As I entered Paynes Place I could hear women’s voices and the familiar sound of an aerosol spray-can being shaken. Paynes Place off Little Bourke Street in Chinatown is opposite an empty lot with a massive mural. You turn a corner and at the end Paynes Place is Croft Alley. The laneway off is an attractive and discreet location, covered in graffiti and street art with a bar at the far end.
Around the corner in Paynes Place there were about five young Moslem women sitting around on the ground smoking cigarettes (one was lucky enough to have a milk crate to sit on).
Around the next corner, into Croft Alley, there was a thirty-something Asian guy with half a dozen cans of quality aerosol paint sitting beside his backpack. He had just started spraying a couple of lines of an outline for his piece. (I am commenting on people’s age, ethnicity and religion because I want to emphasise the diversity.)
“Keep on painting.” I said as I passed him in the narrow lane.
I looked around at the work in the lane, looking at the mix of old and new work. The area was comprehensively painted in the Croft Alley Project in 2009. (See my original post.) High up on the walls there is a layer of old work from 2009 but the rest is all fresh and new. There are more paste-ups by Mr Dimples, recently I’ve been seeing his cute monster paste-ups in many places around the city.
As I was making my way back past the graff writer with the can. A red and blond haired “working family” (as Kevin Rudd use to endlessly repeat) from the outer suburbs came around the corner into the lane. Cool parents to know about Croft Alley and show their kids some quality graffiti.
I write about the graffiti and street art because it is remarkable to have a mass visual art movement. It is a cultural shift for so many people to be involved in a locally produced cultural activity, that doesn’t involve gambling and that isn’t advertised. It is a cultural shift for kids to be interested in an adult visual culture that (unlike cinema and tv) is local, progressive and they can participate in.
It is the way that it creates a place that people want to visit out of a service lane; “placemaking” as the architects and urban planners call it. And the anarchic, egotistic altruism of this unauthorised placemaking; the individual empowerment to make their mark on the urban environment, both in collaboration and in competition with others.
It is this cultural vibrancy that interests me far more than the popularity of any of its artists and writers, how much some rich fool might pay for the work of some popular artist, or even, the aesthetics or meaning of any of the work in the lane.