Dirty Playground alongside du NORD bar are getting ready to launch 6 Months of Darkness – End of Darkness. The darkness ends with a celebration after a 4 month residency by Marian Machismo, FKN-MAD, Ruskidd and Carlotta Phelan.
From the Press Release: “With mediums such as video, paint and sculpture, the Six Months of Darkness (6MOD) crew has literally lived in the dark, and as the Nordic do, create in manic fervour. The artists will present their works at a launch party on December 5, a weekend of exhibition and a close on December 8.
Works from Marian Machismo, FKN-MAD, Ruskidd and Carlotta Phelan have been developed in the basement to reflect the theme of 6MOD and are for sale over the three-day period. The launch party will feature the static and interactive works alongside Amin Payne, Edd Fisher and Hudson James Jr.”
Check out this great little video preview of some of the work in the show …
This coming Friday, Marcel will celebrate the official opening of their shared studio space with a typographic exhibition.
In conjunction with Three Word Advice, the show will feature fifteen local artists, designers and illustrators showcasing their diverse styles, with limited edition runs of risograph prints.
With such a varied lineup this exhibition promises to whet your eye-candy appetite!
Who: Andrew Frazer – adf designs, Adam Cicchini, Amanda Preston, Agnus Dales – DFNKT DSGN, Ash Pederick – The Design Threat, Ben Wright, Bruno Booth, Chris Haines – Neon Dreams, Chris Nixon, Corey James, Edward Stroud, Ika Jumali – Cheeks, Jarrad Burley – THNK, Maegan Brown, Matt Redway What: Opening Exhibition – Marcel x Three Word Advice Where: Marcel 5/37 Railway Parade, Mount Lawley, Perth When: Friday 11th of October 2013 6pm – 8pm
When artists come together to donate work and raise money for charity it always warms our hearts. Relatively new Sydney gallery, He Made She Made, put on an excellent group show of work from nationally and internationally renowned artists of differing genres. The cause, the Dandelion Support Newtork – an organisation that provides baby equipment for less fortunate families in NSW and ACT. 26 artists took one letter of the alphabet and reconstructed it with their creative flair, they included Will Lynes, Numskull, Luke Lucas, Paul McNeil, Greedy Hen and Jeff Rogers.
We’ve been enjoying Melbourne street artist Fezwitch’s work around the traps for some time now; his clever, witty pieces to be found right across the city.
Some of our favourite works from Fezwitch are his repurposed floppy discs – if you’ve walked the citys laneways, chances are you’ve seen them hidden in the nooks and crannies of the city. He’s also quite a prolific pasteup artist, and has had works in Street Advent and also participated in last years Paste Modernism 3 at Cockatoo Island – his pieces always containing that cynical vibe for which he has become well known.
No Frills Caviar will be featuring a collection of typographical and satirical Witchisms, it will include original screen-prints, stencils and gilcee prints – all the good shit.
“The Maggid (storyteller) of Fezwitch is a Melbourne based graphicdesigner / street artist.He work conveys the power of visual communication and typography through satire and his obsession with vintage technology.
“In this consumer-driven society we tend to forget about what is important. My work is about not taking life too seriously and poking fun at consumer brands we all live and breathe by. It’s also about letting the viewer interpret their own message”.
Head down to Egg Gallery in Collingwood to see the mans work for yourself – it’ll be well worth the trip!
Who: Fezwitch What: No Frills Caviar Where: Egg Gallery, 66a Johnston st, Collingwood VIC When: Show opens Friday 22nd November from 6pm til 9pm. Show runs until 2nd December
A few weeks back popular Sydney based street artist Deb curated a huge group show, collating an incredible bunch of male artists from the nation and world wide. ‘Man Up’ was a charitable showcase with 100% of proceeds going to the Cancer Council of Australia to fund prostate cancer research.
Amongst the staggering array of work were pieces by Mark Bode, Mike Giant, Ben Brown, Ken Taylor, Ben Frost, and Edward Woodley. The works dotted the walls in monochromatic hues coming together to form an exciting and no doubt successful show. Making buying more art feel even better.
Last Wednesday the boys from paint and skate shop, Westsyde Connection, put on their annual Sidewayz Art Exhibition. This charity event showcased the work of over 100 Australian and international artists and photographers with all proceeds raised going to the VOICE Organisation, a chairty that aims to give Cambodian children a ‘better chance at life.’
Work is exhibited on recycled skateboards and snowboards, with a live auction happening on the night and a silent auction via Grays Online in the days that follow. Dj’s and hip hop mc’s provided the perfect back drop for a spectacular selection of artists work, including; Beastman, Days, Deb, Drewfunk, Bridge Stehli and Apeseven. Jump online to have a look at the boards still available here and see the opening images below …
"Six Years Later is proud to present ‘Surface’. Its a launch party and exhibition to celebrate the second issue of the Six Years Later magazine. No ads, no articles… just art. We’ve curated a fantastic group show with 25 of our contributing artists to show-off their recent work.
On opening night you’ll be able to get your hands on Issue 2 of the 6YL mag as well as get some original artwork and prints by our super talented contributing artists. We also have to mention that they’ll be massive giveaways on the night. Our friends over at Afends and Boywolf have been super generous and have donated some of their hottest products worth a total of over $1000. How sick is that!?
For your chance to win a ‘Golden Ticket’ prize-pack all you have to do is donate a gold coin or make a mag purchase. Where is all this money going you ask?
Well! All, yes that’s right, 100% of our ‘Golden Ticket’ donations and an additional $3 from every mag sale will go towards The Artful Dodger Studios. They’re based in Collingwood and provide creative spaces for young people whose lives may have been affected by difficult circumstances.
It’s going to be a massive opening night with a little bit of music, a whole lotta of drinks and delectables and definitely heaps of great great art! Come be inspired, have fun, and get a tick on your good deed list. See you on Thursday!"
So join the Six Years Later crew this Thursday night as they display a whole heap of work from artists featured in the second issue – can’t wait!
Who: TwoOne (mural in-situ), JKB Fletcher, Apeseven, Hamishi, Josh Miels, Donovan Christie, Darcey Bella Arnold, Luco, Goldenhen, Krishnamurti Suparka, Nick Modrewski, Ohnoes, Kewks, GiewTwo, Anne Cobai, Kasia Kurek, Nat Sun, Adelaide Daniell, Sean Leonard, Emma Anna, Anne Smerdon, Juan Travieso (USA), Alex Kostiw (USA), Jason DeMarte (USA), So Yoon Lym (USA) What: Six Years Later #2 launch party & exhibition Where: No Vacancy Gallery, 34-40 Jane Bell Lane, Melbourne, Victoria When: Show opens Thursday 23rd August from 6pm til 9pm
Shows that feature typography based works have always been a favourite of ours, and we always enjoy seeing new ones crop up.
This time, however, its Adelaides turn to hit the letters and rock the walls with them as These Walls Dont Lie presents Spoken Word. Over twenty local artists are involved in this one, and with such a large diversity of styles there is guaranteed to be something for everyone.
Not only that, but there’s also shitload of live music in the offering as well, with Koolta, The Kid, Teaz and CJD on the mic with some rhymes.
Letters, art and hiphop. Fkn rad.
Who: Dan Adams, Chris Barnes, Donovan Christie, Pip Cocciolone, Sam Evans, Jayson Fox, Alex Gilchrist, Gobles, Luke Hosking, Angus Long, Munki, Mustachio, Alexandra Palombi, Kevin Rumbelow, Joel Sanders, Roger, Joshua Smith, Nick Strutton, Rem, Scatterbrain, Tarns, Luke Trevorrow, Russell Freer, Dabma What: Spoken Word typography group show Where:These Walls Don’t Lie, Rear 8 Unley Rd. Unley When: Show opens Thursday August 9th from 6pm til 9pm and runs til August 19th.
Last Saturday, we took ourselves down to Art Melbourne – like many of you probably did, if you’re here in the ‘burn.
Total artgasm. There was so much work on display, of such variety, that it was almost a little overwhelming – it was as if we’d gone to twenty, thirty, or more different shows in the one day. Throughout it though, there was some amazing work.
A lot of our favourites and friends were there – RTIST Gallery, Just Another Agency, Blender, ArtSeries, Metro, Edwina Corlette, and then there were some great names that we didn’t expect or were new to us – Coates and Scarry in particular blew us away upon entry, US stencil artists Zerosix, Upraw, Will & Caro and many more. There was some live painting from Adnate and others, and several talks throughout the whole thing including ELK up on stage with a bunch of other "younger" artists in Young Guns III.
Oh, and can we make a special mention and congrats to our friend Kristen McIver – who was the very first winner of the inaugural Melbourne Sculpture Prize which was announced as part of the event? If you haven’t seen her work, its fantastic, and well deserved of winning this award!
All in all, there was only a small fraction of work that we had seen bits and pieces of in shows before, a lot of work from specific artists was brand new for the event, thankfully. We were constantly surveying the walls, spotting shit that we loved, shit that we didn’t really care for, and shit that we never actually knew we cared for until we saw it.
Of course, everyone has their own aesthetic when it comes to art, and that’s the great thing about these events – every taste is almost guaranteed to be catered for in one respect or another. Even when we arrived we could see people walking out, canvases in hands.
It was a great day, and we probably could have spent longer here, but our brains were exploding from too much visual stimulation after only a few hours – but all in all, it was a fantastic event. Here’s hoping that a whole bunch of artists made some cash from their passion over the course of the event.
Check out the pics below, and click through the pages … we’re not kidding when we say that there was a lot of shit on display!
Chaz Bojorquez is a man in possession of a lifelong wander lust , traversing the globe in search of identity, culture and the experiences that lay within.
Having started writing and placing marks upon walls since the 1960’s, Chaz not only created his own signature style, but is also one of the founders of modern graffiti. With a passion and hunger to discover all he could about the world he lives within, as well as his own sense of personal identity, his work spurred on a movement that would eventually evolve into the Los Angeles ‘Cholo’ hand style.
When we caught up with Chaz, at this years Carbon Festival, he was animated and alive, relishing the surroundings of both his own solo show, as well as the Carbon event itself. When we asked what he thought of his Australian experience thus far, he replied with as much animation as he appeared.
“I’ve had a fascination with Australia since I was kid. I had friends and family who migrated to Australia in the 60’s who they’d disappear down to this place, before it was called Down Under or anything like that.”
“I also always had a wander lust,” he continued. “I went to Mexico by myself when I was 16. I was born in LA, but my grandparents had emigrated to Tijuana, so I used to spend a lot of time in Tijuana … which isn’t really Mexico.”
This journeying in his youth had a direct effect on the path that his life would lead. As a third generation Chicano, his family re-migrated back down to Tijuana and was immersed in its culture vibrancy, which included trips with his grandmother to the regular bullfights. From there, his experiences led him to seeking out new environments and cultures from which to draw inspiration, which, in turn, lead to the discovery of his own roots.
“I started finding my own culture through other cultures,” he said enthusiastically. “I didn’t discover other cultures like a tourist does – Samoan culture, Fijian or New Zealand Maori culture. I found families, I found people – and I realised that even though the accents are different, we all make fun of the same things.”
Eager to learn and experience as much as he could about the world, Chaz travelled to Caledonia, the Southern islands, Papua New Guinea, and Bougainville and other areas in the South Pacific. He tells us that at this point in his life, he felt as though he was truly multicultural, that he knew the corners of the world. He began to reflect inwardly, analysing his own identity, and the more he did so the more it became evident that the cultures he had witnessed were not his own.
“I started hurting and aching, and asking, who am I?” he lamented. “I had to rediscover my own heritage. Which part of is Chicano? Which part was American Mexican?”
The quest to identify himself with his own culture lead to to the walls of Los Angeles. In an attempt to express himself and discover meaning in what he did as an artist, and who he was, he threw himself into the world of art and graffiti with a passion that he felt he had only previously scratched the surface of.
“Even though I had been doing graffiti since ‘69, that was when I decided to really prove it, and start making graffiti as art. I started out as a tagger. People were always saying ‘It’s not art, its trash!“
“Yeah I’m a writer. I’m a tagger. That’s who I am, and I’m proud of it,” he proclaimed passionately. ‘You gotta be who you are. You gotta tell the truth, because in the long run, that’s all you’re gonna have, and you have to build from that truth. I could only build from the foundations that I created.”
Chaz sees graffiti as communication between people – for urban youth, in particular – but he also views it as a thing of absolute beauty and strength. He wanted to prove this to the world, to create a painting to show the people around him, and indeed, the world, graffiti meant to him. Having witness first hand the early New York style, he realised that at that time it was an entirely East Coast style and entity, as, even then, there was form of isolation between the East Coast and West Coast. In order, however, to show people the beauty and strength in the way he expressed himself, he had to take a different tack.
“I didn’t actually do my first painting until 1981”, he continued, “but I had all this dialog. There were only a few people who knew how beautiful graffiti was, ahow it meant so much, how it was a dialog.”
“So I had to go into painting to prove it, to get the top down and bottom up credibility from the roots of the streets, because real graffiti is in the streets. It’s on the wall. You have to put minimum of ten years into the streets before you can call yourself a writer. It weeds out the toys, the players, the posers, the fakers; it weeds all of them out, and you end up with those who have real passion,” he declared.
Through his many days and nights spent painting on the streets of L.A., Chaz finally bega to feel as though he had discovered his identity. As an individual who has always been a dreamer, he often saw things where other people didn’t see them. He saw, quite early on, and before many others, that graffiti was important, that graffiti it was a language, and that it was a history to be celebrated.
When we asked Chaz about how it felt, to know that what he had dreamed of back then, that the ubiquity and acceptance of graffiti in popular society is slowly beginning to permeate our cultures, that people all across the world now see his work and his place within that history, he, with all humility, put it down to luck. Little by little from his experiences he learnt what exactly what it was that he was not, and after heading to New York and spending time with Dondi White and Keith Haring, he could see that he was, most simply, Cholo.
At this point in time, Chaz also began to fall in love with the ancient art of Calligraphy. It was his respect and appreciation of Asian artwork and illustration, as well as other traditional fonts, that involved intricate flowing letterforms which also lent themselves to developing his beautiful and unique script.
“I could see the influence of the letters, I could see the image and the letter shapes actually bouncing off each other. I could describe what it was doing to the birds, and the wings looked like the letters,” he expressed, “I started to see combinations, started to see images – that calligraphy was all about imagery.’”
Chaz felt at that point that he knew almost nothing about Cholo graffiti; only that it was made up of symbols, and he pondered upon how he could make it into a language that he himself could understand. He decided to begin a study of language itself, and spent a lot of time looking at these ancient forms of script, as well as collecting newspapers from all over the world in order to study the way in which themselves were presented. That newspapers also held a common thread, a common form of communication within the way in which they are presented. Messages laid out in blocks of text, fonts and images.
He also spoke to old time Cholos in LA, men who had seen the passing of years and who held the traditions of their people in their hearts. He asked why they had chosen Old English as their style, why it was so ubiquitous in their communication, and they had remarked that it was because Old English was made from the most prestigious of letters, “it’s on your birth certificate, on your death certificate, it’s used for your graduation…” and that it was this, and familiarly enough, the influence of growing up reading comic books, that led to the creation of the old Cholo style.
As this quest for identity began to form a cohesion around him, Chaz began to ruminate on the almost imperceptible disappearance of the old Cholo-style writing from around the LA neighbourhoods, and the beauty of the Gothic and Old English fonts amongst the Chicano culture. It was then, when he began to reflect his own inward discoveries outwards to the world via both writing upon the walls as well as his work in the galleries, that he evolved his unique interpretation of a letterform; one that he felt best represented his people.
As he did so, he remembered feeling as if nobody really respected his work, or his letters, and asked himself, “How can I respect my own culture? How can truly make graffiti important enough that people can understand it?”
So he continued to focus on creating, drawing and writing it out, using “… beautiful, clean, straight lines. A line to a line. Centre to centre. Flush right, flush left,” he described. “Making the whole unity of the letters become poetic. To find rhymes reasons and echoes in the entirety, and then to try to make something of beauty, but still something that is hard, and sharp…”
When he first took his paintings to Chicano galleries in East L.A, Chaz remembers the general dismissal of his work. At the time, the resounding response was that that Chicano was all about “family, religion, border issues, immigration, suppression…” and that his “bad boy art” and reinterpretations and evolution of the letters of his culture would undermine the subjects that were deemed most important.
Finally, tells us, and thankfully, he was embraced by other artists who saw his work as new and invigorating, and met such luminaries as Robert Williams and Ed “Big Daddy” Roth, who both helped Chaz to put on his very first show. His work was displayed alongside tattoo tribal artists, artists who worked on surfboards, cartoonists and hot rodders and it was through that show, and many more in future years, that he discovered that that the differences between their various cultures and styles had begun to fade away.
“We all showed together, and we discovered that we all had the same lines. We had the same stroke – the West Coast stroke.”
From there, one of the many epiphanies in his life occurred. He discovered that he was a blend, that something else, something new, something distinct was being created. Whereas that before, he had thought that the artists and their work had seemed to be separate, but that things had begun to coalesce
Whereas before, things had seemed to be quite separate, he came to the understanding that the communication and languages expressed by the artists and creative individuals around him had begun to coalesce – that they were all inherently drawing from the same well springs of influence. Their city, their culture. Their home – their place.
Speaking to Chaz Bojorquez was a profound experience; he is a man who has carefully explored the world and the treasures of human culture. By drawing on the echos of the past and the traditions of old, he has created his own sense of identity and style through a belief that within life you must stay true to yourself, that great things will come from building upon your own foundations. Chazs dream of transforming something that was forsaken as garbage and wilful vandalism into something that sought – no, demanded – importance has bloomed into the multiple facets of abstracted acceptance in our modern lives. His style is poetic and speaks in the hidden language of philosophy; his art is beauty, strength and identity.
From his signature Señor Suerte, one of the first true icons of graffiti created on the streets, now found tattooed on thousands of individuals, to his letters and artwork both inside and outside of the gallery, Chaz has created a legacy, one that we have no doubt will continue to stand the test of time. His hard work, perseverance and explorations have forever enshrined him as a true pioneer – not only of the LA street style, but of a beautiful, all encompassing, global graffiti culture.
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.