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

devineprohecysmall

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.

deansunshine_landofsunshine_melbourne_streetart_graffiti_invurt_top_ten_53_3_Senekt_Swel2_Brunswick

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: Sunshines Monthly Top 10 – March 2011 Dean Sunshine’s Top Ten – July 2013 Snapshots – Heesco – Mongo Hustle Sunshines Top 10 – February 2015

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,

misanthrope-for-invurt (1)

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

promo-flyer-invurt

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 – Kyle Hughes-Odgers – A Thousand Lights From A Hundred Skies

Kyle Hughes-Odgers, aka Creepy, has been a notable player on the Australian art scene for some time now. Known predominantly for his street art, the past few years has seen Kyle stretch out of what would have been quite a comfortable space to stagnate in.

Personally, having been at the opening of his previous exhibition, ‘You Just Have Your Eyes Closed,’ I had thought at the time that this was it – he’d done it. I hadn’t ever seen Kyle’s work in a ‘hey, that’s fine art’ kind of way but the magnitude of pieces, the continuity of the exhibition and the evolution of his style were all firm indicators that Kyle had established himself in the fine art world. As the old adage goes – If it’s not broke, don’t fix it – I had assumed that style wise, Kyle had hit his peak. His work was honest, appealing and respected. ‘You Just Have Your Eyes Closed,’ was two years ago. In that time Kyle has continuously evolved and his work, both fine art and street art, has blossomed. He has travelled and exhibited extensively, his craft has matured and his skill has grown exponentially.

His upcoming exhibition, ‘A Thousand Lights From A Hundred Skies,’ set to debut this Friday at Turner Galleries, is the show you can’t afford to miss.

a-future-life

It’s been two years since we last spoke, can you tell us briefly what youv’e been up to in that time?

I’ve been a bit of a drifter – traveling for projects and painting walls. NYC a couple of times and I had my first European solo show in Berlin and worked on my first children’s book ‘Ten Tiny Things’ published through Fremantle Press in Australia and some film projects with Chad Peacock.

a-thousand-lights-from-a-hundred-skies-284cm-x-876cm-mixed-media-on-board-2013-kyle-hughesodgers

Your upcoming show, ‘A Thousand Lights From A Hundred Skies,’ opens this Friday at Turner Gallery. What’s the story behind the title and can you tell us what to expect from this exhibition? Will there be as much content as you had in your first show at Turner Gallery, which was something like over one hundred works?

The show title is named after the largest painting, which is 284 x 876cm. It’s an abstract aerial view of a non-descript city at night. There are 27 paintings in this exhibition; there is a lot more work in the individual paintings than my last Turner show. Which had 113 paintings but a lot of them smaller, simpler works. I wanted to make a more focused, intense body of work.

kyle-hughes-odgers3

kyle-hughes-odgers

You seem to be able to switch easily between large scale murals and small delicate work. Which do you prefer why?

I prefer both. I like spending time in the studio to focus and create a body of work for months and to contrast that quietness with painting outside on large-scale mural projects. It pushes me creatively to work in different locations, across different scales, mediums and textures.

In the last two years or so, you have been producing artwork in your own name as opposed to ‘Creepy’. Is that a conscious decision to differentiate between your street art and fine art?

Yes. I was 22 when I first started making street art under the name ‘creepy’. That was almost 10 years ago now and a lot has changed. I was associating the alias ‘creepy’ with one particular creative activity, but my work has crossed into a wider spectrum of many different projects and mediums both inside and outside.

It just seemed logical to start working under my real name for any project I’m involved in.

kyle-hughes-odgers4

creepy-la31

In Feburary of 2012 you had your first European solo exhibition, ‘If We Can’t Control the Boat…’ at Okazi Gallery in Berlin. Can you tell us what the show was about and how you managed the logistics of having an exhibition so far from where you are based? How were you received?

‘If we can’t control the boat, let’s control the ocean” was a fairly bleak title. The show was a look at the obsession some humans feel to be in control, although in reality we can merely only ‘steer the boat’ so to speak and there are many things out of our control. It was a reminder that we are essentially clinging to a rock that orbits around a ball of fire somewhere in an infinite universe. It’s easy to forget that. Logistically it was pretty straightforward, I painted 80% of the work in my studio in Australia and worked on an installation and few works when I was at the gallery. The show was received well and has led to other projects.

You’ve been involved in some pretty heavy weight international group shows of late. Can you tell us about some of the exhibitions you’ve been involved in? Any stand out shows or artists you’ve showed besides?

It’s always good to be involved with international group exhibitions, especially being based in Australia. It’s great to have the opportunities to be showing work along side other artists I have respected for a long time. A few highlights would be the ‘BRIGHT’ tradeshow in Berlin, MMX Berlin gallery week, ‘Street Art Saved my Life:39 New York stories’ in L.A and the Kingbrown show last year in NYC.

creepy-5pointz

DCIM100GOPRO

In 2012 you spent a little time in Port Hedland, which is primarily a mining town in the Pilbara region of W.A. Can you talk about how that opportunity came about and what you got up to?

The Port Hedland project is part one in a long running idea to paint in very unique and remote Australian locations. It’s something I want to do through out my life. I think the isolation and space is fascinating. I’ve always wanted to work on painting projects that showcase this landscape and remoteness. I’m interested in how these places and projects would be received by people from other cultures living in high density urban environments, New York City, Paris, Tokyo etc. The best way to do that is through film and the internet.

Through FORM the opportunity to travel to Port Hedland and paint 2 large murals came up. I wanted to go exploring and find some other unique places to paint while I was in the Pilbara. Filmmaker Chad Peacock was commissioned to come up with me and document the project. We spent 9 days up there painting and filming the murals in town and exploring the desert. Id been given a few hints of possible places to paint in the desert and what we found was better than I had imagined. The abandoned double decker bus was an amazing wreck to come across and a very interesting object to paint, I would love to know how it got to be out there.

The two murals in the Port Hedland were supported through BHP Billiton’s Community Grants Program and by FORM. The two walls were kindly ‘donated’ by Port Hedland Police Station, Westpac Bank and Richard Noble with support from Boom Sherrin.

July last year saw you illustrate the book ‘Ten Tiny Things,’ by Meg McKinlay. How did that come about? What was the process like for you?

It was great – I have always wanted to work on a childrens’ book so I really enjoyed the process. Fremantle Press sent me Meg’s story when I was in New York in 2011 to see if I would be interested in working on the project. The story resonated with me, encouraging people to be more observant and appreciate the interesting things that surround us everyday, to be more active and to get us out of our comfort zones.

I treated it like an exhibition and dedicated a set amount of time in the studio to painting the book.

three-am-93-5cm-x-76cm-acrylic-on-canvas-2012-kyle-hughes-odgers

Hidden Shoal have just relesed a video by Chad Peacock of your mural work in Cambodia. How did you come to be involved in this? How was did the experience of painting in Cambodia and what did the locals think of you and your art?

Chad was heading up there for another project and he asked me if I wanted to go on a trip and we could paint and film on his days off. I had never been to Cambodia and really wanted to visit Angkor Wat. I ended up painting a few different spots on the trip but the footage used for the Apricot Rail video clip is just from one particular day of painting. The wall I painted is on the side of a school that teaches English and provides one meal a day to the local Cambodian kids from the near by village.

It was about an hour from Phnom Penh and we had to catch a ferry and go on motorbikes to get to there, so not many tourist get to this place. It ended up pouring down near the end of the day and we knew the last ferry was leaving so I had to finish the wall in the rain. A few of the locals helped me out and we got it complete in time. It was an amazing day and great to meet some of the kids from this area and speak to some of the locals who are doing very important work there.

Cambodia is an amazing country and I was so glad to have the chance to visit.

Apricot Rail – Surry Hills from Chad Peacock on Vimeo.

I’ve read that you are working on a huge steel installation for DMG architects. You must have to hand over your work at some point to complete this process, does that make you nervous or are you really excited to see your work in a new kind of medium?

I like working across many mediums so it’s interesting to see a new process and material. This project is more sculptural than past works.
There are a lot of people involved to get a project of this scale complete and my work is only one component of that.

What’s on the cards for 2013 after this upcoming solo show?

I have a solo show of smaller works and the official first screening of the film “We will know when we are home” by Chad Peacock which documents my residency in Port Hedland. It opens on the 15th of Feb at the Port Hedland Courthouse gallery. Then I’ll be heading to NYC mid year for some projects, then to Europe for a solo show, and some other secrets in the pipeline.

Last words?

follow my instagram @khughesodgers

More Cool Shit:

About The Author