Exhibition – Seasons Of Change 17 – Spring – Revolver Upstairs

For three years Seasons of Change has held a quarterly events at the beginning of each season featuring new work on Revolver Upstairs graffiti wall in the breezeway viewable from The Back Bar, a one night only exhibition and limited edition prints. This season we are flipping the script with a series of 6 limited edition 2 colour screenprints. The works will be created by six of Melbournes most well respected writers and artists all sharing a passion for letter-based graffiti, Dvate, Akuze, Askem, Sage, Inpac and Pkue. All prints will be signed and numbered by the artist. One night

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Snapshots & Video – Daek William – Sword and Society

Well, we got sent a mass of grand artwork the just yesterday, and I’d be remiss if I didnt share it with you all. Alas, we missed getting something up about the opening of this rad show, Daek Williams Swords and Society, but this will give you a really great overview of the work and how absolutely fkn rad it all was. I can still remember attending my first exhibition of Daeks work in Melbourne, at the much loved and lamented RTIST Gallery. One piece, an egyptian styled work held motorised pieces that allowed it to “transform”, and it was there,

Exhibition – Bitetime – Ian Mutch – Just Another Project Space

Celebrating the release of a brand new ‘superzine’, “Bitetime” is a selection of artworks, drawings, random travels and experiences, by Ian Mutch. The exhibition explores beauty through nature and narrative, capturing snippets of the artist’s life. From his childhood in Africa, travels through Asia and Japan, to the surrounds of his coastal studio in south-west Australia, these artworks immerse the viewer into a detailed view on the world. “Bitetime” is both an exhibition and a mini journal – a limited edition art booklet, neatly packaged with a build-yourself bitetime character and vinyl sticker. Ian Mutch is no stranger to print.

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Sunshines Top 10 – August 2015

August has almost come to an end, and it has been crammed with so much great work across Melbourne these past few weeks! From Brunswick to Richmond, the winter hasnt stopped our local creatives hitting the walls and throwing up some colour. Check out all the rad pieces that have been seen around the city by Dean Sunshine, as he brings us his latest Top 10 of all that is good and fine in Melbourne street art and graffiti!! 1. Rone + Mayo – Brunswick 2. Slicer – Richmond 3. Senekt + Swel2 – Brunswick 4. DVATE – St.Kilda 5.

Exhibition – INTERSECTION – JOHN ASLANIDIS & MAYONAIZE – Juddy Roller

INTERSECTION JOHN ASLANIDIS & MAYONAIZE Intersection is a collaborative exhibition between John Aslanidis and Mayonaize. Aslanidis’ work explores a sensorary dimension, which exists between sound and vision, where as graffiti has been a major influence on Mayonaize’s eclectic oeuvre. The contrasting approaches result in unique images that merge to become a fusion of sonic vibrations and calligraphic improvised text derived from graffiti. ABOUT JOHN ASLANIDIS John Aslanidis has exhibited throughout Australia and Internationally for over 20 years. His work is currently represented by galleries in Australia, New York and Berlin. He has worked extensively in collaboration with composers to install

Snapshots – Momentarium – Christopher Hancock – Off The Kerb

For those that couldn’t make it to Christopher Hancock’s show Momentarium at Off The Kerb gallery, here are a bunch of photos I took before the show went up.   More Cool Shit: Exhibition – Tic Taco – Beach Burrito … Sunshines Top 10 – March 2015 Video – First Coat – Toowoomba Sunshines Monthly Top 10 – March 2011

Exhibition – Apocalypse – Jonathan Guthmann – Backwoods Gallery

This body of work, simply but appropriately titled “Apocalypse” consists of a series of images based on the last book of the Bible: Revelation. This late first century visionary text purports to describe a series of prophetic visions delivered to an imprisoned Christian apostle, who reveals himself in the text as “John”. The visions contain some of the most vivid, powerful and at times disturbing images in our literary heritage. Guthmann, himself a student of the critical study of religion, is currently working on a written thesis which evaluates the cultural and literary background of the text of the Apocalypse,

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Exhibition – Misanthrope – ADi – Shane Sterry – Lazer Fist – Melbourne

Heres a nice one – a couple of my favourite Melbourne artists are getting together this week to put on a rad new show down at Collingwoods Port Jackson Press! “Three (Lazer Fist, Shane Sterry, ADi), Melbourne street and gallery based artists bring together a body of work which investigates the dilemma each faces of “misanthropy” with each artists work examining ideas of self, environment and culture, exploring the impact the outer world has on and in their private practices. Unhinged, opinionated and relevant this body of work will explore each artists “misanthropic” physch with an contemporary print and street

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Exhibition & Event – Spilt Milk Magazine #2 Launch Party – Sydney

The first issue of Spilt Milk was, from all accounts (As, damnit, I’m out of the country, not in Sydney and havnt been able to get a hold of it yet), a grand affair, featuring a whole swag of mad art and tales of the artists who created it. If you’ve missed it .. “Spilt Milk Magazine was launched in June 2015, Our First issue printed in 1000 copies to be distributed for FREE throughout Sydney, Australia. The project started with the idea to create the Art’s and Culture Magazine that WE wanted to read, filled with all the fantastic creations the people we

Carbon X – Writers’ Bench – Melbourne

Carbon Festival has without a doubt been one of Team Invurt’s favourite events over the last few years – showcasing some of the world’s most successful creatives at the top of their game. Each year we have been so impressed with the line up and the management of the event, so we are super excied to hear Carbon is back in 2015. Invurt has attended and covered every Carbon event since it’s inception with a live blog and photo coverage of each event. There are soooo many great memories from the last few years; including meeting some amazing artists and people,

Interview – Kaff-eine – Boneyard

 

The greatest rewards that have manifested over the past few years of writing on this site are the friendships I have made along the way – the sheer joy of writing about things that I love gives back more than enough, in that respect. People I have written about or talked to for here, for example, often become good friends – luckily for me.

When I first interviewed Kaff-eine some two years ago, I didn’t know her from a bar of soap. We’d never met, and yet hers was work that I loved on first sight – and, ever curious, as I tend to be, I was given a chance to send her some questions about a show she was putting some work in – Fibre Femmes.

Since then, much has changed in Kaffs world. She’s become a full time artist – (unlike me, she has made "the switch"), and yet for all the "How the fuck does she do it" that came before, I still don’t know how the fuck she does it all – even given that she now spends all of her time painting. Her work over the past year has gone in amazing new directions.She has multiple creative projects on the go, outside, inside, between the covers of books, and, also, she is about to do her first actual solo show – for someone so accomplished already, this keeps taking me by surprise.

Most importantly, however, for me, is that she has become a good friend – and whenever I do manage to purloin some of her valuable time (ha, she’d probably throw that one back at me), I’m always bowled over by her sincerity, humility and passion. Kaff is just good people, and what you see in her art is a sublime reflection of her own self. She may not realise this, but her work really does reflect many aspects of both her demeanour and personality, and I think that may be why it resonates with so many people; it is honest, identifiable, unpretentious and, quintessentially, "Kaff-eine".

I fucking love interviewing Kaff, and I hope you enjoy reading this piece about this remarkably talented lady, as much as I enjoy writing about her…

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So – the first time we chatted was way back when you were doing Fibre Femmes. How was all of that, anyways? and as it was one of your first group shows, how do you believe things have evolved from there to where you are now? It is still a highly regarded show, now, what are the aspects of it that you have carried through with?

Oh, Fibre Femmes was great! It was such a fantastic introduction to exhibiting, + meeting some people who have since really become great artistic collaborators + friends. Things have evolved so much since then; my own personal style, the people + opportunities I’ve been lucky to intersect with, it’s been an amazing ride.

I reworked + developed the original Deerhunter characters from Fibre Femmes into what are now some of my central characters; this has lead me in a different direction with much of my work , it’s unexpected but neat. The other thing I’ve carried through from that exhibition is my work with Precious. I didn’t know her before the show, + since then we’ve developed an awesome creative partnership. We do heaps of work together; we’ve painted collaborations with her characters + mine, we’ve done collabs between her poetry + my characters (on the street + in exhibitions), we constantly bounce ideas off each other, + we have heaps of super plans for the future!

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We also talked back in January, when you were putting on Urban Scrawl with Precious Little, Blacklodge and Tig-tab – this makes three interviews, Kaff! :) We did see that show, and loved it to bits – how did it all go, for yourself, personally?

Yes! I love Invurt interviews :)

Urban Scrawl was super, both in terms of artistic output, + the friendships that grew during the making of the art, which was entirely collaborative. I’d never tried to paint to somebody else’s ideas let alone their poetry, so I loved the challenge of interpreting Presh’s heartbreaking poetry in my paintings. Lightpainting with BL + TT also meant that I got to know them really well, + to have some amazing artistic adventures with them. The whole thing really pushed me artistically. This year my time has been colonized by other projects, they’ve been busy too, but I’m looking forward to getting back together with them + doing some more exploring + photographing together.

Since all of that, you have left your 9-5 job, and become a full time artist. How have you found this transition and what have the challenges associated with it all been?

It’s been the best thing I’ve ever done! I’ve been working 7 days a week since then, flat out painting books, walls, exhibition pieces + commissions; leaving the office in June was the only way I could get all the painting jobs done. The transition was smooth, I just stopped going into an office for 40 hours a week, + used that extra time to paint! The only real challenge is not letting myself get too weird when I lock myself away in the studio + don’t leave the property or speak to people for days at a time.

I’m caring less about this now, though.

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We’ve been a huge fan of your new work over the past year or two, especially the work that you have done outside of the city limits – do you often travel out to the country to do work, and how does the juxtaposition between the two reflect on the work that you do in both locations – is there a difference, or do both environments reflect the other?

Oh, good question. I love driving, love the countryside + I like to paint in peaceful locations hidden away from people, so it makes sense to seek out remote locations to paint in. I’d love to have the time to do more country painting, but the past few months have been taken up with other projects so I haven’t done as much as I’d like. I have some fun remote projects coming up over summer though, so that’s rad.

I tend to seek out decaying + abandoned spaces in both country + city areas, + the work that I paint is pretty similar in either location. The main difference for me painting in the country is that I can easily find ‘clean canvases’, paint in areas where nobody else has painted (which I love the most), + there is much less chance of getting caught.

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There’s one thing that I have always wanted to ask about – and that is in terms of the nature of your work. One line of correlation that I draw, is in the urban "feral" aspect. I remember watching a doco not long ago about foxes and urban environments, and the like … – building on the last question, I’m interested in this synergy of yours between urbanity and the natural world that you love so much, there is very little "artificial" themes in your work – so, tell me, where are the robots? Just kidding! But, seriously, what other themes and directions would you like to move your art towards, in the future?

Haha, I knew you’d have to drop robots in here somewhere!! I guess I paint the things that most interest me, + at the moment ‘natural’ things like animals + human bodies have my attention, + combining the two in one character is pretty interesting for me too. I don’t have a conscious plan for the direction of my work, it’s pretty organic, with each painting giving me ideas for the next one. At the moment I want to get outdoors + develop my large-scale painting technique as much as I want to create new characters.

If anything, I think I’ll continue to develop the Deerhunter characters, I’m having heaps of fun with those.

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You have two books coming out early next year, for One Day Hill and Scholastic – can you tell us about each of these books, and what they involve? How did you get involved in doing these books? We heard the story about one of them, the bushfire one, and it just sounds so fantastic …

Aw thanks! One Day Hill (the publisher) approached me with some manuscripts, + asked if I wanted to illustrate them. The two stories are lovely Australian stories for children; one is a true story of WWI battle at Villers Bretonneux + the incredible friendship that subsequently grew between the town + Victoria, Australia, a beautiful legacy of a bitter war nearly a century ago. Part of the story involves the little French town saved by Victorian soldiers in WWI repaying their debt to Victoria nearly 100 years later, when Victoria was devastated by bushfires in 2009. It’s a little-known story, I didn’t believe it was real when I first read it!  The other book is a quaint story about a little run-down caravan that gets rediscovered + loved again, it teaches preschool kids about manners, it’s very cute.

I took them on for the challenge of painting things that I would never normally paint (like caravans + battlefields), + to have my work seen by a different audience. It has been awesome to work with such a great publisher, they gave me an open brief, basically said interpret the manuscripts in my own way + paint whatever I like, however I want to paint it! I reckon it’s pretty rare that that happens, I feel like the luckiest book illustrator around.

Scholastic is distributing both books, so they’ll be widely available.

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Right, so, you have over the past year formed a great relationship with the Signed & Numbered crew, and are doing a show with them and the JA crew at Just Another Project Space – how did that all come about? What so you love about the space?

Yes I love the Signed & Numbered crew! Jacqui is so lovely, she has been an enormous help with the whole print-making process (I’m such a luddite) + I love the way she markets the artwork there. I’m stoked to be a part of her store.

The exhibition came about when the Just Another crew took over the spaces at the rear of S+N a few months ago. I was checking out the Just Another stand at the Melbourne Art Fair when Melika offered me a timeslot for a solo in the space (which wasn’t yet built!); I thought she was kidding, but a week after the show it was confirmed, so it kind of happened by surprise! I knew I already had heaps on with the 2 books, but there was no way I was going to miss the opportunity to do it, so I went for it. It was a big leap of faith for me, I hadn’t worked with Just Another before + hadn’t even seen the space, but I’d seen the events that they’d held in the past, + knew that they’d come through with something rad. Which they have. And now I’m part of the Just Another agency, so it’s even more rad.

And Boneyard – this is what people really want to know about – the very first solo show from Kaff-eine. Huh? Somehow, I keep thinking that I’ve been to shows from you before, but then realise they’ve all been group projects. How has this differed, from your previous shows?

I’ve hardly done any shows at all! I’ve only done a few group shows, so this is a big leap for me. This one is definitely different – it is all my own vision, from the concept, to the artworks + the design of it within the Just Another Project Space. It is a different body of work too, a real development from the previous pieces I exhibited.

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Are there otters? If no otters, please tell me why. Or dinosaurs. Or an otter riding a dinosaur, holding a toy robot. Oh hell yes. Wait, back to the question – thematically, what do you love most about the work that you have done for Boneyard and what have you really enjoyed exploring with it?

Haha no, but I love otters! Ok I’ll paint you a bloody dino-riding cowboy otter holding toy robot guns after the show!! I promise! Hehehe.

I’ve really enjoyed the freedom of painting whatever was in my head at the time – it lead to work that was darker, more elegant + sophisticated, + it gave rise to a tighter painting technique. I’ve loved bringing some of my street pieces to life on paper in the studio, I’ve been wanting to try that for months. The whole process has given me some great ideas for future exhibitions.

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So, after you’re done with all of this, after you’ve hopefully sold a bag load of work and you have a little bit of respite – can we go painting again? :) x

OF COURSE YES!

I loved painting with you in the past! I’m really looking forward to a summer of outdoors painting fun with awesome people, it’s going to be supersweet.

Let’s go + paint dinosaur-riding otters with robots.

 x

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