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.

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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!

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.

The Unknown

Every so often (and at times most likely as the artist had originally intended) there are nameless works - or works that are actually tagged but not in a way that is easily readable or identifiable apart from those already in the "know" - that spring out of seemingly nowhere.

Conundrum therefore abounds.

Admittedly there are times when the 2095'er (and perhaps as with others, although maybe like the 2095'er they have difficulty admitting it to anyone other than themselves) might happen upon a paste up, sculpture or other form of art on the street that may, at the time, make absolutely no sense whatsoever and as such, you continue on your hunting expedition.

Such was the case with the nameless artist. Noticing an evolution or maturation even, of this particular artist's work and the frequency that their pieces "appeared" (or as has been noted in previous blogs once a piece has been spotted it somehow sticks with you and suddenly they appear "everywhere") it became within itself a little treasure hunt.

Despite valiant efforts by the 2095'er asking many of her street-artist friends/colleagues/comrades no one has been able to enlighten nor identify.

Therefore it is with delight that the 2095 chick presents to you an ode to an unknown and unnamed artist whose works she loves "a lot" (once again she cheekily makes a slight reference to her fave Aussie show "Rake"...you need to watch it, live it, learn it and then enjoy the ride!).

Is it Thoif?  Is it...well obviously the 2095'er has no idea so any feedback would be most welcome!

Feedback received!  It's Phool.  Huge thank you to a fellow street-art photographer for this info!  A girl can never have to many pieces of info, specially in the world of street art

5 Questions with Scarlette Rose Fairy Rainbow Art

As with many accidental discoveries (or are they the 2095'er ponders...is anything really an accident or is it more of a case of "it was meant to be" or going down a "road to be travelled"....oh no!  STOP!!! Faaaaar too philosophical for this time of the day to write let alone read or debate!) the 2095 chick was meandering around May Lane early in the morning and with eye-swivel in full throttle she looked down and, as with many other "fatalistic" moments, it was not just breath taking but instant girly love.

There must be some admission made at this particular juncture: there are times when the sun is not exactly the best friend to a photographer of street art, let alone a rising one at that.  

While in summer the 2095 chick embraces the sun like a long lost friend and receives her blessing at every given moment thanks to a wonderful balcony, (and yes the sun is imperative to our overall well being of selves and planet) she can also be bloody annoying when trying to obtain "the" shot.  That magical moment where there is no shadow, no reflection, where every detail of the piece is shown to its maximum capacity!

But digression now occurs.  

Admittedly there are times when the 2095 chick becomes wholly obsessed in returning to said May Lane determined to discover each and every new addition whether it be a tag or a tin and it was on a return journey she discovered more from this amazingly talented paste up artist.

Success!  A STUNNER! No dratted shadows, no reflection: pure perfection

Image most satisfyingly captured, and one head swivel later (60 seconds if one wishes to be pedantic about things) with an audible gasp of delight.....

And now here are my 5 questions with Scarlette Rose Fairy

From incredibly beautiful intricate paste-ups or a rainbow on a window: what is it about the colour spectrum that intrigues and inspires creativity

Rainbows & bright colours have always made me feel really happy and positive since I can remember and I've always used incredibly vibrant colours in my work.  (I rarely used pastel or earthy tones which is something I feel I have to start incorporating into some of my work).

The intense bright blend of colour in other street art is always so inviting  in stark contrast to the dullness of city buildings, concrete etc, so rainbows and crazy bright colours are what feel right for me, so adding paste ups to Sydney in varying types of rainbows excites me!

I know so many people who feel the same so if seeing one of my paste-ups on your boring routine wall makes you smile then I've done my job!

I have started reading, learning and researching more about the use of colours and why we choose certain blends; it's almost like a colour therapy and I want to know the reasons behind the logic (of selective choice of blends).

My kids also go to a Rudolf Steiner school which is always full of rainbows and colours every day so it is literally part of our lifestyle, so feeling pretty luck about that really!

From Japanese women in komono to babushka to the most amazing koi.  Are these an indelible part of your lifestyle which are thus reflected in your pieces, or are they just random "love lines" in need for celebration by way of Rainbow Art's paste-up

I've always admired street-art and am a huge fan of seeing the work from the train carriage and going in to a dreamy world of my days at school & work, always hoping one day to be adding to those lovely walls.

I noticed there was a lack of feminine, floral, girly work on the streets; I've seen an awesome range of ladies doing their thing, but not locally.  There was so much writing and tags, I almost felt like converting to an anti-street-art person (not seeing the beauty).

At that time my art had no particular meaning behind it, just a collection of things that made me feel happy and content: art changed my life & attitude so I thought why not share it!  Bite the bullet and start adding some rainbow love to Sydney walls.

My style of work is influenced from when I was as a tattoo artist.  Before becoming a mum, I completed my tattoo apprenticeship in 2005 with an old friend of mine, who took me under his wing for which I feel incredibly blessed.  A lot of my work is inspired and influenced by the "feminine" and the "pretty" tattoo designs that I was surrounded by all day.

I noticed after a while in the tattoo studio the boys I worked with were encouraging me to do colourful tattoos while they did the grey-shade/black work and as I was getting more female clients it suited us all.

I was living the dream!

Can you outline the steps (including the origin of concept) from start to finish on the methodology, design, print with the finale being deciding which wall shall be the new "gallery"

I had a folio with a collection of work that didn't have any meaning behind them...just art that made me feel warm and fuzzy, so I started to colour photocopy them.

The original work was created using pencils, water colours, inks, paint and posca's so to photocopy them was the cheapest way to add them to walls.  No strict format or ground plan as such.  I'd just stick/paste them to suit the area I found while wandering around. I have a collection I'd cut out at home which were ready to use and then paste them up!

It's just fun for me to kind of go with the flow and see where each day and night takes me, so if there's a nice plain un-used gap on a wall, I just pop each design up and use whatever fit that appeals to my eye.  That's why I love street-art: working with what is there, the constant change, the fading pictures, and the beauty of its constant change.

....AND if I get caught, paste-ups are easier to scrape off a wall!  I do think about people who may not like street-art....how considerate am I!

Do you find your two worlds of artist and mum collide or are you one of those amazing women who can multi-task with such apparent ease, it's like breathing

Hahahaaaa...not it's not easy all the time, I promise!

My kids always come first, but I'm also a better Mum when I'm creating, so it's a Catch-22.

I gave up my full time tattoo career to raise my kiddies so I needed a creative outlet that was my "sanity" and personal time and I realised that street-art/paste-up was perfect!

I simply organise myself so that work time doesn't interfere with "kids time" (eg: when they are in bed asleep).  I stay up a little later than planned so I can have my time to play with colour!

Sometimes we all go out together as a family and check out Sydney streets, add to it (my little girl always says "wow!  you're doing a great job mum"!) and my husband is so supportive of our creative adventures.  He is creative too so understands: we help each other.

There are day which are fantastic and get loads done and can multi-task everything and everyone.  Then there are days that turn to poo from the moment you wake up but hey, I wouldn't have it any other way. 

I work with what I've got!

In 5 words, how would you describe the world known as Scarlette Rose Fairy Rainbow Art

"Rainbow" "explosion" of "feminine" "positive" "girly" art!

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And thank goodness for that: there can never be too many of these beautiful pieces of these adorning walls around the streets.

An ENORMOUS thank you to Scarlette Rose Fairy Rainbow Art for sharing time, insight and some girly time with the 2095 chick and of course for allowing images to be reproduced for this beautifully colourful blog!

5 Questions with Shannon Crees

The 2095 first "discovered" the artist known as Shannon Crees purely by what she (ie. the 2095'er) had deemed at the time to be complete misfortune.

Feeling hideously shivery and shaky, having caught the wrong bus due to watery eyes, the 2095'er fell asleep and awoke to find herself almost at Dawes Point.  Grumpy and annoyed, the 2095'er alighted said bus, bemoaning the fact she would have to walk that extra "mile" to the ferry and even worse, through the busy Rocks Markets.

Somewhere through the cotton-wool-headed haze and desperate for some sun to chill the bones, the 2095 noticed something above her which glistened with such intensity and intricacy she could not but help pull out the camera and capture the image.

Despite (or inspite perhaps) the feeling of blech, all photographers have a little voice within saying "if you don't get it now, it'll be gone", and as such the 2095'er then went on to capture the reverse side of this beauty.

Curiously the 2095'er did sense some folk watching her walking down, around and trying to get the perfect angle, but obviously not enough to prevent them from buying some disgustingly kitsch souvenirs  of which there are plenty, thus leaving the 2095'er blissfully enraptured enough to get two more perfect frames before literally falling on to a ferry seat, inching her way home,  crawling in to the beckoning bed and sleeping like a baby.

Fast track 2011 Outpost where on the 2095'ers maiden voyage, one of the first images she spotted was the singularly most beautiful wall she had laid eyes on. However, to be fair, it was literally within the first 2 minutes that the 2095  chick had stepped foot on soil and hardly any further discovery had been made at that particular stage.

Here are my 5 questions with Shannon Crees.

You have an incredibly distinctive style.  Has this evolved as you have grown both as a person and an artist or did it come in to "being" from doodles or scratchings along the way

I don't actually doodle at all.  I am quite impatient and like to see process.  I drew a lot when I was younger and it was my way of being able to sit still at my desk at school, but now I love the freedom of expression in painting large.

I went to fashion college so it all started from fashion sketches and my first job as a fashion illustrator and developed from there.

How do you choose what you are going to paint?  Is it an overt process (if given a brief) or does it present itself and you take it from there

It is mostly presented to me as a brief.  I do corporate work, private commissions and work to fit in group shows.

What has been your biggest installation to date

The mural for "Wall to Wall" competition at 80m sq.

But the temporary installation for "The Galleries Victoria" on Pitt Street (Sydney), I worked on for a whole lot longer and that was almost as big at 18m x 3m.

Although big can be impressive, I think 3x4m or a little larger is a great size to pain. Not too big, not too small.

For some a piece is never really "finished".  Is this the same for you where you have to draw a line in the sand, or do you meticulously plan and stick to point

Ha ha...sometimes it is just better to never come back and look at it again after completion as you can see bits you just want to add to.

That's why I need deadlines.  I work better that way.

How would you sum up the world of Shannon Crees in 5 words

That's the hardest question ever.....

Colour

Surprises

Inspiration

Freedom

Hardwork (that's one word!)

I mean everything except hard work :)

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From one Northern Beaches chick to another I thank you.  Most especially as Shannon is currently o/s and somehow managed to fit in answering questions for the 2095'er from afar (the wonders of the fibre optics!)

5 Questions with John Forno

It would be nigh on impossible to NOT refer to PM3 for this particular article for that is when, dear readers, the 2095 met said artist John Forno, albeit by way of a pasteup!

And given that this was also the impetus to forge the connection (thanks to the wonderous delight of social media), the 2095 chick has followed the art of said Forno both with delight and complete frustration in that she simply could NOT jump through the fibre optics to capture some works digitally.

We first "met" via PM3 as it were.  Can you give a little bit of insight into the world of Forno the artist

Hmmmmmmmm....before doing my Undergrad in Fine Arts, my work was an exploration into the pitfalls of Consumerism.  This idea of stripping away the ego that mass media target and continually cascade in front of us.  The usual "you need this, want this and are not whole without it".

Inspired by the likes of Ben Frost, Fairey, Banksy & Ron English, I firmly believe that there is a therapy in art, so I gradually flogged myself through Undergrad, shifted more to my own personal history, my childhood, exploring psychology, ego, memory, Gestalt Principles, items of nostalgia and of course POP Culture.  I'm a POP culture kid through and through.

I believe if I have experienced something in my life, then someone else has more than likely experienced something similar.  Through the medium of art I hope to raise questions for the viewer and encourage self exploration.  But sometimes it just looks aesthetically pleasing.

If art is deemed as "representative of our inner self", which of your styles would "fit" this description and why (or not as the case may be)

POP art!!!!!!  Growing up with Atari, Commodore 54, the first Mac (dare I say it), Amstrad, 8-Bit arcades, anaglyph 3D, Transformers, Speed Racer, Scooby-Doo, Nintendo hand helds, Sega, BMX, skateboarding, Star Wars, Buck Rogers, Batman, Wonder Woman etc etc...

These all had a lasting effect on me and were my escape as a child.  As an adult these items remind me of simpler times: times of fun, exploration, no fear and no boundaries.

Being somewhat of a collector of Pop culture as well as an artist enables me to re-live that simpler life and embrace my inner child.

Are there times when you become completely frustrated with time restrictions for production OR is it a case of "stuff it, it'll be ready when it's ready"

hahahahahhaha!  Every show generally!  It's usually a case of both but at the end of the day I wig out, frustrated, riddled with self doubt, saying "F#&IT", get an attack of the guilts, madly trying to complete the work and, usually an hour before the show I'm putting the finishing touch on.

I formally studied as a graphic designer 10 years ago and it wasn't until I was under complete pressure (generally 2 days before the job was to be presented) that I would get it done.

Procrastination can be my demon!

My art practice is a little different as it is fuelled by the theory, so I get a bit of a heads up.  At the end of the day I'm putting myself on show to be critiqued so there's always pressure.  

After my first solo show 2 years ago the "come down" the following day was on a par with my worse self-induced imbibed hangover.

Festivals vs Live Art vs Solo vs Collab.  Which (if any) do you really find yourself being extended and pushed out of your comfort zone

They all have their advantages.  Each presents their own particular scrutinies.  Festivals and live art: there's the pressure of creating in front of a crowd...that's always a tough one.

Solo's and collabs present a different set of parameters: following gallery conventions, but also trying to break them and being critiqued and scrutinised by critics as well as the public. 

They all push me out of my comfort zone.

When can we expect to see world domination by Forno

Well I've just been invited to a show at the 2 High Festival at The Powerhouse Museum in November so the road to world domination is moving like a bus from the movie "Speed".

In all honesty, it's all been pretty fast paced considering it was only four years ago I started to seriously consider art as a career.

I've just deferred my Honours Research until next year and wish to complete a PhD, so there's another four years of study.

Hopefully world domination will occur before I die

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Hell to the yeah on that score and a MAAAASIVE thank you to the man known as Forno for sharing some time, flicks and more with the 2095 chick.

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