5 Questions with Dog Fight

The 2095'ers introduction to DogFight was reminiscent of that with BlackCat and given that they are inextricably linked it is not at all surprising.

There was something about this style that caught the 2095'ers eye but what really struck her was how these stickers seemed to double in population on each of her streetart expeditions.

Always up for a bit of discussion with herself, the 2095'er reasoned thus: "he's obviously very tall and has no sleep OR he has a following of millions like the Pied Piper who simply drown in delight in slapping these babies up OR it's a combination of both" (and yes, the 2095 chick did in fact make silent self-talk to external "she's bonkers" talk on many such occasions)

From lightposts to handrails, doorways, street signs...this guy was EVERYWHERE!

Who is this dude she wondered.  

Then, as if stepping in to a brave new world, the 2095'er made what she fondly refers to as 'a cold call for cowards'. 

Why is it when not having a friend request accepted on social media it seems to be a less confronting or upsetting rejection than if by leaving endless, almost stalkingly like, voicemails sounding like an hysterical female who needs a life, which ultimately never get returned.

Fortunately the 2095'ers request was received positively and regular communicado began photographer and artist.

One of the 2095'ers observations was that whilst from a more city locale end of the Inner West was saturated with these dogs (as was the city itself), there didn't seem to be any on the other side of Edgeware Road and beyond.

And with that, here are my 5 questions with Dogfight

Who exactly is Dogfight

Well Dogfight isn't really anything.  The name "Dogfight" is just there as I needed some kind of name otherwise it's got to be over explained in conversation.  The amount of times I've tried to explain "Lil white dog character"!  It's just easier this way.

I use the name Dogfight regarding anything I do, whether it's graphic design, clothing, stickers or whatever...it's just a name.  I thought it sounded cool, I liked the idea of taking something that already meant something and giving it my own spin.

To me, I'm not even thinking about actual dog fighting, which is totally rank: I like dogs!  It's more about the "fight in the under dog", like saying "it's not the dog in the fight but the fight in the dog".

The underdog will rise kind of thing.

I came up with the dog character in its current form around 2001-2002.  I originally paired the dog with a pig character named Bacon and was gonna do a comic on the two of them named "Bacon Bones", but instead chucked em on some stickers and went about sticking them about the place.

After a while I scrapped the pig, stuck with the dog and came up with the name "Dog Fight".

I had gone under a few different names before then as well.  The actual dog character doesn't have a name or if it does it's just "dog" (like the Dog out of Footrot Flats).  It's just an every day dog, no particular breed or gender...purely a dog.

I wanted to create a character that could kind of exist in its own right.  I always have a Dot & The Kangaroo type thing in my head where I wanted the dog to live and exist in our world, but as a cartoon, where people could see and enjoy him without it really belonging to anyone except the viewer at that time, so obviously graffiti and streetart were the perfect outlet for that, as the dog could pop up overnight to inhabit an area without all the non-sense of who put it there or why, simply that it's here, you live here, it lives here, now play nice! 

I've never had the plan to be known myself.  In fact I often do things especially to reflect this.  I wanted the dog to be known: hopefully by the time I go the dog will just be known as an iconic trait of Sydney and my friends, family and son can continue it as a permanent fixture of Sydney's landscape....like pigeons and cockroaches (LOL).

From insanely HUGE paste ups to slap ups that fit nicely in the palm of the hand. How much planning time is needed for these enormously impressive pieces and do you choose the location prior to print, or is it more of a "print done, location will present itself when I'm out and about"

For larger posters/jobs, I will often have a location in mind and I'll just work out how big I can go, how many hands are required (if required), what the weather is like etc. Other times, I'll just load up with paint or a bucket and handful of posters and see what I come across.

For the most part, things aren't overly planned but when they are planned, I like to go all out and turn it into some Mission Impossible style venture but that's more to make an event of it and have a bit of fun; or if we are filming, gotta be extra careful. The only thing I know for sure is it will be The Dog.

You recently did a collab for a video with Big Dave.  How did that come about

Me and Dave work together on a hell of a lot of projects and will continue to do so for a long time.  We built a friendship after I had a quick prison visit.  He was basically saying what I was thinking which is what drew me to him plus he had design work, I had designs and we share the same work ethic.

A lot of people are just trying to get something out of something, whereas me and Dave built a bond over wanting to create something valuable from nothing with the understanding that it was the journey and the experiences we would take from it (which mattered most).

With that in mind, we both have priceless experiences, opportunities to meet people neither of us thought we'd ever meet and basically rip it up!

As far as this particular video project goes, he created the song for me back in 2011 so I could use it as music in one of my sticker videos.  He always liked the song as it's pretty rough and fun for him to rap and he wanted to do something new with it. He came up with the idea for the video and I was cool with that and the rest is history!

warning: if easily offended this ain't for you!

We have worked on a million things together in the past.  I did his debut album artwork as well as art for other acts on the KP Label, posters for festivals and other concerts for him: all sorts of jobs for things.  It's good!

Collab or solo

Solo is always good as after a few years you have so much experience under your belt: you know how you going to do things, the approach you take, the plan of attack etc.  And anytime I'm doing anything risky I prefer to be on my own.  I'm often a little over daring or perhaps even cocky in what I think I can get away with, so doing things on my own eliminates taking anyone down with me due to my risk taking.

If I'm with other people I choose to keep it pretty tame for the most part, although I choose what tasks I will attempt depending on who I am with.

I've got a very close circle of people that I can count on one hand, who are what I consider "the wrecking crew" (not an actual crew and not all artists themselves!), and they are the people I plan bigger riskier stuff with that often requires more eyes, more hands and a genuine trust and care for each other: resulting in everyone being hyper-vigilant to ensure the job gets done, done well and everyone stays safe, out of meddling hands and gets home.

photo courtesy of AWOL Monk

With that being said, I do enjoy good company on long walks and there's nothing like seeing you and your peoples art up in one spot with a united front.

Then there's the Cat of course (check out the 2095 chick's blog done with BlackCat "here").  Me and the Cat, well we just get the job done.  Often our stickers are done in the same format whether it's screen printed, Lino cut, digital print, hand drawn, square or circle.

That's because we sit there and make them together on whatever materials we have at hand and often experiment with and discover new techniques.  If I print stickers, I print hers too and she does the same.  So ours are often the same but different!

What does the world hold for DogFight or is it limited only by our own imagination

I'm not sure.  We play arts & crafts every day.  There will always be more Dog in all shapes and forms.

I also do a fair bit of airbrushing and other stuff so who knows.  No use saying something like "there will be exhibitions" or things like that.  Just take a walk down the street...the exhibition is on, it's free and damned colourful!

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Thank god for the universal gallery is all the 2095 chick can say.  

DogFight has also started a doco which so far has taken 2 years and in his words "it probably won't be out for another 2 years!" so here's a trailer of things to come

And you can buy some of this dude's amazing work (t-shirts, stickers etc) on his website.  So just click "here" and the 2095 chick reckons there just might be something for everyone!

Hello May Lane

Before starting on this particular article it must be noted that all artworks shown remain the property of the artists and cannot be reproduced without their express permission. The 2095 chick is simply showing her photographs in order to share her experience.

The 2095'ers intro to May Lane was day that rained, where her brolly decided NOT to behave itself and her teeny tiny SX20 was somewhat new. 

Add to mix the 2095'er not being completely comfortable or familiar with the area at this particular moment in time, but any reservations or "fear" were abated  the instant her eyes clapped on the most magnificent wall of colour and detail.

The 2095 chick does not nor ever will enhance or over process images using software  

Trim yes, digitally destroy with over processing no

The 3D effect was mind boggling.  No matter what angle, no matter how far down the lane you went to achieve "the shot", it was pure perfection every frame. 

The 2095'er found the intricate detail so hypnotic she found herself thrust in to the "once I'm behind the lens I am completely in my own world" land.  And what a delightful place it is to be.

In an almost robotic manner, the 2095 continued exploring in wonderment, quickly realising that this is not a place where you "rush" through, for you may just miss something.

this piece remains intact for which the 2095'er & many others are most grateful

As with most "landmark" discoveries there are times when the 2095'er must simply shut up and allow emotions, heart palpitations and "oh my god" moments be shown via multimedia (nb: this clip does not comprise 100% Mays but also includes other firsts on her maiden Inner West voyage: thus becoming the impetus for the street-art revolution/obsession of the 2095'er)

It would also be remiss of the 2095 chick not to include her first introduction to the extraordinary world of Vexta.  The day was dark enough (with gloomy rain clouds) for the 2095'er to see exactly what this piece was in that it was designed to glow at night.

kindly reproduced with permission from Vexta

Like most discoveries or "first heart skipping moments", the need to return became unbearable.  Having to wait for another 12 hours was seemingly intolerable.  But given the location of the 2095'ers dwelling deemed it almost impossible to do otherwise.

But return she did and then some.  The beautiful thing about this particular place is that each week there will literally be something new, or a "work in progress" thus keeping it fresh and exciting. 

Nothing smells more beautiful to a photographer than that distinct aroma of paint. Clear indicator of new new new.

On one particular revisit as the 2095 wound her way on the direct route from St Peter's train station she noticed an artist and from a distance she pulled out this teeny tiny camera and got (well to the 2095'ers mind at least) a pretty good shot.

Confidence for once decided to be on the 2095 chick's side.  Walking up slowly and waiting until said artist was having a bit of a breather (literally), the 2095 struck up a conversation albeit it somewhat hesitantly at the start.

It revolved around folk going up at times, hurling abuse at him "why did you paint over what was there, we HATE it", to which the 2095'er replied "hell if they don't like they don't have to look at it" and from there the conversation flowed.  It wasn't until the end that he looked at me and said "we are actually 'connected' on flickr".

Jaw dropped: see the 2095 might know them by the street names rather than the "real world" names so it is always an incredibly humbling experience (and yes..even now the 2095 is always blown away when an artist walks up and introduces themselves then saying "oh your cap gave you away, everyone knows you wear a black cap") when someone whose work you admire from afar not only takes the time to talk to you but then says they already know you albeit by some form or other of social media!  No words can be found to describe that moment.

The piece below again is not strictly Mays and includes the immediate surrounds but hell, it's the 2095'ers blog....

Recently Mays has become Caroline but in an ever changing world there will always be one constant and for that we as photographers and lovers of art, (streetart, graffiti or whatever you wish to call it) are and will always be forever in your debt

May Lane Flickr Set

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)

5 Questions with Apeseven

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

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

Luck was in!

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

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

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

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

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

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

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

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

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

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

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

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

I find street and gallery work both enjoyable.  

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

What has been your biggest challenge/installation to date

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

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

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

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

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

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

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

To keep up with his goings on simply go here

5 Questions with Akisiew

The 2095'ers first encounter with Akisiew was very early on in the piece.  

Having elected to swallow the fear and in attempt to push the 'safety boundaries' in the quest for street-art, the 2095'er felt it was time to explore a suburb she hadn't been to since working there prior to a now famous stoush occurring at "The Block".

Lovely sunny day, no shadows to hinder a shot, no cars blocking walls, following a group whom the 2095 assumed were going to some tertiary institution to become future whatevers, a feeling of whimsy enveloped: "ahh yes yes, got a teeny bit bladdered at that pub. oh! that place....a great GREAT night to be had I think".

And then for an inexplicable reason the 2095 stopped. Swivelled left and found this extraordinary piece so beautiful, so spellbinding it was more of a revered moment than speedy shot and continue moment.

Confidence brimming with delight to have found such an incredible piece spilling over, the 2095 continued on her merry way, not realising at that stage, she would in fact find more pieces by this particular artist literally the following day (as there are times when if the conditions are perfect, the 2095 will make 3 or 4 trips in one week simply to take advantage of conditions and sate the desire to discover)

Wandering around the back streets of Newtown trying to find another piece (remembering that the 2095'ers internal GPS is constantly in need of repair), becoming completely frustrated both at herself and her inability to find a sign that gave any indication of the street name, it became a case of "I give up!".

Of course having reached that conclusion, what the 2095 then found was a paste up that was so beautifully done with an overwhelming sense of "peace" about it, any former emotional angst evaporated immediately.

Here are my 5 questions with Akisiew

Your work is truly breathtaking and always but always makes the heart skip a beat when found.  How long has art been a part of your life

Shucks!!! I guess art has always been a part of my life.  I've been drawing, writing and making things for as long as I can remember... not necessarily as how you see my art these days, but it has always featured predominantly in one form or another.

When did you make your "debut" to the streets

My first "debut" was about 3 years ago.  I had these seed pods that I had lovingly turned in to people by drawing and colouring over them in fine tip pen and pencils.

I wrote different love messages inside each of them representing the different loves I had experienced in my life.  I rode my bike out to Camperdown Park one Saturday night and tied them with twine to a tree...by morning they had mostly been decapitated. Not quite the reaction I was hoping for but a reaction none the less.

My much more successful attempt soon after was a visual representation of a poem I had written about the dead birds falling from the sky in Arkansas.

I painted it with HazzyBee in Enmore. 

Are your works mainly commission or have there been times when it's a "let's just do it"

There was a time I was doing a heap of paste ups around the Inner West which was definitely a a "let's just do it" kinda thing.

I was running around with a fellow artist (Baiada) and we were throwing up all kinds of colourful things too. But I have been lucky enough to get quite a few commissions too and that's always fun because I'm essentially a bit of a scaredy cat really....

Your collaborations are synonymous with HazzyBee.  do you prefer solo or collab and if so why/why not

I love painting with Hazzy!  Hazzy's my boy.  I think our styles are so dreamy, happy, sad that we don't have over-think anything working together. 

The past year or so I have been doing quite a bit of solo work, but my solo work is more precise and detailed and looks so different when it flows on paper rather than a giant wall.

There's fun in both I guess

What does the future hold for the artist known as Akisiew

Hopefully just a lot more drawing and painting!  I have a solo show coming up at Kinokuniya Book Store's Wedge Gallery at the beginning of August, so my future for the moment has been narrowed down to getting all my work ready for that....you should come!

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My thanks to Akisiew for spending some time with the 2095 and allowing her works to be reproduced for this blog and yes...reckon it just might be that the 2095'er gets to this exhibition

5 Questions with Konsumterra

When the 2095 started her street art hunting expeditions they were initially within the confines of "if i hear a train or a bus I know I can't get too lost!".  It was in one of these initial confines that the 2095'er spotted these somewhat bizarre cartoon'ish type characters.

As the trip progressed I found more and more of these little creatures and some placed in THE most obscure places (of course these were the days prior to street-art-photographer-necessary-whiplash syndrome!)

When the 2095 says "everywhere" it is just that.  It truly was a case of "I mean honestly!  How the hell do these things get put up on literally every street corner from Sydney to Perth!" (as the 2095'er is known to somewhat exaggerate, you will hopefully get the point!)

Fast track to 2011 and the Outpost.  It was where the 2095 was there on one of her numerous visits and as she walked around, she noticed a class on stencilling.  

Standing there, observing quietly, praying with all her might that the dreaded shy-bug didn't kick in, the 2095'er waited til said class was finished, took a deep breath and walked in.  "Hi! We are fb friends".  A somewhat bemused (or confused even) expression greeted me.  

Once my photography ID name was used there was an immediate relaxation between artist and photographer. After a bit of a chat about life the universe and everything, the 2095 continued on her way and the artist went on his.

Through the magic of social media  and the occasional bumping in to one another doing the rounds of the Inner West, a good relationship has been forged and I now introduce you to Konsumterra

From stencils to paste ups to paint.  Do you have a preference or does it simply present itself and you take it from there.

I have other interests too, but I do different styles: some nameless or different names to exaggerate variety.  I've worked with comics, pinup art, photography, collage, poster art, 6 magazines: so lots of methods.

the 2095'er was stoked to have this photo included in a publication 

involving  Konsumterra

Some little pasteups made from misprint zines.  Drawing is just fast and easy.  Every method has its own benefits.  I guess I'm from a culture where everyone did everything.

When did Konsumterra first emerge and are you able to share a little bit of background as to the genesis of you the artist vs you the individual

My brother and friends used to trash ads in the Adelaide Hills and paint them white back in the 1980's.  My friends were mostly 8 years older anarchists, punks, hakers, gamers, comic nerds and uni students as a kid.  I was in to Jenny Holzer, UK hoax art and punk poster.

In the late 1990's stickers went mad and around 2000'ish stencils were a way to make stickers.  I was in a studio of paste artists using collage: it was a good gender balance in this scene.

I started teaching, doing tours and lobbying government and councils, doing art gigs 2-3 times a week as well as DJ'ing.  Because I was starting to get ill, I decided to move to Sydney for something new as I felt Adelaide was in the doldrums with most of my generation gone.

I didn't intend to be an art pro but somehow it happened.  I worked at MAY's, Casula Powerhouse, on councils and more.

At the moment my health issues make it difficult to keep up my art but I don't feel the need to lobby or advise on government policy anymore.

I'm trying to build more non-art interests and friends at the moment because I have really missed hanging with scientists and carny folk.

Some of your works at time can be perceived as quite political (which for some may be slightly confrontational) and thought provoking.  What are the triggers behind some of your pieces.

My work is when at its best, even if not obviously so, the methodology and references often are.

It's better to be funny if you are preaching as it tends to work better.  

The world was already confrontational before I was here.  I think artists fight monsters and try to make monsters lives harder.

Looking pretty is ok too, but pretending it makes you clever and faking that you have "something to say" is a bit silly.  Faking it badly is more harmful than not bothering.

I have a degree in Philosophy so art is my chosen weapon.  I don't need to put names on all my work.  Different names I used have different subjects and styles and materials. Some are bigger sellouts, others only for street and I don't talk about.

I make nice things for kids too: only mildly subversive.

You also teach stencilry. Is there a particular age group you really get a buzz out of teaching and is there a stand out experience you are able to share

Age differences vary accordingly.  The younger are willing to try different stuff, where adult students tend to have a better understanding/idea of what they want and therefore plan bigger and more ambitious works.

I enjoy the challenges of all.  Unfortunately stencilry has been thrashed by schools and do-gooders so hard I think it has made lots of kids see it as an inauthentic art form.

I still teach stencilling because I think it is good to educate people about street-art and its increasing normalisation.

The more who learn about it, less fear it.  Probably acceptance of stencils over more secret society of tagging contributed also.

Sydney isn't a very stencilry kind of place.  Since "Cockortwo" Island fests, I've been teaching drawing and paper/cardboard craft far more.

I've had lots of students win art prizes, even in categories I would not put stencils in, which is pleasing.

I usually use HaHa as a benchmark for new stencillers.

In the contradictory world we live in, where there seems to be some inherent need to put  a label on either a person or lifestyle so that it fits in to a "socially acceptable" box, where do you see the future of streetart

I'm not going to philosophise or worry about street-art anymore: I'm just gonna do it and I don't care if anybody else cares.

My opinions don't matter.  It comes and goes as a popular interest and there are many younger relevant artists out there.

I'm happy if I can create the illusion of more variety on the streets.  Relief art has been around since the Stone Age unlike my opinions (which will never affect anything).

I'm not interested in the street-art star system. 

I like local artists who are driven by something other than career, fame or money

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With thanks as always to Konsumterra for sharing time and some photos with the 2095 and let's catch up sooner rather than later my friend

5 questions with FUKT

It was during one of the first "let's push the boundaries of the known zones" (which in retrospect was pretty pathetic given that it was but a left hand turn off King Street and down a block or two) that the 2095 spied the most amazing wall.

Having not yet mastered the "to hell with it, I don't care if it is trespassing, I need this shot" skill, and still owning a teeny tiny zoom lens camera, the 2095 chick was still impressed with how her first shot turned out.

During further trips afield and having mastered the art of the photographer-whiplash, the 2095 chick at times had trouble containing her excitement at discovering new pieces by this artist.   

It is important to note that the 2095'er (99% of the time) tries very hard NOT to see her fellow street photographer's photos; but there have been times  when the "I surrender" kicked-in necessitating a private message asking for exact locales, if nothing else other than to get a shot of a masterpiece before it got buffed.

The next piece to be found was rainy Saturday afternoon post-work wander around the back streets of Camperdown. Sound the bells, dance with delight!  No cars therefore the 2095 obtained THE perfect shot!

A short bus trip later the 2095 let out an audible "oooooh!", thus causing other passengers to swivel their heads in order to see the subject but to no avail it would appear, as the 2095 alighted and at record speed shot across Broadway to a wall totally covered in stencils.

with thanks to FUKT as the 2095 for once has had 

difficulty locating her photo of this particular wall

Awe, fascination, admiration of subject matter, locations, detail and tag name leads the 2095 sharing her 5 questions with FUKT

Love the tag!  Whether people admit it or not, there are those who are liberal with its use and those (although they may deny it) who will "think" it.  How, where and what was the inspiration behind your street-name.

I seem to use the word a lot when I speak.  The name itself also dissuades the art community from trying to recruit my services etc (parasites!)

Your work can scale the size of a building through to the tiniest stencil that would go almost unnoticed by the bulk of the non-street population.

What provides the stimuli : whether it be words or extraordinary pieces as with "Best We Forget"

Good question.  I sometimes wonder what motivates my work.  When I first started I thought I had to conform to a certain style or path: big stencils & vanilla art.

It's only in the last year I feel that my work is a truthful.  eg: I'm totally cynical, so my work is a reflection of this.

I've always had strong anti-social tendencies and a history of playing the role of Devil's Advocate so when I see a proliferation (at least in my own opinion) of cute and safe street art then I can't help but react and try to do the opposite.

When you see images being posted online by photographers like myself, how does that gel with you as an artists or is it merely a case of "job done...NEXT"

Not quite sure if I qualify as an artist.  I have a backlog of about 30 stencils and another 10 sites to hit, so yes 'NEXT' would be an apt description.

Do you find our two worlds collide (ie: personal family man vs street-artist)

Vary rarely, although it can be a pain when I've been out til late and my son decides to wake at 7:00am every morning, but I usually forgive him since he's so goddamn cute!

What would be one of the more profound reactions to a piece that you have had to date

The best reaction (although may be not so profound) was when some random girl showed me her tits and she found I was the person behind the CB paste up

In terms of profound reactions, I think my own are  the most important. It's a good feeling when you see your artwork being copied in various locations around the world.

It's also amusing to realise I am more renown internationally than within my own country.

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Couldn't ask for anything more than that.  My thanks to FUKT for sharing some time and allowing reproduction of his works in this blog but most of all for keep on keeping on and making us stop, look and think