We had the privilege of working on this kick arse job with Amigo and Amigo thanks to We are The Gallery.
The concept was to combine food and fashion and create some amazing sculptures for level 2 broadway shopping centre.
Check out the pics below and the video for more details into the process.
Gehan Magee has been working in the shadows creating some really lovely type work - we were keen to hear about more about his process
Chulo: Can you let me know a bit about your process and what makes you tick?
Gehan: I dont really have a process to be honest. I need music and solitude for sure - i do a lot of my work late at night when there is no distractions. My ticker is progress and just a general love for doing what I love. Obviously I want to be the best I can be too but that’s not so much the drive. If I make progress everyday then eventually that will come. Be that in Digital design, UX or Typography. Success is subjective so if I feel like I’ve made progress in a certain area or I achieved a goal I set…then I feel good. There’s been many a late nights/early mornings working on projects or trying to get a pen stroke right so it definitely feels good once you get there.
Chulo: Whats your first memory of being creative?
Gehan: Drawing on the money envelopes at church on a Sunday haha. I remember that was the only way i would stay quiet so my parents would give me a pencil and the envelope and i would just scribble and draw on them for the duration of the mass. That and trying to be better than my sister at being able to draw - Sibling rivalry served me well.
Chulo: Have you considered other career paths and what were they?
Gehan: Well im actually a Digital/UX designer by day. Thats what ive always enjoyed doing for a career but they say what you do when you procrastinate is what you should pursue...so thats what im doing with my lettering. Other than that i considered being a professional football (soccer) player...but it turns out im pretty shit. I still play casually at nights though.
Chulo: Who is your favourite artist and why?
Gehan: Alex Trochut. His approach to his art is inspiring and something that i find myself incorporating into my own work since the beginning. His experimentation, his beliefs, mixing styles and genres and drawing from different cultures like hip hop, pop, street, fashion and music but most of all he has his own unique style that works for him and that he created himself and made a name for himself with.
Chulo: What is it about type that keeps you inspired?
Gehan: Everything! I was always fascinated with letterforms, graffiti and handwriting, the rawness and how everyone has their own unique style, whether they are conscious of it or not. The way letters are formed, to the way you can manipulate them to the point where they dont actually look like letters anymore. Experimenting with different styles, techniques and tools to get textures or lack of. Traditional calligraphy to wildstyle graffiti - theres no shortage of inspiration in this field so possibilities and exploration is endless.
Chulo: Words of advice for emerging creatives?
Gehan: Practice makes progress.
Chulo: What are your top tips to keep the creative juices flowing?
Gehan: Don't always do the same shit. For me, routine is an inspiration killer. Even the smallest change in your daily life like...get on a different train carriage on the way to work or...do things in a different order every day. whatever! Oh and travel...thats something i need to do more of too.
"This lady I see as a guardian and gate keeper. She lives in the ocean looking out for her aquatic friends, guiding and feeding them. She acts as a mother figure in her little corner of ocean.
I discovered this fishy lady by wanting a feeling of calm and quiet. She acted as a vessel of escapism, almost like an alter ego of wanting and needing to relax. I wanted to create a character that felt synonymous with her surroundings and an equal to her environment.
I initially sketched out this design on the iPad Pro, a new tool I had invested in, and the lucidity of drawing through that medium had a strong flow that was natural, so the medium had a great influence of the light natured feeling of this piece. "
credit Bill Hope
We already know that art in the work place not only boosts morale but it can also help with productivity, creativity and also distinguish your business to your clients from others.
Have you have been pondering whether you’re lobby, office, restaurant or bar is in need of new look? The government is giving small business the reason to reimagine there work spaces.
Your business has to have a turn over under 2 million a year to be eligible under the governments 2015 budget for a tax deduction for art ***available to small business until the 30th June 2017.
To be eligible there are a few requirements that must be met in order for the art work to be considered;
Hurry and chat with your accountant to see how this scheme will benefit you!
Contact us before July 30.
Landscape of the Mind is a research-derived art installation which explores deeply personal experiences of anxiety through body map drawings which chart emotions and physical sensations that may be difficult to express verbally.
“We’re using body mapping to explore the experience of anxiety and the ubiquitousness of anxiety in our society. It allows people to voice their experience in a way that is less stigmatising.”
Dr Katherine Boydell, Professor of Mental Health at Black Dog Institute”
Much like totems that contain symbols with different meanings, body-mapping and its significance can only be understood in relation to the creator’s overall story and experience.
Curator Natalie Robinson is passionate about using art to raise awareness about mental health. With a background in digital media, she is excited to be part of an age where mediums collide and the lines are blurred between new technology and traditional media.
26 May - 17 Jun 18:00 - 23:00 LOCATION Campbell's Cove Sydney, NSW
Tara creates hyper real portraits that make you look twice - she shared with us some process GIFs to reveal the magic behind her style.
Enjoy checking them out below.
Tara says: I started my Cooper piece as an exercise to loosen up my painting style and try for a more textured/traditional feel. I love experimenting with new brushes (and also love Twin Peaks!), so this painting was a lot of fun and it unfurled pretty naturally.
Tara says: This recent artwork was also an exercise to loosen up my painting technique. Often with client briefs, my work can get really tight. It's nice to sometimes let loose and allow myself to be intuitive while I paint.
Dale has been kicking it in the illustration scene for years - we are stoked to have him on board with Chulo Creative and had a bit of fun getting to know him with a little Q&A...check it out below.
What projects have you been working on lately?
Lately I have been working pretty close with my friends at Harley Heaven. doing all cool works Harley Davidson related, both live art and digital illustrations. Which has been really awesome. I also have been working on constant Shock Mansion illustrations and designs, super fun and super diverse work experience.
Tell us about your process from start to finish - is there anything odd or different about the way you work?
My process begins pretty much like every other creative, I sit and dream a little of all the awesome things im going to do then I actually sit down and start doing my research and development process. After that i move to some really rough layout concepts and design ideas. After my clients review the sketches and approve a direction i move to refined art to give them an idea about the levels of details and what to expect in final art. The next stage is basically zoning out for as many hours as it takes and producing amazing art for my client. Theres nothing odd in my process, except that I always listen too hardcore punk music to zone out, so its pretty loud and not at all a chilled vibe to outsiders haha.
What time of day do you prefer to work?
I prefer anytime that works but my balance usually sees me leaning more to nightshift. Its kinda cool because I can do the dad thing until the kids fall asleep, then i can put in as much hours as i need to
Do you have any childhood memories of drawing and getting into illustration?
My father used to draw and i remember vividly watching him night after night draw until i slept. So theres no denying that my father was a driving force into where i am today. Stoked to be from a family that loves and lives art. I just always remember saying, “one day, I want to be as good as dad” The chase is still red hot! He is a gun! I think im coming close though!
Do you have a favourite job you can tell us about?
My fav job to date is very hard to say, I think one of my proudest was the MR BLACK coffee liqueur design i did for their bottle. We ended up winning The Dieline awards back in 2014 which was rad, we even beat the likes of Absolute. Was nice and rewarding to be apart of a start up project that would see such an amazing result for all involved.
Tell us about your relationship with colour.
Colour and Dale, the most asked question of my career, ha! Look, Colour to me can’t just be thrown around, its a well thought out process and when done right is absolutley amazing. I think for me, Ive just been attracted to the skill involved in making the black and white art works stand out as much as a colour piece. I feel like its a challenge never won, but a challenge worth having! I’ve made it this far without relying on my bold colours or super busy backgrounds and what not. So i guess the theory of don’t fix it if it aint broke lives on in my world :)
Tell us about what collaboration means to you with organisations like Wacom and what it means to collaborate with organisations?
Collaborations are super important, as fun as they can be to reach out to your fav artist and do a sick piece and sell prints, theres something special about joining forces with notable organisations. Ive been working with Wacom over the last few years and we have a great relationship that sees me create cool content / designs for them time to time, our social reaches help each other, I feel like organisation connections can send an artist to a new level. In this day and age more and more of us are connecting with big companies to produce artwork we love and have been doing since the start, instead of the pain staking process of meeting a badly written brief that results in me drawing a multicoloured puppy dog! ( ps if any big companies want a multicoloured puppy dog, get at me! )
Guide Dogs Australia in celebration of its 60th Birthday commissioned Sydney based Artist Bill Hope to create an illustrated canvas for this Tram in Melbourne.
Art Director Chrissy Waller with Agency Mccann Sydney approached Bill Hope knowing he would have that special something to bring this job to life.
Bill says "So this has to be one of the most exciting briefs I've had come down the phone. It's a great client, an exciting new canvas to work on and work days filled with scribbling around puppies."
With the launch of Hawkes Brewing on Anzac Day. We talk to chulo creative illustrator Kevin O'Donnel and David Gibson the founder about what it all means to them.
How did you choose the illustration style for the logo?
We wanted a style that was fit for an ex-prime minster. Something timeless that lived up to Bob's Iconic status and our chosen style was the perfect mix of that.
With so many Australian icons, how did you manage to chose Bob? and not Warny or Merv?
Bob was chosen because is by far the greatest leader Australia has ever seen and is a true man of the people. He transcends politics and generations and holds the right values that our company lives by. He was the perfect person to represent our core value of giving back after being responsible for helping make Landcare a national movement in the 1980s. There would be no one better to represent the face of our brand.
Whats next for Hawkes brewing?
Hawke's Brewing will continue to focus on creating great tasting beer as we will be looking to introduce new product variants and at the same time focus on our amazing partnership with Landcare Australia.
How does it feel to be asked to draw one of Australia's most iconic legends/politicians of our time?
I regard doing an illustration of Bob Hawke as a privilege. He is such an icon of Australian politics. I remember when he was head of the ACTU in the 70s, solving intractable union strikes. He had a brilliant raised eyebrow and gravel delivery when asked a question. It’s this character that I’ve tried to capture.
The artwork looks somewhat hand crafted, are you able to tell me a little about your process and why you did it in that style?
I’ve used hand drawn line work with a woodcut, etching feel to it similar to that of some bank notes as once it’s vectorised it can be reproduced at any size and retains it’s detail and shading. It’s an old fashioned technique but works well on portraits of renowned people.
What is it in your mural work that is truly you? - something about the the subject matter, process or thinking that speaks to your personality or story!
My mural pieces tend to echo the work that I am creating in other areas of my art making. Often laced with nostalgia, a cocktail of upbeat appearance and melancholy undertones. In my large scale pieces I like to celebrate negative space. I like how the unpainted areas around marks that I make are no longer just unpainted parts of a wall, instead they become a deliberate and important piece in the work.
What's something not a lot of people know about you?
I can sleep on demand. I don’t mean to say that I’m really into sleeping, because I could take it or leave it, it’s just something I can do. Narcolepsy for life ya’ll! Oh and I don’t really sneeze… I hold them in so that my brain explodes a bit every time. I figure that cant be a good thing, but unfortunately it is a thing and it probably explains a lot.
Would you say your work has a consistent tone or message?
Like most artists my work is always evolving and shifting in some way. That said I would say that juxtapositions of themes and imagery are quite a constant in my work to date. So for example you might find an image or text illustrating something a little dark or morose that will be positioned alongside soft pastel colours and representations of things that are perceived as pretty or feminine. I like that relationship and how it levels things out and sheds new light on old perceptions.
Why do you think art in public space is important to a community?
I believe that public art is powerful and important. It brings colour, interest, thought, opinion, escape, joy, variety and storytelling to a community. I think it is a gift from the hands of it’s creator which has the power to touch and enrich people, even if they aren't quite aware that it has done so.
Tell us about any recent projects you have been involved with that you would be keen to do more of.
I have been working collaboratively with some great creative brands and companies for the last little while. Some of these relationships are ongoing such as my work with Mambo and McTavish Surfboards. I really love working with both of these brands and am excited for what we can create together in the year ahead.
I have also been working on some fun large pieces, murals and interiors projects which I really enjoy and it would be great to explore more of this. I have a strong interest in interior spaces and vintage furniture and design and how art can relate and speak to all of these things. I hope to work on more projects which allow me to explore this further.
What is it in your mural work that is truly you?
I have an all encompassing view in most of my mural work … one that embraces a full healthy colour spectrum and subject matter that both simultaneously embraces light and dark to make the simple things all the more beautiful.
What's something not a lot of people know about you?
That I am a Medical Imaging Scientist, with close to 20 yrs experience in medicine.
Would you say your work has a consistent tone or message?
From a view point of faith and hope most of my murals deal with natures ability to heal itself and overcome pressures placed upon it.
Why do you think art in public space is important to a community?
Art in public space is extremely important now more than ever. It represents a challenge to the ever growing commodification of human existence, it gives the public a unique point of view and sets up an ongoing dialogue in the observers mind about what the definition of public spaces should be.
In the last couple of years I have been travelling to the USA to paint murals all over Portland,Oregon. The feedback and appreciation has been immense from the whole cross section of the community. I would definitely be up for more of that in any city or town anywhere in the world.
We asked Cheeky Observer if her work has a consistent tone or message?
This has been a big focus of mine for the last 12 months; I’ve spent a lot of time meditating on what it is that I want to communicate through my work. Conceptually, I’m playing more and more with the idea of cultural consciousness, particularly in my less ‘commercial’ pieces - I want my creative output to be the kind that makes people feel something, inspires them to think differently, to see and act consciously.
I want my work to be a force for good.
Art in Public space is important to a community because it offers up a world view, or story of someone without political motive. Made by the people, for the people.
Also, I find that our world in its current state is over-saturated with digitally polished and pixel perfect, and there is a growing need for handcrafted, raw, visceral creativity to put people back in touch with themselves.
The last few months of 2016 were jam packed with a lot of large scale murals for me.
The most rewarding commission was one I did in Cape Town - my client wanted a piece reflective of South African culture, which was a challenge, as the nation’s history is quite sticky. I drew inspiration from the faces of the native people, the Afrikaans language, and the current drive and imperative so many of the people carry with them - to try and bring about social change through creative means.
Looking towards the future. I would love to work more on large scale pieces with a purpose. Those with an agenda to better the world, through sustainability, awareness, or the general distribution of positive vibes.
Mike Watt shared some words on creativity and public art...check it out!
What is it in your mural work that is truly you? - something about the the subject matter, process or thinking that speaks to your personality or story!
I think it's when I have complete freedom and am able to find work that best suits the space. The subject matter will normally be my characters but if it's the right space and I think a city scape or something different would work well, I feel like it will still be truly mine even though it might be something quite different than I would normally paint.
Something a lot of people don't know about Mike? My feet are pretty messed up, they're always covered with cuts and bruises. I'm really clumsy so I'm constantly kicking things on the ground and half falling over. I've got to remind myself to be extra careful when i'm painting up a ladder.
I'm not sure if my work has much of a message but my personal work normally revolves around characters, I try to get some story in there even if it's just in their faces.
I think public art makes people happy, it stops them looking at their phones for a minute and gets them looking at something in front of them which can also create interaction with other people around them. I don't understand why anyone would choose a blank wall over a mural, it created happier, brighter places.
I try to put a bit of myself in every installation I do so it keeps it relevant and challenging for me and allows a deeper connection with my work. I’ve always had this fascination (or struggle) with the balance between structure and freedom, which is a theme that continually reoccurs with my work. This can be looking at the balance between development and nature, or tighter and looser forms but that contrast and balance is always there for me and it’s an interesting ongoing conversation.
Something not a lot of people know about me is that I’ve had many unique jobs. I was a fishmonger once and I was a tour guide for a long time, drove a party bus for a bit as well as tearing it up as a wedding DJ and MC. I’ve got some classic stories about all them meeting some really interesting crew.
Balance or contrast between structure and freedom is always present in my work. I think there’s a real west coast influence in what I do too. I love the coast, east or west but there’s something about the west that draws me and I feel the same when I’m in the states or overseas anywhere - maybe it’s something to do with a bit more space over here or the sun setting over the ocean, but I think it definitely drives a consistent tone in my work. I’m really influenced by the coast and the outdoors and anything hand crafted so I’m always chasing this authentic nostalgic feeling in my work which I think comes back to west coast summers, warmth and surf.
Why do you think art in public space is important to a community?
Art in public space has massive potential as an artform to comment on and transform a community. Above everything, it opens a conversation and can often put everyone on a level playing field as every opinion or response is valid. I always encourage that dialogue when I’m installing, to get a sense of the community and see what people think - good or bad. If it’s bad, at least we’re now having a conversation about art and I always ask them to explain why they do or don’t like it to go a bit deeper. It’s also just fun to see art in unexpected places and on a large scale, which can really uplift a space.
I’m working on a few major installs over here, integrating a lot more sculptural work and animated lighting - searching for new mediums to create engaging works. I’m working on a large install for a new stadium here that’s the biggest install to date combining painted surfaces with sound and lighting treatments which will be really interesting when it’s installed later this year. I’m always up for projects that push me creatively and take me out of my comfort zone and currently that means trying out new media and collaborating with other artists to boost the outcome. I’ve been working on a few office fitouts which has been great, collaborating with furniture designers and lighting suppliers to create overall schemes to transform a space. I also really enjoy working on hospitality fit-outs - bringing a bar or cafe to life with a few touches or a feature piece. The passion at the ground level of a launch for a bar or cafe is really nice to be a part of.
If you are interested in having a wall painted get in touch with us below.
to describe myself, would be where I start being site specific and working with the elements, subject that surrounds me in that moment. My colour palette is black/white and gold, and as a base I love working with those for boldness and reactions of light on gold, rare as it is I might introduce a colour palette if needed and communicates with the site. My process is bringing still-life to life with movement, to create a talking point and question, or even to sit back and enjoy the elements within the work.
I got kicked out of my kids art class when I was 7 or 8 because I was bored and couldn't comprehend why the other kids couldn't complete the tasks needless say I was well frustrated, I was placed in the adult life drawing class and fit in. A little nod to my work being site specific I guess.
I always keep to a body of work and stay with that until it's time to evolve, my canvas process and larger mural works are always connected as they're an extension of one another. As for the message, they adapt to the space though may be a hidden message in there for the viewer to find.
Public Art purely serves to evoke emotion, communication and thought. If placed in the right location it will reaffirm the message the artist or curator is wanting to convey.
My latest personal body of work is the production of still life's, bringing a stripped colour palette and my line work to a new level if being on their own or as a collage of elements to tell a story or draw attention to somewhat meaningless elements mixed with meaning elements to the foreground.
Commercially I'm working tightly with Bacardi, more specifically 42below to create a sustainable brand for 2020, everything we create from the bottle to the byproduct, t-shirts, cups and even painting bars to tell the story of what a cheeky yet thoughtful brand can do.
I love the beach and summer and this comes through a bit in my paintings especially when I am painting characters which are mostly always wearing sunglasses and looking like summer creatures. I like to paint beards as well because beards are magical, I've been growing my own one for a few years now and people often ask if my characters are a self portrait and I think that they all are to some degree. Before I was doing art for a job I was working in a finance job and I think a lot of the things I paint now are the complete opposite to that, lots of bright colours and rad characters just having a good time which is what wasn't happening in my office job.
We asked Mulga what is something a lot of people don't know about him - "I've never had a drink of grog in my life." Cheers to that!
The consistent message in my work is mostly about being fun and not taking things too seriously and being childlike at heart. I want to make rad pictures that make people smile or that brighten up their day.
Public art is hugely important to the community because it adds a lot of character and interest to a neighbourhood. It can make ugly areas into beautiful areas. What could be a plain boring grey wall can be one of colour and vibrancy brightening up the place making everyone happy. It's like the makeup for a neighbourhood.
I recently worked with Slurpee and Coca Cola and that was really cool because it was a way for me to get my art out in front of a lot more eyeballs than normal. The highlight of my career was being able to do some art for the Coca Cola billboard in Kings Cross. It was up for the month of December last year and it was pretty crazy. Both those projects where really cool because I was able to see my art animated and that is something that I would be super keen to see more of. If you are an animator and reading this get in touch for sweet collabs!
If you are interested in having a wall painted get in touch with us below.
Julia Rich AKA Zeke's Lunchbox shared with us some insight into her creative process and what makes her tick.
I used to live in Laos as a child for three years. I think the culture, art and fauna have influenced me greatly.
I think micro details is kind of my specialty so having a larger scale means I can get really in there and focus on those tiny details I love so much. Being able to just spread some colour into the world is also quintessentially me.
I think the overall tone has always been subverting what we consider attractive, sexy and/or cute. The future message I'd like to bring to the world is just pure joy, wonder and escapism. The idea of bringing that to people gets me really excited!
Art in public spaces creates unified discussion. All having a common ground and jumping off point brings strangers together, irregardless of whether the talk is positive or negative.
I was recently asked to make a original artwork for a marketing agency called Wild Minded. We came up with a night scape filled with texture, plants and insects. This artwork was later printed into greeting cards for the business and it's been one of my favourite commercial projects because I didn't have to compromise my aesthetic too much. Any collaboration where my work is taken to a practical form is always exciting and something I'd definitely love to do more of in the future.
Check out the vid below - an interview with Zeke's Lunchbox
Are you interested in commissioning a mural by Zeke's Lunchbox? Fill out the form below and we will be in touch.
