Ode to The (now defunct) Glebe Tram Shed

The Glebe Tram Shed or, to use its proper name, The Rozelle Tram Depot: known for being the 2nd largest depot to service the Sydney network from 1918 until its closure in 1958, for being a major place of employment and in the latter part of its life the "mecca" for street artists, photographers, music video editors and more.

The 2095 had known about this location for quite a while and started to see more and more photos taken by lovers of adventure, streetart and the "whatevs".

As with most ventures, the 2095'ers first attempt to scout this Tram Shed was a complete failure.  It was raining, there was a boom gate, a bored looking Security dude and to be honest she just was not in to it.

Fast track 2 weeks.  Bus timetable sorted, a windy mid week day, bus driver kindly obliged in telling the 2095'er where to alight and thus the exploration began.

There it was: that boom gate again. BUT the 2095'er noticed some people using what appeared to be a short cut path. So she manoevered around the dreaded gate, walked down said path tentatively towards the somewhat dilapidated Harold Park hoping that she would not hear a "OY! YOU! What do you think you're doing" from a menacing security officer.

Luck was on the 2095's side.  No one around.  She walked up towards the most ENORMOUS building, heart palpitating, mouth dry and desperately trying to not appear on anyone's radar (though for anyone who has been to this amazing place you are somewhat exposed no matter how hard you try) and squeezed through the half-open gigantic door and was greeted thus:

To say it was a breath taking moment would be an understatement.  To say that it felt like a horror movie where the only sound was the wind through the broken glass ceiling and big rusty door opening and closing would be 100% accurate.  To say the 2095 hit the jackpot....indescribable.

Trying not to make a sound, or freak herself out unnecessarily, the 2095'er walked cautiously down the ramp and fell straight in to the enamoured arms of this place.

Rather than prattle on (and one must excuse the quality of this but it was done prior to the 2095'ers imac!) let the little clip demonstrate the Tram Shed's initial impact.

Floating on cloud 9 and feeling "safe and smug and superior" (apologies to those who are not yet acquainted with one of the 2095's other loves "Rake" from which that mini quote was taken), desperate to get back to the confines of the abode to review and relive the experience, the 2095 chick made plans for an immediate return the following day.

Again in order to avoid the long descriptive adjectives this clip is a reflection both emotionally and photographically of this particular visit.

It was around this time that the 2095'er was becoming somewhat impatient with her camera in that she was not able to extend herself as a photographer.  Thus it was on her 3rd visit with new EOS in hand that she returned excitedly.  

Ultimately it would also be her final visit as literally a week later this amazing location, this incredible building that had SO much potential to be anything it wanted to be, was boarded up with 24 hour security as it had been ear-marked  for some "new residential accommodation development" as apparently Sydney simply doesn't have enough.

So beautiful Tram Shed you are missed by so many people and thank you for being in our lives.

Glebe Tramshed Flickr Set

5 Questions with Apeseven

Being a Northern Beaches chick where the air is clean and there is always a nice place to walk, and not long after recently closing her small local business, the 2095'er elected to have a meander one morning around the "backstreets"of her locale to see if there could be the slightest chance of spotting streetart to capture on her then new Canon SX20.

By that she means, if you are on the hunt for street art in the 2095 region you have to cast your net veerrrrry wide and have much patience.

Luck was in!

all the while causing a little bit of attraction by standing in the middle of the cul de sac with her then teeny camera in an attempt to get a car-free shot.

It was with a sense of relief that at least there was something to be found that the 2095'er trotted on her way in search for more only to be somewhat disappointed, thus homeward bound she went.

A little later contact was made between the artist and the 2095'er where she was invited to a mini/junior Secret Wars type of an event and she jumped at the chance with an unreserved 'yes'.  

Sadly however it was not to be as in flew enza: whilst on the public transport the 2095 fell asleep with aches and pains, crawled home to bed and felt exceptionally sorry for herself at missing out on a) meeting said artist and b) seeing the tournament.

Fast forward to an Inner West jaunt and loving new discoveries, especially when it involved a little bit of self-talk (internally mind you) "ah ha!  love this!...Mister Apeseven sticker...love love love"

The 2095 was also aware of a door for a surf shop in her neighbourhood was adorned with this artist's work but waiting for a time when there was no traffic (eg: pushbikes right in front of it...if you thought cars were annoying, then pushbikes even more so cause you can't actually walk up and move them as the owners are usually right there!) proved almost impossible so a close up it was.

When and how did the world of Apeseven begin, including the tag name

It started around 2002 while backpacking/camping around Europe mainly.  I was so blown away with the calibre of graffiti and street-art there I knew instantly that I wanted it to be part of my life.

Your style is incredibly distinctive.  Do you like to stick with the familiar, or thrive when extending yourself in to unchartered territories

The fact that I am not a commercial artist means I get to explore, grow and evolve my works in ways that are challenging to me.

Having said that, a few group shows are coming up and making me go in directions away from pop-surreal.

Is there a relief of sorts when it comes to street: free style, no rules, no boundaries or are commissions more of a comfort zone with the rigid timetables and requirements from thems who pay money

I find street and gallery work both enjoyable.  

I do not do commissions, I paint what I want to pain and so far have been lucky enough that people appreciate what I do and part with their hard earned money

What has been your biggest challenge/installation to date

Biggest challenge was an animated short I made a couple of years ago...super fun but super long project at the time.  It payed off and I got great satisfaction from the process....now I just laugh at it.

Biggest installation has definitely been a wall I painted recently in Sydney: 22m x 4.5m

nb: not the piece referred to above but it would be remiss of the 2095 to not 

have at least one reference to the PM3 and this piece was ENORMOUS!

Where does the world of Apeseven see itself in say "seven" years

Doing exactly what I do now...exploring light, surfaces, ideas and showing people my journey.

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With a huge thank you to Apeseven for answering the 2095's questions and allowing images to be included for this little article.

To keep up with his goings on simply go here