Review of POST DUNEDIN GRAFFITI at Eskdale Gallery by James Dingham published in the ODT 30/8/18

”Post Dunedin Graffiti” revisits five former Dunedin graffiti artists to find out how their careers have evolved in recent years. The paths they have taken have diverged, but the remaining traces of their street styles provide a common thread to the exhibition.

The pseudonymous Shaded Skull’s career has led him to tattoo art, perhaps a natural extension of his strongly graphic drawing style. In contrast, Tom Mackie and Sean Duffell’s work has led to more gallery-based careers. Duffell provides an intriguing installation piece and a Black-on-black painting which harks back to his most notable graffiti creation. Mackie’s work mixes pre-Columbian artefacts with modern pop culture to comment on the immutable nature of art.

Nigel Roberts also looks to art history, with a strong work harking back to a golden age of sign-writing before the advent of modern digital technology. Jay Hutchinson completes the exhibition with an obsessively embroidered replica of a tagged road sign which raises the ”low art” of graffiti tagging to a higher level.

The exhibition’s title is deliberately ambiguous. These are the post-Dunedin works of former graffiti artists, but the lack of a hyphen suggests that it is also more than a slight hint of an instruction to street art’s next generation.

Published by agallerypresents.com

Conceived as a two-year project, ‘a gallery’ opened in February 2011 at 393 Princes Street, Dunedin and closed in September 2012. Strategically placed south of the center of town nestled between tattoo studios, sex shops and a needle exchange. What was integral in the selection of the gallery space was that it would be able to be viewed from the street through the street level floor to ceiling windows. This would allow the artists showing to be exposed not only to viewers visiting the gallery, but also those walking past, as a gallery was to represent artists that did not fit within the commercial gallery context or the so called experimental project space’s, this would be the best way to expose a particular group of artists selected by gallery curator/manager Jay Hutchinson, artists he respected and admired and felt were not being represented in the gallery scene at the time.

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