Heist, an international urban and contemporary art exhibition presented by New Hunting Ground and Juddy Roller Studios will open its doors on 6pm Friday 15th of August.
Coinciding with the Melbourne Art Fair, Heist will bring together some of the worlds most infamous and collectible street and contemporary artists under one roof for one weekend only. Conveniently located only a short walk away from the Melbourne Art Fair, the exhibition is located in a unique warehouse space in one of Fitzroy, Melbourne’s most colourful lane ways.
Heist will showcase a diverse selection of local and international urban contemporary artists. Showing internationally acclaimed artists on the same walls as the best emerging talent around, Heist aims to bridge the gap between the serious collector and the casual art fan. Located within Juddy Roller Studios, a well-known hub for both local and international artists, Heist is set to be the most innovative and high profile urban art group show of the year.
New Hunting Ground is curated by Shaun Hossack, the founder of Juddy Roller Studios and the annual ILL-Logic Outdoor Art Festival. Heist is a part of an ongoing series of pop-up exhibitions located in and around Melbourne. The show will feature artists from Europe, Australia and North America. The lineup includes Adnate, Sofles, Smug, Blek Le Rat, Mathew Johnson, Li-Hill, Ears, E.L.K, Lucy Lucy, Choq, Mayonaize and more.
It’s been a few months since Fletch, Dean and I got back from Perth for PUBLIC. What an awesome weekend it was. The guys at FORM have just shared this great video by Chad Peacock with a great wrap up of the event. It’s a great reminder of the weekend.
FORM has also put together this little book called PUBLICation – available for purchase at the Gallery and also viewable free online, see below.
The work didn’t stop after that weekend, it’s still going! Big ups to the FORM crew – keep the goodness coming! Kyle Hughes-Odgers (aka Creepy) recently finished painting at the Perth airport and Vans the Omega and Beastman just finished this new piece together.
Kyle Hughes-Odgers – Photo by Kyle Hughes-Odgers
Kyle Hughes-Odgers – Photo by Kyle Hughes-Odgers
Vans the Omega & Beastman – Photo by Jarrad Seng
Even more exciting is the arrival of SANER !!! He couldn’t make the original dates due to some logistical issues so he’s coming this month to make up for it :) I’ll be sure to keep you in the loop with photos and progress when he gets here. He’ll paint walls in Perth as well as up in the Pilbara. Spewing we missed him while we were there, ah well.
Whilst many of us sadly won’t be able to make this show, we thought we would give credit to Our good friend E.L.K (aka Luke Cornish) who is taking his Louder Than Words show to the one and only StolenSpace Gallery in London. Fuck Yeah!!! Hope the show goes well man!
About the Show: “Inspired by his travels to refugee camps of Lebanon, surrounded by the sound of gunfire, Luke draws on his artistic skills to bear witness to the suffering, hope, violence and everydayness of the displacement and conflicts.”
If you are in London be there or if you know someone let them know about this awesome show.
E.L.K – Photo Courtesy of E.L.K
Who: E.L.K (aka Luke Cornish).
What: Louder Than Words.
When: 7th August at 6PM and runs until 31st August.
Where: 17 Osborn Street,E1 6TD London, United Kingdom.
Another month of mad walls, not a day goes by where I don’t find something new on the streets of Melbourne, be it street art or graff.
The stand out show this month for me was ‘Untold” by James Reka, I really liked the found objets covered in rust with their striking blue designs, while the framed works spoke for themselves.
I got down to see “Charlie Foxtrot” by E.L.K at Metro Gallery; I have always been a big fan of this guys work, his composition and subject matter always intriguing me.
I also got the chance to Meet the aptly named Mike Giant, founder of “Rebel 8″, which saw Melbourne host a rad party decked out with designs by Mike Giant and a half pipe in one room.
My lens is fixed on artists such as Bailer of “ID”, this guys evolution is amazing to watch especially in the last few months absolutely killing it and then there is Dem 189 of “F1″, here is another guy who never sleeps and who’s style inspires all who set eyes upon his work.
One of Melbourne’s favourite adopted artists Jaws, “Da Mental Vapors”, has left some amazing pieces behind as he recently left Oz to return home to France peace bro safe travels.
I have to mention my good mate Shida, who has really stepped up and taken his work to the next level, the way his work punctures the landscape so vividly leaving you breathless.
Melbourne saw the return of Meggs, luckily he was able to leave us with a few pieces to enjoy and if you haven’t seen them yet I would advise you guys to get down and check out the Rose street car park in Fitzroy, organised by Dvate, It’s an amazing graff filled area full of Melburn Kings, past and present.
Finally the ever busy Mr Jacob Oberman, this was on of my favourite pics, till next month Peace out Punkz.
In what could be one of the most politically charged exhibitions this year, and certainly one of the highlights of our exhibition going – E.L.K. returns to Metro Gallery this week with an exhibition of real, honest and insightful works garnered from one of the most dangerous parts of the world today – Syria.
“Following a successful 2013, where he achieved the highest ever auction record for a street artist, Luke Cornish will again use his desire to bring social awareness and change through his work. Charlie Foxtrot, in his latest exhibition to be held at Metro Gallery in Armadale Victoria opening on 12 June 2014, will be opened by controversial Catholic Priest, Father Bob Maguire.
The exhibition follows Cornish’s journey to the Middle East where he wanted to gain access to Syria to photograph the ongoing civil war and highlight its humanitarian impact.
What ensued was a series of major road blocks. What could go wrong, went wrong, badly – He arrived at the Syrian border only to be turned away as a potential spy. Cornish and his ‘fixer’ headed out with long time war correspondents to hide that he didn’t have accreditation to photograph the region and they were caught in cross fire in Tripoli between soldiers and insurgents.
Hauntingly captivating, the collection symbolises the strength of human spirit no matter the obstacles we face.
Charlie Foxtrot – In radio communication or polite conversation (i.e. with a very senior officer with whom you have no prior experience) the term “clusterfuck” will often be replaced by the NATO phonetic acronym “Charlie Foxtrot.”
Metro Gallery Manager, Jacinta Cavalot, said: “Cornish’s work continues to connect with your soul and challenge your thoughts. Without a doubt these are his best works yet.”
We have followed E.L.K. for many years, and have watched his work go from his early street art based cut and spray to enigmatic works of both poignancy and beauty. His stencils are usually produced with technical mastery, but seeing some of the new images, many of which are brutally honest and candid, really just pushes to the fore that it is the soul of his work that lays at the core of his popularity.
“Clusterfuck” is a show we’ve always wanted to see by his hand – and now it’s upon us. Head down to Metro Gallery this week to check it all out.
Who: E.L.K. What: Charlie Foxtrot – aka Cluster Fuck solo show Where: Metro Gallery, 1214 High St, Armadale, Melbourne When: Show opens Thursday June 12th from 6:30pm til 8:30pm and runs for three weeks,
Both of these guys are at the top of their game, and I know that with this show we can expect something a little different – with Will Coles having just been down here in Melbourne recently, smashing up a whole pile of his trademarked concrete pieces, and with some preview pieces of some bronze casted sculptural pieces from E.L.K. we know that alongside their staple awesomeness, there is going to be some great little surprises at the show!
Last Friday night we had the honour of attending one of the coolest shows we’ve been to in some time – the joint group exhibition by none other than Ha Ha, Sync and Dlux (aka James Dodd, who we interviewed last week).
There was something really intriguing about this exhibition – walking in, you got the sense of stepping back in time, but knowing that you were firmly rooted in the present. Old stencils (the actual acetate themselves), covered in layers of paint adorned the walls – many, very familiar icons that had been seen on the street of Melbourne many times.
New works, vibrant and clean sat alongside them. Where it all began, and where it all ended, well, I don’t really know – it was hard to see any real transition point between the time frames, which is how it was intended – it was one, beautiful though – Now & Then was, indeed, an uplifting experience. Throughout the room you could sense the joy oozing off the walls, from a group of artists who have continued, unrelenting, to create and pursue their passions for the past decade.
Perhaps the thing that it gave to me most, was hope for the next decade, and for those artists who have just started out, those who are still working – if this show was anything to go by, the progress of time, the unrelenting politics and bullshit of scene, and the progression of work from walls outside to walls inside does nothing to diminish, and everything to enhance, the veracity of art produced by those who have a background in street based art.
Thanks to David Russell, we have a whole bunch of photos from the show below – enjoy!
All kinds of things happening up in Indonesia this week, with the team from Gardu House putting on another grand event in the form of Canstop – an exhibition of customised spraycans from graffiti and street artists all across South East Asia.
“This is an exhibition of creative art using Spray Paint Cans media. Held for 14 days at GARDUHOUSE Artspace. Total 158 Street Artists selected will be exhibiting his artwork, they come from various parts of Indonesia and some countries in Southeast Asia such as Singapore, Malaysia, Phillipine, Thailand and also UK. Cans Custom Perform: Elplastico, Live Painting: Ashtwo and F21ST, Ice Sculpture: Carving Nation, Live Music: Toxicologie, Live Performance: Vlado
Support by : GARDU HOUSE Artspace • CARBURATOR SPRINGS • TEMBOK BOMBER • FORWARD • PENNY • DRIPS’N’DROPS • TAGKING • TOTY • FLYK • ANONYMOUS • DSKL • SLUG • PARTNERS • YWCK • PT.ZETA CIPTA KOMUNIKA • FOCUS ENTERTAINMENT”
We’re big fans of the stuff that Gardu house is doing – a lot of exhibitions and paintups supporting the art that we all love the most, and their support for artists from across the region is grand – keep it up guys – looking forward to checking it out for myself some day!
Who: Artists from across SE Asai and beyond - Indonesia, Singapore, Malaysia, Phillipine, Thailand and the UK
It’s 2004, Melbourne, and things for the cities vibrant stencil art community are about to change. For many years the stencil was king – so much so that books were written, international websites spawned and a global movement eagerly watched the streets come alive in nooks and crannies with cut and sprayed works of art. from the political to the humourous, – in these days, freedom aerosol was still, for the most part, mostly practiced by graffiti artists and what we know as the “street art scene” was dominated by stencils and the artists who created them, plied a swaths across the city.
But 2004 was the year of a major international event in Melbourne, the Commonwealth games, and with it came a massive cleanup across the city – walls washed and sterilised in the name of “making shit look better”, and with the cleanup went many of the cities beloved stencil art. The City of Melbourne, as hard as it may be to believe these days, went to “war” on graffiti and street art, one which, in hindsight, it appears it was less a victor than at the time it had thought it had been.
It was the year that the first incarnation of the Blender studios was shut down, and the year that the Everfresh studios opened – it was a time of transition between the old, and the new. Artist such as Sync, Ha-Ha and, of course, Dlux, three artists who had been right in amongst the stencil art and street art movement, moved off into different directions – continuing to pursue their works and enlivening their, and consequently our, surroundings.
Dlux, or, as he is more commonly know these days, James Dodd, was there, amongst it all, a part of the beginnings of a movement that have continued to this day. Where once street art was truly underground, it is now, in many ways, a commercial, comodifiable product – and yet artists such as Dlux have retained their ability to “keep it real” whilst navigating the many opportunities and pitfalls associated with the rise of street art as a cultural phenomenon. Although his work has evolved in many differing directions in the decade since, it still retains an element of authenticity that was, in all probability, spawned within that period of time – the rebellion, the enthusiasm and gleefully poignant philosophical elements are all critical elements of his work, and it would be hard to discern if so many of these elements would be present, if he had not been there to see it all in its rambunctious glory.
In the intervening years, Dlux continued to progress his work and delve into multifaceted areas, taking it into entirely new directions and extending his personal philosophies to encompass other areas of the community, including projects in regional centres and working with indigenous communities. In 2010, he was aslo recognised contributions to the Australian street art scene, when he was invited to participate in the National Gallery of Australias Space Invaders exhibition – a well deserved accolade for one who has worked so tirelessly to promote both his own work, and that of the artistic community in general. His work has also, over these years, diversified into everything from gorgeously coloured landscapes to abstracted public installations, and his own personal artistic mythos has developed alongside it all into a multifaceted riot of colours and earthly glimpses of both our country, and identity.
In 2004, the City of Melbourne went to “war” with street artists such as Dlux, persecuting them and their work for detracting from their narrow definition of municiple beauty - and it is telling that today, in 2014, when Dlux is still pushing forward into new territory with his remarkable work, that the City of Melbourne has just signed off on a new Graffiti Management Act. A new set of guidelines that, although still not quite at a point where we can celebrate, does offer a measure of support to street artists, and goes some way towards giving them the ability to practice their creativity without as much fear of retribution as there was in the year 2004.
Without the efforts, talents and contributions of artists such as Dlux (not to mention Ha-Ha, Sync, and all the other artists who practiced in those times) the foundations of what we call the Melbourne street art community would be vastly different to what it is now – and may, truly, not be as vibrant and beautiful a beast as it now is.
On the eve of his celebration of these past ten years, the group exhibition “Now & Then” with both Ha-Ha and Sync, we had a chance to catch up with Dlux (aka James Dodd), to discuss his art, why 2004 was such a pivotal moment, and what he still hopes to achieve with his work in the future …
As with every artist, you must have started out somewhere – what are some of your earliest creative memories and when did you realise that art was a path that had chosen you?
Ha, yes, a wonderfully cliché question that invokes wonderfully cliché answers! Both of my grandmothers were painters so I was always around drawing and painting. We always had paper to draw on in our house. I’m lucky that my family always encouraged me to pursue my passions so it was kind of always quite clear that I’d become some kind of arty person.
Mark making, painting and stencils – your mediums cross a lot of boundaries, what do all of these methods of expression have in common, beyond the mediums and techniques? Which of these hold particular interest to you, and why?
I get bored easily so I need lots of things going on to keep me interested. They are all interesting to me and they each can be used to tell different stories. Mostly, the common thing for me comes down to thinking about how people are creative in public space. Sometimes scratched marks in public furniture form nice conversations, sometimes you want to contemplate softly nuanced textures, sometimes you need to draw a dick on someone’s fence … Painting is just one of those things that can keep you excited for ever – there is no end point.
Tell us a bit about the whole scene in Melbourne back in 2004 – what was the most exciting aspect of being an artist in the city a decade ago?
I had come to Melbourne from Adelaide around 2002, I knew a few art heads but not many. I was at one of those points where I was hungry for everything and Melbourne dished it out in fistfuls. I was meeting stacks of similarly curious and passionate people and we were all excited to be finding all of these things together. The alleyways and lanes were already littered with tags and scrawl and were a natural place to start fooling around with stencils. It seemed at times that artworks were multiplying overnight by magic – I guess they kind of were. Everyone was pumped by what was going on.
How did you first meet Sync and Ha-Ha? How did the friendship between you guys begin, and how has it evolved over the years?
Ben Frost – is definitely the wizard on the mountain top – I’d known Frosty for a couple of years through other art adventures and he’d been in Melbourne for a little while when I moved there. He was living with this guy called Reagan who was into stuckism, conspiracy theories and stencils and our relationship grew quickly.
I’d known Sync’s work on the streets of Adelaide, in fact seeing his stickers gave me my first inspiration to start making stencils and stickers, but I’d never met him. I think I met him once at a Melbourne alleycat race or something, I can’t recall exactly, but he showed up one day to take a studio at the Blender. Suffice to say we were all in to the same things and spent a lot of time painting and adventuring together.
We were all close through the Empty Show phase and through Early Space. Rick was always a lot more gangster and into rap painting and stuff so he fit in well with the Everfresh Crew. Reagan and I stayed dorks and hung out with other social miscreants and artfags. Now Rick lives around from the corner from me in Adelaide. He steals lemons from my tree that hangs over the fence.
How about your own artwork? The work you do these days has a huge progression and difference in style to what you did back then – what are some of the pivotal changing points in your work, and what common elements have carried through from then to now?
Yeah, for sure … I was initially excited by making things on the street because of the things that kind of creativity could do better than in a gallery. For a long time I was somewhat dissatisfied with gallery outcomes and invested my energy thinking about street stuff. After investing a lot of time and energy in street outcomes I started to see some gallery things that I was keen to try out. Now I find myself interested in things that might be able to cross between both contexts.
I’ve always been turned on by artists who work comfortably across a range of different approaches and mediums. People like Mike Kelley are a good example. You either have to be outrageously talented to do this or you have to work hard at building your understanding of different things. It’s a bit like speaking different languages.
There’s always a somewhat, in my mind, philosophical element to your work – it often has hidden nuances that narrate a thoughtful tale – is this a conscious approach? Do you often have a defined idea or philosophical, explorative urge when putting together a show?
I like art that has a reason, or quest, or concept. It’s not enough for me to make things that simply decorative. So that means I’m always looking for those things when I am making.
It’s corny, but I like to give people opportunities to reflect and to think.
You’ve actually done a hell of a lot of work out of the cities and in regional areas, and a bit of work in the past with indigenous communities – can you tell us a bit about some of these projects, and how this kind of work has both rewarded you and contributed to your own creativity?
I grew up regionally and have distinct memories of the small bits of contact that I had with practicing artists so it’s always been easy for me to relate. Travelling and turning around murals in a small amount of time is really exciting for me. Working really remotely and with indigenous communities has presented me with some of the most confronting experiences of my life. In the end, using aerosol with kids generally makes it easy to get their attention and it’s great when they have a really positive experience.
A big part of my process is basic encouragement of creativity – just seeing kids draw is huge for me. Mostly I work together with communities to facilitate their ideas so that they end up with an outcome that they have a genuine connection with.
If you could contrast things between “then and now”, how have things changed for the better “now”? How were things better back ‘then”? Is it a case of apples and oranges – too difficult to compare, or are there marked differences?
Yeah, things are different – that’s a good thing – it means we’ve actually progressed culturally. The big walls that people are smashing out now are amazing. That wasn’t happening when I was coming up. The great work of many artists over the years has meant that the support base for this kind of artwork is bigger than it has ever been.
As with any progression, young artists see what people do before them and want to take things beyond that. That’s what we did. People saw that and then did the next things.
It might be hard to believe, but it did seem impossible to make a living making the kind of art we wanted to make. And, hey, if we’re gonna be all dreamy eyed it was never about the money! I think that young artists now see that they can make a living doing these things. They chase that. That’s a fortunate situation.
What are all three of you hoping to illustrate with this somewhat retrospective-come-new exhibition?
I think it’s a bit of an adventure really. We’re not entirely sure. My personal curiosity comes from having not been living in Melbourne for a while, and missing the community there. Whilst I stay in touch as much as I can, I am interested to see what sort of conversations can be had about the shift in Melbourne street culture generally.
I’m also itching to share things that I’ve made with people who may only have known part of what I’ve done.
How about the whole “making a living as an artist” thing – is it as challenging ad it used to be? There seem to be more opportunities for artists to do so these days, bit for yourself, what is the day to day toil of making your way in the world as an artist actually like?
It’s exciting, but you’ve got to keep at it and there’s no one else to whip you into shape if you’re not pulling your weight. You need to be self-motivated – there’s no other way. Certainly I’m fortunate to have some momentum but that doesn’t mean I can sit back and enjoy the ride. I still work long hours and weekends on all parts of my practice. Art audiences (good ones) expect you to keep pushing and growing.
As a full time artist there’s a lot of time put in behind a desk as well, doing admin, communicating, responding to interview questions!
You’ve had a hell of a lot of shows and produced a fairly large body of work over the years – what have been some of your favourite shows and projects, and why?
Highlights have been celebrating the Space Invaders exhibition with a huge bunch of talented peers.
Most of my artworks are experiments – that means most of them ‘don’t work’ – so when I do manage to pump out a batch that are still satisfying to look at years later that makes me very happy. Spending time in Australia’s Top End, looking at unique graffiti has been a favourite. Invitations to travel to different parts of the world and do what I love to do rates pretty high.
Adventures, road trips, being naughty, all nighters – choosing the art life has given me so many fantastic experiences and friendships.
If you could give some words of advice to people out there doing their thing, that you didn’t know back in the day, what would they be?
Just the classics – I have a couple of favourites. Don’t become complacent. If you’re comfortable, you’re not excited. As an artist you have to make everyday – it’s both a guide and a declaration.
What do you have planned for the rest of the year, and, indeed, the future?
I’m working towards a solo show at the Contemporary Art Centre of S.A., in Adelaide in the middle of the year. I’m always playing, always wondering. I’m quite curious to try and make work that can be more poetic – things that aren’t as in your face but can still tell a story, offer insight into the human condition or offer an experience of beauty – not much! They’re ongoing goals and things that can be built upon forever.
What projects lay unrealised, and what would you like to investigate with your work in your next project?
That’s a big question. I keep journals of ideas and most of them begin with their fantasy version and then slowly get resolved according the reality of time and money. It’s just one step at a time mostly, trying not to trip over. One of the things I’ve been fooling around with lately is my passion for bicycles, adventures and art and wondering whether there are things there that might also be interesting for other people to consider art. It’s ongoing…
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.