PM3

For followers of the 2095'ers ramblings, it would be difficult to not to acknowledge the fact that PM3 had a major impact upon her life as a streetart photographer.

Prior to first visit she had heard various comments by some that it wasn't "their scene" in that it wasn't "street" enough for them.  Being a fairly philosophical person, the 2095 chick did not let this influence her at all: in fact it was the opposite.  And besides, why would you not want to to see something that was street, with its stage being a world heritage listed island in the middle of Sydney Harbour!

Undeterred, the 2095'ers maiden voyage to Cockatoo Island was on the official opening day.  While she had been aware that installations & PM3 starting before the official start date, for some inexplicable reason the chick elected to not go and upon reflection she still is unable to pinpoint exactly why.

No need to dwell or attempt self-analysis (cause this could go on for eternity!) the main point is that she got there.

After exploring the exterior and needing to have a breather, the 2095'er swivelled her head and there it was.  In ya face, drowning with layers, an explosion of colour, HUGE pasteups and in the midst of it all it was.....total silence.  

A complete contradiction of the senses in an almost blissfully suffocating way.

As with most experiences the desire to share via slideshow was a no-brainer. Inspired, feeling incredibly excited and proud that the Aussies were showing the world "how it was done", each sound bite expresses the 2095 chick emotions at time of "production" (or reflection as the case may be).

One must be patient given there are 4 in total and even then they do not cover every frame captured.

Inside came a need to capture as many images of PM3 as humanly possible in an almost obsessive nature.  

Perhaps deep down the 2095'er understood that this may be a one time experience and as it was quasi-street, where things can change daily, such was the desire to capture these changes: hence multiple returns became almost a way of life for the chick.

An intense feeling of sadness and grief overcame the 2095'er at the end of this amazing experience.  Initially excited that the new date had been released the 2095'er could barely contain her excitement at what would be on show at the next Outpost.  Sadly this was not meant to be.  

For reasons that still perplex her, the 2095 chick "got" that the honchos (or those with the moula to fund such an 'exhibition') felt it was time to take away from the artists and transform this "test" to how THEY perceived it should be thus removing entirely what street and art is really all about.

The 2095 chick remains incredibly sad as it seems (or at least in the 2095'ers humble opinion) that the arts are once again left on the side burner by those with the dosh who have some inane feeling of "ownership" and remove the opportunity to educate those who may not fully understand what street art is all about.

On a personal level they have removed the opportunity for the 2095'er (and others) to explore, admire and become hopelessly lost within the world of streetart in a single location.

As such we must thank Ben Frost, Konsumterra and all that contributed to PM3.  The 2095'er must also personally thank each and every artist that she has now become familiar with on a more personal level for without PM3 she may not be able to do her blogs.

As she has a ridiculously high number of images (and even now, they are still not all uploaded) feel free to check out the 2095'ers PM3 set "here" but be mindful that while images remain the property of the 2095'er the actual paste ups remain the property of the artist/s.

5 Questions with Fezwitch

It would be almost impossible for the 2095'er to NOT refer to that "thing" she went to time and time again....you know.....PM3.  For this was the place that she spied THE most amazing sticker which was provocative, profound and hysterical all bundled in to one.

With each return to Cockatoo Island and as part of her mantra to 'capture as much as I can', the 2095 consciously sought out other pieces by this artist.  

So many amazing pieces to be had & captured in this extraordinary location, almost mind bending at times.  But deep within, the 2095 felt compelled to continue on this journey and rather than fight against the tide, she simply let this compulsion lead her where it may.

irony being this is now strangely appropriate given our current embarrassing political state of affairs

With the boldness and safety behind the fibreoptic, the 2095 made contact with the Fez and from there (once again thanks to social media) a connection was made which leads us beautifully in to the 5 Questions with Fezwitch

When did the world of Fezwitch begin

It all began in 2006.  Prior to that, I expressed my creativity through corporate Graphic Design and clients who I had no real connection with.

Street art was a great way to get my own ideas out there, so I printed a few paste-ups and went for it!

"Maggid" means storyteller and my name references like "The Maggid of Mezritch" is in relation to a respected Polish mystical scholar in the 1700's.

I use visual communication and humour to tell my stories and illustrate my obsession with classic computer technology.

Much of your work could be perceived as reactionary to current political events.  Is this the main drive behind your works, or is it more of an innocuous thought that "appears" from an off-tangent musing, observation or experience

My intention is to make people smile and rethink the accepted stereotypes that popular culture wants us to believe.

Many pieces of mine contain that cynical vibe that pokes fun at the consumer brands we all live and breath by.  Also personal interests and observations form ideas, which are then translated in to a piece.

Do you see yourself as a political satirist

Overall no, but I do like playing with politics as a subject

You had a fantastic project where there public were encouraged to send you the good old floppy disc decorated free form and then placed in various locations around your former stomping ground.  What was the inspiration behind that particular activity

I'm just slightly obsessed with used and abused floppy discs.  I use the disc as a tag with an easily recognisable shape and form that represents the speed of technological advancement.

They all hold some unknown piece of data (be that 100/200kb) and each time a disc goes up, so does a piece of information that someone needed at some point of time in their lives.  Including the public is a way to remind people of this and get involved in street art.  Discs also make cute canvases.

You recently relocated back to the UK.  Is there anything about the street art scene in Australia you miss, or are we somewhat lagging behind Europe and the UK

The sheer population of the UK allows for a larger volume of art, artists and exhibitions, but I do miss a small city with less CCTV cameras and easy parking.

Still early days, but I prefer the Melbourne scene as its more laid back and seems to be thriving with great art in the suburbs you wouldn't expect to see.

Ask me again in a few years

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And the 2095 will hold you to that!  Huge thanks to Fez for allowing this "international" interview courtesy of the fibre optics and we miss you already!

But we are safe in the knowledge that you are keeping a watch on the hood

Hello May Lane

Before starting on this particular article it must be noted that all artworks shown remain the property of the artists and cannot be reproduced without their express permission. The 2095 chick is simply showing her photographs in order to share her experience.

The 2095'ers intro to May Lane was day that rained, where her brolly decided NOT to behave itself and her teeny tiny SX20 was somewhat new. 

Add to mix the 2095'er not being completely comfortable or familiar with the area at this particular moment in time, but any reservations or "fear" were abated  the instant her eyes clapped on the most magnificent wall of colour and detail.

The 2095 chick does not nor ever will enhance or over process images using software  

Trim yes, digitally destroy with over processing no

The 3D effect was mind boggling.  No matter what angle, no matter how far down the lane you went to achieve "the shot", it was pure perfection every frame. 

The 2095'er found the intricate detail so hypnotic she found herself thrust in to the "once I'm behind the lens I am completely in my own world" land.  And what a delightful place it is to be.

In an almost robotic manner, the 2095 continued exploring in wonderment, quickly realising that this is not a place where you "rush" through, for you may just miss something.

this piece remains intact for which the 2095'er & many others are most grateful

As with most "landmark" discoveries there are times when the 2095'er must simply shut up and allow emotions, heart palpitations and "oh my god" moments be shown via multimedia (nb: this clip does not comprise 100% Mays but also includes other firsts on her maiden Inner West voyage: thus becoming the impetus for the street-art revolution/obsession of the 2095'er)

It would also be remiss of the 2095 chick not to include her first introduction to the extraordinary world of Vexta.  The day was dark enough (with gloomy rain clouds) for the 2095'er to see exactly what this piece was in that it was designed to glow at night.

kindly reproduced with permission from Vexta

Like most discoveries or "first heart skipping moments", the need to return became unbearable.  Having to wait for another 12 hours was seemingly intolerable.  But given the location of the 2095'ers dwelling deemed it almost impossible to do otherwise.

But return she did and then some.  The beautiful thing about this particular place is that each week there will literally be something new, or a "work in progress" thus keeping it fresh and exciting. 

Nothing smells more beautiful to a photographer than that distinct aroma of paint. Clear indicator of new new new.

On one particular revisit as the 2095 wound her way on the direct route from St Peter's train station she noticed an artist and from a distance she pulled out this teeny tiny camera and got (well to the 2095'ers mind at least) a pretty good shot.

Confidence for once decided to be on the 2095 chick's side.  Walking up slowly and waiting until said artist was having a bit of a breather (literally), the 2095 struck up a conversation albeit it somewhat hesitantly at the start.

It revolved around folk going up at times, hurling abuse at him "why did you paint over what was there, we HATE it", to which the 2095'er replied "hell if they don't like they don't have to look at it" and from there the conversation flowed.  It wasn't until the end that he looked at me and said "we are actually 'connected' on flickr".

Jaw dropped: see the 2095 might know them by the street names rather than the "real world" names so it is always an incredibly humbling experience (and yes..even now the 2095 is always blown away when an artist walks up and introduces themselves then saying "oh your cap gave you away, everyone knows you wear a black cap") when someone whose work you admire from afar not only takes the time to talk to you but then says they already know you albeit by some form or other of social media!  No words can be found to describe that moment.

The piece below again is not strictly Mays and includes the immediate surrounds but hell, it's the 2095'ers blog....

Recently Mays has become Caroline but in an ever changing world there will always be one constant and for that we as photographers and lovers of art, (streetart, graffiti or whatever you wish to call it) are and will always be forever in your debt

May Lane Flickr Set

5 Questions with Citizen Sweet

Mr Sweet aka Citizen Sweet....whichever moniker you wish to use, whichever way you choose to look at it, his works are incredibly detailed, instantly recognisable and above all else masterpieces of the pasteup.

The 2095 was able to get just enough of one his pieces at PM3 and when reviewing the image realised that whatever it was she was looking at, this artist was going to play an enormous role within the street art movement.  

When it came time to say goodbye to PM3 and return to the streets as it were, there is always a moment in every photographer's life when you discover a new piece that takes the breath away, gets that adrenaline pumping and where the inner self is saying 'got it! ooooh it's frrrrresh as.....I got it!  Reckon I might be the first' as there is always a somewhat friendly rivalry amongst fellow street art photographers.

What prompted Citizen Sweet to make his debut in to the world of "street art"

I never really over thought it and considered it a debut, it was just a lead on from piecing and tagging as a kid.  I wanted to explore something with a bit more context to it and found the drawings started to do that for me. Of course I like the freedom of the process and the framework it gives each individual work.

The intricate nature of what appears to be a single paste up is astounding.  Are you able to outline the process from start to finish including the decision on which wall in which suburb the final piece is to be adorned

The intricate nature of the work is away to give the viewer a more unique experience when they come across a piece.

The hours of detail redefines a person's opinion about its existence.  Through reactions to my work, I have discovered the more time you spend on something, the more acceptable it becomes and the less about graffiti or vandalism.  Also the cross-over between labour-intensive preparation and culture of fast installation interested me.

I don't always have a spot in mind when I make the work, but most of the time I do. Since the wall becomes an integral part of the work, it has to have a certain character to it.

Are works influenced by your immediate surrounds (both personally and professionally), or are they simply derived from a thought, an observation or an experience

I  don't have a solid hold on what it is that inspires me exactly.  I think it is a number of all of the above. We are influenced by everything that we come in to contact with in the world, so I guess it's a melting pot of my experiences in general.

I like to work in a certain tonal range using layering techniques that are more preference based.  Overall the work is a part conscious and part subconscious selection.

How much of a sense of satisfaction (or validation?) do you get when photographers start capturing your pieces and posting them in fibre-optic land

I am always humbled by those individuals who go out looking for my work and amazed how fast they find them.  It is the photograph that documents the work before it disintegrates in the elements.

While the experience isn't quite the same in person, it is the photograph that allows wide accessibility to a new audience.

The photographer plays an integral role in the work due to the ephemeral nature of street art.

Can you describe the world of Citizen Sweet in 5 words

Paper, glue, marker pens....hours

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With thanks to the artist known as Citizen Sweet for giving a little bit of insight in to his world and allowing photographers to capture and share his images (including the 2095'er)

5 Questions with Phoenix The Streetartist

The 2095 first "met" Phoenix the Street Artist whilst on one of her first jaunts down King Street.  

Still relatively "new" to the street art scene and with a teeny tiny camera, it was admittedly quite difficult to work out exactly what I was shooting but somewhere within, this chick realised that whatever it was, and whomever the artist in question was, all would be revealed when the time was right and when it did, it would be incredible.

As the 2095 was meandering back towards the train station, she noticed what looked like a band-aid with the stencil of man who (at that particular time) was number one on the American "hit" parade.

The 2095's immediate reaction was literally a double-take accompanied by some internal dialogue "that's some serious political stuff going on here".

During the process of uploading photos to a particular site, the artist made the initial contact.  For once the 2095 chick was at a loss for words.  

This artist had taken the time to go through my photos!  Wow.... unbelievable compliment yet incredibly humbling at the same time.

It was during another Inner West jaunt that the 2095 chick began to notice a pairing (if you will) of pieces.  Wherever Klara Art appeared so there would be a Phoenix piece either directly above, beneath or beside. (and being the photographer that I am, I have no group shot as my style is to try and focus on each piece separately....apologies for that people)

Here are my 5 questions with Phoenix The StreetArtist

When was Phoenix born?

Phoenix was born in 1959. Well, actually the person who has come sometimes known as Phoenix was born in 1959.  Phoenix cam in to being in 2009

Quite a while ago you had a fire in your studio that kind of put much of your work "to bed".  How did this affect you creatively and personally?

After my studio fire in 2004 (a massive inferno which took 4 fire engines and 45 minutes to finally extinguish and which destroyed many stored collage works and my entire collage production system) I did not make are for almost exactly 5 years. 

It was a difficult time personally.  I was definitely creatively 'burnt out' with regard to making visual art.  However the creative spark remained through such pursuits as making music, writing and story-telling and things like working with wood & stone.  In 2009, however, the visual arts & collage fire (within) was re-lit and I re-began my making art.

Since putting up my first street-art piece at the end of 2009 (salvaged out of the ashes) that inner fire was greatly fuelled and continues to burn brighter and brighter.  So much so, I think only my extinguisher will put it out.

When the Phoenix rises from the ashes (in the spirit of all good alchemical processes) the end result is stronger and clearer than before it burnt up in flames.

My art, my studio, my collage production system (indeed my sense of self as an artist and as an individual) have all developed enormously as a result of that fire.

Although a very difficult thing experience, it is very much part of who I am now and everything I do creatively.

Your works are now on quite a few international walls. Can you give a run down on how a project starts (triggers or inspirations) and describe the process from start to finish

Sometimes projects are carefully planned.  Others are created spontaneously via an improvisational process at the installation site.  A site itself might suggest a work that could be added to it.  At other times the work is created in the sketchbook or mucking around in the studio: and then a suitable site is found for it.

Typically when an idea drawn in my sketchbook is realised, it is taken through the stages of formal drawing of the elements involved, photocopy collage (using processes like transparency overlaying) and cut-and-paste collage: to create a master in monochrome.

This is then typically copied on various coloured papers which are cut and pasted using roller coated PVA to create finished works or colour masters.

Finished works may be pasted in this form, or mounted onto a solid material like corrugated cardboard or plywood to create plaques.  Colour masters are colour photocopied to create pasteups or stickers.

Finished pasteups are typically stuck to the wall with PVA applied with a brush or roller (although for larger works I sometimes use flour pastes).  Solid plaques are generally adhered to the wall with a translucent silicone.  

Lots of my works these days are combinations of pasteup and plaque: a technique which creates works with different levels of relief on the wall.

Have you been commissioned for certain pieces, and if so, what has been the most notable to date

I think my most notable commission has been my Elephant In the Room piece: printed as a large colour repositionable sticker for a wall in a home kitchen.

At almost 2 metres wide, that was one elephant in the room (which is hard to ignore) but still one easily peeled off in order to be stuck again somewhere else.

The Elephant is a part of my "Voice of the Blue Earth" series, in which Earth takes various forms in order to send.

in 5 words, can you define street-art and its relationship with the Phoenix

Intrigue * Communicate * Amuse * Inhabit * Interact

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Personal thanks to the Phoenix for sharing some time with the 2095'er whose admiration for his works has reached a higher level of understanding and appreciation

5 Questions with Bunkwaa

In the days when the 2095 chick had a teeny tiny Canon SX20 (which fit ever so sweetly in to the bag so the rapid "take it, shoot it, put away post haste"  routine was maintained at all times) she happened upon a funny little cartoon character stuck way up high on a corner in Cleveland Street. 

Such was her intense intrigue with this creature, little did she realise the act of standing still to study this little cutie, caused other folk (who ordinarily wouldn't have given it the time of day such is their need to get from A to B with eyes firmly planted on the ground: god forbid eye contact being made!) to stop & see what the 2095 was looking at. 

Amid a lot of "oh how cuuuute" verbal emissions, the 2095 realised her private discovery moment had been become public, whereupon she continued down Cleveland Street in pursuit of other street-art discoveries.

Not long after, another discovery was made and being somewhat more enlightened, the 2095'er was most confident with her self-talk: "yep, that's a Bunkwaa" 

Like most things, once you see one you see many, almost multiplying at the rate of new postcodes. 

Ok time to get real.  When one accepts that as a photographer one must embrace and acknowledge street-photography-whiplash'itis THEN you see these little nuggets of Bunkwaa gold appear more often than not.

Thus my 5 questions with Bunkwaa begin.

You are a man who wears many hats. When did the world of Bunkwaa begin: was it a style or a doodle that came to life or was it one of those lightening moments where it was AH HA!  THIS IS IT!

I've been Bunkwaa for over 10 years now, so bear with me while I ramble through my story. 

I've always drawn.  I was compelled to draw.  For me it wasn't choice, it just "was".  I had so many different styles and loved making comic books. From a young age I realised I was born to be a cartoonist.

I went to art school when I was older and decided to put away the cartoon drawing and focus on becoming a "real" artist.  For 2 years I put aside my cartoon drawing.  By my 3rd year of uni, I couldn't hold it back anymore: cartoon characters exploded out of me.  It was almost as if they had built up under the pressure of my resistance.

I couldn't stop.  I drew frantically.  I drew so quickly I remember the pencil flinging out of my hand many times.  I kept making happy  "accidents" as I drew.

One of those accidents was to dra the top lip through the eyes of the character: splitting eyes into eyeballs and teeth.

I remember looking at it thinking "this looks great!".  I refined it and over time, the characters have become   to be what is now known as the Bunkwaa's

What is that really triggers your creative side.  Do you find yourself getting delightfully distracted and simply continue to completion, or are you having to compromise your time in order to keep whatever projects are on the go, remain "on the go"?

My art is a very important part of my being.  If I look back at my life, my has been compromised too many times.  I like hiding in my cave (studio) and working on my comic book.  It's the one thing that keeps me going.  One day I will be dead, but I'd like this particular piece to continue living.  

The first issue is nearly ready.  I've made heaps of comics before, but this one is my opus.

It's a mix of 1984, a brave new world and adventure time!

Being somewhat tall, what has been on THE most bizarre places you have put the teeny Bunkwaa so as to ensure that street-photography-whiplash is in full effect when "on the hunt"

It's funny you should mention that as most of my characters I stick around the place are at foot level. I'll have to start taking advantage of my height. Thanks for the tip!

You (relatively) recently started BUNKWAAcomics: are you able to give a bit of insight as to its birth and possible future for both yourself and it?

A little while ago I decided to look back at to when I was kid and tried to remember thing I used to do.  I dug through old boxes and found a stack of old comics I had made.

Not having seen them for 20 years I surprised myself at how good they were!  I realised a had a natural sense of composition, timing and story.  

It was at that moment I decided to become a comic book creator.

I disappeared in to the bush recently to write scripts for all three parts of the comic.  It's my Star Wars Trilogy, I guess.  It deals with my angst for the world in a humerous way.  It Keeps me sane

In 5 words how would you describe the world of Bunkwaa

Interdimensional

Psychedelic

Cute

Cuddly Clawed

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Huge thanks to the man known as Bunkwaa  for not only sharing his time and allowing reproduction of some of his works! (and it would be remiss not to mention the fantastic t-shirt of Voyage to the Moon worn for this photo!)

BUNKWAAcomics

5 Questions with Mizter Crystalface

My first introduction to Mizter Crystalface's work was (like with most things street-art) and accidental.  I was wandering around the dock yard area of Balmain, it was raining, I was once again getting hopelessly lost, and to cap it off I had the flu: it wasn't a great day.  

Just as I was ready to concede defeat, I spied a weird little freehand on a wall & felt myself being drawn towards it.  Not wanting to defy the street-art-gods & being subject to their wrath, I took my first photo (of turned out to be my then latest and yet still current obsession) Kois.

On the ferry back to 2095 I attempted to get the pronunciation correct: is coy'is or Ko (as in Do Re Me) Is. Eventually shrugging my shoulders with defeat, I got home, switched on my PC (which the 2095 must proudly shout that she now has an Mac!) uploaded the image, entered the tag and that was that.

My next encounter was at Chippendale. Same style but totally different tag name.  

It was breathtakingly beautiful.  A defining moment as I was then presented with another pronunciation conundrum: Soke-eye.  Socke-ee.  Rather than continue with the "how do I pronounce it game", the 2095'er made the monumentous decision: it's Sokei.  Turns out I was right!

Here are my 5 questions with the man behind the Sokei and Kois: Mizter Crystalface

Your work is so intricate, the point of being hypnotic. How long does it take to create a piece such this?

Well making them is very hypnotic.  I get in my own head-space when I'm doing them and I don't really notice how much time goes by.  It's very therapeutic.  I think my current profile image (as seen above) took me about 2 months.  Most works take a couple of months, others (like my latest) too me well over a year AND I'm still working on it.  But I don't worry about the length of time.  I just really enjoy doing them

You also have other personas.  What is the genesis behind each of their street names?

Yes, my other "personas" haha!  I've always liked the idea of hiding behind a strange name and no face.  I became recognisable under was the graffiti writer KOIS.  I wrote Kois when I was pretty down on life and sort of screwed up in the head.

I painted faces without the tops of heir foreheads, or scars across their skulls as though their brains had been altered.

I'd write things like "Kois eats razorblades","kois the psychotic meds junkie" or "i like pain".  I thought that stuff was very funny. And back then graffiti was a great outlet for me.

SOKEI became the new graffiti word when I started getting a better name, more positive understanding on life.  I chose the word "sokei" after I heard about a man who started the first Zen Institute of America.

His name was "Sokei-an".  Later in life he got arrested by the FBI because the American Government though he was an "enemy alien" working with people who orchestrated Pearl Harbour (which he wasn't).  I'd write stuff like "cellar door" next to my faces or "hive mind".

I chose "crystalface" after some amazing experiences in 2011.

I became interested in dreams, meditation, transcendental philosophies, geometric patterns, numerology, mandalas, colours and the subconscious mind.

I decided that I'd try to pursue a career through making pictures and try to incorporate certain ideas in to them.  (I don't actually remember why i chose "crystalface" but I think it had something to do with seeing crystals everywhere).

When you are a on creative roll are you a "do not disturb til I'm done" or do you focus to the point of insanity?

I'm always drawing.  I am drawing when I'm around my friends.  I draw at parties.  When I'm lying down in bed.  When I am on a bus or plane or train.  And I've especially begun to enjoy drawing while I'm camping at bush doofs and festivals.

I would say that creating pictures has become an addiction and obsession for me. I feel I'm wasting my time if I'm not drawing or doing something constructive.  I'm definitely NOT a "do not disturb" kind of person.  I always enjoy company while I work.

You also enjoy collabs.  What can we look forward to in the near future?

Yeah collabs are great.  I've done a few small ones in the past with Cheungha Lim, Slug, Animal Farm, Texas, Joe42, Air Space Ark, Andros, Clint Bautista, Terrible Horrible and a few others.

Painting Grounds 2011

I've also tried to organise some with other aritsts like Yvette Marie Tziallis and an artist from Sweden that I really like to call "Johannek".  Still haven't got around to doing those just yet.

How often do you get back out on the street, or do you find yourself now studio-bound and restricted by time frames?

I've always got time and freedom to do things and I still go out and do a little stuff on the streets....just not so often anymore.

I think my drive to do "street art" has pretty much gone.  I still do commissions and paint people's walls, vans & bedrooms (usually for free if they provide the paint), but I find drawing and making posters, t-shirts stickers for people much more rewarding.

I still love graffiti and using spray cans and paint brushes, although I enjoy using pens and digital mediums a lot more now.

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Massive thanks to Mizter Crystalface for not only sharing a bit of your story but allowing me to use some of your photos in this blog

Mr Crystalface