Street art & graff in Istanbul, Part II: Amose, Space Invader, Dome, Demo, Eskreyn & more

French artist Amose
French artist Amose

Whereas the authorities in Istanbul are quick to buff any political graffiti, they seem to be quite tolerant to other public art — both sanctioned and unsanctioned. Here are a few more examples of what currently can be seen in the city:

Space Invader
Space Invader
German artist Dome
German artist Dome
Portugese artist Demo
Portugese artist Demo
Local artist Eskreyn
Local artist Eskreyn
Both local and international writers here -- including Hure and Utah
Both local and international writers here — including Hure and Utah
Just about every shutter has become a canvas for bombs and throw-ups
Just about every shutter has become a canvas for bombs and throw-ups

Thanks, again, to Erbil Sivaslioglu for sharing his knowledge of his city’s street art scene with us.

Photos by Lois Stavsky & Dani Reyes Mozeson

Street art & graff in Istanbul, Part I: Pixel Pancho, Hure, Hero, Kripo, Eskreyn and Various & Gould

Italian artist Pixel Pancho
Italian artist Pixel Pancho

Relatively new to Istanbul, the modern street art movement is beginning to make its mark and gain recognition as a legitimate contemporary art form. In our few days in Istanbul, we — my son and I — saw everything from tags and throw-ups by both local and international writers to huge murals by first-rate artists. We also discovered some local street artists whose aesthetics fuse the best of Eastern and Western sensibilities. Here’s a sampling:

Local artists Hure and Hero
Local artists Hure and Hero
Kripo's ever-present yellow hand
Kripo’s ever-present yellow hands
Unidentified artist
Unidentified artist
Local artist Eskreyn
Local artist Eskreyn
Berlin-based artists Various and Gould
Berlin-based artists Various and Gould

Special thanks to Erbil Sivaslioglu who shared with us his passion and knowledge of his city’s street art scene.

Photos by Lois Stavsky and Dani Reyes Mozeson

Melbourne Monthly Madness – September 2013

Juuuust in time for the end of the month, as usual. I’ve been working on some very special projects here in Melbourne all of which I will be sharing over the next month!

September was another great month in Melbourne. As usual a bunch of shows and some of the best street art and graffiti from the streets. Enjoy!

Meggs painted one of his biggest ever murals on the the Fare Share building. Fare Share is a “good rescue” organisation, taking unwanted food and making into meals for charity. Nice work.

Some mad work in Collingwood by some of Melbourne’s most prolific writers, Bolts, Sauce and Kawps. More shots here.

Bolts. Photo by Dean Sunshine
Bolts. Photo by Dean Sunshine.
Kawps. Photo by Dean Sunshine
Kawps. Photo by Dean Sunshine.
Sauce. Photo by Dean Sunshine
Sauce. Photo by Dean Sunshine.

I’ve posted a bit of DVATE’s work in the past. Here’s some more of his work on a recent trip across Europe (not sure who all the collabs are with). More here.

DVATE. Photo by Just Another Agency
DVATE. Photo by Just Another Agency.
DVATE. Photo by Just Another Agency
DVATE. Photo by Just Another Agency.
DVATE. Photo by Just Another Agency
DVATE. Photo by Just Another Agency.

Continue reading “Melbourne Monthly Madness – September 2013”

Melbourne Monthly Madness – August 2013

Sorry this post is so late. I’ve had an injured hand, so typing has been a pain, literally… Here’s my round up for August. I’m calling this month the Video Edition, cos I don’t think I can recall a month where so many awesome videos came out… Here we go…

To start off check out this great video from Jack Douglas. Jack is a talented Melbourne street artist and tattooist; this video shows some of his street and tattoo work. His characters are always awesome.

Another rad video featuring local writer BOLTS smashing some walls across Melbourne with his always super tight style.

Do you know what a “bogan” is? It’s an Australian colloquialism, this video from Melbourne writer AEON (created alongside VNA magazine) gives you a perfect explanation of the Aussie Bogan, lost in London.

LINZ from Queensland visited Melbourne and painted this great piece. LINZ also talks about his time as a writer and how things have changed so much over the years.

This video from Spacerunner is definitely my favourite video for the month. SIMR and Rides showing us how it’s done painting one of Melbourne’s trains in the dark of the night.

Check out this video featuring interviews with Rone, Sandra Powell and Andrew King discussing their views on street art in galleries and the streets and the general attitude towards the art recently in Melbourne.

Rone was in Portland Oregon recently for Forrest for the Trees festival.

A new video from LUSH.

And finally Reka painted this epic 8 story wall in Copenhagen.

Continue reading “Melbourne Monthly Madness – August 2013”

Adrian Doyle paints a Melbourne street art hotspot completely blue

Adrian Doyle in the new Blue Rutledge Lane - Photo by Adrian Lagniton.
Adrian Doyle in the new Blue Rutledge Lane. Photo by Adrian Lagniton.

A couple of weekends ago on Sunday the 25th of August, I started walking down Hosier Lane, which I do at least 5 times a week, but this time I noticed something very strange. Rutledge Lane (located parallel to Hosier Lane – one of Melbourne’s most well known street art and graffiti locations) was completely fenced off and there were trucks and equipment. When I made it down to the other end, an even more surprising site met me.

It was Adrian Doyle (who I’ll tell you a bit more about later) in a full white body suit, spray gun in hand, starting to paint Rutledge Lane completely BLUE. An eery light blue glow came all the way to the edge of the lane with a distinct sharp blue line all the way to the edge of Hosier. What followed has been the talk of the Melbourne street art and graffiti community, and whilst it has calmed down now, or has even been forgotten, it definitely created quite a stir.

The ‘installation/artwork/buff?’ was not only the talk of the local street art and graffiti community, it also attracted much media attention on radio, TV and in newspapers due to the infamous nature of the lane way.

The Lane being painted - Photo by David Russell
The Lane being painted. Photo by David Russell.
The Lane being painted - Photo by David Russell
The Lane being painted. Photo by David Russell.

Adrian continued down the entire laneway and proceeded to buff everything in sight, and I mean everything, every bin, every spec of rubbish laying around, everything. Top to bottom, even the road. Scissor lifts and spray guns were his tools of choice to get as much paint up as high as he could.

Rutledge Lane - GIF by Khoon Sorasiri
Rutledge Lane. GIF by Khoon Sorasiri.

Later that day Invurt posted an article on the project, which contained Doyle’s explanation behind the project, taken from his Facebook page:

Today piece was not a buff….. it was a burner.. Hell yeaH…

Houses are a major influence on my aesthetics and imagery. Most of the important events in my early life were focused around our quarter acre block in the heart of suburbia. We had an outback toilet, complete with its own dunny man that came every week to change the bucket. We went through numerous above ground pools and sadly, many pets. My house was not really different than any other suburban house. Yet it was my world for many years, a curated world, in which I learnt social skills and perceived normality from my parents.

I watched from a very young age as my parents struggled with house payments and debt collectors. They worked so hard to pay the bills and bring up 5 kids. They worked in jobs they hated with little respect from their bosses. They married in their teens, and did all the expected norms and learnt behaviour passed down from their parents. The house was a symbol of their hard work.

This experience made me reflect on my childhood home, and the hold it had over me, my family and my art. When my parents eventually lost the house to the bank, my parents moved four hours away to a small cottage in East Gippsland. But the grief and pain followed them. I began to play with the idea of creating a colour that represents my childhood and my suburban experiences. Was it possible to create a colour that could capture that kind of experience?

So I decided to come up with my own colour. I named it: Empty-Nursery Blue

The way I decided to create Empty-Nursery Blue was by sitting in the studio and creating hundreds of different blues until I found the one that expressed my experiences the most. It was a baby blue that had hints of mauve in it. It’s a beautiful colour, a bright pastel. This colour expresses the feeling that something has been disturbed. All is not quite right. I took my disturbing yet beautiful colour to a paint lab and worked out its recipe.

But what good was Empty-Nursery Blue, if it was without a context. I needed to find something to paint to physicalise the concept of the colour.

As mentioned above, after losing their house, my parents moved to an island in the Gippsland Lakes. It’s a significant removal from the realities of suburban Frankston. Their house is alone in the landscape, only bushes and trees to keep it company. Not even a bridge links the island to the nearest shop. This physical removal from the past does not automatically come with emotional removal.

This is why I decided to paint my parents’ new house Empty-Nursery Blue.

Empty-Nursery Blue once placed in context became a symbol of a collective past. Surrounding the new house with the memory and emotions of an experience that ruptured my family’s suburban dream.

In recent years I have spent much of my time lost deep in the Melbourne Street Art world. Street art has become a major part of my life and the lane-ways have become my world. I have lived and breathed art all my life. My art, however, is conceived of and formed from my past experiences. I cannot exist today without recognizing my roots in the past.

Thus, I would like to incorporate my past and my present in a Street Art piece using the colour Empty-Nursery Blue, and only this colour. By using Empty-Nursery Blue to cover Hosier Lane, I am symbolically ‘coating’ my present with my past, it is reminder to me and anyone who is living, that you are a product of your former experiences, and you should be reminded of them as you work your way through your present and into your future. By doing this, I am claiming that a colour in its pure form can be street art or graffiti. This is a great conceptual link from fine art to street art, a link that is often lacking in the Melbourne Street Art scene. By bridging this gap, I hope to expose more people not only to Street Art, but also to the importance of art in general.

Doyle explains that his piece reflects the experiences of his childhood and his relationship with the suburban house, in particular the negative impact of his parents losing the house to the bank when he was young. “We’re all victims of suburbia” he said on a radio interview on 774. This all inspired him to create the “Empty Nursery Blue” colour.

Doyle claims the piece wasn’t a buff, but by nature it can’t really be called anything else. That doesn’t mean it wasn’t an interesting piece of art, although some argue it is not art, at all.

Doyle is no stranger to street art in Melbourne. He runs Blender Studios; Open since the birth of the circa 2000 street art explosion in Melbourne and home to so many of Melbourne’s best past and present street, contemporary and fine artists. Doyle also helps run the Signal Arts mentoring program which provides young kids paint and the opportunity to learn from some of Melbourne’s best street art and graffiti artists. He is a well known character in the closely connected Melbourne scene.

Does his intimate relationship with street art give him the right to paint an entire lane way blue though?

The Lane just before it was painted - Photo by David Russell
The Lane just before it was painted. Photo by David Russell.

For readers not familiar with them, let me tell you a little about Hosier and Rutledge Lanes. Hosier Lane is Melbourne’s most renowned street art location by far – I say renowned, not best; because there are MUCH better places for street art and graffiti in Melbourne. Just open any Lonely Planet or travel book about Melbourne and you’ll see that it is considered as a must see tourist attraction. On any given day of the week, hundreds and hundreds of people (from all walks of life, ages and parts of the world) visit Hosier and Rutledge Lanes to see what amazing artwork has been left for them to admire. The lanes are also one of the most popular places in the city for wedding photographs, which I personally think is extremely tacky, each to their own through.

Rutledge Lane before the buff - Photo by Dean Sunshine
Rutledge Lane before the Doyle’s project. Photo by Dean Sunshine.

Hosier and Rutledge Lanes are close to the middle of Melbourne (off to the side a little) and are apparently a legal painting precinct, which means anyone can paint there, any time.

For many years the laneways were cared for and curated by a guy called Andy Mac, who used to run Until Never Gallery on the corner of Hosier and Rutledge Lanes. This kept the level of quality artwork fresh and relevant and to some extent meant that the lanes had a caretaker of sorts.

Since Andy left, Rutledge Lane in particular has gone downhill in terms of quality and in terms of respect shown to the work, unlike most other places people paint in Melbourne. I mentioned my disappointment in my July article at a piece by German artist MSYK getting capped almost immediately after being painted (at the time it was by far the best piece in the lane). This is what Rutledge Lane is like now.

More recently in particular Rutledge Lane has gained a reputation as a “practice spot”. This reputation definitely doesn’t do any favours for the longevity of pieces painted there or to encourage respect, an unspoken rule in most other places you find graffiti and to some extent street art. “Don’t cap what you can’t burn” is not a saying that generally holds true in Rutledge Lane.

All of that said, while the lane was a little out of control, the layer upon layer of paint and tags and sculptures, was a spectacle in itself. There really wasn’t many (so publicly accessible) places quite like it in Melbourne. It even caught the eye of Futura when he was last in Melbourne. From my interview with him: “Well that’s the fucking craziest street in the world, I mean, that one back alley, it’s like DONE. Jesus it’s impressive. Fuck, I mean, you gotta see it to believe it. I don’t care where you go, you know, Germany, Italy, France no no no, it doesn’t exist. Plus your architecture.. the lanes, just the set up.” Not everyone will agree with this opinion, but it was a pretty special place in hindsight.

Walking through the lane after Doyle had finished, was a pretty surreal experience, love or hate the project. The fact that every single surface was well and truly covered in bright blue buff and it was quite unique. The lane stayed fenced off for 45 minutes before it was opened back up to the public, and once the fences removed it didn’t’ take long for the cans to come out and some awesome burners to grace the new blue walls. (“Thanks for the Blue” – someone wrote). Sadly these pieces were capped with shit soon after. (Check out #RutledgeLane on Instagram or Flickr to see lots more shots, it changes daily).

What was I expecting though? One criticism of the project relating to this point, would be the lack of community consultation and engagement. Could this have had a different outcome if let’s say all the artists and writers were a) across the project, b) endorsed it, and c) aware of it happening? What if it had been discussed and debated? What if the majority of artists did support it, and organised to meet in the lane once it had been reopened, and repainted the new blank canvas? Would that have changed things? Could it have been one almighty refresh of Rutledge Lane?

Watching the event in time lapse is also fascinating. Personally I would still be filming the experiment, to see how long it takes for all the blue to disappear. I think this was also a bit of a missed opportunity; how fascinating would it be to watch it over 6 months or a year?

Rutledge Lane - Photo by David Russell
Rutledge Lane. Photo by David Russell.

Another disappointment from my perspective was the lack of intelligent discussion this project generated. Not because it didn’t have potential to do so, but because most people are idiots. I found the reactions to this fascinating.

The majority of the reactions on Facebook and Blogs was just mindless insults and abuse. Some interesting (and ill informed) rumours too: “It’s for a new commercial,”  “It’s the cops, they’ve baited the lane and they’re filming to catch people,” “It’s illegal to paint there now.” There were a few sensible and intelligent comments though. Along the lines of “It’s a fresh canvas”, “Nothing is permanent” or “Go down and paint your best stuff and stop complaining”.

Others complained that he destroyed a iconic place with some classic pieces. As Doyle says “the lane was trashed” there were no really significant pieces there except for maybe 2 or 3; as Acclaim Magazine rightly noted “in my opinion, it is a shame to see those Mic and Tekno rollers disappear” (those pieces were only still left intact because they were up so high). The rest of the lane way was a mess. And, it will be back before people realise, I bet.

I think one of the things that pissed many people off was the fact the project was endorsed and facilitated by RMIT University (a large institution) and (as it turned out) the City of Melbourne. Two of the least relevant authorities on street art. It was also interesting timing given the Lord Mayor had said he was “worried about the quality of the street art” in the Herald Sun only a week earlier.

Was it a kick up the arse the lane and the scene sorely needed? Was it a challenge to the community? Why has this lane become a “practice lane”? Is this what the painters of Melbourne want people to see when they visit “the most iconic street art and graffiti location in Melbourne”? (According to the public/tourists anyway). Or was the lane perfect, just the way it was?

I still don’t know exactly what I think about this very unique project. I can see so many good things about it, but I also understand many people’s negative opinions. For me the negatives were only in the execution, maybe missing out on some potential opportunities to make this project even more effective.

Anyway, it’s over now. I am looking forward to watching the evolution of the new Rutledge lane. I wonder how long, if ever, it will take for every drop of blue to be covered.

I’d be interested to hear what you think in the comments section below.

Photos courtesy of: Adrian Lagniton, Khoon Sorasiri via Art Fido, David Russell and Dean Sunshine

NYC doors as canvases for unsanctioned artworks

Nether, DarkClouds and more
Nether, DarkClouds & more

Tags, throw-ups, paste-ups, stickers and a range of characters have all made their way to NYC doors, making them some of the most intriguing canvases in town. Here’s a sampling:

Harlequin -- in from Philly
Harlequinade
Cost, Enx and RAE
Cost, Enx and RAE
LMNOP
LMNOP
Cash4, Smells Jellyfish & more
Cash4, Smells Jellyfish & more

Photos by Lenny Collado, Dani Mozeson and Lois Stavsky

Melbourne Monthly Madness – April 2013

Another massive month in Melbourne in April with some great events, shows and work on the streets. This month I’ve also decided to include a bit more on graff and also some work off the streets in some of Melbourne’s awesome abandos.

Melbourne Train Graff - Photo by lukey006 on instagram
Melbourne Train Graff. Photo by Luke McManus.

There’s been an explosion of panels running in Melbourne recently, including a couple of whole cars. Whilst some of the pieces are not the best in quality it’s still rad to see so much graff on trains again lately. Are the authorities asleep? Or is it our lack of trains to meet demand to blame so they HAVE to run them? The best of Melbourne graffiti Facebook page is a good place to keep up with what’s running, they cover anything running each day on the Melbourne rail network (good and bad). Here’s my favourite flick from the page for April. Continue reading “Melbourne Monthly Madness – April 2013”

Semor, Onur, Wes21 and Kkade bring European flavor to 5Pointz

Semor and KKade at 5Pointz
Semor and KKade at 5Pointz

German graffiti master Semor — who had painted at 5Pointz last year — returned to NYC earlier this month with three amazingly talented Swiss artists: Onur, Wes21 and Kkade. A standout is the mural — fusing elements of surrealism, photorealism and graffiti — that the four fashioned together.

Wes 21 and Onur at work
Wes 21 and Onur at work
Posing with Meres, 5Pointz founder and curator
Posing with Meres (second to left), 5Pointz founder and curator
The completed mural
The completed mural

 Photos by Lois Stavsky

Documentary – Children of The Iron Snake

Children of the Iron Snake - Cover

Pinched this post from Invurt, an absolute MUST see documentary on Melbourne’s graffiti and street art culture. From our awesome train graffiti to street art and gallery art; this documentary gives a great insight into the city I love and the amazing graffiti and street art that I’ve loved since I 1st got on a train as a kid. The movie features friends, favourite artists and familiar places so that makes it even more special.

From Invurt: “Created by Alex MacBeth and Miriam Hison, the documentary ‘Charts the development of the Melbourne street art scene,’ Children of the Iron Snake looks at the last thirty years and tracks the journey of graffiti from railway junctions at night to festivals, abandoned factories, rooftops, drains and galleries. Comprising interviews with over 15 artists, as well as criminologists, anti-graffiti activists, and politicians, the film offers a in-depth look at one of the biggest art movements of our time.”

Check out the preview below.

The FULL film is available online here. Make sure you check it out.

Book review: Billboard Bandits

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Adam Clark’s Billboard Bandits: Outlaw Artists in the Sky, published this year, is 208 pages of photos, entry level information on graffiti culture (i.e. What are throw-ups, pieces, and billboard backs?), profiles and personal anecdotes in the vernacular of true writers (which includes explicit language).

The book is divided into two sections by graffiti and street art, with “Billboard bombing” representing the graffiti camp of billboard interference, which seems to be a bit looser in definition given that many of the pieces were not on the ads directly, but above, below, on the walls behind, or on the backs of billboards. The street art portion, entitled “Billboard Liberation”, is a lot more limited in coverage but profiles some street art favorites like Ron English and Billboard Liberation Front. Clark’s distinction between the two subcultures is a necessary one for this topic since the motivation behind hitting billboards is entirely different: graffiti artists use billboards as a highly-visible platforms to proliferate their names, whereas street artists tend to utilize the space to express ideas. The common thread between both is the drive to deemphasize, interfere with, or eliminate the ubiquitous power of adverts.

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The content is fit for a niche audience of LA graffiti heads, with featured West Coast writers such as AM7 Crew, Augor MSK, Bleek CBS Mayhem, Fuct AL LGF, Jeloe US BKF CF, Naut One, Pharoe LCF SOB, Pysa MSK LTS, and Silencer. For those people who would truly appreciate seeing these artists, I think the content in this book would be better published in the form of a regularly-updated blog. Works on a billboard are typically short lived, so the book can show recent and past works by artists but can’t update readers on how long the pieces lasted which is one of the interesting part of ad disruptions.

You can get a copy of Billboard Bandits here.

Photos courtesy of Art Crimes: Graffiti News and Events