Snapshots – State Of Mind – Cam Scale – At Juddy Roller

For those of you who were unable to make it down Juddy Roller to check out Cam Scale’s amazing show State Of Mind, here are  bunch of photos featuring his works from the show.  

Snapshots & Video – The Fresh Hood – Preston

Snapshots & Video – The Fresh Hood – Preston

There are a whole bunch of rad things going up around Preston these days, its turning into one of the cooler spots in Melbourne, to be honest. The Fresh Hood is no exception, taking an older building at the Preston markets and turning it into a cornucopia of cool shops and eateries, surrounded by some dope ass new artwork! Selected and curated out all by our man Dean Sunshine (with support from Loop, Crag of the Space Agency, Dulux Australia and Duke Style) this is an awesome new addition to the many gorgeous walls around Preston … check out the photos

Through The Lens – June 2016 – David Russell Photography

It may be cold in Melbourne right now but that hasn’t deterred artists like Smug who managed to smash out two amazing murals organised by Juddy Roller, one over three storeys depicting his grandparents. Roa was in town and didn’t disappoint with his show at Backwoods Gallery, featuring Australian wildlife painted on all manner of objects he collected while in Melbourne, all from hard rubbish found around Clifton Hill and surrounding suburbs. Adnate also had an exhibition at the Metro Gallery featuring his amazing works depicting members from the indigenous community, its great to see an artist use their skills

Video – Shida – Bombing HK & Seoul

Video – Shida – Bombing HK & Seoul

The man Shida went on a bit of a trip to Hong Kong and Seoul recently, and got a bunch of video of some of his exploits on the streets there – a nice little piece of a man doing what he loves, and doing it with his expressive style – Theres really something to be said about bombing with a brush(s)! Check out the video below ..

Snapshots – Wizards Lizards And Broads – Mark Bode’ – Backwoods Gallery

There are not many shows that captivate me the way Mark Bode did with “Wizards, Lizards & Broads, I suppose for me like so many we were heavily influenced by both Vaughn and Marks undeniably distinguishable characters. There was a time in the 80’s where in class it was all about Cheech Wizard, Puck and Junkwaffle, especially if you were into graffiti you will remember theses characters in some shape or form, I was also lucky enough to meet Mark Bode and his lovely wife personally at a going away dinner for Roa a few weeks back. Don’t miss the

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Sunshines Melbourne Street Art & Graffiti Top 10 – June 2016

Okay, is it really half way through the year already? I cant believe that 2016 is flying past so damned fast – it seems like it was just the new year! Half way into the year, we already have some cracking choices of top 10s from our man Dean Sunshine, and this month is absolutely no exception! His picks for June 2016 contains some of the coolest shit we’ve seen, and man, it just keeps on coming, month after month, year after year … Check out all the latest below, enjoy! 1. George Rose – South Melbourne 2. Mike Eleven –

Snapshots & Studio Visit – Julian Clavijo

David Russell and I caught up with Julian Clavijo on Sunday in his studio in Brunswick and we’re lucky enough to get an early insight and sneak peek into his body of work for his upcoming show – Patient Transition – Check out all the details for the show here. Over a few beers Julian told us about his origins in Columbia, his time spent at an artist residency in Dubai, as well as his journey into art in general, gallery art and Friday’s show. That’s a very short summary of what we discussed – Julian tells his stories with so

Adnate - Always Been Here - Metro Gallery - Armadale

Snapshots – Adnate – Always Been Here – Metro Gallery 

Last night David Russell and I journeyed over the river to Metro Gallery in Armadale to check out the opening of Matt Adnate‘s – Always Been Here. Like all of Matt’s openings at Metro last night was no exception. The Welcome to Country ceremony kicked off the show as the gallery packed full of people and Eucalyptus smoke wafted through the air. An excellent show with amazingly detailed works. A must see – make sure you get down to Metro ASAP and have a look! Thanks David Russell for the great photos.

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Snapshots – Tiny Writers – Goon Hugs – At The Dark Horse Experiment

Friday the 10th of June saw an amazing show by local artist Goonhugs at the Dark Horse Experiment, a prolific sticker and paste up artist, whose works literally cover everything, I love seeing a shopfront or bus shelter completely covered knowing that there are few thousand stickers on there. This was his first solo show and for this he allowed us a view into his miniature world of these amazingly detailed reproductions of abandoned building from around Melbourne, these were covered in tags mostly from Melbourne’s prolific graffiti scene. He managed to reproduce in such amazing detail, some of my

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ROA at Healesville Sanctuary

Whilst ROA was here in Melbourne, like last time, he spent much of his time and gained much of his inspiration at Healesville Sanctuary. For anyone not familiar with the sanctuary, Healesville Sanctuary is a not-for-profit conservation organisation dedicated to fighting wildlife extinction through breeding and recovery programs for threatened species and by working with visitors and supporters to reduce threats facing endangered wildlife. ROA spent several days at the Sanctuary, meeting and playing with all of the animals, this intimate experience gave him the inspiration for the show, which was complimented by bones and other weird artifacts on loan from

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.

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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.

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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.

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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.

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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.

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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.

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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

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