Phibs and Reka collaboration.
Very few artists have had the kind of influence on the artistic community and demand the kind of respect that today’s LTRHDS interview artist does.
Phib’s is the centre of Australia’s graffiti and street art scene, a living legend whose technique is so perfected that it’s more often than not mistaken for masking or stencils and whose tutelage has led to the development of an entire generation of Australian artists including the Meggs and Reka..
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Your work contains traces of ancient Aztec and Mayan art. What is it about these ancient civilizations that captured your imagination?
Aztec and Mayan work have been a particular interest to me, but I would say that all multicultural art in general is a constant inspiration.
I relate to the link with the natural world and mythology. I use a lot of symbols in my own work in much the same way as Mayan hieroglyphs. I like the idea that each viewer has a completely different take on what an image or symbol could represent. Curls are commonly used in my designs and could be interpreted as a lifeline or the perfection of nature, like in a shell.
I like to work, and want my own work to stimulate the imagination and make people think.
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Over the years you have developed a remarkably precise aerosol technique. Do you ever cut loose and experiment with a more raw and unrefined style?
I have tried very hard to develop a unique style that I could call my own and would stand out from the rest of the generic piece styles that you see around.
I think it is a lot easier for painters these days to achieve clean work with the huge range of quality paints and nozzles accessible.
In the last couple of years I have been getting bored with my usual way of painting, using flat colour and cut-back clean line work, and have wanted to work more freely with paint… fading the colours to give a more three-dimensional look.
It has been quite hard to break away and feel confident when trying something new. You almost need to switch off everything you have learnt and reprogram yourself.
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You have produced both giant walls and smaller more intimately sized works. At what scale do you think your work translates best? What would be your perfect canvas?
I don’t think I have a perfect size. I would like to do a lot more large scale canvasses, but they end up being harder to sell and hard to store, so I tend to paint things around one meter x one meter and smaller.
Community seems like a fundamentally important part of your whole ethic. Do you ever feel that there’s too great an emphasis on competition in the art world, particularly where graffiti is concerned? Do you believe camaraderie enriches your work, or is introspected isolation part and parcel of being a ‘true’ artist?
Community is a very important part of the way I work ever since being in Melbourne and a part of the Everfresh studio.
I think we all bounce ideas of each other, feed off each other’s productivity and motivate each other to keep active on the street as well as in the studio. I have in the past and still do at times work by myself in my own space, but I do enjoy the energy that comes from being in a team, especially on big projects whether painting a wall or setting up a show.
I try not to get too tied up in the competitive side of the art world and I want to keep what I do fun and enjoyable. I know I could have pushed my work a lot more if I wanted too, but overall I am happy with what I have managed to achieve up until now and I have been able to support a child, dog and myself financially.
The graff world is all about competition and always will be. If you want the fame you have to be on top of your game, and be constantly getting your work out there.
I think a bit of pressure is a good thing no matter what your profession is, and it usually forces you to do something out of the ordinary.
Phibs and Reka collaboration, ACDC lane Melbourne 2009.