5 Questions with Melinda Vassallo

Life at times can be curious and it was quite a while ago that the 2095'er accepted that whatever path you find your feet on should be embraced and if you hit a wall or stumbling block then don't push it, cause somewhere along the way it will re-present and take you where you were ultimately meant to be.

During the 2095'ers initial meet/greet with Konsumterra, one of his sentences during their conversation was "you've got to meet my friend Melinda.  You two would really get on".  "Sure!" came the 2095 chick's somewhat confuddled reply,  as she was still in the haze of "I can't believe I didn't have a crippling shyness attack and finally plucked up the courage to speak to a much admired artist" mode.

A few months later having bumped in to Konsumterra where a solo hunting expedition became a duo, he again said "you've really got to meet Melinda.  You two would seriously get on".

Whilst there actually was to be an actual face to face meet and greet planned, the forces of the universe must have deemed it simply wasn't the right time . Yet through the magic of the fibre optic world, the 2095'er not only became acquainted with Melinda, but found they do have many things (apart from the mutual love and admiration of all things street) in common.

One is zero tolerance for complete time wasters.  The second being a love of words on walls.

Welcome to my 5 questions with Melinda Vassallo

Your passion for street art is no secret.  When, how and why did this love affair begin

I have lived in the city for most of my life.  I have always loved seeing the writing on the walls; Bugger-up, political statements and the graff for as long as I can remember.  It was also so interesting to follow, like reading an uncensored paper.

Your book "Street Art of Sydney's Inner West": was this a spontaneous decision?

I used to watch what was happening on the walls around Redfern and Newtown in the 90's.  I enjoyed it, but took it all for granted.

When I moved to Erskinville I had a love affair with two major pieces.  Marchai's Got a Gun on Erskinville Road

and The Skippy Girls on Wilson Street.

In a matter of months it seemed The Skippy Girls were badly vandalised and house where Marchia's Got a Gun was being renovated and the mural destroyed.

I was unprepared for the amount of distress it caused me.  I was devastated to say the least.  It was a sign.

Some time after The Skippy Girls were restored by residents it make me realise there were more people out there, just like me, that loved these Murals and Graff.

I started thinking "someone has to document all this before it's gone!"

From planning to print: can you explain the process, duration and your sense of achievement upon seeing the final product as a bona fide publication to be held physically in hand rather than within the confines of "brain space"

I think if I had to really thought about the whole thing properly, I might never have done it.  I knew nothing about Graffiti/Street Art really.  I just knew I liked it and there were heaps of people out there who also appreciate it.

Firstly it was the idea I was responsible for documenting it all and before any notion of what I was setting out to do, I started to take photographs.  It was more like an obsession (and as with many others, the 2095 chick can totally relate to this).

I was mad with driving around and taking photographs.  It was fun, exciting, always changing and something new every day.  I talked, or I should I say bored my family and friends with it all until I thought "hell why not turn it in to a book!  I have the skills and knowledge to do it so why not!".

I applied for an Arts Grant and I was more surprised than anyone when I actually got it! I will always be grateful to Marrickville Council for that; it's what made the whole project a reality for me.

Research was hard in 2008 as most artists preferred to remain anonymous.  The book launch was a blast and it was the first time I  met most of the Street Artists.  I love that I did it and still can't believe it when I sell a book.

As with life, so does the perception and acceptance grows, expands and matures. How have you seen the street-art movement evolve and do you feel it is now being viewed as an "accepted" freedom of expression by the artist, therefore allowing itself to be placed within the politically correct and socially acceptable box of "art", rather than mindless scrawl or paint

Amazingly, the more I find out about the Graff/Street Art scene the more I feel how little I know!  If I had as much knowledge as I do now, I might not have assumed I could successfully write a book.

It was my vision for the book that the artists be heard and recognised for their passion and their art.  I also wanted the general public to recognise and value the walls of the Inner West as a living canvas.  Over the past years I have seen this all evolve with mutual respect from the public, council and artists.  I don't know if my book helped, but I sure feel pleased that is as socially accepted as it is today.

How would you sum up your love of street art in one paragraph

Street Art is the perfect gallery.  It is un-curated, alive, constantly changing and evolving.  It's out there free for those of us who are aware and have our eyes open.

**********

Before signing off this interview, the 2095'er (along with many many MANY people) would like to thank Melinda for her book, her continual and ever growing love for street art and on a personal note, for saying "yes" to be interviewed!

Now if you are interested in buying Melinda's book it's available for purchase at Better Read Than Dead in Newtown, Gleebooks in Glebe, Museum of Contemporary Art, NSW Art Gallery or online at Fineline Designs (click "here" for more info)

5 Questions with BlackCat Stickers

The 2095 chick first started to notice BlackCat Stickers just about everywhere she went. Difficult to exactly pinpoint exact time and locale cause when she says "everywhere", she means EVERYWHERE.

On poles, on windows, on doors, in doorways, on railings on mailboxes.  Initially always entwined with DogFight Stickers (and yes!  There is an upcoming interview with Dogfight Stickers so stay tuned to this station!)

Or with Cherry Bombs

Ashamedly, the 2095'er must admit that initially she really didn't understand what she was photographing.  To be absolutely honest, the "Spread the Love Project" appeared to be promo for an upcoming gig, but given the 2095'er love for her own black cat (fondly referred to as The Boof) she felt almost duty-bound to capture the image and then continue on her huntin expedition.

It wasn't until a return visit to her beloved Inner West, that she started seeing stencil like images appearing on quite a breath taking scale

artists: Rotar Uno, BlackCat Stickers, DogFight Stickers

and as with many street art experiences, once you see one, you see "hundreds" and this time, the 2095 chick knew what she was looking at it and started to quickly fall in love with yet another artist's clever work.

Again through the marvels of social media, contact with BlackCat was made and the chick will use this delightful segue as an intro to her 5 questions with the artist known as BlackCat.

When did BlackCat come in to "being"

I've always loved and appreciated street art and graffiti, but only started participating a few years ago influenced by my fella (a fellow street artist).  He got this gamer nerd off "Call of Duty" and outside! (finally!  the 2095 chick has found another chick who loves first person shooter games!  But for the 2095'er it has to be Battlefield 1942 Desert Storm: LOVE that adrenalin rush)

I just love going sticker bombing!  In our free time it's always sketching, creating stickers and going on sticker runs.

I love this city...Sydney...and I live in the thick of it!  Navigating the city is now a friendly experience.  I have met a number of Sydney sticker artists and traveling through the city I am welcomed by their familiar characters or lettering; always excited to see a new sticker they have slapped up.  I love seeing the back of a sign that began with a few sticker then in a week's time everyone's stacked on and completely collaged it.  It usually gets buffed pretty quickly but it's great interaction.

I truly believe that street art makes the world a better place, so I wanted to be part of turning this sometimes cold concrete grey city into a living breathing colourful and continually changing landscape in to an outdoor gallery for the people instead of a grid for corporations who get us to focus on their marketing and their "almighty" dollar.

My first sticker was a white cat with the text "Black Cat".  A lot of people ask why I create a white cat for Black Cat.  My cat is a fairer skinned indigenous cat like me; I wanted to put up a sticker that represented me like it was an introduction "Hi!  I'm here!".

Stencil, stickers of pasteups: do you have a preference or do they simply "present" themselves once you have formulated a theme

I love stickers!  Stickers are the best!  I love them because you can get a heap up at a time, so it increases the audience.  You can sticker up numerous stickers before you have even finished rolling paste on a wall or cut out a stencil. 

I also dislike cutting out stencils...too many years of gaming....my hands are stuffed!

I do like experimenting and love the variety that making stickers gives you.  For instance: the canvas...stickers, vinyl, shipping labels, anything sticker you can get your hands on.

The materials you can choose to create with: such as spray paint, block paint, lino prints, screen prints, digital prints.

Then finding the perfect place for them: I think the cool thing about the street is that while anything in a gallery space allows the work to speak for itself, it's the street that adds context: humour, rebellion, surprise, impact etc.  

A gallery is very static while the streets change and move and I love it when I see a sticker that has been left up for ages with the rain washing out all the colour, or it has faded over time from the sun: torn and weathered over time.

Even if it is capping an advertisement in a particular place it could totally change the meaning of the image.

Stickers never get boring.  I love seeing other street art stickers' progression: how the characters or lettering develop and change over time.  It's fun to put your sticker next to theirs and they will hopefully see it as you saying "hi" on the streets, then meeting them at a street art exhibition and say "oh so it's you who does those cute little characters"!

I haven't traded stickers much since I started but if you have the cash and send packs with some extra prints it's amazing when you receive return packs from all over the world.

When I was in primary school I used to write letters a lot to friends in Spain and Melbourne and I used to love checking the letterbox and receiving mail that was personal, pretty, colourful and fun.  People don't send letters anymore, so it (receiving sticker packs) is a return to that excitement of receiving mail that isn't just bills and junk mail.

Who or what inspires your creativity

I am inspired by computer game graphics, comic books, art books and looking at other peoples art.  So far I have created a few different cats and some stencils/paste ups of images that I think look iconic and strong.  They appeal to me, so I hope they appeal to other people.

Collab or solo

As my partner is a street artist too, we collaborate quite a bit in the process of making them (stickers, paste ups etc).  For instance, we might choose to lino print stickers so we will sit and cut out our prints at the same time and give each other suggestions.  

We have done a few collab stickers and I am definitely interested in collaborating with other artists more.

I also collaborate with my crew at Cherrybombs.  Admittedly not as much as I would like...mostly we are in different states and countries, but we have a couple of crew stickers we put up.

Massive shoutout to Beryl, Kwad, Missfit, Pat and Kicks!  You can check out their incredible work at our Cherrybombs page "here".

What can we expect to see from BlackCat in the near future

For "pasteys" (as I like to call them), I am keen to create warrior superhero women images.  For stickers I am currently working to refine my prowess in digital art on Illustrator and Photoshop.

I also dabble in photography so you my might encounter my photos in an exhibition or two.

**********

A perfect ending for a perfect interview with the feline provocateur known BlackCat with enormous thanks for giving the 2095'er time, insight and sharing some photos for this interview!

Where once a Leagues Club Stood

Once upon a time, in a land far far away, there used to be Rugby League teams that were known for their singularity, easily identifiable club colours, name and home ground.

These teams also had incredibly impressive "Clubs" where $5 got you an enormous plate of food, schooners were $2 (hence many a long night spent getting ever so slightly addled has been known to occur once or twice in the 2095'ers life) and the sound of poker machines "added" to the ambiance.

Somewhere along the line things got a little confused.  Money was nowhere to be found, clubs merged and became totally NOT what they used to be about and some their respective Leagues Clubs closed.

But for one it was a drawcard where some serious serious streetart was to be found.

It was a wet Saturday afternoon (seems most of the 2095'ers initial jaunts to new territories are somehow predicated with rain....must do something about that!) after work and the 2095'er thought just for a lark she would venture up towards Rozelle and meander around in the hope of finding something new and exciting.

Almost at the intersection of the busy highway, she turned left.  Something was telling her there was a building that needed investigating but damned if she could work out where it was.  A few more steps down this road she spied it.

A HUGE carpark from the rear, scaffolding everywhere but way up high on the top level she saw some colour.  Even more importantly that smell...that heavenly smell of fresh paint meant that there HAD to be something somewhere.

For once in the 2095'ers life she elected to walk around to the front entrance.  Bold as brass, on one the busiest highways in Sydney, car yards to one side, carpet worlds to the other, she walked in to the "helmets only" area, slid around the opening in the scaffolding and was rewarded with the singularly most spectacular piece that had not been tagged or capped.

A few more tentative steps and a slight turn to the left presented the 2095 with another amazing "partner" to her beloved Slug.

It was pure gold...and it was at that moment the 2095'er realised the camera battery was somewhat depleted so it was with stealth and diligence that she continued on this exploration.

There was something about this raw beauty that struck the 2095 chick who was determined to capture not only it, but its essence with very little editing (ie. cropping only).  

One thing the 2095 chick can state with absolute clarity is that she doesn't use any software to "touch up" or enhance.  Yes there is a time and place for "air brushing" and maybe HDR, but why ruin what already is beautiful with over processing to the point you can barely recognise it?  Also she doesn't know how...

As such here are a few frames of what may or may no longer be, in a place formerly known as the Tiger's Club.

While there are more to be seen, the 2095'er is always mindful of how many words and photos are appropriate per article.  So if you want to see more of this amazing place (keep in mind that it was pre sexy EOS110D days so tolerance and understanding is always wonderfully received) simply click "here".

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

**********

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)