Shida’s work explores the interlinked relationship between ritual, sexuality and love. Psychedelic entities are entwined in ceremonial acts, transcending the boundaries of known reality. In a world where society’s issues are becoming increasingly gendered and people are seemingly more divided than ever due to the rise of identity politics, Shida seeks to turn this tide like an ancient shaman with each of these works being, in essence, an invocation, an energetic manifestation, a prayer to joy.
Inspired (or better annoyed), by the recent irrational and superficial media fight between Kim Jong-un and Donald Trump, MTO recently created 2 paintings that are accompanied with an exclusive video. The works are portraying 2 leaders as bodybuilders striking their most impressive poses in a competition, and are continuation of French artist’s ongoing socio-political commentary.
Each acrylic painting is measuring 30x40cm and is a critique of their egocentric characters and need to demonstrate their worthiness, power, etc. Wearing shorts with national flags, they are representing the people of both countries, while making themselves look like a parody of the person they are supposed to be. This is further accented with a video that compiles different moments in which both Jong-un and Trump are acting more as attention-hungry narcissists and less as leaders chosen by their people. And the lyrics of the song further add to the whole idea saying “Le temps ne fait rien à l´affaire Quand on est con, on est con / Time doesn’t make a difference, When you’re a cunt, you’re a cunt”.
TRUMP TOWERS BROKEN INTO & TRASHED BY LEGENDARY STREET ARTIST
After a hugely successful opening, Twumps is closing it’s doors this weekend. Twumps will be ending with a YUGE bang as well-known graffiti artist Dscreet “breaks in” and trashes the joint. Mimicking a break in to Trump’s very own penthouse, Dscreet films his break into Twumps, spray paints the walls, and even takes a “dump” on Trump’s desk.
Harmony rings within the chaos of society. As life’s ups and downs cancel each other out, a sense of balance can be found. Wrestling with positive and negative forces, Senekt’s solo exhibition explores the impacts and outcomes of life’s fluctuating experiences. With artworks fuelled by emotion, Senekt’s surreal style is highlighted by the mood, colour, and balance of each piece.
Senekt portrays the dissemblance of his own reality through hyper-realistic drawings flooded with colour and surreal dimensions. The Japanese painter from Kyoto has been based out of Melbourne, Australia since 2013. Inspired by friendships, photographs, disjointed memories, everyday experiences, and daily occurrences, Senekt found balance through creation. His figurative, yet abstract style confront the nature of instinct as Senekt aims to not only deconstruct the human physicality, but also its psyche.
On display at Backwoods Gallery from August 25th-27th, the artwork, created in coloured pencil, aerosol and watercolour spans throughout three rooms. Fuelled by love/hate, good/evil, and ever-present mindfulness, Senekts’ large suspended installation portrays his unique perspective on equilibrium in society.
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Stayfly Sydney recently launched a night called Badgirl Garden which showcases female performances along with art installations by designers Ailie Banks & Merindah Funnel.
The stage is owned by rappers, singers and DJs who entertain the crowd, while live art is painted on canvas by artists from the collective.
Badgirl Garden is a space created by a team of women smashing into the Sydney arts and music scene. Every event they create is a safe place for women, men and the LGBTIQ community to congregate, congratulate and party! The goal is to to bring parties and events where everyone can celebrate and support the up and coming female artists of every caliber.
This Thursday Badgirl Garden will be bringing new names to the line up, exciting acts and local artists.
DJ LOU LOU
LADY LASH (Mel)
LIVE ART by STYNA & SOPHI ODLING
3 August 2017
9pm start – $5 entry
Slyfox, 199 Enmore Road
True artists are compelled to make art. The reason for their expression is not always important. What is always important, however, is the act of creation. Art comes before reason in the same way that the universe existed before science. Mic Porter is one of those rare, great artists who is simply compelled to create. Mic isn’t driven by ‘career’ nor does he force himself to create consumable art. Mic is, instead, driven by a indefinable, fiery, energy of creation which torments him if he stops. In his youth, this creative compulsion drove Mic towards graffiti. He forged ahead as one of Australia’s pioneer street artists, eventually to be tempered into a painter and sculptor by the VCA and experience at a bronze foundry.
Mic wrestles his demons with chainsaws, knives, markers and paint upon the battlegrounds of canvas, found objects, bronze and the exterior of tall buildings. His work is primal, expressive and above all, honest. It’s easy to assume that Mic is a conduit for something that he doesn’t understand; that his work is automatic and lacking self awareness. A subconscious process perhaps? After all, Mic’s work is primal, he is reserved and is reluctant to talk about his art. Mic is not a spectator, he has mastered his drive, and is very much in control. Perhaps even due to his reservation to talk about his work, Mic manages to express himself with the kinds of perfectly cryptic sound bytes that other artists drive themselves mad in an attempt to coin. “Art is eternal narcissism, I’m a narcissist” ‘Self Loathing’ brings you a gallery full of screams, smiles and manic grins.
In Mic’s autobiographical collection of work, he’s produced Totemic heads, brutally sculptured with from blocks of wood with a chainsaw sit in the centre of the large room, loomed over by the three largest Self Loathing paintings. The triptych feature Mic Porters iconic faces, instantly recognisable for the role that they’ve played in shaping Australia’s street art landscape for over a decade, now rendered in a mix of oil and enamel. Each face is Mic’s, but also his family and society’s, he explains that it’s history coming through his face. I think that it’s more than that, I think Mic is so brutally honest with himself, that the self portraits end up reflecting all of us, which is why they’re so alluring and powerful.
– Alex Mitchell
‘Self Loathing’ will be on display at Backwoods Gallery from the 4th until the 20th of August. The collection will consisted of paintings, bronze and wood sculptures and installations across two rooms and Backwoods Lane.
In yet another covert project set in a doomed, abandoned space, acclaimed Melbourne-based street artist Rone announces his latest work, The Omega Project – a nostalgic and haunting homage to the fading remnants of mid-century Australiana.
On the back of his hugely successful 2016 solo exhibition, Empty and a recent turn producing a large-scale mural for rural Victoria’s Silo Art Project, the internationally renowned Melbourne street artist has turned his attention back to his hometown for another fleetingly brief exhibition – this time set in a condemned suburban home. Check out this incredible VR-ready 3D tour of the site from the guys at Phoria:
Celebrating over a decade of creativity, Melbourne artist Silk Roy brings his debut solo show ‘Surface Tension’ to Melbourne. In the lead up to the show (opening this Friday), Silky was kind enough to chat with us.
How and when did you get into art and why?
I always enjoyed drawing when I was a kid, but it wasn’t ever something I thought I’d pursue until I moved to Melbourne in ’98. I’d never seen graffiti before having come over from Singapore, which in comparison was/still is a spotless city. I’d take the train to school and back everyday and it was hard not to notice the smashed insides and the walls on the line changing nightly. For a 13 year old, the idea of having an alias that people identified you by and going out on missions was pretty appealing. It wasn’t until years later that I’d realize this daydream, but of course now being an active writer, artist, creative is much more that, it’s given me a sense of ‘self’, and outlet to express my ideas and thoughts and a platform to continue my creative journey.
You run two identities, Kid Silk and Silk Roy, How did this come about?
Basically I arrived at a point where I needed to let my graffiti and studio practise have their own shine as trying to put all my work under one name was confusing and felt forced. Silk is an old nickname I was given a long time ago so it was a no-brainer as far as putting it up as a writer.
‘Kid Silk’ came about because of my insta handle, other writers would meet me and ask who I was, I’d reply ‘Silk’ and they’d ask ‘Like Kid Silk?” It also works in terms of me keeping graffiti for myself, I don’t intend to profit from it or ever make it feel like work, it’s fun and I get to go out and essentially be a kid.
Silk Roy on the other hand is the name I work under when I’m showing / producing studio work. Two identities works for me now as I’ve started getting opportunities for both which is cool as far as keeping things varied creatively.
Late in 2016, Rone held his solo show ‘Empty’ in Melbourne’s old Lyric Theatre, the last event to be shown there prior to demolition. Between finishing the show and returning the keys, Rone invited a select few into the space to collaborate and beautify the theatre a little more prior to the wrecking ball.
One of these artists, Mayonaize, internationally renowned tattooist and calligraffiti extraordinaire painted and documented a mandala filling the entire floor space. He documented this entire process through both film and photography. Damo went down to Everfresh Studios to chat with Mayo about this project.
Damo: Could we initially start by you introducing yourself and talk a little bit about you background and your artistic practice?
Mayo: I am known as ‘Mayo’ or ‘Mayonaize, my backgrounds are in both graffiti and tattooing. I am basing everything these days off of more calligraphic approach and trying to push that lettering thing as far as I can. At the same time I am trying to not to pigeon hole myself, but it doesn’t seem to be working. It could be a bad thing… I’m not sure.
Damo: Why Mayo or Mayonaize?
Mayo: I was desperate for a new graffiti word. I used to write any words – words that had meanings or connotations I didn’t necessarily want to be tied to later on down the track. When I thought about it I realised that I didn’t want to get stuck with some word like ‘snake’ or something. I feel that some people have got words that don’t suit them. I watched the film ‘Style Wars’ and Duster said, ‘Graffiti, it’s like a game, it’s like here are your letters go do something with it.’ It really stuck with me. I came across the word Mayo thought I’d try make something out of it. It just turned out that ‘mayo’ was a funny word to use in graffiti, I kind of liked the word and the sound of it. Then I did an exhibition and this was how I was going to stop the cops from catching me, I was like ‘I will just call myself ‘Mayonnaise’.
So then it just turned into ‘Mayonnaise’. Instagram came along and I used ‘Z’, because ‘Mayonnaise’ wasn’t available. I kind of keep Mayonaize for the legal stuff I do and ‘Naise’ for keeping them them off my scent (laughs).
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Mark Bodé is set to launch a new Augmented Reality Graphic Novel, based on one of Vaughn Bodé’s earliest works, Cobalt 60.
In the late Sixties, Vaughn Bodé was one of the most influential and controversial artists in publishing. Creator of such iconic characters as Cheech Wizard, Da Lizard, and Cobalt 60, Vaughn’s Eisner and Hugo award-winning artwork caught on with the early street artists of New York, as well as with underground comic and satire publishers. This included National Lampoon, who ran his Cheech Wizard strip for years.