A moon licht bricth tonicht

There are times for the 2095 chick where music and compilations of graff must be shared.  She is not quite sure from where this "urge" is derived.  

Is that she is a "frustrated" artist perhaps?

Might it be that it is simply a desire to express using two of her passions: music and streetart photography?

Or is it that a theme simply presents itself and from there everything magically appears to fall in to place.

Who knows (one could debate the idiosyncratic nature of the 2095 until the end of time, and perhaps provide some head doctors with interesting fodder), but whichever way you choose to look at it, there is one constant in the 2095'ers world: passion and that passion needs an outlet and that outlet results in to the little vids below!

Once upon a time the 2095'er was a member of The Sydney Film Festival and went to a most intriguing talk on how music influences our perception of a visual, whether it be tv, film or even a streetart slide show/montage.

Enjoy and make of it what you will....but there is one thing to keep in mind: the theme. Are you able to work it out?

being a fan of a certain series involving a psychopathic serial killer is pretty obvious here

Take note: what the brain hears may influence the viewer's conclusion as to what the 2095'er had intended when creating...which for the hoi polloi might be the definition of "art".

Thanks for watching!

5 Questions with TerHor (Terrible Horrible)

Little did the 2095 chick realise that her passion for photography & numerous visits to The Outpost (particularly loving the fact that PM3 was just like walking around the backstreets of the Inner West and beyond, only within a confined space) she would form relationships with artists albeit initially via social networking in form or another.

A piece that particularly caught my eye during one of my first trips, was this little number if nothing else but for the obvious reason of it being synonymous with a particular brand of matches.

It wasn't until I was invited to to preview shots for the Painting Grounds 2011, that not only did I get to see more amazing pieces from the artist in question but as luck would have it, I met the man behind the initials T.H.

The initial introductions were confusing to both myself and the introducer "This is ...Terrible...Horrible.  Nope Terr-oar.  TerHor".

So rather than rabbiting on let's get down to brass tacks and try to discover a little bit more of the person known as TerHor.

From Terrible Horrible to TerHor. When or how did this name come in to being

I am glad I can clear this up.  I've had a million different aliases attributed to me since the change.  Terrible Horrible was born in 2008.  They are just 2 words that are really similar and mean the same thing.

I've always been in to funny language and words.  it was catchy and self deprecating. Eventually it became a joke that wore thin on me so I removed the "rible" from each word and thus TerHor was reborn like a christian from a river. 

I don't use one alias for some things and one for others.  I just decided to change.

Recently there was some quite intense "international online name wars" going on regarding one of your paste-ups.  What was your reaction to this

I thought it was going to happen a lot sooner than it did.

I get a kick out of any reaction the work gets.  Mistaken identity is a fairly common occurrence.

Stickers/Slap ups vs paste ups vs paint.  Solo vs collaboration.  Do you have a preferred method or does each hold its "own" and why

Stickers are quick and plentiful.  Paste ups let me create work in a controlled environment.  Paint is a hassle to carry but makes for great spot work.  Each medium asks for a different type of work from me.

At the moment I prefer a pocket full of stickers, some oil sticks and white out marker. What's outside lately is heavily inspired by Bozo Texino, Jimjoe and Eternity.

These mediums naturally felt like the most appropriate for what I want to do.  Plus they are discrete.

For your larger pieces, can you describe from start to finish, the process and time frame it takes and which one for you personally, has been the most satisfying to date

I've never timed myself so I'm not sure.  But I'd say about a day or two for some of my bigger works would be where 99% of the works get done.  Then it's a matter of staring at it, noticing everything that bothers me and then reworking it.

I have to tell myself that works are "finished" otherwise I would be there forever until the piece is something entirely new or just over-worked.

I think my most satisfying works so far have been a mural I recently did at Tortuga Studios in St Peters, simply because it's the biggest piece I have worked on so far and I could really explore composition on a large scale.

nb: this is NOT the most recent mural as unfortunately the 2095 chick has been somewhat immobile, therefore unable to capture the ever changing wall

There is also a 1.5m squared painting I did, which I am yet to frame which was really kind of fun to work with.

As much as size plays a part, I get a bigger kick out of subject matter.

What does the future hold for Terhor

Research, study, sketch, paint, study, reassess 

AND

More group shows, some secret projects, a rise to fame, a descent from glory, a celebrity marriage followed by a quick succession of celebrity mistresses and finally a Christmas album!  Perhaps a cameo in "Neighbours" if I have the time.

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With thanks to Terhor and his not so Terrible Horrible world!

5 Questions with the Real Resan

It was during a sojourn around the back streets of Enmore the 2095 chick stumbled upon (and this time literally stumbled as it was garbage collection day) a piece that was both breathtaking and stunning in its simplicity.

The 2095'ers preferred method of "hunting" is to walk. From this there a few benefits with the obvious one of "apparently" being fit.  However the main objective is to meander, get lost, get found, find new things, check on old friends (if you will) and let the world take you to wherever you were destined.

Thus on this particular trip the final destination was Marrickville. There is a golden rule of thumb when scouting/hunting for photography: always but always re-visit known areas "just in case".  Well this "just in case" was richly rewarded.

With the expression "ours it not to reason why" here are my 5 questions with the Real Resan.

As they say, curiosity killed the cat (or in this case the 2095'er), but is there another Resan which is why you are the Real Resan? 

Or perhaps what is being rather clumsily asked is what is the reasoning behind your street name?

The name Resan came about when I got frustrated and bored with the letters in my old graff name.  I decided to write out the alphabet, circle my favourite letters in no particular order with the outcome being R-E-S-A-N.

I had very few original letter combinations considering there was already an Anser and Saner, so I ended up with Resan.  

I realised there was some depth to the word and came up with my own meaning, which stemmed from the French word "sans" (without) and the prefix Re (return again and RE: (regarding or in reference to).

For some reason it stuck with me as I have always had a fascination with the emptiness or "The Void" and the beauty that comes from this space, but is so often missed.  I think of the word "Resan" as "Return to a State of Nothing".  

There's a quote that has always stuck with me "it's the space between the notes that makes the music" (Miles Davis) and I think that heavily influenced the name.

The "Real" part is a bit of a pun....I found people wondering how to pronounce my name.  Most people say "Reason", "Resin" or "Re-San".  I like that everyone has their own interpretation and don't want to correct them in any way, because really it's just a made-up word.

I'm a fairly skeptical person so I took "reason" in the sense of motives and the "real" reasons people do what they do.  

The other half of the phrase is a pseudonym.  "Resan" combined with the hip-hop philosophy of "Realness"...I'm Real!

What is your preferred medium, or do you find yourself at times becoming increasingly frustrated as the artist within seeks outlets that may not have availed themselves thus you create on a "needs do as needs must basis"

I've always scribbled and drawn, so drawing has always been natural and something that will always be close to my heart.

But ever since I picked up a tin of paint I have become obsessed.  Spray painting is one of those mediums that has infinite potential and is a perfect combination of drawing and painting.  The difference lies in the way you use it.

I've had training with more traditional mediums like oils and acrylics 

but neither of them seem to have the same energy as spray paint.

When I went to art school, I always pushed away from those traditional forms, but have recently adopted them to a greater extent, basically because I'm poor and can't afford big canvases or spray paint.

In that sense, I use what I can to do what I have to do.  To answer your question: whatever will do, so long as I can do what I must.

Who or what inspires you work

Inspiration comes from everywhere. I'm fascinated by emptiness, technology, psychology, philosophy, the future and conspiracy theories.  Each has their own basis, the unknown. I think the mystery and thirst for knowledge attracts most people...or at least the people I want be around.

The company that you keep and your environment (whether it be art, music, location, friends or family) contributes to the understanding or perception of these things, so it's pretty hard to pinpoint a specific source of inspiration.

We have recently seen some incredible collab work (which is always breath taking upon discovery by the way).  It might seem like a ridiculous question, but how do you guys divvy up the spaces (eg: when it's in a more confined location as opposed to a massive wall)

TerHor, Ox King, Real Resan

Collaborations are always hard.  I'm pretty stubborn when it comes to artwork so the people I collaborate with have to work well with me and vice versa.

In terms of divvying up the space, it really depends on the wall, what we're painting and who I'm painting with.

I tend to go with the flow so am not too fussed how much space I have to work with, so long as I know the person I collaborate with have works that fit. 

I've been lucky enough to work with some pretty talented local artists, who are all great people and am proud to call friends.  It makes for an easier collab when you work with people who understand you on a personal level.

In that way I really love working with OX.  Despite the difference in our styles & techniques, we click really well on a personal level and have a good understanding of each other's strengths and weaknesses: perfect for collaboration work.

Real Resan OX King

He can tell when I've missed something I can do the same in return.  It is always helpful to have a second opinion so you can pick up on mistakes you may have otherwise missed so that the outcome is exactly was it had been "planned".

Your piece is as much theirs at it is yours.  This also gives insight to your own strengths and weaknesses.

I learn something from every artist I meet and they push me to do my best whether they realise it or not. It's all healthy competition.

I've met some big players in my time but have to give proper shout outs to those I'll always hold love for so here it comes!

OX King, Roter, TerHor, SMC3, Bafcat, The Dirt, Caryn G, Houl, Fingers, CSFB, Comfy, Skulk Birdhat, Hules, Blomtrog, Knomes, Ryan Boserio, Andros, Jerry Walsh, Bombs (RIP), Sek2, Pragz, Lasek, Chris Yew, Hyper XX, Mum and but not least....the dude who got me in to painting on walls by big brother Gabs.

Do you find at times your personal world colliding with your street world or does it flow and it is what it is

When I was a pure letter writer I used to keep it separate but as time has moved on I've found my personal life and beliefs have collided more frequently.

There are times now when it's hard not to include my current mood or intentions within my work, particularly since bringing more focus to my fine-art work.

At times the meeting of these paths can be cause for some of my favourite work but can also be a heavy downfall: heartache can drive you to put everything in a piece but the wear and tear of a day job can drain any creative drive you have.

It's recognition of the right times when to work and when to quit that makes a good artist.

It's something that I continue to strive for and something I may never learn.

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On that final note my thanks to the Real Resan for sharing some of his story and allowing reproductions of his works to be used in this piece.

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