22:
In this first part I want to shed some light on perhaps one of the biggest influences in my career. It’s not one specific person but more a place and the people that live in it. I’m speaking about my Neighbourhood!
It’s amazing to consider how the course of your life can changed so dramatically with a move from small town to the big dirty inner city. In 1984 my Mother and Stepfather packed us up and we made the move from Palmerston North to Auckland. Initially we lived around Levonia Street in Western Springs, spent some time in Grey Lynn but eventually ended up settled at the bottom of a dead end street on the cusp of Morningside and Kingsland.
First Avenue, Kingsland 1987.
These two suburbs (which are almost the same suburb, only divided by a park and a bend in the road) are two old but small inner city suburbs located in the Mt Albert ward in Central Auckland. When we moved there the area was in a transitional stage, an eclectic mixture of industrial area, run down shops and old villas inhabited by a diverse range of people from many cultures. Our street was mainly Samoan and Cook Island families, a handful of Pakeha families and one Maori family who were part of the Twelve Tribes Of Israel and threw epic parties at the bottom of our street. My school, Mt Albert Primary was even more diverse. My class had every type of pacific people you could think of from Maori, Cook Island, Samoan, Tongan, Niuean, Tokelauan, Fijian, Fijian Indian, Korean, Malaysian… The list goes on. It’s fair to say that 1980’s Auckland city was as stark a contrast to Palmerston North as you could get and one I’m very thankful to have experienced first hand.
In the park next to my house was an old school building owned by the Waipereira Trust and practise room for the legendary Herbs and later on Che Fu and the Crates. Across the park was School Road and parallel to that the infamous Don Croot Street. It’s hard to fathom that these were considered some of the roughest parts of town when compared to today but my first experiences walking down Don Croot left me in shock.
Directly across the road from our house lived the Satele family. It’s still their family home ’til this day and at any time as many as Four generations of family have been in that household at once. The father, Fatau Satele (Perhaps someone from the Satele family can help me the that spelling? The whole Samoan T as K’s thing gets me all the time!) is an icon of First Avenue, the neighbourhood patriarch. As a kid I always remember him being out the front of his house, just chilling on the steps, almost keeping an eye on the street and keeping up to date with his neighbours and everything going on in their lives. Any one that was around the Auckland scene during the 80’s and 90’s will talk about the Satele’s because brothers Marvin (R.I.P), Junior and Andrew were some of the earliest B-Boy’s and DJ’s in my neighbourhood. My awareness of Hip-Hop as a culture that you participate in as opposed to one you merely consume literally came from seeing and hearing these guys hone their respective crafts in their basement bedroom and front carport.
The Megazoids: Junior Satele, Troy O’Dea, Lua Iusitini, David Lynch, Jason Rowe. Lua, David and Jason were also members of Smooth Inc, one of New Zealand’s Pioneering graffiti crews. Photo from Nick D’Angelo
Having never seen much more than the odd bit of political or crudely done gang graffiti in Palmerston North, the standard of the writing around my area was hard not to notice or be impacted by. I used to walk to school Through the School Road Park, past the ‘FLY’ piece on the old school building then on to the Morningside shops, dropping in to Sima’s Superette, then continuing on to the tracks across from the KDV building and down past Morningside Station. There were some pieces painted there by the first Auckland kings of graffiti ‘Smooth Incorporated’ or ‘Smooth Crew’. The ‘Merry Xmas Smooth’ piece with the two characters really stuck in my mind for a long time and particularly the way the characters were depicted, specifically their outfits which shaped my primary school aged perception of what writers must look like. Even after the council buffed the center portion of the wall, the characters on the raw brick remained for another few years.
Image taken from the 1986 book ‘Street Action Aotearoa” by Mark Scott. These photos were taken by Gil Hanly.
Morningside Station. Photos by Jamie McCready
The Book ‘Street Action Aotearoa’ by Mark Scott came out in 1986 although I only discovered it by accident at the Auckland City Library one day in the mid 90’s. The book is very rare given that Mark Scott ended up self-publishing a very limited run after struggling to convince any mainstream publishers of the projects historical and cultural importance. The book mainly focuses on the explosion of Hip-Hop, mainly the B-Boy element throughout New Zealand during the 1980’s. It is a really special book in that it discusses Hip-Hop in the Aotearoa context and why it resonated with Maori and Polynesian youth at that time. The last section of the book is a feature on the Smooth Crew with incredible photos by legendary photographer Gil Hanly. This section shows my neighbourhood the way it was when we moved there and has some quotes from Claude Iusitini, the leader of Smooth that still hold true today.
“Our initial ideas might come from New York but we have to fuse our own identity as well… Eventually our bombing in Aotearoa will become our own style, not an imitation.” -Claude Iusitini/Street Action Aotearoa
A photo of Claude From Street Action Aotearoa, Photo by Gil Hanly
Smooth Crew at work. Later on I sort of took ownership of these walls and painted them into the mid 00’s. It was always felt like it was my duty as one of the only writers from that area painting pieces to represent there. once again, photo by Gil Hanly
“They can say, Shucks, them’s my roots up there… All the kids who don’t know about their culture in the broad spectrum of things, it would help in a really big way to bring all of us together.” -Claude Iusitini/Street Action Aotearoa
Smooth planning a wall. I love this shot, so crazy seeing such young photos of Lua and Jason Rowe. Jay has always been one of those iconic Auckland Hip-Hop people. Photo Gil Hanly
The Pacific Cinema in kingsland, now the Royal Jewelery Studio. Photo by Gil Hanly
“Every group here has its own culture, its own art and we can bring it together for everyone with our art… Take the designs you get in Tapa… Or like Maori has a flowing style, Rarotongan has a natural style wit flowers, hibiscus – You could use Hibiscus instead of clouds and the Samoans have a formal style, straight organised style… All these styles we could use. Do Koru instead of arrows.” -Claude Iusitini/Street Action Aotearoa
Smooth Crew ‘Monster Sale’ wall on Queen St, 1984. Photo by Gil Hanly
Another really influential piece from my area during that era (1985). I will discuss this more but note the Copyright signs on the tags. Photo by Nick D’Angelo
Of course for good measure here is a really classic joint and maybe one of the better known works by Smooth as it was printed in Spray Can Arts Auckland section. Photo by Nick D’Angelo
I will continue this soon with more great old stuff and tributes to NZ’s kings of old. Thanks again to Nick D’Angelo for use of the photos and thanks to all the influences mentioned in this post. If you ever get your little mitts upon a copy of Mark Scott’s book, know you are holding treasure!
31:
I can’t help but feeling like this movement is at the dawn of a new age. I’m excited at the idea of writers digging that little bit deeper, searching for the depth we are so often accused of lacking. My peers and I are always honing our practise, our technique but most importantly the time has come to further define the thought and process behind the paintings.
Photo by Jamie McCready
I’m trying to direct this post into some sort of conclusion and bring closure to this particular body of work but to be honest it’s pretty open ended and due to continue. The main purpose of these series of posts was to identify some type of origin to the ‘awakening’ I experienced and my first forays into bringing some extra meaning to my paintings.
The truth of the matter is, as an artist, streams of ideas and the subsequent work that flows are not often so rigid, with a defined beginning or end. I have noticed though, through this journey that there are several streams of thought that have had a totally linear progression and when I’ve taken the time to sit back and re-observe, you can see them emerge and grow.
There are some aspects of this whole body of work that I have omitted at this point because they also belong to another set and are more relevant amongst those. Also there are plenty of overlaps along the way as well, but that’s just the nature of life really.
Here are some examples of other notable works I did in various mediums during the past two-year period.
This was a design I did for our Team Dynamite T-shirt range. It features the Pyramid dude clutching the Auckland ADK model train. It started off as a patch concept, potentially for some crew jackets.
This was an illustration I did that emerged as an A3 2 colour print. I released these as an edition of 50 and they were received really well.
Shortly before my trip to the US I did this T-Shirt graphic and printed up 100 shirts. I traveled to Miami and Detroit with more of these in my bag than actual clothes and attempted to sell them while panting at events there. I didn’t move as may as expected so there’s still plenty available at The Pit Bull Press.
I did this design as a play on the Auckland City Council’s ‘Zero-Tolerance’ campaign and the running tab kept on the city’s writers. My good friend Jimmy at Grand Scheme ran this design in their latest range. He’s doing big things this year! The photo is by Luke Shirlaw.
This design features the Pyramid Dude smashing Auckland’s Sky Tower Godzilla style. I entered this into AS colour’s Little Help Project a while back. Although I didn’t win the competition, after they canvased public opinion it was chosen as a public favourite and a small run was done. You can pick one up here.
19:
It was never a conscious decision that put me in the position that I’m in. I’m speaking about the lack of anonymity I have around my work and identity. There was definitely a time though, where I realised the game was up in my city as far as hiding, it’s just too much of a village.
There’s a lot that has happened between the point I did my first interviews without hiding my face and the point I ended up working from a very conspicuous studio space on one of Auckland’s main roads. With a really large plate glass shop window facing the street, people could walk or drive past and see me at work in my space. Initially I intended to run it as a small art gallery, in fact, I did show a few artists during the first year. Eventually though, I made two realisations; It was costing me money I didn’t have to put on the shows and it required being open and running as a functioning gallery – open to the public during the regular hours. This restricted my freedom in a way I couldn’t work with at that time. What I did really enjoy was working on illustration and design in that space although at time it felt like being in a fishbowl.
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One day I decided to use the window in a different way, as a piece of art whilst also creating a bit more privacy. The idea was pretty much a play on the whole ‘being watched’ feeling of working in a fishbowl, married with the ‘Big Brother’ and ‘Illuminati’ concepts. I called this piece ‘Watching You’. It was made with a combination of sign-writers vinyl, which covered the entire window space with a small triangle cut out at the centre. Perched behind I stood a TV on a pile of old crates playing a DVD of an animated eye on loop. The clip was only made from 5 static images but would blink and look left and right. The table was turned so to speak and now I was looking back out at the world.
Public reaction was pretty funny, I wish I had made audio or video recordings of people outside, especially the girls from the local high school. They would scream and laugh as the eye looked about. Seeing as my studio was now completely concealed, many people would talk about it without realising I was there eavesdropping. I heard some ridiculous comments and even the odd argument. One day two guys arguing decided to knock and just ask me what was going on in my space. I answered ‘This is the headquarters for the Axis of Evil. Here we are busy making all societies ills a reality. We keep the poor impoverished while making the wealthy richer.” Needless to say they didn’t have much of an answer for that.
There was definitely someone that really objected to the animation in my window. Every day there was a huge glob of mucus dried in the centre of the triangle that I would have to scrub off. For quite a while I assumed it was either someone that didn’t like me personally or more likely someone that objected to the use of that symbol. I also wondered if it was as trivial as just being an obvious target for spit and nothing else.
One day I was working away and I heard someone gathering up a good bit of phlegm for the spitting. I quickly ran out the front door and saw a local ‘street worker’ lady spitting right at the window. She walked off muttering and talking to herself. She’s a regular character around my area and mad as a hatter so nothing needed to be said. I actually saw her doing it again a few days later as I drove past the front of my space. It was definitely her spit that I was cleaning off every day.
I was working one afternoon and I heard her muttering outside and then the sound of her writing with something on the window. I watched from the inside for a second and realised she was tagging with lipstick, rubbing things out, adding new things, basically just having a little jam on my window. It didn’t bother me, I grabbed my camera and watched her for a while and took some photos. We never spoke, she was in that crazy zone where I was just transparent as glass or pretty much non-existent.
I saw her on another occasion with her hand and face pressed up against the eye as if it was speaking to her directly. I think it was telling her to start tagging because within a week she started getting up around the area with ‘Jesus Christ’ tags. She also expanded her variety of names as she began to proliferate more and more. Her other names are ‘Moses’, ‘King David’ ‘Save’ and ‘Chantelle Rocks’ amongst other things. I’m not sure how the last one fits with the other religious references but hey, this is a somewhat special character. She divides her time between pulling $10 tricks on K’Rd and spreading the word of god with graffiti.
A week ago I saw her run into peak hour traffic, narrowly missed by two cars to thrust her hands onto a motorcyclist stopped at the lights, praying and appearing to ‘save’ him. He completely ignored her, just looking forward and pretending she wasn’t there. It was magic.
To be continued
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