Opening: David Cragg ‘Future Fauna’ at the Malborough Rooftop – Sydney

From the same team behind The Tate in Glebe, comes a new art project in Sydney. This time, on top of a hotel.

With a focus this time on sculpture, the rooftop of the Malrborough Hotel in Newtown will become host to sporadic art shows featuring exciting bodies of sculptural work from some of Sydney’s finest.

To celebrate the opening, the first show is ‘Future Fauna’ by Sydney based artist David Cragg.

‘Future Fauna’ by David Cragg
Opening: Tuesday 4th June
The Marlborough Rooftop, Newtown

David Cragg




Event: Mike Giant and Joshy D in Sydney for Rebel 8 T-World release

This week Vivid and T-World are hosting two of graffiti and streetwear’s most liked creatives, Mike Giant and Joshy D in Sydney and we couldn’t be more excited.

Mike Giant has a deep history in graffiti and has been exhibiting his unique tattoo/skateboarding influenced work throughout the world for as long as I can remember, and Joshy D has built Rebel 8 into one of the world’s most recognizable and well respected streetwear brands.

If you’re a fan then head down to Good God tonight to see them in person and score some limited edition merch while it lasts.

Rebel 8

Rebel 8

INTERVIEW: Patrick Martinez

Patrick Martinez has been steady walking the path of street life in LA and producing gallery based works that reflect that. I caught up with him briefly to have a chat about all things rap, street violence and shiny lights

This is how it went down at Carbon Festival 2014

MD- So you live in LA what’s that like and how does it affected your work?

PM-  All my inspiration in terms of my artwork is taken from my surroundings and the people in the landscape. Its everything like all the little in-between nooks and cranny’s. All the places you don’t really hear about inspires the work. It could be objects, people, places and the physical landscape I mean its great i love living there. I love travelling but i always look forward to going home and hanging out with friends and family.

MD- So you have a history with graffiti and hip hop. Is that something that you value and think is important within your artistic career?

PM- Yeah the graffiti and rap and hip hop that kinda subculture is, its kind of embedded you know. Its just something i find in my tool box and i use it sometimes because it familiar and its part of me so i take it out and i use it as ammo for  some of the work. I can speak honestly with it because its always been around and i know the  culture, I follow it still and i do listen to other music i do obviously look at other art but its still kinda resonates and its creeps out often in my work.

I don’t physically do graffiti anymore  but i went through that in my early teens and it was kind of where i started. I picked up a spray can before a paint brush, that was kinda strange to me now looking back. Those are some deep roots so i cant deny that and i cant deny the soundtrack to my upbringing with rap music and understanding the hip hop culture and the subcultures and shit.

MD- Yeah in Australia we are so far detached from the world that those cultures were such an external inspiration for us. Its something that if you grew up here you had to really hunt for it if you were into it, was it something that you were always into from the start?

PM- You know its just what everyone was listening too, My brother would be bumping it in his car like spice one, too short and that gangster rap shit and from then i was like submerged. All the kids in my neighbourhood were listening to that you know what i mean. Those guys were older and already driving and so they would pick me up from school and i would be always surrounded by it. Then i got into graffiti and i started getting into other sub genres of rap and that underground shit like freestyle fellowship from Los angeles. I was just trying to get a good range of rap music, it was always around so it made more sense when i started applying it to the graffiti, then i figured about  shit like wild style, style wars and it kinda just clicked but it was a different version on the west coast.

MD- We got that a little bit later, so when we saw it the music was kinda about but the visual side came after it.

PM- Yeah the visuals were different, on the west coast it wasn’t like people were burning on trains and shit they were doing freeways and walls and yards and you know there was a mixture of gang graffiti and like gang culture. A lot of my friends started with graffiti, i started going to yards with them and doing buses and writing and then they became gang members and then ended up in  prison and what ever. I continued on and now some of them are also gallery artists so its a different dynamic i guess.

MD- A lot of your phrases and images are related to LA street life, whats the craziest thing you have witnessed on the streets of LA?

PM- I used to live in Lincoln heights, its the east side of Los Angeles and i had a loft studio and it was off a main street. At like 230 am on a saturday i heard gun shots further back, looked outside and i saw somebody shooting at some else. I don’t know if he shot him but he unloaded the whole clip on somebody or something. I just ducked because i though he was going to start shooting up at my studio but the never did and it was a crazy night. i was so tripped out i couldn’t sleep. wasn’t a good thing.

MD- whoa

PM- yeah

MD- Alright on a lighter note, where did the use of neon light start as an outlet, why do you think its important?

PM- I’m not trying to use it as an aesthetic to grab people attention, I use it more as a concept of like being inspired by Los Angeles as a whole, and the objects in its city. The signs already exist in the east side of Los Angeles. Divorces, Income Tax, Open, Closed those types of neon’s that already exist, I took that format and i’m remixing it to where i’m connecting with people with messages and phrases in that format. thats where the concept kinda originated from, you know the weird thing about Los Angeles is that in the day time its so congested and the afternoon there is so much traffic and the night time is so dead and desolate you can get anywhere in like 15 minutes. So night times real still and those are when the neons start shinning and that was the inspiration, driving around and seeing them. they are almost like dialogue like someone trying to speak, so i took that and remixed it and i been doing it since 2008 just putting out different phrases and trying to connect with people.

MD- yeah run me through that, how do you come up with the phrasing that your going to use?

PM- The first one was “selling out is the new keeping it real” and that was like just something i said  and it just kinda came from the gut. If you were in the 70’s or 80’s and you had a collaboration with nike you would be a sell out but now its like “oh thats the shit, oh your doing a collaboration with somebody thats dope”. Especially a corporate brand its not looked down on as  a bad thing now its a positive thing. A lot of my artist friends are doing that and i never judged it. I just said thats just where we are at. These brands and the people that are working for them are understanding what the arts about and just kinda wanting to work with different artists in certain situations.

Its was just a phrase i kept on saying so i decided to put it neon, just direct. That’s how it is, its just something when me and my friends are talking shit and you find that there is something with guts to it and your like fuck that hits the chest and rips your guts out or it makes you think a little bit. you gotta investigate it. so i put it together, let it sit for a couple weeks and if it keeps resonating with me i will use it and put it out.

MD-Your paintings are detailed and well executed. How do you feel about creating your neon work compared to your paintings?

PM- I work with a lady in Los Angeles and we kind of create it together, i design it and if theres a painting involved i have to sit with her and kind of run through it and help her with the process and bends and stuff like that.

Its kind of like a two part process i have my studio and she has her place of business and i’m always back and forth. I’m there sitting with her doing the design and drawing it out and making sure its right because were they are coming from is like there just hammering out neon signs for businesses, there not use to anything different even though i’ve been working with them for years. 

The reason i started doing it is i wanted it raw and direct. I want that neon to be just popping onto my artwork, its not about finessing it so much or making it look likes its finessed it needs to be more direct like you just ripped it out of the f#ckin front window of a shop and you just f#cking threw it on top. its not about “oh that looks great and that looks beautiful”  its like damn what the fuck is that? is that an advertisement or is that a sign or something. they work really well with me and they are were i want to be in terms of the aesthetic of the pieces im turning out.

MD- so we are called the opening hours  and we ask this to everyone, what is your favourite hour of the day?

PM-  I would have to say right now its the night time like i like to go out when its about to hit sunset. ill go for a hike and kind of hang out and watch the sun go down until the night. Go home shower up and and attack the night. go to the studio or go out with friends.

Opening: Will Coles and ELK duo show at Art Equity – Sydney

Two of Australia’s favourite street and stencil artists Will Coles and ELK are combining their work together for a duo show at Sydney’s Art Equity this week, for a show titled ‘Into the Void’.

“Into the Void is an important exhibition in the history of the movement in this country. It brings together the two greatest contemporary exponents of their respective genres, Will Coles and Luke Cornish (E.L.K). Coles’ street sculptures and Cornish’s stencils morph from the street to the gallery launching us into the future of art and culture. The artists are technically exceptional, brilliantly irreverent yet intelligent in their contemporary commentary. This is work that draws on the past to reinvent the future.”

“Into the Void” by Will Coles and ELK
Opening: Thursday 29th May
Art Equity

Will Coles ELK

Event: Graphic Contents: A Night of Comics, Zines and Visual Oddities – Melbourne

Something a bit different for our Victorian readers, ‘Graphic Contents’ is an event that is part of the Emerging Writers Festival that bring together artists, animators and storytellers for a unique multimedia event.

“Graphic Contents will be a night for projecting, looking and dancing. This performative celebration of all things comics, zines and visual art, will include the wicked work of Simon Hanselmann, Katie Parrish, Ivan Dixon and more”

Check out the EWF website for more info.

Graphic Contents

Opening: The Hours presents ‘Stockroom’ – a group show

We are proud to announce ‘Stockroom’. A group show featuring some of Australia’s finest young artists

Over the years, The Hours (Beastman, Marty Routledge & Numskull) have produced a number of widely acclaimed art events & exhibitions around Australia and have worked with some of the most recognised young artists in a variety of different genres.

To celebrate these ties, The Hours presents ‘Stockroom’. A large group show featuring a host of artists that have either worked with us before, are working with us now, or are someone we’d like to work with in the future. A mix of connections between the artist and us, as purveyors of modern art, we believe this to be a perfect insight into “if we were to own a stockroom, this is who it would be filled with”.


EMAIL for press info
EMAIL for a catalogue

“Stockroom” group show
Opening: Wednesday 4th June
The Tate Gallery – Sydney

the hours

Opening: R Maurice and Horfee ‘Pathetic Bubble’ at China Heights – Sydney

French artists Horfee and Russell Maurice are currently in Sydney where they will be opening their duo show titled ‘Pathetic Bubble’ at China Heights, this Friday night.

Horfee is known the world over for his loose, quick and unique style of graffiti, and Russell Maurice is known for his juxtaposition style of abstract comic drawings. Both of which encapsulate and project a metropolis or world of their own.

Check out Horfee’s work here and Russell’s here.

‘Pathetic Bubble’ by Horfee and Russell Maurice
Opening: Friday 23rd May
China Heights


On the outside with @nemans

Here’s the latest round up of recent walls and laneways in Sydney. Today’s gallery of photo’s include Mike Watt, Fintan Magee, Grizzle, Peque, Pudl, Sid Tapia, Nico, Ox, Phibs, Amuse, Will Coles, Lister and more. Click below for more photos. 
, I Love the Inner West,

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