Donning 3D glasses at an art opening sure loosens things up. A conservative middle-aged man in a suit yells “holy shit!” after viewing a work through the blue and red lenses. A young woman stands enthralled, smiling at a painting like a goofball while her friends giggle beside her.
Melbourne graffiti artist and painter James Reka is the man behind the show that's causing these unusual opening night hi-jinks. His art show Down Low, Too Slow is now on display at Backwoods Gallery (until 3 April). If you get in quick there may still be a couple of unsold pieces. If you do manage to secure an original Reka, you can count the National Gallery of Australia as your peer – how’s them apples?
Reka kindly took a brief sojourn from a three-day bender (half his luck!) to answer some arty questions.
This show is about allowing the child within freedom to break loose, do you have children and youthfulness in your life?
I am still a kid at heart. I guess the hard part is being selective with what you have to take seriously and when you can act childish or youthful. A happy medium keeps the doctor away. I don’t have many children that surround me so it’s not a direct influence. This show for me was about having fun. Not taking shit so serious and just letting go. I think I achieved that. And saw others do the same at my opening!
You have spoken about the seriousness of the adult world where silliness and fun is hardly present. How do you think this affects artists (particularly pop and street artists)?
I think artists can pretty much get away with anything. This applies to our work but also our attitude on life and personality. I do occasionally have to pull myself in line and be serious. There’s a fine line between being professional, acting silly and being immature. You can be professional but still have youthfulness to your career.
Down Low, Too Slow is a colourful and engaging show with rhythmic, almost musical, pieces. Tell us about it!
I’ve intentionally had a looser approach to this collection of works compared to previous shows. Although each line stroke is intentional, I have left more room for error, which gives this dynamic “rhythmic” quality. In the end I wanted a childish approach to my work; without restrictions and basically acting free. Most of the pieces were intentionally free-styled without any sketch or concept development. I wanted the work to be spontaneous and to a degree a surprise to myself. Using mainly bright pop colours further added to the childish theme.
How does music and popular culture influence you?
Music has a big influence on my work. It affects my mood and style in painting. I listen to mainly beats and music without vocals. I like the music to set an ambiance and not to be too dominating so I can literally zone out and paint in my dream world. It’s really hard to talk about what influences my work. I often try not to source or force influences but let them find me. Often its things influence me on my travels; textures on a wall, funny graffiti, weird fashion, rusted drainpipes etc…
In addition to being a painter you are also well known for being a street artist. How does your approach differ between the two forms?
I have a different approach for street art/graffiti than my artwork. I still partake in illegal street work because it’s fun basically. I feel totally free. It’s not about the end result; it’s the process, and the feeling I get. These days I write under a few names. It’s mainly to keep the cops on their toes. I would like to say that I am out every week, but that would be incorrect. I definitely prioritize my artwork over being out every night lurking in darkness. My artwork, I take more seriously and have given myself restrictions. But these restrictions are different from graffiti. I like the idea or pursuing two different styles. That way I keep my creative mind fresh and on high alert. People ask me how long I will keep my street work up. I say: until I stop enjoying it.
It seems that this is a particularly exciting time for Melbourne's street artists, with some being recognised in high-art institutions overseas and many gaining popularity here at home. How do you think Melbourne's creative community is influencing the future of Australian and International street and pop art?
These are exciting times for myself and my street-art peers in Melbourne. We are lucky to be part of a thriving street art scene. The scene in Melbourne is really unique even compared to cities in Europe and the US. I think today’s Melbourne’s street artists will be tomorrows Australia’s fine-artists. You can apply this worldwide. Melbourne’s art scene has been flooded by street art. We can see the result of this now but will be interesting to see this scene in 10 years. It could blow over. Or is it here to stay. I’m not sure. I try not to think about it really. I’m just living the moment.
With the increased mainstream popularity of pop and street art, how do you as an artist ensure that you stay fresh and produce work which is not unduly influenced by what the market wants?
It’s hard not to get caught up in paying attention to what’s popular in the artworld and falling into the trap of producing generic shit that you will know make sales. I call this selling out. I stay fresh by constantly reinventing myself as an artist. This includes new techniques, mediums and new content/themes etc. It’s important to know what’s out there, other artists and I guess knowing your competition. On the other hand, It can hinder you evolution if you are constantly being influenced by other artists. My advice for other artists is lock your door and stay off the internet!
Your own profile in the Australian art scene is at an all-time high, and the National Gallery of Australia has acquired your work. How did you react when you found out, and what does it mean for Australian street and pop art/artists?
I honestly lost my shit! I had no intentions of even exhibiting my work at all, let alone ending up at the National Gallery of Australia. I think this only reconfirms that street art is being taking seriously in the fine art world. It’s not mindless vandalism. I have already noticed the difference in how the general public has viewed my work, both illegal and in Galleries.
What's next for you?
Paint more walls and try to exhibit in London later this year. I will be traveling more and spreading the love overseas!
Interview by Lupita Lopez
Down Low Too Slow - New works on canvas by James Reka
25 March - 3 April 2001
Backwoods Gallery
25 Easey Street
Collingwood
Melbourne 3066
Down Low Too Slow - James Reka from Everfresh Studio on Vimeo.