Well, it been an epic road, and with two days of painting to go we’re almost ready to celebrate!
We cordially invite you to celebrate with us this Friday night, 29th of November, from 6pm to 9pm as the ALLYOURWALLS team and all the artists present the completion of the project!
ALLYOURWALLS brings together some of Melbourne’s finest graffiti crews/collectives and street artists, in a major makeover of Hosier and Rutledge Lanes, in order to celebrate the significant role street art and graffiti continues to play in Melbournes cultural life.
Located in central Melbourne, Hosier Lane, along with its cobbled ‘anabranch’ Rutledge Lane, first came to prominence as a venue for street art and graffiti in the 1990s. Since then, the walls of the lanes have functioned as an exhibition site for local and visiting international graffiti and street artists.
Over a period of two massive painting sessions during November, both Hosier and Rutledge Lanes have been completely transformed, top to bottom, by over 100 local graffiti and street artists – all of which will culminate this Friday night in an event in Hosier Lane, in homage to Melbourne graffiti and street art.
Huge, massive thankyou to EdInFocus for taking care of all the video media for us – keep an eye out in the next few weeks for the full feature.
Mistys diner will be providing a bunch of the nights entertainment, and there will not only be a chance to check out all the artwork, but there will be some special event-only video-graffiti displays that you have to check out!
Who: At last count, over 100 of Melbournes finest graffiti and street artists. What: ALLYOURWALLS Where: Hosier Lane, Melbourne When: Friday 29th November, 6pm til 9pm
David Russells been a busy dude lately, snapping a whole bunch of shit all across the city – heres a few of his favourite shots of some of the latest of Melbournes street art and graffiti, check it all out …
The other week we posted photos from Yandell Walton and I & The Others installation exhibition, Innocence of the Apocalypse – and they’ve just released a video of the whole thing. This Collingwood based show was all kinds of creepy, filled with cool art and installations, and the video really reflects that well! Check it out …
“INNOCENCE OF THE APOCALYPSE was an immersive installation incorporating projection, illustration, sculpture, performance and sound. The collaboration brings together projection artist Yandell Walton and illustration & street artist I & The Others (Kirrily Anderson) for three nights only part of the Melbourne Fringe Festival 2013 and supported by City Of Yarra. Video by Jim Arneman. Sound by Joe Hammond”
IF you’re sharp, you’ll have noticed that for the past two weeks we havent posted up any snapshots – an unusual occurance for us, given how much is going on. Alas, our gallery software got all b0rked up and we werent able to upload any gallery images! Thankfully, this is now fixed .. and along with the fix comes a whole new gallery style – hope you enjoy it!
To kick off this new style, what better than David Russells latest favourite pieces of street art from around Melbourne for October? Check out his pics for what was cool and grand over the past month … and stay tuned for a heap more pics to come over the next few days, we have almost three weeks of catching up to do …
Just saw this rad little video put out by the Platform72 crew the other week, featuring a bunch of Sydney street art on a nicely mad building. Curated by Juliet Rosser, from Platform 72, the artists included Sarah Howell, Dylan Demarchi, The Dirt, Byrd and Gui Andrade.
All shot by Emily Logan – a nice little video, something a little different across a few disciplines!
Friday night I headed down to Collingwood for what would turn out to be a uniquely cool opening and a fun concept.
I arrived just at Innocence Of The Apocalypse as the sun was setting down at the Peel street park, right in front of a giant pasteup of a dead bird – obviously, a herald as to the type of pandemic that would form the core of the show. Thinking I’d be heading off to some wayward spot around Collingwood, only to find that the venue was remarkably close by … entering the building for the show, I first walked into a side room where a small installation had been set up in the bathroom – I & The Others pasteup featuring prominently. From there, it was upstairs to the main installation, kids running around playing with tires and hiding amongst jumbled, makeshift houses ala cubbys, stand ins for ruined buildings inhabited by children, both painted and real.
Yandell Waltons video displays were in parts quite beautifully subtle, shadows of birds and fans whirling away, the main projection was a great centrepiece as well. Downstairs, the exhibition side of things was tied in nice well – one of the little subtleties that I liked as well were the newspapers with the headlines about the impending flu outbreak.
All in all a really great show, and a solid collaboration between two differently disciplined artists – if you didn’t get a chance to check it out, you really missed out – but check out my photos below …
We love seeing cool little collaborations, and this one between I & The Others and Yandell Walton looks to be something intriguing indeed!
"Innocence of the Apocalypse is an immersive installation supported by City of Yarra, and part of Melbourne Fringe Festival. Incorporating projection, illustration, performance and sound the collaboration brings together projection artist Yandell Walton and illustration & street artist I & The Others (Kirrily Anderson). The audience will journey through a dark and arcane world in which children dwell, shadows flicker, lights play tricks and sounds echo.
A post apocalyptic world created within the confines of an abandoned building hints at a future inhabited by young people who, by necessity, have taken on responsibilities beyond their years.
Taking the audience on a dark journey they will gather at a meeting place in Collingwood to be ushered to the secret destination. Children manage to survive in this unfamiliar and unpredictable environment. Have they evolved rapidly, or is there an innocence that remains regardless of their surrounds? Audience will be required to RSVP via www.innocenceoftheapocalypse.com, details will then be given of the meeting place. RSVP is essential!
YANDELL WALTON (www.yandellwalton.com) is an accomplished video and projection installation artist exhibiting regularly in galleries and non-traditional public spaces both in her home country Australia and internationally.
Recent exhibitions in 2013 include an interactive public artwork presented by Experimenta for Melbourne Festival, VIVID Festival Sydney and ISEA (International Symposium of Electronic Art) and White Night Festival Melbourne.
I & THE OTHERS (www.iandtheothers.com) is a Melbourne based artist whose creative practice is an eclectic meld of visual art, illustration, street art & graphic design. She has exhibited and curated in Australia and internationally. Her most recent curatorial project Art de la Roo took place in Toronto in September 2012."
This looks like a great little show in the "Abandoshow" vein – combining I & The Others with Waltons cool assed video and multimedia should be a special treat. Get over to the website and book your session now!
Who: Kirrily Anderson & Yandell Walton What: Innocence of the Apocalypse Where: FOR SECRET LOCATION AND TO BOOK visit www.innocenceoftheapocalypse.com When: Friday 27th & Saturday 28th September 2013 from 6.30pm – 9.00pm
Thanks to Ariana for her 1st guest interview for Invurt with Creature Creature. The interview took place a few weeks before their latest show BRUISER opened at Chaotic Gallery, so some of the answers are in the past. Thanks to David Russell for the photos.
I first came across the stunning works of Creature Creature whilst having a wander through Brunswick St Gallery in late 2012. Their works were featured in a group show, Shape Shifter, curated by Cameron Brideoake. I recall wanting to take home the entire series of their works, but simply didn’t have the cash flow (an recurring problem when addicted to art!). There was a beautiful work on board that featured a snow-capped mountain scape painted within two symmetrical cranes that truly captivated me – the colour palette and oriental style was very appealing.
Since then, the dynamic duo Ambrose Rehorek and Chanel Tang have been incredibly busy during 2013, kicking it off with a brilliant solo show, Red Leaves, at Espionage Gallery in Ambrose’s home town of Adelaide. The adorable couple have moved into creating paste-ups featuring their signature icons the dragon and the unicorn. You can find these both inside and on the façade of Three Monkeys on Chapel St, Black Cat in Fitzroy, and throughout the laneways of Melbourne.
I had the pleasure of interviewing Creature Creature in the lead up to their solo exhibition Bruiser at Chaotic Gallery in Windsor, which by the way was a stellar event! I was thrilled to walk into the opening and join such a supportive crowd, see the ever-accruing red dots, and to top off my night, discovering that my favourite ginger beer Lick Pier was sponsoring the event. The evening was a wonderful celebration of the efforts of these two brilliant artists – they truly deserved it. The works they produced for the show were fascinating, as they have clearly progressed in their style while staying true to their Eastern influences. The female samurai was a strong theme in the pieces for Bruiser – you can see these breathtaking works here.
A – Tell us what you’ve been up to since your first solo exhibition Red Leaves at Espionage Gallery in Adelaide earlier this year…
CC – A variety of things, that solo was like a launching pad for us. Before that we were in a lot of group shows at emerging galleries and that kind of thing, but once we did the solo show and came back we found that the exposure level was a lot higher, and there were a lot more opportunities for us, it really put us on the map, so to speak.
We’ve got a lot more into street art since we came back; we’ve done a lot of paste-ups around Melbourne, and random jobs like painting a coffee machine …
A – How did you get that gig? I saw that on your Facebook page, the coffee machine looked great!
CC – A coffee machine suppliers company in Italy contacted us, they wanted some artists to decorate them for the International Coffee Expo. We’d never really done anything like that before, it was a bit different to what we usually do as it was on a 3D surface, and unlike painting on vinyl toys as it was almost spherical. We primed it first, used acrylics, and used a gloss coating over the top, so we hope it holds out well. That was a great experience and opportunity to do something different and fun!
Aside from that, we’ve kept on making art, and are focusing on our upcoming shows. We have a solo show coming up, ‘Bruiser’ at Chaotic Gallery, we’ve started with Rtist agency as well, they have a group show soon so we’ve made a few pieces for them.
When we came back from Adelaide we were signed to Rtist Agency, so we’re hoping there will be heaps of opportunities coming up with them as well. They’re helping us to develop a range of work that will be good for their clients, as they’re beginning to focus on the hotel, apartment and interior design industry, assisting artists to find commissions down that avenue, so we’re going to be a part of that and hopefully we’ll get some great jobs out of it! They are still to launch the agency, which will start with the group show, so it’s still early days.
We just had a show at Black Cat, just a small show that we organised a while ago, because we love the venue, we go there all the time, and they’re really good with showing artists and commissioning works, so we just had some of our paste ups there and a few lino prints as well. It was a great little show to lead into Bruiser.
A – Let’s hear more about the concept behind Bruiser …
CC – The concept of the show started when we did a piece on a skateboard that was of a female samurai, for the show Shape Shifter at Brunswick St Gallery, it got a lot of attention, a lot of people loved it. Then Ambrose’s dad sent us a photograph of a real female samurai, a historical portrait, and we were amazed because we didn’t know that they actually existed! We thought it was a fictional thing, but they actually existed, they’re called ‘Onna-bugeisha’, which basically means ‘Japanese female warrior’. The basic premise of Bruiser is a series based on female warriors, and a lot of weaponry and armour, which is what we’re interested in, so the show will play with that kind of theme, but in ‘Creature Creature’ style.
A – Do you plan to work more on the streets?
CC – Yeah we definitely want to keep that up, we did a paste up on the outside of Black Cat, which was quite fun. But we want to do more, we’ve set up our style with the Dragon and the Unicorn, but we want it to evolve and become more elaborate and detailed, so that’s what we’re aiming for. We’d also like to do more large-scale works like murals. We’re going to put a paste up in Revolver around October too, so that’s one to look out for.
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.
I don’t even remember seeing my first Burg face – one second I had no idea who the fuck he was, the next it seemed like he had always been there. Suddenly, Burg was just a part of the landscape, his work morphed into the ever flowing world of Melbourne street art in such an intrinsic way that I was caught out. Surprised, even.
Sulking on corners, laneways and thoroughfares – staring out with impeded eyes and forlorn glances, a true face of the downtrodden – aged lines blurring into the heady youth of a young impressionistic attitude flowing with rough, barely concealed zeal. You know Burg when you see him – and trying to grasp onto the emotions on one of his works is an episode in frustration. Ambiguity is one of the most highly sought after expressions in any kind portraiture, that sudden "I don’t know what the fuck he’s thinking" in the viewers eye a most preferential outcome, and in this, Burg has excelled in this.
With a imminent move up to Byron Bay, we’re hoping that we don’t have to wait too long before we see more Burg faces pop up on the streets of Melbourne – in the meantime, read on and find out more about this grand up and coming artist hitting our streets …
Can you tell us how you first started out as an artist and how you first become interested in art?
I first started as an artist, that’s a tough one. it still a weird thought to think of my self as a artist, I guess it started when I saw one of my paste ups on "Melbourne street art" Facebook group as bad as that sounds, I always drew in my spare time but there was never really anybody who saw it until it was on a wall for everybody to see. I always loved my comics from a young age as well as the classic 90′s animations.
I always thought I was going to be a cartoonist but I never had the patience for it – I think my art now is constantly influenced by pop-cultures hatred of imperfection and mistakes.
I think that that’s what makes things interesting …
When was the first time you picked up a spray can? What lead you to painting on walls?
I think the 1st time I picked up a spray can was at a mates house party, its been trial and error since then. He was the person who first took me out pasting, that night we met "Start From Zero" – a crew from Japan. I guess what lead me to paint on walls was the "street cred" nobody who does paste ups really gets the same amount of respect as aerosol art, also its a hugely challenging as well as expressive.
I don’t think that anyone has picked up a can and been amazing at it, from my experience it takes a long time and a lot of $$$ to get it to where you’re satisfied, and to look the way want people to see your art.
Looking around you at all the art up on the walls around Melbourne, where do you feel that yourself and your art fit in to all of that? What have been some of the inspirations you have garnered from such a rich environment?
I kind of hope that my art doesn’t fit in with the others, i want my burg characters to stand out, but with the amount of diversity we have in Melbourne is one of the things that make it special. I’m inspired by the greats that have left their mark on Melbourne, like Phibs, Lister, Gent and Shida. On the other hand our local talent is endless – blokes like Conrad Bizjak, Hancock, JD, Eleven and the AWOL crew keep pushing the limits.
Its a curse and a blessing. It keeps you humble, no matter how good you think you are there is someone out there that is better.
What have been some of the more enjoyable aspects of working with spray paint, and what have been some of the more negative moments? Tell us about the trails and tribulations of working on walls …
Spray paint, its one of the more harder mediums i have used. I get less frustrated with oils. i think its one of those things that the more you work on it and the better you get at it your still not happy, thinking it could be better. i think that’s one of the real holds spray paint has on me, I can’t let it beat me! I have never been shown how to paint with a can, so every time I paint with it I learn something I didn’t know before.
Where did your form of style spring from? Do you have any formal illustration background, and what kind of identities within art do you believe your work most identifies with?
Hahaha, my style – its a hard thing to critique your own work! Well, I see my style as still changing but every artist is trying to refine there craft. It started out as just drawing cartoons with pencil, once I started using a marker i realized how to use every side of the marker to create thin and thick lines, after that it was just having fun using the freedom to experiment and enjoy doing the outline, the amount of times I have sketched out a design and when it came time to go over it with a marker or fine liner it turned out completely different because of a thick line here and a thin line there.
When it comes to formal teaching, I recently finished my Diploma in illustration at Preston – it was a huge influence on my work over the past year – learning and trying things you wouldn’t think about with out the right guidance. Its saved me from being a one trick pony.
One of your characters, what I think of as "the wrinkled dude" is immediately recognisable, and almost a Burg trademark – can you tell us a bit about the evolution of this character and where he came from? I mean, what exactly is a Burg anyways?
Burg faces actually started out as mistake – from frustration.
I remember trying to draw this character that I thought was cool but I couldn’t get it right. I had only a few hours before my mate came over and we went out pasting, and as I started to get a bit angry, I took my frustration out on a scrap piece of paper – after that, I felt better so I got back to my original drawing.
Those hours passed, and my mate rocked up ready to paste. I started to pack up the drawings i was going to take out and he asked why I wasn’t taking that one? I thought it was just a shit scribble, but he made me take it – and that’s how the first Burg was spawned. Since then, I’ve drawn him that much that it doesn’t look the same – but he still carries the feeling of a reject, with all his imperfections and ugliness.
You just recently had an exhibition at The Vic – what lead you to wanting to put on the show?
I did – I met the guy who runs it about a year ago through a friend. He had been asking me to put some stuff up for a while, he asked me again about end of March. At that point I had decided to move up to Byron Bay and had started to save for that. I needed money, and the challenge of having a solo exhibition with a month to prepare was something that felt like it was worth it.
Can you tell us a bit about how you felt once the exhibition opening itself was over? What was the feedback and reaction to the work – and what would you have changed about the experience, or alter for the next time?
Once the exhibition was over it felt great – before hand I was shitting my self. I polished off a bottle of wine before I had even rocked up (and then some).
I had a great response from everybody i talked to. It was one of the more surreal moments I have had – I understand now why people go through all that hair pulling and sleepless nights for that moment of feeling alone – I think I had a permanent smile on my face for about two weeks.
I know that next time, I’ll give my self some more time – have a few extra little things like business cards, stickers and some prints.
What are your next plans, and what do you hope to do for the rest of the year, and the next? What projects are on the horizon that you want to get involved in?
The next 12 months are looking pretty exciting – I’m moving up to Byron bay for a little bit, got a little bit of illustration and film work up.
I have started to paint for my next exhibition as well as a few other group shows in Byron bay as well as another down in Melbourne at the end of the year. at this point I’m looking pretty busy which is always a good thing. so keep an eye out for burg over the next few months.
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.