Category Archives: Street Art

Upfield Bike Path Graffiti

The Upfield bike path goes through Brunswick and Coburg before running out at the northern end of Fawkner Crematorium and Memorial Park. There has been graffiti along the bike path for decades. It is interesting to observe the urban real politics of competing uses of this stretch of land that is maintained by Moreland City Council.

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The city council built the bicycle track on land that is bounded between the train line controlled by VicTrack and the backs of private property.

Private property owners with walls backing on the bike path have been upgrading their property; the old corrugated iron sheds are being replaced with walls of concrete. This has created more and better walls for the graffiti writers extending further north. (See my post on The Commons Graffiti.)

The areas around the tracks controlled by VicTrack are the most neglected. This is not entirely due to utilitarian considerations and derelict railway buildings are allowed to decay without allowing them to be used as surfaces for graffiti.

The graffiti writers were there first, making use of the walls beside the train tracks. Their work has been slowly accumulating until it covers about six kilometres of walls on both sides of the tracks. Sometimes the same graffers will paint the same walls years later.

Then came the bike path and the cyclists and in the last couple of years the guerrilla gardeners.

If you want a way to prevent graffiti, the solution is to plant trees and vegetation in front of the wall. This has worked at Brunswick Station where all the graffiti is more than two years old now due to extensive planting by the “Friends of the Upfield Linear Park”, who have more extensive ideas for the whole area on their website.

Further north along the bike path the graffiti and the guerrilla gardening create a beautiful combination, growing simultaneously along the Upfield bicycle track just north of Moreland Station. Here a back laneway has blossomed, the colour of flowers mixing with the paints. Further enhancing this area is the solar powered lighting built into the fence separating the bike track from the railway. At this point there appears to be a balance between the competing interests but the situation is dynamic.

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Further reading:

I can reveal that Banksy is really Clark Kent, mild mannered reporter for The Daily Planet. My flawed logic is that Clark Kent has a secret identity, Banksy’s identity is a secret and they have never been seen together. Responding to this week’s attempt unmask Banksy read Peter Bengtsen ‘Clickbait: The cash, flaws and ethics of “revealing” Banksy’ in Vandalog.

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Notice about Banksy’s ‘Little Diver’ in Cocker Alley

In further academic writing about street art.

Have you ever wondered if an artist is doing street art or graffiti and then thought why not correlate the artist’s Instagram followers and general ‘street art’ and ‘graffiti bombing’ accounts in order to find out.  ‘Audience constructed genre with Instagram: Street art and graffiti’ by Christopher D.F. Honig and Lachlan MacDowall. (First Monday, v.21, no.8, 1 August 2016) Further to this Lachlan MacDowall writes about his research and Lush in ‘Meme wars: Lush Hillary Clinton and graffiti on Instagram’ in The Conversation.

Someone should write an article “How to Talk to your Children About Lush” but not me, I don’t have any children.

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Lush’s work in Richmond

The Conversation is a great place for many more articles about graffiti and street art. This includes David Kelly’s important discussion about how the recent rise in homelessness in Melbourne and the use of Hosier Lane: ‘Graf all you want but don’t you dare be poor!’ (I’m sorry I left the link until last but then I couldn’t have used the Banksy hook to get you in.)

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Various Artists, Flinders Court, Melbourne


Understanding Graffiti

Some graffiti writers have some strange ideas about who can understand, speak/write, or even properly appreciate the work. The claim that it is anathema for the uninitiated to ‘understand’; that is not only are their explanations wrong but damaging. Street art tours conducted by graffiti or street artists; would you expect all art gallery tours to be conducted by contemporary artists?

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R.A.D Grant points out “to claim that a belief can be ‘understood’ only by its believers is to use the term ‘understanding’ somewhat oddly, since understanding is normally thought to follow upon explanation rather than to be precluded or destroyed by it.” (A Companion to Aesthetics, ed. David Cooper, Blackwell, 1992 p.103).

However, the English word ‘understand’ means both to comprehend and to be sympathetic. Can only the empathetic comprehend? For it is empathy and not sympathy that is expected. It is about the magic of initiation and spirit. Part of this is a need to maintain control of what is considered ‘understanding’ in order to maintain their power.

‘Understanding’ is connected to notions the person being ‘true to the spirit’ as Philip Brophy explains in “What is this thing called ‘Disco’” (Art & Text 3, Spring 1981, p.64)

“To perform jazz, blues, rockabilly, soul, power pop, Middle-of-the-Road , etc., is to evoke a specific type of consciousness related to a specific set of meanings inherent to the act of performing the particular music style. There, a notion of ‘truthful’ performers and ‘false’ performers exists, establishing a productive difference between ‘artists’ and ‘charlatans’ – and, it is interesting to note that in the realm of popular culture, the institutions that we call the recording industry can profit from both the ‘artist’ and the ‘charlatan’.”

Likewise the graffiti writer is expected to ‘evoke a specific type of consciousness related to a specific set of meanings inherent to the act’ of doing graffiti.

Here is some old graffiti from Brunswick to look at.

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The City As Art

The buildings in the centre of Melbourne are both familiar and unknown, they seem to change around like something out of the movie, Dark City. Exploring the city has to be a regular activity as there are changes occurring all of the time and a once familiar area transforms.

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The city as a creation, as a great co-operative work of architecture, art and engineering stretching over a vast area and reaching into the sky, a larger concept than a medieval cathedral. The creation, curation and alteration of which is a mix of planning, adapting and neglect.

The city draws you along its streets, wanting to see what is coming around the corner. Each street creates a new scene, one block is totally different from the next.

Underneath the city, the ground level is as constructed on foundations. How deep does it go? The labyrinthine network of tunnels, the subway, the subconscious of all cities. There is a mystery beneath all cities, the mystery of  the labyrinth and at its core the Minotaur.

Too much repetition in a city reminds one that it is also a labyrinth where a Minotaur hunts for sacrificial victims. “Bloody tribute!” says Theseus after tagging the wall with an outline of his hand sprayed by mouth in red ochre, or is it bull’s blood?

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Cities are visually dense; signs and symbols compete for our attention. The accretion of images, of advertising and signs. The many shiny surfaces reflect the many lights further confusing the vision. The visual density of the city has presented a challenge to visual artists for the last two centuries.

Graffiti and street art rise to this challenge by imitating the visual intensity of the city, by being part of and by being framed by the infrastructure of the city. Graffiti tries to fit into this environment by becoming a tag, a personal logo in a world full of corporate logos. Both the graffiti writer and the street artist rectifies the urban environment by adding their designs to the layers of images, personalising the alien, impersonal architecture of the city.

The whole of Melbourne could be seen as an un-curated art gallery for graffiti and street art. Except that there are small semi-curated zones, like… roll the credits… Doyle’s Blender Alley and Lovelands, the area of Fitzroy curated by Shaun Hossack of Juddy Roller, Dean Sunshine’s factories in Brunswick. Gordon Harrison, the City of Melbourne engineer should also get some credit of street art in the CBD. I’m sorry if I have missed anyone.

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Piecing in Burnside

Way out in Melbourne’s west, in the suburb of Burnside there is an industrial park. Constructions built from reinforced concrete walls fill up half of the blocks. Lots of big concrete walls covered in graffiti facing empty blocks. It is obvious from the graffiti pieces that Kame and the Boogaloo Bros had been doing a lot of painting on the industrial estate.

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At 11am last Saturday three cars rolled into the empty block loaded with spray cans, paint, rollers, and step ladders. There were four guys piecing: Jamit, Kame and the Boogaloo Bros, Suer and Rise. Forgetting their tags, these are just four middle-aged guys in daggy old clothes; the Boogaloo Bros are wearing fluro jackets.

These middle aged guys were all painting in the eighties, the initial hiphop graffiti phase in Melbourne but this was the first time that Jamit had actually met Kame and the Boogaloo Bros. The internet has brought these guys together, it has also given a new life to Kame’s painting. Kame had lost interest in graffiti many years ago and was completely unaware of how Melbourne’s scene had developed until an old friend got in touch with him just over a year ago. They are not a crew; the idea of graffiti crew has morphed into an online network.

These are all legal walls that were being painted. The Boogaloo Bros have permission to paint from the building owners, a folder of signed documents sits in their car, just in case. So they have invited Kame and Jamit to join them for a day’s painting.

The first order of business was buffing the wall black. The black paint was watered down so that it would go on faster. Suer kissed goodbye to an old piece as they efficiently roller painted over the wall.

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Next the guys started their outlines. Jamit and Kame were working from sketches but not the Boogaloo Bros. they just start on geometric underpaintings. Suer and Rise do sketches but they just do them for their own sake. As they are out painting most weekends they have plenty of practice and confidence.

Three different styles of pieces start to emerge from the black wall: Jamit is doing a big blockbuster piece taking up two of the concrete panels, the Boogaloo Bros are working up two wildstyle pieces and Kame is doing something more character based in a rock’n’roll tattoo style.

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Jamit hasn’t painted in ages and is struggling a bit. He is running out of paint, using a tape measure to get the letters the right size and buffing out mistakes.

Kame’s curving lines are loose but well planned. He has a beautiful almost traditional sign writing calligraphy, his mother is into calligraphy. Kame has talent and it is not surprising to learn that he is off to paint in the Meeting of Styles in San Francisco in September.

The Boogaloo Bros are confidently and methodically filling in their outlines. Rise does run out of one colour and has to improvise. Suer loves his colours. “Wait till you see this Derby with Fuchia.”

It is all the guys do; apart from a couple of bottles of Pepsi, Kame documenting his painting with a camera and Rise sucking on some cancer sticks.

The wind blows across the wide western plains bring in the grey cloud fronts. It is about 10 degree Celsius out of the wind and there is nowhere out of the wind, the wind chill is freezing. You can see the rain closing in for about thirty minutes; plenty of time for Suer to stand on a small hillock and to try blow the clouds back west. Only Kame kept painting through the rain.

“This is the worst day I’ve ever painted” Kame says.

Perhaps because of this Kame is the first to finish while the others still painting. After another couple of rain fronts the others had finished their outlines and highlights. Finally they sign off with crew affiliations, tags and tributes to the people who were there on the day. Then it was time for photographs to be uploaded to Instagram.

It was just after 4:30 when the graffiti writers drive out of the industrial estate; cold, hungry but happy with their day’s painting.


Gallery Crawl July

I knew that I would see some art galleries and street art when I went for a walk around Fitzroy and Collingwood. I didn’t have a specific agenda or plan for my walk, there is always something new to see in the area and not just in the galleries.

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Yusk Imai, The Mortal Drama, pearlescent acrylic and marker on canvas

When I started blogging I had a real sense of exploration, I would go looking for new galleries. I yearn for that sense of exploration now but sometimes it feels easier just have to keep doing the rounds of certain galleries and familiar street art locations. Now walking down Flinders Lane or along Gertrude Street seems to be the most efficient way to find an exhibition to review in a blog post.

I was looking for Bside Gallery because I had heard of it so I don’t know how I missed seeing it; I must have been momentarily distracted as I pasted by the shopfront on Brunswick Street. I did end up seeing a gallery that I haven’t visited before, Besser Space.

At Besser Space was “Eve, a photographic exhibition” by Zo Damage of women in rock. Zo Damage claims to be “Melbourne’s busiest music photographer” and she might be; she is half way through her 365 Day Live Music project to photograph a live band a day for an entire year. Not including the hundreds of photos in her 365 Day project there are a lot of black and white photographs in this exhibition, fortunately Besser Space is a large rough warehouse space, perfect for an exhibition of rock photographs.

A dozen surreal paintings by the São Paulo based artist, Yusk Imai hang in his exhibition “The Moratal Drama” at Backwoods Gallery. Imai’s paintings combine painting and drawing with marker pen on canvas. They are a mix of patterns, arty splatters and delicately drafted figures. His surreal forms stand, often on plinths, in the surreal locations of the forest or the empty desert in the rain shadow of the mountains on the horizon, stuck contemplating their absurd but beautiful existence.

Gertrude Contemporary had a group exhibition of its usual contemporary art. I was unlucky with the galleries as many installing new exhibitions, like the CCP and Collingwood, or undergoing major renovations, like Hogan and Kick. Not one of my more successful gallery crawls. On the other hand I did see some interesting things on the street, had a walk in the sunshine and a delicious lunch.


LOL Street Art

Toys will be Toys

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Chuck Norris Was Here

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B1 Crucified, Brunswick

Jesus paintroller original

God has a plan to kill me

Darth %22Who's Your Daddy%22

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