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 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)

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 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 Abyss.607

Like most of my street-art ventures in the early days, you see a little squiggle and think to yourself "odd, but best take a shot cause they'll buff it & you'll kick yourself later".

Admittedly, I did find it difficult to read the tag. Nonetheless photo duly taken and on my merry way I went, thinking nothing more about it.

A few months later a jaunt to Canberra was planned, and after desperately trying to identify locations on-line where there may be some street-art, I had all but given up hope.

With absolute respect, Canberra is one hard city to navigate. Combine that with the 2095 chickz infamous inability to be geographically accurate at the best of times, it was becoming increasingly frustrating as we were restricted for time.

In one final attempt I spied a MASSIVE piece of work by Swerfk, screamed "STOP THE CAR!"

As a rule of thumb, when one piece of art is spied, there are bound to be more.  Thus, the car was duly parked, the 2095'er climbed through a gap in the fence, jumped across the divide (aka a canal), and in a breath-taking moment fell instantly in love.

(Ironically, another street-artist had told me about this Abyss person which until then I really had no idea who he was talking about.   Of course that changed instantly)

Here are my 5 questions with Abyss.607

Do you have another life beyond Abyss.607, and if so, do you feel at times it intrudes on your alter-ego?

It's given me, I would say, more of a reason to be content with my life.  I skate & play RPG's.  I spend most of my time alone drawing or painting, so what I do resonates through my art.

What is the inspiration behind your street name?

Abyss is really a visual form that's reflective and expressive of a lot of my thoughts. Sometimes dark, but not evil; bright but not to burn, and endless with a destination only you can give yourself.

Your work is immediately recognisable and seeing it "in the flesh" (so to speak) is breath-taking.  How long does it take to formulate the concept, identify a location and then complete the process.  And how much of it takes place under cover of darkness?

A lot of the time I see a spot.  I think first of what would be best suited for it: ie. paste up if it's a busy spot where I'd like to put something nice, or spray paint if I have got the time to cover and do something big.

Paste-ups can be really effective on different coloured/textured walls, so sometimes I will make something (specific) for the wall.  My paste-ups are hand painted mostly with acrylic and do take some time to make, depending upon the size.

Pretty much all of my street work is done at night.  I think I've only done one outside wall in Canberra where I was commissioned.

Mostly I go out alone.  It's definitely not easy sometimes (eg: rooftops), but I plan out pretty much every spot I choose which will have a story (or reason) behind it. I'm sure a lot of similar artists can relate, but for me personally, it's more than just a painting.

When you're out there alone in the middle of the night, it's one of the times I don't feel suffocated by the things we are subconsciously fed and think about during the day.  It's engulfing and free.

When you're jumping into private property, risking your life climbing something, start painting, all the while trying to be quick and silent, having to hide for much longer than you paint: you're up against so many elements that are otherwise nullified regularly.  It really wakes you up and makes you feel alive.  It uses your senses all whilst being creative.

Nothing beats that feeling. Although it can suck, if you've done something good and it's already buffed when you go to get the flick the next day.

A lot of what we express through graffiti, the general public are ignorant of and usually lost under wrongful "vandalism"

When did the Abyss come in to being: was it evolutionary or was it "bang! here it is! let's do it"?

More evolutionary.  I've always been drawing monsters and strange entities.  The main character I do I call "Seers".

They are watchers of time and space, on the walls they guide the heart and the spirit with strength for those who view them with unchained minds.

They also stand as glyphs symbolising our demise, depicting nostalgic ancient art and abstraction warning us of a bleak future if we don't change for the better.

If you could sum up in one sentence the difference between street-art and capping (so as to educate the uneducated) what would they be?

All I can say is the streets are unrelenting.  Just stay true to yourself and whatever it is you want to accomplish: do it.

See ya in the void!

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My thanks to Abyss for sharing his stories and allowing his works to be used in this interview.  

For the 2095 chick, her love for his work is unrelenting and she is most impatient to get back to our nation's capital to go on the hunt for more of the Abyss!

Abyss.607 Creatures

Abyss.607

5 Questions with......Damedismember

When I first started to trapse around the Inner West in my quest for streetart, I noticed the most peculiar yet incredibly fascinating paste up of what appeared to be a dog screaming like a banshee.

As I continued my street pounding, this image kept coming back to me and I pondered over it (almost to the point of obsession) wondering what type of person had the creativity within to produce such a piece.

Here are my 5 questions with the artist  in question: Damedismember

What is the genesis behind your streetname?

The name sprung from the act of pulling pictures apart.  Dismembering them in a sense. I wanted a name that was a visceral word to match the violent nature of my work. I liked the idea of combining a feminine title with a very masculine word.

I toyed with other names, like MzMorph or Jackie the Ripperette, but they lacked the punch of the word "Dismember"

Who or what inspires your creativity?

Music plays a role, specifically electronic music, which I think is assemblage music. Power electronics for the most part.  I like the formless grubby nature of artists like Brighter Death Now & Whitehouse.  

I love the work of Francis Bacon, Chet Zar, Gottfried Helnwein, Chris Mars & Suzan Blac to name a few.

I'm not sure they influence my art directly but I do think they inspire my need to create images.

True crime docos, industrial textures, David Lynch films.  Life in general.

Your images are quite complex, at times confronting, yet hauntingly beautiful.  Can you explain the process of achieving these images?

I usually go through loads of magazines to find a face that grabs me.  Something like the texture of the skin or the way the mouth is open to expose teeth.

Old photography magazines are a definite favourite.  I never have a set idea of how a portrait will look.  It's always a surprise to see the end result.

From the first snip to the last cut: it's a mystery.  I honestly don't know where it comes from.

You do have a day job because obviously the rent needs to be paid.  How frustrating does this become & does it interfere with your creativity?

Works supports my art habit I suppose.  I find work take a lot of energy, dealing with the public, the commute etc.  So the biggest problem would be fatigue.  

I do get the best ideas from the ennui of work, but when I get home it is hard to get the scissors and glue out.

But as I said, it supports my art habit.

How would you describe your art in 5 words

Image, scalpel, scissors, glue, paste-up (I'll leave the rest up to the observer of my images)

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A massive thank you to Damedismember for sharing a bit of her world with the mine and yours.


For a bit more insight in to this amazing artist's works, swing by 2095 StreetArt Collective "here"

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