I saw this video a week or two ago, and thought it’d be a good share. Including interviews with Rone, City of Yarra, Sandra Powell and Andrew King talking on the current state of graffiti and street art and its growing acceptance amongst the communit.
It’s a cool video actually – a lot of coverage of work going into galleries and how the art form is becoming "legitimised" … whatever that means haha. Take a few minutes out and have a watch of it all on this fine Sunday afternoon!
We always love seeing new mags coming out, and seeing one from here in Melbourne is always fkn cool – and knowing some of the guys behind this one, well, can’t wait to get my hands on the first issue tomorrow!!
“Street Struck is a new melbourne based graffiti magazine.
Issue one features legals, tracksides, freights, trains, bombing and black books. From some of Melbourne’s most active writers.
Including specials on Bailer and Sinch along with the history of the SDM Crew
Now available at Obese Records, Giant, Villain and online at Boywolf. With it becoming available at all the regular stores around Australia this week.
This is a limited edition publication, and will be sure to sell out quick.”
Well it has been another busy month; so much to see and do in Melbourne, we are so fortunate to have such a diverse range constantly evolving walls, here are just a few of my favourite images while getting my street safari on.
I’m a bit late on my review and snapshots (by David Russell) for this show. Last Friday Suburban opened at NGV Studio – Federation Square. Walking to the venue I could already see hundreds of people inside and also crowded outside the gallery. An incredible turn out, the biggest I’ve seen possibly.
Viewing the works was actually rather difficult with the sheer number of people in the place on the night. So a return visit was definitely in order.
I’m not going to reveal too much of the exhibition in this review, because I encourage you to go and see it yourself and experience it in person, the show runs until early September, so you have plenty of time. Spend a good half hour plus in there. Make sure you check out the video room; and don’t forget to scan the QR tags next to each photo and see the making of the works and other interesting stuff.
Each giant photo of the houses was incredibly well composed and added so much feeling to the subject matter. Amazing in quality the photos captured the suburban concept very well.
The video room was my favourite part. Surrounded by 3 giant screens and an amazing sound system; I sat down to enjoy the show.
The cinematography was captivating. I sat there, mesmerised, from the second the short film began.
Sweeping, panning views in full HD filled the screens; like the camera was hovering in mid air around each of the proprieties. Rain, fire and sun, all adding to the atmosphere..
As the film moved from house to house, the camera focused on textures and minute details, like the road or a letter box. It was hard to know where to look as each screen showed a different angle or perspective on the house, often the 2 screens surrounding the middle screen were in sync, but other times showed 3 different perspectives.
The sound was brilliant and complimented the cinematography perfectly; I particularly thought the sound of roaring fire against the burning house was very effective and added a great backdrop for the visuals.
Ian talked about his roots in Perth, and move to Melbourne, Sydney and beyond, his attraction to graffiti and vandalism and most importantly about the show itself.
Great questions from Andrew covering, how the project was funded, how he found the houses, which prompted some funny little stories from Ian; I loved that each house had its own story, wether it be the neighbours, or the events surrounding the project, like demolition crews turning up minutes after they finished filming. Oh yes, and is Ian going to tour the exhibition? Of course he is, so watch out world, it’ll hopefully be coming your way soon!! All in all a very interesting session.
As a Northern Beaches chick, I guess I can understand their “oh” moment when people ask where I take my photos (the majority being Sydney’s Inner West). Catching public transport is actually a really nice way to start and end my treasure hunts. A quick jump on the ferry, short walk to the train station, then while travelling on the train (getting frustrated at seeing some art on placed that could only be photographed if one was to stand smack bang in the middle of a track area!) some internal dialogue about where to alight and all the while planning a certain route to walk.
Given this is my first article it needs to laid out from the get go when I say “walk” it usually entails 4 hours of meandering the streets, getting lost, getting found and ensuring I can always hear a main road or some form of public transport if venturing into new territories, as my sense of direction is notoriously bad. Ask me where a certain wall or installation is? No problemo! Ask me the name of the lanes or streets: can prove difficult!
Thus it was one of these “new territories” that I looked up (being on the hunt requires much swivelling of head, eyeballs, walking up one side of a street or lane way and then back down the other just to ensure nothing has been missed) and spied a paste-up that while at the time was difficult to see (only had small teeny weeny camera initially but as time progressed and the much beloved EOS110D came in to my life!) I was still pretty stoked at the eventual outcome.
Not really understanding what I was looking at, it became one of those “if you don’t capture it now it’ll be gone next time” moments.
Fast track Outpost 2011 and my instant love affair began resulting in about 10 visits but one of the first images captured was the most INCREDIBLE installation
but it wasn’t long after that I found the true mecca for past up. Paste Modernism 3
Can you give me a little bit of the history of Houl?
HOUL came about quite a bit after I got into street art. I had been putting up paste-ups and stickers without a name to them for a while before I ran into Ears at the first Paste-Modernism. He invited me to check out his new gallery “Oh Really” then asked if I wanted to show any work. I raced home, whipped up some shitty piece and when I got to the gallery with the piece, they needed an artist name and Houl was the first thing that i thought of. In hindsight it’s not the coolest name I could have chosen, but it could have been worse.
From commissions to street to vagabondness of beyond. Where do you find the most freedom or do you enjoy having restrictions if nothing else other than to have a moment of “structure” in a world which is surrounded by chaos
I find the most freedom exists when painting walls. The limitations imposed by the canvas are removed when painting big murals and you are able to make huge gestural movements, really putting yourself in to the work. Painting Canberra’s underpasses and drains drags my art-making from an internal process into something more external, not only with regards to location but also the way I think about work.
That said, there still exists and element of restriction no matter what you do, but painting walls seems to alleviate it the most.
Where, whom or what inspires you?
Where: the coast line of the city of R’lyeh
Whom: Tom Waits, Swerfk, Bafcat, SMC3, Arvz, The Dirt, Resan, OX, Mr Gawky and David Attenborough
What: Triple Cream Brie, Pizza Shapes and a knob of Hungarian Salami
It is known that scent and music are the most power evocators of memory. Due you draw some of your inspiration from memories or do you simply allow your creativity “flow” to take you where it may and with the end result being as much as a surprise to yourself as an artist and you as an individual?
There is no room for memory in art or the motion that comes attached
For some artist’s a work is never really “finished”. Do you feel at times you have to draw a line in the sand and if that is the case, how difficult a process emotionally and creatively can that be?
Know when to stop an artwork can be tough. There will always be that ‘one more thing’ you need to add, that extra line that will complete a piece. But as much as you think it will be, it’s never just ‘one more’. It can be frustrating working on something that you feel is SO close to being finished, but you can’t quite reach that perfect point.
Wow. After the success of the 1st Bomb It movie, director Jon Reiss is back with a 2nd instalment in his worldwide graffiti and street art documentary. The 1st one is one of my favourite films in my collection so I can wait to see this.
Lucky Queensland people!! It’s on this Friday 6:00 to 20:30 at the State Library of Queensland, hosted by Stupid Krap and it’s FREE!!!
The Bomb It 2 website describes it best “In the follow-up to the explosive global graffiti documentary Bomb It, director Jon Reiss takes audiences to previously unexplored areas of the Middle East, Europe, Asia, the United States and Australia on a hunt for innovative street art and artists.
Bomb It 2 explores the indigenous street art scenes in Singapore, Bangkok, Jakarta, Hong Kong, Tel Aviv, Perth, Melbourne, Copenhagen, Chicago, Austin and the Palestinian refugee camps on the West Bank.
Using a ultra compact camera and sound package, Reiss travelled by himself to film artists and writers representing a wide range of cultures, styles and beliefs including Alex Face, Ash Keating, Beejoir, Bon, Darbotz, Foma, Great Bates, Husk Mit Navn, Inspire, Killer Gerbil and Zero, Klone, Know Hope, Phibs, Mars, MIC, Sloke, Stormie Mills, Thor, Twoone, Vexta, Victor Ash, Xeme, and Zero Cents, among others.
In the Middle East, Reiss talks with Muhnned Alazzh in the West Bank where Alazzh emphasizes the cultural and political significance of writing on the wall in the Palestinian refugee camps. To Alazzh, graffiti and street art have no place on the barrier between Israel and Palestine because they distract the public from “ugliness of that wall”.
In Jakarta, Indonesia, Darbotz’s work is heavily influenced by his study of semiotics. Instead of applying a signature to his pieces, Darbotz paints his signature squid monsters in black and white, to distinguish them from the explosion of color on the Jakarta streets.
In Singapore, Reiss connects with street artists Zero and Killer Gerbil, who explain the paradox of doing graffiti in one of the most highly policed states in the world. Despite the serious risk of fines, jail time and canings, the friends explain why getting their message out through their art work is more important than suffering the possible legal consequences.”
A short trailer:
And some footage of some of the guys in Bangkok on a mission. Good times.
Who: Stupid Krap.
What: Bomb It 2 – Australian Premiere.
Where: State Library of Queensland – Stanley Place, Brisbane, Queensland, Australia 4101.
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.