There was an earlier phase of mural painting in Melbourne before the current aerosol art. Influenced by the Mexican muralists rather than any hip hop elements. They took a far more social, historical, and educational approach. One of the most important of these is the 44.27 metres long Northcote Koori Mural (aka the Aboriginal Mural, the St Georges Road Mural).
Designed by Megan Evans in 1985 with an additional three metres designed by Gary Saunders in 2013, to bring its history of Indigenous Australia up to date. The mural now faces St Georges Road in Thornbury, backing onto the Sir Douglas Nicholls Sporting Complex. It was initially on a wall opposite the Northcote Town Hall on High Street it was and moved to its current location in 1992. In 2013 it was dismantled and replaced with a refreshed, digital version, printed on vinyl.
Painted by Megan Evans, Ray Thomas (Gunnai/Barlijan), Ian Johnson, Millie Yarran (Noongar), Les Griggs (Gunditjmara/Kerup Marra), Elaine Trott and along with Aboriginal, African and European volunteers. Megan Evans would work with several of these artists again on other public art projects. She worked with Ray Thomas on Another View Walking Trail for the City of Melbourne in 1995. Later Ray Thomas painted the Northcote Civic Square Mural and was one of the artists who carved a pole for Scar – A Stolen Vision in Enterprise Park along the Yarra River.
For three years, Evans was painting a mural a year in the Northcote area. These murals are based on research, interviews, and consultation with local people that she undertook before starting the design. In 1986 Evans and Eve Glenn completed the Women’s Mural: Bomboniere to Barbed Wire on the wall Gas & Fuel Office on Smith Street, Fitzroy. Capped by the notorious graffiti writer Nost in 2016, the wall was demolished in 2019. The mural can still be viewed as a digital version online. And, in 1987 Evans painted Northcote Youth Mural, with Les Griggs and Marina Baker.
All of Evans original murals are gone due to land sales and building demolitions. Darebin Council has opted for digital preservation for all of these murals. For more on preserving and conserving murals, see my post on the conservation of street art.
Melbourne street artist Dvate works in two styles: one is good and the other tasteless. I prefer Dvate’s dynamic graffiti to his tame aerosol paintings of native fauna that have gone up around Moreland.
Look at Dvate’s graffiti pieces: the calligraphy of the letterforms, the super clean lines (no drips), and an eye-popping palette of colours. There is so much more energy and other unique qualities to them than his sentimental representational work. In some graffiti pieces, he uses mortar fillers to build up sections of the wall to lift the parts of his letters off the surface of the walls, for example in this piece in Rutledge Lane that was part of “All Your Walls” in 2013.
His kitsch works of sentimentalism are the contemporary equivalent of chocolate-box paintings, aesthetic garbage sold to a population that hasn’t thought about taste. Dvate has been doing graffiti and tags around Melbourne for decades, but he probably makes more money from his tasteless murals.
According to a Moreland Council tweet, they are: “reducing graffiti in #Moreland by commissioning #murals in areas with high tagging rates. Street artist Dvate has installed these stunning native Australian murals in Coburg, and 3 more murals are due to go up once Covid-19 restrictions ease.”
The strategy of reducing graffiti by commissioning murals is not new. It is the standard strategy and is one of the reasons why I dislike murals (for more reasons read my blog post Anti-Muralism). It assumes that graffiti and tags are less desirable than other images based on popular prejudices rather than any evidence.
If Moreland Council wants public art, then they should commission public art, if they want to reduce tagging, then they should hire cops or some other law enforcement device, and they should not confuse the two.
I had low expectations of the city’s first official street art precinct and they were met. The ‘official precinct’ was launched in December 2017. It is just a couple of murals by Adnate, Dvate, Fintan Magee, Rone and Sofles on walls in Lt. Bourke Street before it ends at Spencer Street. Several big heads and a big orange belly parrot.
Most murals in Melbourne serve the interests of property developers or local city councils; similar interests anyway. The realistic images are sentimental, superficial and a distraction from what is happening around the large wall. Murals are anti-graffiti, anti-street art management strategy… but enough about murals (or if you want to read more).
I am look for something else on the streets, something smaller. (The smallest piece perhaps…)
perhaps Sunfigo’s work
I find a stencil; perhaps, given the geometric lines in the body of scorpion, it is by Sunfigo. A cartoon face by Twobe and one by the internationally renown artist Lister, who blurs the rough line between contemporary art and street art.
An excellent piece and installation by Lov3 in Collingwood. Up-cycling three discarded mattress and using the quilting pattern as snake scales.
In Flinders Court I saw a recent piece by local Melbourne artist, Silk Roy. Silk Roy loves painting. Sure many artists love to paint, often painting the same thing over and over again, in that they enjoy that experience. However, Silk Roy’s art shows more than just enjoyment like the conservative mural painters but artistic risk taking, changing and developing. This is graffiti aware of contemporary painting. (Read an interview with Silk Roy on Invurt.) Silk Roy does paint big walls but I doubt that he will be painting a multi-story mural any time soon and that, for me, is a relief.