Tag Archives: stencil art

Collingwood, HaHa and the Street

I went to see Regan Tamanui’s (aka HaHa) ‘Residency’ at the House of Bricks in Collingwood. HaHa is amongst the best stencil artists in the world and House of Bricks is one of the funky converted warehouse gallery spaces focused on the street art scene. Why a ‘residency’ was my first question? He explained that was offered the space due to a cancelled exhibition.

HaHa cutting stencils with both hands.

HaHa cutting stencils with both hands.

It is an informal way of working in public. Set up a studio, just a couple of tables and chairs, at the House of Bricks. With the roller doors of the House of Bricks open, Regan is practically working in the street and in public.

On the white wall he was taping up his work for sale at the very affordable price of $60 a piece, so I bought one. He is also offering to do stencil portraits for $100.

Regan is happy to explain and demonstrate his multi-stencil technique or just chat with the people who come in. He said that he has been attracting a fair number of local identities and eccentrics. He told me the best advice was not make eye contact with them otherwise they would talk forever.

There were small stencil studies for future work inspired by recent trips to Singapore, the Northern Territories and Papua New Guinea: orchids, crimson sunbirds, kookaburras, the Devil’s Marbles in the Northern Territories, along with portraits of dogs and people.

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After that I wandered around the area. Regan told me about a large concrete cast spray can in an empty lot behind a chainlink fence a block away. I’m sure that is by Dface when he visited Melbourne in 2011. At the back of the lot against a concrete wall there was also a fake tomb stone, presumably also by Dface, that reads ‘Cheat Death’ (too far away for the zoom on my little camera).

Dface

On my walk I saw Tom Civil’s wooden cut out versions of his figures decorating the wall of the community garden on the corner of Cecil and Gore streets. It is not a big garden just a few planter boxes and benches but it makes a big impact on the street.

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In Easey Street there were these decorated power poles by Webb+, an architecture and design firm. I didn’t think much of them, they looked a bit ugly, not surprising given the Christmas theme of some of them.

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Also on Easey Street is the graffiti influenced architecture of the End To End building with the three train carriages on its roof. (For more see my post on Graffiti and Architecture.)

End to End building


Hosier Lane January 2015

Walking up Hosier Lane in Melbourne’s for the first time in 2015 I notice that amongst the many pilgrims to this Mecca for street art and graffiti there new work of several visiting artists. Factor has been back in town.

Factor

That Will Coles has also paid a visit from Sydney and his current casts are finer and more elaborate than has old lost objects. There now must be a Will Coles piece in every niche in Hosier Lane, many now covered with layers of spray paint.

Will Coles

That Amorphic has put up some paste-ups while she was over from South Australia. She informs me that she put up some more around the Barkley Square Shopping Centre in Brunswick, off Monarch Lane in St Kilda, and on a door in Union Lane.

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It is good to see Dolus bringing stencils back into the mix. Stencils were over used by street artists a decade ago and many people have been avoided using them ever since.

Dolus

However the main reason that I wanted to take a look at Hosier Lane was to see how Melbourne’s street artists have reacted to recent events, namely the attack on the satirical magazine Charlie Hebdo in Paris. Melbourne’s street artists are always quick to follow a political meme and to contribute their part in the discourse.

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My Top 10 Melbourne Stencils

I’ve been photographing Melbourne’s stencils for almost a decade, I’ve been looking at them for longer. Looking back at all my photos of Melbourne stencils here is my top 10.

HaHa Nicky Wynmar

  1. HaHa, Nicky Winmar, The master of multi layered stencils HaHa’s interest in fame and celebrities is at its best with his stencil of St.Kilda footballer, Nicky Winmar’s iconic reaction to racist taunts. What could be more Melbourne than a footballer?Civil - penny farthing - Irene Warehouse
  2. Civil, The Revolution Will Not Be Motorized. Irene Warehouse. This is my nostalgia moment because it was Civil’s stencils that first got me interested in Melbourne’s stencil scene. Civil’s peaceful and entirely civilised anarchic politics is perfectly expressed in this stencil.Kerpy - Flinders St. Station
  3. Kirpy, Flinders Street Station, On the wall of 696, then an urban node for quality work, curated by the Toby and Melieka who ran the gallery/gift shop. A great multi layered stencil of an iconic Melbourne scene.ELK Chimp Jesus
  4. E.L.K. Ecce Homo (observe the man). In this piece E.L.K. is taking the old English tradition of baboonery from the pages of illuminated manuscripts to the street. E.L.K was Canberra based at the time this was done I’m not being picky about where an artist is based in this list. Cocker Alley Banksy Tributes
  5. Sunfigo, Little Diver Redux, In the same location and referencing Banksy’s Little Diver along with many other Melbourne based street artists. This is the ultimate piece of self referencing street art. (In photo, Sunfigo above, Phoenix tribute below.)DSC09008
  6. Calm, Blue Gnu, At All Your Wall in Hosier Lane 2013 before it was covered in tags but then it anticipated all of that.Toys will be Toys
  7. 23rd Key, Toys Will Be Toys, A good stencil and a great reference to both the graffiti insult and Toy Story. Located in the Land of Sunshine, Brunswick.Hanging-boots
  8. Unknown, Hanging Boots, A simple and well-placed elegant still life in Sparks Lane, Melbourne.The Kid Peek-a-boo
  9. Unknown, Peek-A-Boo, Another simple but highly effective stencil because of its placement.This is Shit
  10. Unknown, This is Shit. Sometimes it just has to be said.

Then & Now

“Like seeing gnomes out of the corners of your eyes, stencils appear and disappear in surprising and crafty urban nooks and shadows. Replicating like most good ideas tend to do, Ha-Ha, SYNC and DLUX took their obsessed stencil messages off the streets and into a gallery in 2003. Outing the mythical icons and images in Melbourne advanced the opening of the gates across the world. Ten years later and the shadows part once more into a painted world of imagination, humor, and collaboration.” – Russell Howze (San Francisco), stencilarchive.org & author of Stencil Nation

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“HaHa is an authentic street artist and poet of the city . We have worked together during my trip in Australia in 2009 and it was really great to have meet HaHa and his beautiful stencils. ” – Blek Le Rat

“This site doesn’t normally do announcements about upcoming shows, as you will know if you have visited it before. But sometimes I like to put up information about a show that promises great things or is by artists who are really significant in the scene.” – Alison Young, Images to Live By

“Now & Then” at Second Story Studios in Collingwood has to be the most overhyped exhibition of Melbourne’s stencil art; so many people are praising this exhibition as a landmark before it has even opened.

The best part of the exhibition were the collaborative works that brought the three artists and some of their original stencils, along with some new ones, back together again. These works were nostalgic for those who remember Melbourne’s streets a decade ago. They are a condensed version of what happens on the street. The accretion of stencils rather than a single stencil, the mixing of style that is an essential feature of hip-hop, is what makes these works outstanding – I wish there was more of it on the streets.

It is well over a decade since this Melbourne street art scene started to happen. Late in 2002 Ha-Ha, Sync and DLux first met at the old Blender Studios. In 2003 they had a group exhibition, “Cut It Out” at Hush Hush Gallery in Hosier Lane. No-one was keeping track of exactly what they were doing to begin with because to begin with it was just a bit of fun. Back when the street art started Ha-Ha, Sync and DLux were spraying their stencils everywhere and writing their name up large with rollers on the walls of the abandoned factories around Macauly Station.

A bit over decade later Melbourne’s street art scene has blossomed and become internationally famous. Digital cameras and photo sharing are now ubiquitous and the audacious, punchy appeal of street artists still captivated a still growing audience. New forms have developed, there are more artists, a larger audience, more collectors and more recognition. Ha-Ha is listed in the top fifty street artists in the world.

The artists have also changed in the decade, what was fun has become their life.

DLux has started to paint freehand combining “sunset palette” with “toilet block graffiti” scrawled across it unfortunately his painting technique doesn’t always match these ambitions. Sync has also abandoned stencils to create ordinary and passé abstract paintings; his recreations of his old stencils on scraps of reclaimed wood were selling well at the exhibition.

Only Ha-Ha has kept working and developing his multi-layer stencil technique. He has added to this with the mixing of different faces and now adding “subliminal text” to his images; the words “magic” and “sex” appear in the hair of Ha-Ha’s Marilyn Monroe.

Then and now and the differences are enormous.

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Calm Collected

This is a story about a shy suburban guy living the suburban slumber of the sedated lifestyle waking up. He doesn’t go wild and try to stay wide-awake all the time. He just calmly looks around at what is going on in the big picture, tries to find a voice and then uses his voice get involved. What more can be expected in a life?

Calm Toucans

Calm Toucans

Calm found his own voice with first with a mock Neighbourhood Watch poster featuring a Planet of the Apes gorilla and the slogan: “control the human pests”. He has gone on to more paste-ups with his pertinent satire in Melbourne streets.

Calm is a Melbourne street artist who has been working on the street for the last three years. Married with three children, unlike many other street artists he does not have an art school or design background. He is still refining his spray-painted multi-layered stencilled techniques that often does on paper before pasting them up in the street. He has been in a few group exhibitions mostly for charities and was involved with CHD’s Trojan Petition in 2012.

It isn’t often that you hear an artist talk about the work life balance, sometimes you are just amazed that they have a life. It is not that Calm is prolific, he doesn’t do massive runs and paste-up everywhere, but the quality of the work makes it stand out and he is happy with the balance in his life now. There is a balance in his art, it is not all political, there is also his Toucan spray-cans.

Calm - Captain Assange

Calm – Captain Assange

Calm - Wanted Paul Watson

Calm – Wanted Paul Watson

Calm’s pop political posters of current political figures satirize and comment on the media’s current cast of heroes and villains. The simple form and the few colours keep the design clear and concise. Calm’s satire doesn’t preach or rant but has a cool, wry and ironic quality. Often there a few different angles; referring to his Bradley Manning in football uniform, Calm points out that there are a few quarterbacks named Manning in the NFL.

Calm - Bradley Manning

Calm – Bradley Manning All-American

Calm - Murdoch Swine

Calm – Murdoch Swine

When I mentioned that his Murdoch swine was a bit vicious compared to his lighter touch with other work, Calm replied, “Sometimes you’ve got to do it.” It was saying what everyone was thinking of Murdoch after News of the World.

Calm see his street art as a way of breaking the advertising monopoly on public space and the public conversation. Calm’s images are like single panel editorial cartoons on the pages of the city.


Melbourne’s Best?

”I doubt it’s something the authorities are particularly proud of, but Melbourne street art leads the world.” – Banksy (The Age, May 29, 2010)

Land of Sunshine, Brunswick

Land of Sunshine, Brunswick

David Hurlston, curator of Australian art at the National Gallery of Victoria, said Melbourne’s street art was “the most distinctly identifiable cultural and contemporary artistic movement to have occurred in Australia over the past 30 years”. (see Stuff Travel)

I’m always suspicious when I hear Australians make the claim “amongst the best in the world” even when they are quoting a foreign visitor like Banksy. But people often ask me where does Melbourne street art and graffiti rate compared to other cities in the world?

I thought that I’d take a different approach and count the references for cities listed in Cedar Lewison Street Art – The Graffiti Revolution (Tate Publishing, London, 2008) Melbourne comes out in at number 5: New York 34, London 15, Sao Paulo 9, Paris 7, Melbourne 5; with 2 each for Madrid, Berlin, Bologna and Bristol; and 1 for Los Angles, Liverpool and San Francisco. More research is still needed; a larger data set of books, but you can see the approach to take.

Perhaps a more interesting topic that rating Melbourne is to look at how various elements contributed to this creativity from the public transport structure to other parts of city design. The radial spoked “intergrated network” of public transport created an accessible centre of activity (in the same way that it has concentrated drunken violence). And this ensured that in the 1980s painted train carriages could be seen on any of the suburban lines, now the trains are mostly graf free but the walls along all these train lines are still painted.

Paintspotting* in various cities around the world (New York, London, Paris, Dublin and Greece) it is clear to me one reason why Melbourne is so highly regarded. The street art is so accessible; you don’t need to explore very far in order to find some great pieces. In the inner city, Hosier Lane is just off Flinders Street and Fitzroy or Collingwood are just short tram rides away.

The centre of Melbourne is a 1.28 square kilometres of shopping, business, residential, entertainment, restaurants and government buildings defined by Hoddle’s grid of streets. Melbourne’s main streets, as originally surveyed by Hoddle are 99 feet wide with the smaller street 33 feet wide. (A geomancer with a numerological bent should be able to do something with those numbers.) Weaving between the streets are the lanes that makes an excellent, if discreet, surfaces for street art. If you think that all of Melbourne’s lanes are full of street art, you haven’t looked down enough there are so many.

Melbourne has a vibrant street culture; I go away for a few weeks and my email box is full of posts from Arty Graffarti. Taking a ride around Brunswick today I saw many fresh pieces and some guys starting some more in Ilham Lane, north of Tinning Street. They had just started on the outlines when I passed buy and more writers were arriving for an afternoon of paint. On a sunny day it doesn’t really matter what your ranking in the world is.DSC08307

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* Paintspotter, noun, definition: like a trainspotter but for people who look for street art and graffiti (a portmanteau word coined by Fletcher “Factor “Anderson of Invurt).


Not Dancing on the Ceiling

Sound and Vision @ Counihan Gallery – One + Two = 12 @ Black Dot

Sound and Vision by Sarah Duyshart, Emma Lashmar and Ross Manning, is an exhibition of visions of sound. Curated by Lauren Simmonds the vision of this exhibition was impressive. The gallery was divided into three sections, so each of the works occupied the entirety of their section, as is the want of contemporary art.

The first space had a number of suspended droplet columns of glass balls and fishing line hanging from the ceiling. It is Emma Lahmar’s “Field Theory-/-Bodies” 2013. The glass balls are open at the top and partially filled with water. The fishing line pierces the glass balls; sometimes there are also tubes of glass running through the water. They looked like drops of dew on spider webs. Solenoids activated by microphones responding to ambient sounds would vibrate the lines; it looked like it should produce sound but it was very quiet. Vibrations were a major theme of the exhibition (and things hanging from the ceiling).

Sarah Dyshart’s vibrating sieve (hanging from the ceiling) “Sift” 2013 vibrated in response to a soundtrack of local field recordings sending showers of bakers flour and leaving a deposit on the black sheet beneath. It looked particularly impressive with the small sprinkle of flour following each sound of a ticking clock.

Ross Manning’s “Binary Star” 2013 is a simple but highly effective light show occupies the third space. Coloured dots randomly appear on the wall based on a rotating loop of perforated paper hanging (from the ceiling) in front of a digital projector set on a test pattern.

The exhibition left me wanting to see and hear more art about sound.

At Black Dot Gallery there is, One + Two = 12 an exhibition of paintings by four artists from South America. The exhibition was meant to be about “on questioning long-held Latin American stereotypes”; I don’t know what South American stereotypes the exhibition hoped to challenge. I didn’t have any expectations; South America is one of the two continents that I’ve never been.

The four artists exhibiting did not have much in common apart from being from South American. Their art ranged from digital deconstruction to street art, sentimentalism to surrealism. Isidoro Adatto Mandowsky’s two large paintings deconstruct the digital image, breaking it down as a subject to paint. Ignacio Rojas, worked with a variety of stencil techniques including strip stencil and dot stencils; I could see why he was a finalist in the Australian Stencil Art Prize 2012. (I wish that I was seeing his work on Melbourne’s streets – maybe I have but didn’t know it.) The colour bars over paintings of children from war zones by Julian Clavijo were well done but too sentimental for my taste. And María Esther Peña three paintings are surreal landscapes populated with what Peña calls, “bodies in transit”, faceless figures who have lost their identity.


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