on paper?

Yeah I guess, when I think about it, before I really started focusing on studio stuff, I was painting big work, like not monstrous like it got, but a piece is a pretty large painting, so what I realised, was in a studio I can create completely different feelings with the same materials, but I can’t do that with walls, because it literally comes down to how they are sitting. With washes, and the metallics I add into the washes, which are the things I’ve concocted to make these paintings, they kind of have to be flat, they are always in a very wet stage until I spend the last few days finishing them. Also, like I was mentioning earlier, because I work on so many at a time as well, it works with my erratic personality too, it’s something I have to do, because if I don’t, I’ll ruin a painting. I’ve got all these ideas all going on at the same time, and if I put them all into the same painting, it’s just overkill. But when I paint on the street, I do that, I overkill, because it’s big. But you know this time around, I was more interested again in coming back to that impact, but thinking about how I approach it… In the past the works were big, but what’s going on inside of them was a big amount of work too, this time it’s the same sort of concept but I’ve slowed it down. There is, I think, more of a mystery to them, as opposed to zoning into these other works and getting lost in them, you can still do that with these, but there’s a bit more mystery…

Mixed media on paper, 2018

These works have a dynamic energy that breaks up the focus and sharpness of some of your previous works, there is still a suggestive sense of action going on, but it isn’t as definitive or finite as previous works might have been. That dynamism adds a personal quality, because they are reflections of your physical movements, which are of course relative to your personal state at the time you executed them…

Absolutely man, I think they are the most real paintings I’ve ever made. I’m not really the type of person in the past that would address a lot of things that are in these paintings, you know, and I haven’t, I’ve let it control my life, and I got really unwell with it, so I had to let it out. In a sense I’m kind of showing my demons in a way, but not in a way that is trying to make anyone concerned, it’s a healthy thing for me. It’s a way of me dealing with twenty something years of bullshit, so I really think that these works have their own story behind them. They are a body of work but each one is an individual reference to me. Being that they are a bigger scale too, I don’t know why, it just feels like I couldn’t get that same effect if I didn’t do them on this scale. Even with the paper ones, if they got any bigger it would’ve been too much and any smaller and it wouldn’t have worked. For a while I went through a period, for a good few months, where I was not able to paint anything, to draw anything, I literally reclused and stopped, and then kind of came out of that and this is what came from that. I guess too, there is a very different process to how I’ve worked in the past, where I would just go, go, go, go, non-stop, no sleep, I just went for it. There was a lot of work that came out of it, but a lot of it, man, I was in autopilot for a lot of it. I look at them and I know what they’re about, what’s going on, but I’m like, when did this even happen? But with these ones, they are all so much more relevant and they are all so much more decisive too. There’s no work where I’m like, that one probably shouldn’t be like that. Now there’s a whole different process…

Do you think that’s a combination of the timing being right in terms of what you are expressing, but also of how you are able to express it, through your actual practice? In a way, nothing is wasted if it has led you to a certain point, right?

Definitely.

Do you feel that these works represent an arrival point at how you are able to express these ideas visually?

I kind of have the mind set that things happen for a reason, that you experience things for a reason, like whether you know that when it’s happening, or you know it later on down the line. But I definitely think I’ve always found myself at the right place at the right time, especially with how my career has started to shape itself. At the same time, it hasn’t all been roses, you know, there has been a lot of bullshit as well. But if there wasn’t that bullshit, there wouldn’t be any success. I think it gives me ammunition to actually paint these works like I do. It’s how I process these things, I have certain kind of conclusions with my life and predominantly my art, because my life is my art and that is probably more apparent in these works than I think it ever has been. Again, the subject matter is a more refined me, rather than processes made by me or just stuff. Past shows have talked about stuff, they have been derived from me, but they’ve never really been about me, so it’s sort of narrowed in, and I guess that’s happening now because that’s what was meant to happen. To be honest, painting them is a way for me to try to figure a lot of that out, you know; why? why everything? So, the two work pretty well together, but I think you know, that’s the thing with progression, too, with anything you’ve got to take whatever comes, because you won’t progress. You can’t have it all good and progress to something better, without downfall, because there is no balance…

Yikes in his studio, 2018

That’s an important skill, the ability to understand what is happening, and to figure out that path. If your work is the same for twenty years, then something is probably going wrong under the surface…

Good luck to you, if that’s what you are up to! Because I think as humans, you all deal with things in different ways, based on personality, based on past experiences, based on how you’ve been brought up, based on however. Maybe it’s part of getting older and having kids, but I find myself having to really create my own path, you know, what I mean is, it’s a hard thing, because as an artist it’s quite difficult to live in this day and age, there’s a lot of pressures, financially, whatever, but…

Particularly somewhere the size of Christchurch…

That’s it man, it’s not massive and you know, I think I’ve always known that I don’t want to follow suit, it’s just not me. I just can’t do it. I think too, to be honest, that’s where the studio stuff has become more dominant, because this is truly where I’m supposed to be too. Before I was into doing graffiti or before I was painting large scale works, I was always into drawing, always into making art, so it’s like literally from an early age, it’s kind of my been my forte. But you know, it’s still a battle to make that an everyday thing, to make that a reality, it’s still really difficult. So I think taking a step back from doing walls puts a bit of pressure on things like that, because at the end of the day, painting large scale works is how I make my living, how I’ve made my living, selling paintings and doing commission works as well, it all fits in, but predominantly, the walls like I have always said, they are advertising for me as an artist, so it’s difficult to really put one to a side and then focus on one other thing because at the end of the day I’ve got bills!

Yeah, but that challenge is important to take on as well, right?

Yeah, and again it comes back to the fact that there is nothing to do but roll with it. I can create my path, and I know where I want to go, I don’t know where I’m going to end up, but I know what way I want to go…

Which is as important as anything right? People talk about it’s not the destination, it’s the journey…

Absolutely, because I’m kind of too afraid to arrive at a destination! (Laughs) I’m in no hurry to get there! And I think when you get there, if you get there, good and bad creates where you arrive, it’s all about how you deal with it in that process, and I think for me as an artist, the best way is to just literally keep doing what I feel is best. I have to get it out, because if it’s not true to me, at that point, whatever comes after doesn’t matter because I’ve put something out that’s not fully me, and that’s the battle of being an artist too, you want to produce what you feel is right and where you want to go, but at the same time, you have to make money and things too…

It’s a reality…

Yeah, it’s that reality. But again, in the past I’ve sacrificed sleep to do both, so it’s definitely all learning, every painting I do I learn something from it.

Stay tuned for Part Two…

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