It’s that time of month again to show you whats been happening on the streets of Melburn, as always there is something happening.
Below is a selection of some of my favourite shots from Ironlak’s 10th anniversary paint up in Croft Lane. The event saw some of the best Melbourne and overseas artists repaint the lane; Dvate, Sofles, Treas, Sirum, just to name a few .
We also saw Trunk Diner put on an amazing Sunday event with live painting over two months, featuring Conrad Bizjak, Deams, Itch, Lucy Lucy, Jaws, Hancock and more.
Invurt also got down to Junky Project’s first solo show ‘WASTED’ at The Darkhorse Experiment in Blender Studios. Who doesn’t love Junky’s work from his usual suspects the sentinels you see everywhere, as well as some amazing sculptures made from everyday found objects.
There is also some amazing pieces from Senekt in Abbotsford, Dem 189 in Clifton Hill and an amazing collab between Rashe & Bailer in Brunswick; and finally Emily Vanderlism and the Authority Clothing crew fronted by Christopher Skyner, created a great piece down Bennets lane in the CBD.
AWOL crew member and expressionist graffiti artist Deams has been wowing both Melbourne and international lovers of his work for quite some time, and the shifts in his style recently have been nothing short of spectacular. His new work has all the hallmarks of a redefinitity, shapes shades and cut out gradiants interspersed with burtst of colorful linework.
As the minimal statement for the show says “This new collection of paintings by Deams presents deep sensory and emotional engagements between the artist and the natural world.” – and the statement is minimal, because having glimpses of the work, who needs the words? The works really do speak for themselves – seriously, Deams work is fkn grand – if back in the days of the beginnings of graffiti, if we could have but imagined where artists such as Deams and his peers are now taking the styles and forms of letter derivative pieces, we’d all be astounded.
This is the kind of work I want hanging on my own wall – head down to the Abbotsford Convent on Friday night and see it all for yourself.
Who: Deams What: Passing Through solo show Where: St Heliers Street Gallery, Abbotsford Convent, Abbotsford, Melbourne When: Show opens Friday 18th April from 6pm til 9pm and runs until the 30th April 2014
I’ve been meaning to write this article for a long time now, because, lets face it, the problem has just been getting worse and worse. Almost every week, someone tells me of an incident, and it goes something like this …
There are websites, there are ebay sellers, there are people at markets, and all of them are selling cards and other reproductions of peoples artworks. when confronted, they always have several excuses that they always have on hand:
“It was done illegally, therefore I’m allowed to reproduce it!”
“Its street art, its allowed and its free for all – its not copyright, if it was then why would they be painting it on the street!”
“Its artistic licence and my own photographic art, therefore I can sell it if I want to.”
All of these statements are grossly incorrect.
Before I go on with this article, I am going to state that I am not a legal representative, or lawyer, and have no qualifications in such matters. Although I have sought advice from several legal sources as to the following, and researched the matter, this is a matter of my interpretation and it is to be taken in no way as official legal advice – it’s up to you to take this knowledge, and arm yourselves with as much information as possible.
Now all that disclaimer aside, I will give you the information that I have both gathered, and consulted with legal sources, and I’m going to tell you artists what you already know is quite obvious – all of these excuses, under Australian law, are, for the most part, complete bullshit.
There are several reasons for this, and two very important rights that artists have that invalidate anyone who attempts to reproduce an artists work without their permission – Copyright and moral Rights – and I’ll address these separately.
This is a hefty article and I’ve been working on it for a while to make it as comprehensive as possible, so bear with it.
Image by Deb – Artwork illegally reproduced on eBay
Australian Copyright Law and the Protection of Street Art & Graffiti
“Sculptures, monuments and artwork may be protected by copyright. Unless an exception applies, you need permission from the copyright owner of the work. Exceptions to this general rule are found in the Copyright Act. For example, photographing and publishing a photograph of a sculpture or work of artistic craftsmanship that is permanently situated in a public place, or in premises open to the public, does not infringe copyright (s.65). This does not apply to other public art, such as murals. - 
Murals, which by definition include street art, are not included in this exemption, and are most definitely protected under the Australian Copyright Law – they are not exempted like other public artworks.
“It will be an infringement of copyright in an artistic work to reproduce a “substantial part” without the permission of the copyright owner and if an exception does not apply. Courts determine whether a part is a “substantial part” by looking at whether it is an important, distinctive or essential part. The part does not necessarily have to be a large part to be “substantial” for the purposes of copyright law.
There are “fair dealing” exceptions in the Copyright Act for the purposes of research or study or criticism or review that may allow reproduction in certain circumstances. However, it is highly likely that a photograph that reproduces the entirety of a work of graffiti street art would infringe copyright in the artistic work.”
The Arts Law website further clarifies this:
“Although murals and graffiti are generally situated in a public place, because they are two-dimensional artworks the section 65 exemption does not apply. As such, if you substantially reproduce a mural or graffiti work in a photograph you may be infringing the copyright in that mural or graffiti work. Substantial reproduction is not a question of how much has been reproduced like 10% of 70%, but rather a question of quality (i.e. what has been reproduced).” 
This means a photograph looking down a street that happens to have a mural wall running down one side adding perspective is less likely to infringe copyright than a photograph that focuses on a key part of the mural making it the main subject of the photograph, even though the first photograph shows more of the mural.
“Less likely” does not mean that it doesn’t, and as the ACC states above, if the entirety of the mural is reproduced, then it is almost certainly infringing on the artists copyright, regardless of “artistic expression” on behalf of the photographer.
This means that the reproducer cannot use this argument as a reason to be able to sell their reproductions of street art on cards/prints/other items, because there is an almost certain chance that their reproduction actually infringes on the artists copyright and can be dealt with by law – and in these situations, it is usual that the reproducer must cease and desist in selling the item until such time as the issue is resolved.
The ACC gives this advice for putting all of this into practice:
“In practice, it may be difficult to seek permission from graffiti and street artists because of the nature of their medium – anonymity is important. While many artists are comfortable with the public photographing their work for private, non-commercial purposes, they may not be as comfortable with commercial use of their work. However, you may find that because of the nature of graffiti and street art (it is a very public artistic practice), these artists, if you can locate them, may be willing to licence their work for commercial purposes. For further information on licensing copyright material, see our information sheet ‘Assigning and Licensing Rights’ and ‘Fees and Royalties for use of Copyright Material’.
You can download a copy of each of these from the following address:
The end result of this – you cannot (and really should not) reproduce an artists work from the streets, without their consent. You cannot take a photo of their work, and sell it for your own profit. If you have an image that contains an artists work, you may be infringing copyright, and you cannot sell this until you have ascertained that the image in the photo you are reproducing is not actually breaking the artists copyright.
All artists retain complete copyright control over any work they produce on the streets, legally, OR illegally and no one has any right to reproduce it any any way for their own profit – end of story.
It Was Painted Illegally, Therefore The Artist Has No Copyright Or Moral Rights On The Art And I Can Do What I Want With It.
“People think that because our work is public and it is sometimes illegally painted, they could [sic] use it any way they want.” - Cantwo. 
Copyright of an image is not negated if it was produced illegally. Of course, if it was produced illegally, then the artist themselves may face other legal issues such as vandalism charges, tresspass, etc, however the piece itself is still protected under copyright law as a mural and is still the property of the artist.
The ACC offered this advice:
“It is assumed that references to “illegality” in the creation of a work of graffiti or street art refers to laws relating to vandalism or private property, rather than copyright. That is, the work is not copied from another image, but the physical location of the work may make it “illegal” under other laws.
As long as the criteria for protection are met, works of graffiti and street art will be protected as “artistic works” for the purposes of the Copyright Act 1968 (Cth). A general rule of copyright law is it protects original forms of expression in material form. “Material form” has a broad meaning and while artistic works are generally thought of existing on paper or canvas, they can also exist as murals, stencils or other sophisticated works of graffiti and street art. However, very simple tags, stencils of words or phrases are highly likely not to be sufficient for copyright protection.
Under the Copyright Act, the person who first reduces the work to material form is the first copyright owner. In this scenario, the graffiti or street artist who creates a work that is protected by copyright will be the first owner of copyright in that work.Copyright is personal property and may be transferred by assignment – that is, the artist may transfer ownership of their copyright to someone else, but unless this occurs, reproduction is not permitted.”
Naomi Messenger, a lawyer from KPMG Legal writes in her 2002 article “Can ‘Can Art” Navigate Legal Pitfalls 
“Spray-can artists usually come prepared. They have preliminary sketches of their proposed paintings. They will generally have copyright in both their sketches as original artistic works, and the graffiti art copyright gives them the exclusive right to reproduce their artworks and to adapt them from two-dimensional to three-dimensional artworks.”
She then goes on to say how a pseudonym would affect this:
“The term of copyright protection may differ if the artist is working under a pseudonym, that is their individual identification ‘tag’.
Anonymous and pseudonym works are only protected for 50 years from first publication; although if the identity of the author is known or can be ascertained, the duration will be the life of the artist plus 50 years.” – therefore the only thing that would affect the actual copyright of the artists work would be the 50 year limit, however the artist still retains copyright over it for that duration.
There is another part to this – in a large number of cases, where someone has taken a photo of a piece of graffiti or street art and used it for their own gain, the piece was actually a legally painted commissioned piece.
Sharon Givoni, a Melbourne based intellectual property law clarifies this further (in a great, must read article for all artists that was published in Illustrators Australia):
“It is important to note that if you paint on someone else’s wall you will not own the physical painting on that wall as this remains with the property owner.However, the owner of the building will not necessarily own the copyright of the painting on the wall as that often remains with the artist.” 
This means that the artist holds copyright over it – unless, of course, they were actually employed. If the artist was employed to produce the artwork, their copyright over the images may be owned by the employer – this copyright has to be given away in writing, however, specifically via a contract.
The people reproducing this artwork have not been granted copyright, therefore they have no right to print or reproduce it for their own profit. Pieces also, painted in legally sanctioned areas, such as Hosier Lane in Melbourne etc, are also protected under copyright, which is retained by the artist.
Yet regardless of either of these variations, whether the artist produced the piece legally, or illegally, any mural created by an artist is protected by copyright – even if it was produced in an illegally on a wall.
Copyright law aside, this isn’t the only recourse that street and graffiti artists have in protecting their work. There is also the little thought abut “Moral Rights” that an artist retains on their artwork. This law is just as important as copyright law, because the people who actually sell these cards break pretty much all the time.
Moral rights over your artwork, as classified as a mural, means that no one can actually take your artwork and display it in any way, or reproduce it in any way, without actually attributing you as the artist.
Moral rights do apply in a separate way to copyright, as you can never actually sell your moral rights, they stay with the artist. Although moral rights can be waived, you as the artist and creator of the mural always retain the moral right to be named as the creator.
In terms of the law itself, breaching the artists moral rights is in this instance defined by the Copyright act, and your moral rights consist of the following:
“If an artistic work has been subjected to derogatory treatment of a kind mentioned in paragraph (a) of the definition of derogatory treatment in section 195AK that infringes the author’s right of integrity of authorship in respect of the work, a person infringes the author’s right of integrity of authorship in respect of the work if the person does any of the following in respect of the work as so derogatorily treated:
(a) reproduces it in a material form; (b) publishes it; (c) communicates it to the public.” 
The Australian Copyright Council has a fair bit to say on this matter, as outlined in their response to my queries below:
“Artists have moral rights in their work. We will deal with these three rights in turn. There is a general defence of consent for all three rights. There is a defence of reasonableness for the rights of attribution and integrity.
These rights are:
the right of attribution
the right against false attribution
the right of integrity.
Creators of copyright material have the right to be attributed when the work used for various purposes. If a creator has not stated the way in which he or she wishes to be identified, any “clear and reasonably prominent” form of identification may be used.
This means that someone receiving, seeing or hearing the work or adaptation would be aware of the creator’s name.
There may be a practical problems in attributing graffiti or street artists that chose to remain anonymous, or make their work available under pseudonyms.
Creators of artistic works have the right not to have the authorship of their works falsely attributed.
False attribution means:
crediting the wrong person as the creator of the work; or
crediting the creator of a work that has been altered without acknowledging the alterations.
It is also an infringement of this right to knowingly deal with or communicate a falsely attributed work.
The right of integrity is the creator’s right not to have his or her work subjected to “derogatory treatment”. “Derogatory treatment” means doing anything in relation to the work which prejudices the creator’s honour or reputation.
This could include:
distorting, mutilating or materially altering the work in a way that prejudices the creator’s honour or reputation; and
in the case of artistic works, destroying the work or exhibiting it in public in a way that prejudices the creator’s honour or reputation.
Defences – Consent and Reasonableness
A creator may consent to their moral rights being infringed. However, it may be difficult to obtain consent from street and graffiti artists for the reasons discussed above under the heading “In practice”.
A failure to attribute the creator, or a derogatory treatment of copyright work, does not infringe the creator’s rights if the action was “reasonable” in the circumstances. The Act sets out a number of factors to be taken into account in working out whether the action was reasonable.
the nature of the work;
the purpose, manner and context for which it is used;
relevant industry practice;
whether the work was created in the course of employment or under a contract of service; and
if there are two or more authors, their views about the failure to attribute or derogatory treatment.
It is highly likely to be reasonable not to attribute anonymous graffiti and street artists. Where the street or graffiti artist is known or works under a pseudonym, it is less likely to be reasonable as there is a growing industry practice in art world to attribute graffiti and street artists. Moreover, the work of graffiti and street artists is gaining credibility and a viable economic market in the art world.
To avoid any risk in infringing the moral rights of a graffiti or street artist, attribute them with their pseudonym, but ensure you do not falsely attribute an artist.”
Interpreting the advice by the ACC above, it also means that your artwork can never be used in a way that will affect your integrity. If use of your artwork this inflicts on your moral rights, say an artwork is done and put in an exhibition then the public might take it incorrectly. Also, if an artwork is reproduced for someone elses gain, morally you have the right to deny its use if you do not agree with said use – this means that if someone is reproducing your work, even if in part on a card or somewhat, even if its “not even in context” you retain the moral right to refuse its use! In some ways,t his can even rump copyright – if your work is on one of these cards, and you morally object to its use, it is not allowed to be used!
Not only are these people infringing copyright, but they are reproducing it, and not attributing the artists. This infringes upon the moral rights, not only that, but to me, if someone is reproducing my work for personal gain, then that to be is treating my work in a derogatory manner – ie “I don’t want to support the mass production of street art for someones personal gain, and I am offended by it and find the use of my work in this contest derogatory.”
So in this case, I believe that even if the photo of your work is taken, and it is “incidental” to the actual photograph or image itself, Moral Rights still apply. The artwork has been reproduced, and therefore the artist has to be named, and has to be informed as to its use. If the artists is not named in the reproduction, even if the piece of artwork is very small and incidental to the overall composition of the piece, the artists moral Rights have been breached if the person responsible for the image has not named the artist or obtained a waiver from the artist to utilise it in a public display. A public display could also mean, displaying it at a market, for sale.
Someone selling your work can also be met with objection by way of misleading or deceptive conduct. If you as an artist are well known enough, then it may be misleading as he people selling your work may be seen by others to be “representing” you, when in fact no such relationship actually exists between yourself and the seller.
Copyright, Moral Rights and Your Right To Consent And Notification At Having Your Work Destroyed, Mutilated Or Altered
Oh, just as a little bonus, and I’m just going to throw something in here that the artists don’t actually realise that also applies with moral rights – you ready for this?. If you produce a mural, and the work is slated to be destroyed or changed of buffed over, did you know that this also violates your moral rights? Did you know that the artist MUST be informed that the artwork is going to be destroyed, mutilated or altered, or if it is going to be used for any reason that may be and prejudicial and reputation. If the artwork cant be moved, then the person doing the renovation or changes of building MUST seek out the artist and inform them, and consult with them, before doing anything to the artwork.
“Under Australian law it is not an infringement of moral rights to change, relocate or demolish a building of which an artistic work forms part, provided that the property owner:
gives the artist notice; and
allows the artist to access the building to make a record of the work and consult with the owner about the change, relocation or destruction.” 
Interesting huh? This is also actually the law that 5pointz was actually trying to utilise, and which is why there are now legal queries as to whether the building owner was able to legally buff his property.
But, anyways, I digress from the main point of this article, and that is the protection of your work from the people who seem to think that it is legal to reproduce them.
Lastly, I’m going to state, once again, that I am not a lawyer and I am not qualified to offer legal advice. This article is for the purposes of steering you in the right direction, and to also point out to people who are illegally selling reproductions of artists work that they are indeed, more than certainly, breaking the law by selling their cards/prints whatever.
To get real advice, there are many resource that you can use – the best is the Australian Copyright Council, and, to a lesser extend, ArtsLaw Australia (who I did receive a limited amount of advice from before they wanted me to subscribe to their service).
They do have a good website and they do have several templates for sending to people who are breaching your rights, Copy or Moral – they are:
In summary, if you come across one of these people who are reproducing artwork, send them a cease and desist notice. Send them here, to this article, and get them to read it to understand exactly how they are breaking the law. Sometimes, they genuinely don’t realise that they are breaking the law by doing so – because they do seem to think hat taking photos of street art and selling their own photos of it is actually legally.
Contact the Copyright Council, ArtsLaw or someone else suitably qualified, but you don’t have to do that in order to send them a letter asking them to stop – it is legal and within your rights to do so, and you probably have a great legal case against them. Oh, and send them to this page – people really need to be educated about these matters, and these myths need to be dispelled.
At the end of the day, if they keep selling your work – take them to court, the chances of you winning the case are very high. Don’t think to yourself “I can’t afford to take them to court” – there are plenty of lawyers out there that will help you out, and as your chances of winning are high, well, then you probably wont pay any fees at all in the end.
If you are one of those people who reproduce other peoples street reading this now. If someone has pointed you here to read this article and you are one of the people selling these cards or prints or whatever at markets, or on eBay – what you are doing is NOT legal.
You are almost certainly breaking copyright laws, murals are assuredly protected, but, most importantly, you are also breaching the artists moral rights and it is quite likely that you are breaking the law.
This article is an interpretation of research on Australian Copyright and Moral Rights issues. carried out in April 2014. As this article is intended as a informative article only, and is only an interpretation of the laws governing street art and copyright/morals rights, Invurt cannot be held liable for any errors , inaccuracies or omissions to the article above. If you do notice any inaccuracies or errors, and are a legal professional and have issue with any information in this article, please contact us.
Note: As was pointed out to me in the comments, there are laws governing Fair Use that are also a deciding factor in terms of copyright of graffiti and street art. I’ll be researching these and looking into them – I’ll do some minor updates to this article to reflect them, but may save the bulk of it for another article as its a pretty fundamental issue – for example, would we even have so many street art books, magazines and documentaries if it was strictly enforced in those mediums? Personally, I see a big difference between a self published book on street art showcasing others works in support of the artists, where the author almost never makes his money back on it and its a labour of love, to one produced by a massive publishing house, or someone selling prints and crap on eBay for their own personal gain … but that debate is out of scope at the moment, and we’ll address it further at a later point.
Last week Jurassic 5 were in town, and as he does, Charli 2na wanted to ahve a bit of a paint here in the ‘burn – so what did he do? Put on a painting session with a bunch of Mebourne artists over at Rubix in Brunswick!
“A celebration of global street art hosted by the one and only Chali 2na from Jurassic 5 at Rubix Funhouse in Brunswick Melbourne. Live paint jam featuring Itch, Mishap, Whisl, Lady Killers + more of Melbourne’s finest street artists.”
I’ve known RSUME for a couple of years now, and his work has always been something I’ve loved seeing around our city whenever I’ve spotted it. A dedicated and prolific artist with a fresh, clean style that constantly changes up, his work speaks volumes to the passions for graffiti that subsume this city – his pieces are stories told in the dead of night, of letters and colour splayed across concrete rail embankments and listless freight cars.
Paying homage to the writers who made the city a bastion of graffiti, and forging ahead with his own work as statement, RSUME is the embodiment of everything that is fucking great about Melbourne graffiti – drive, gumption and pure, from the heart talent. As the man himself says, its not just about getting up in quantity – its about quality, and like so many other Melbourne writers, he has that in spades.
It’s not often that we repost articles from elsewhere, but every once in a while we see something just deserves the special treatment, and this is one of those times – thanks to MTN Australia and RSUME for letting us share it with our readers, read on for all the down low on one of our favourites of Melbourne graffiti …
RSUME (Resume) Melbourne, Australia
What crew/s do you represent?
DB. Darling Boys, Dropping Bombs, 42.
When did you start writing?
I’d been mucking around with sketching and tags since I was quite young, however I didn’t really have any understanding of the culture or a wider scene than the basketball court at the end of my street until much later. I started actively painting pieces from 2006
When was your first piece completed?
2006… I did three that night, each one got progressively worse.
What or who were your early influences?
Style Wars, RDC, CI, SDM, AFP, TSF and DTS
Which writers did you look up to back then?
The first writer I ever saw painting was ‘MESK’ CI in 2000, which initially sparked the interested. It was guys like MESS, OZONE and DAZR who showed me what people my own age were doing, that actually got me out there.
What about today?
My mates and crew. It’s always more impressive if it’s someone you know personally doing something that blows you away. Whether its the spot, style or size
Who is the writer you have enjoyed or had the most pleasure or honour painting with?
I met SHEM RDC early on and we became good friends, he mentored me a lot in terms of letter structure and flow. The guy has been painting for over 25 years and still impresses me with his style and commitment.
What do you think about the state of graffiti today as opposed to when you started?
I’m inspired by the people I paint with, I try not to bother myself with the politics of the scene.
That being said, in the last two years there’s been a resurgence locally; lots of writers popping up and moving here. Heaps of bombing, diverse styles and panels are running more again. A lot of people are crushing it.
What paint did you use back then?
Anything I could get my hands on. Got to love free buff paint on the side of the road
Which is your paint of choice today?
I like mixing scrap tins, making the most with what I’ve got.
What inspires you to keep painting?
That I get to live a pretty crazy lifestyle and the drive to out do myself, always developing and experimenting with style(s)
Have you travelled to paint? If so, where?
I travel up the east coast of Australia a bit, regularly visiting Sydney and Byron Bay. I’ve also travelled and painted throughout Europe
Where was the craziest place you’ve painted? Tell us about it.
Painting solo in Europe when not speaking any of the local languages. Weird scenes played out around train-yards.
There was this one spot in southern Germany. I met up with my contact and he took me to where they were having a party in these decommissioned s-trains just outside the main yard. There was a blow-up pool in the aisle and people were sunbaking on the roofs of the trains while some guy had set up a platform out of the windows with decks mixing tunes. After a swim and a few beers I started painting one of the trains as the sun set. The workers were walking past leaving the main yard, waving and giving the thumbs up. Surreal.
Do you prefer quality or quantity?
Quality, style is king.
Having said that, personally I think the two go hand in hand. I generally paint three to five times a week, that way I can see improvement and feel I’m on point.
If I sit it out for a little bit, for whatever reason, I see my line-work and flow suffer for the break.
Can you tell us any interesting stories from a past mission?
There’s the funny stories and the not so funny, like being threatened with a gun while hiding in someone’s backyard. There was my mate driving down the train tracks in a car, a security guard who was practicing his Jedi training with his flashlight. Once I heard cops describe what I was wearing while copping a chase and re-dressed at someone’s washing line into a pair of chicks board shorts.
A few years back while painting a rooftop in the heart of the city we had only done our fills when I noticed a squad car parked below us with a cop pointing up. Before long there was another car parked in the rear alley. My mate decided to parkour his way down a few levels to suss out a possible exit, he was spotted, made a quick dart to an adjacent building when he fell through a skylight. Minutes later he’s being dragged out of the building by two cops yelling “where’s your mate?!” and not being able to figure out how we got up. I realised they had no idea how to reach me; a stand-off commenced. I spent the next hour trying to beat the high-score on Snake 2 on my phone while they scratched their heads. I heard a sound and peaked over the railing to the scene of this main street being blocked off with barriers, a third police car and the fire brigade, which were now ascending a cherry picker towards me with two cops inside. They were so focused on the front I just missioned down the back of the building.
A few blocks down I bumped into a friend, suggested getting a much deserved beer to which he laughed and said “you’re not getting in anywhere bleeding and covered in mud.”
If you could paint anywhere, where would it be?
The Renaissance era, those guys were boss.
Who would you most like to paint with?
Like minded, good people.
A lot of writers listen to tunes when they are painting legally, what would be on in your headphones?
WuTang again and again … Lately I’ve been digging Action Bronson and Oddisee.
Shout out to the DB boys, everyone else I paint with and my lady
With the amazing PUBLIC event already started, we’ve already got some coverage happening of all the shit thats going down over in Perth before we all arrive later in the week. A whole bunch of artists have already started making their mart on the city, with Phibs, The Yok, Sheryo, Phlegm, Roa, Maya Hayuk Stormie Mills and Phlegm having already made a crapload of progress on their pieces at this grand event put on by FORM Gallery.
There’s some exceptional work happening, and some massive walls – thanks to our Perth crew, Sam Gorecki for all the progress shots of the artists work, we can’t wait to get there later in the week!
Just released this week, check out this mad video from the recent First Coat event up in Toowoomba – looks like it was a grand time back in February when it all went down, and this is all pretty dope. Video features EWOK, MR WANY, SOFLES, TREAS, REALS, MEKS, TUES, YESMA, QUENCH, FINTAN MAGEE, SHIDA, WUBIK, TWOLAKS, THE GRID, JOHN KAYE and more!
In light of the W.A shark cull policy, Little Wing Corner Gallery in conjunction with The Conservation Council of W.A (CCWA), have put together a group exhibition to raise money.
‘APEX “The future of our oceans”. Sharks are apex predators. Removing apex predators from the ocean can result in the loss of balance and eventual collapse of the marine ecosystem. All art sales donated to CCWA to help protect our sharks.’
Worthy cause, heap of cool artists and live music. You do not want to miss this!
Who: Amok Island, Sean Morris, Hayley Welsh, Robert Jenkins, Kiara Thomas, Dipesh Prasad, Brenton See, Rene Brink, Naomi Gittoes, Loren Kronemyer, J’amie Fazackerley, Kylie Rodd, Michael Dekker, Joshua Garner, Liam Dee, Calliope Bridge, Hannah Atcheson, Alexander Miller, Mike Maxted, Al EX, Girrl Toyy What: Apex Exhiition Where: Little Wing Corner Gallery – 263 Hay st, Subiaco, Perth When: Opening night Saturday the 5th of April.
Man, are we already a quarter of the way through 2014? It seems like we just had New Years … but hey, even though time rolls on, Dean Sunshine is still out there snapping, getting a whole bunch of shots of his favourite work from around Melbourne every month – here are some of his latest shots!!
Weaving eight years of life experience of this Malaysian artist, Escapeva launches his first solo exhibition today.
Not satisfied with a normal nine to five job and a degree in graphic design, Escapva took up the aerosol can to study public painting. This show features what is means to be a graffiti artist in Malaysia. Entitled ‘Can Control’, Escapva claims ‘’Mastery of the spray can tip parallels the growth and development of self’’’.
Can Control is a highly composed and organised collection of what Escapva represents. This exhibition visually incorporates his steady progression into the world of graffiti, and hopes will encourage others to step out of the norm, and trust that following their hopes and dreams will allow room for creativity via an escape from reality.
Who: Escapeva What: ‘Can Control’ Solo Show Where: KEDAI , D-G-03, Jalay SS6/20A, Kelana Jaya, Petaling Jaya 47301, Malaysia When: 28th March – 11th April from 8.00PM-11.00 PM (opens daily)
Invurt webzine provides information on AustralAsian street, urban, illustrative, graffiti and other genre defying, nu-contemporary art to readers around the world. It specialises in events and artists who are working, displaying and visiting Australasia – particularly with a focus on exhibitions, live art and other events the artists are partaking in.