May Lane

The wall art in May Lane is often in the news. This time it’s on page three of the Sydney Morning Herald because there is going to be a national tour of panels from this laneway in St Peters, setting off in October. It all started about five years ago with Tuli Balog encouraging graffiti writers to do pieces on the wall of his picture-framing factory. Kurt Iveson has written about it in his book Publics and the city (Blackwell Publishing, 2007).

But the graffiti on the pavement in May Lane is never mentioned. Walk up and down the lane, though, and you will find all sorts of deliberate and accidental art decorating the gutters, along with the signatures of people whose wall pieces have long since been covered over.

POSTSCRIPT  – Since I wrote this post, May Lane has become the subject of discussion at Marrickville Council (not for the first time). Here’s a report by an onlooker of the discussion at the meeting on 9 November 2010. It’s on the Saving Our Trees website, although I don’t quite get the connection.

A whiter shade of mauve

In the month since I took the photograph of the mauve decorations I’m afraid they have faded considerably. But the party on the corner of this lane in Enmore is still happening. The disabled gnome has now become the bearer of birthday greetings for Mr Neill Bourke.

OK, the gnome and his party speech balloon are not on the pavement. I have allowed my eyes to stray vertically. But Numb’s cement confections certainly are pavement graffiti. Here’s a photo of another one just round the corner.

Mauve

Now here’s a colourfully interesting grouping of pavement and close-to-pavement graffiti in Enmore. A gnomish amputee in paper, a soda siphon stencil, a cement cast – presumably by guerrilla artist Numb – and mauve crowns and circles. Mauve is an unusual colour for pavement graffiti and not particularly distinct on the mottled concrete. Did Numb add these embellishments to his own work or was the violet (not violent) spray-painter an admirer who came along afterwards?

Clapham Common (Guest spot)

Today’s guest spotter is Bradley L. Garrett, a PhD student at Royal Holloway, University of London, where he is studying Urban Exploration. Bradley’s own blog is here.

I have lived in Clapham, in South London, just across the street from Clapham Common (a huge park) for about eight months now and six months ago I bought a bicycle. This was a significant event because it meant that I no longer took the bus to Clapham Junction train station, I now rode my bike through the park every day instead in what I thought to be a small victory over mundanity.

The first time I encountered the little freehand graffiti penis was on one such ride. I was listening to an audio lecture by Arnold Weinstein about Baudelaire’s poem The Swan and here comes this phallus, standing erect in the road like a raucous troll, exacting some sort of fare I was sure. But how to pay it? Figuring all it wanted was some attention I photographed it and moved on.

For six months now I have encountered this masculine assemblage, swerving around it at the last second, sure that, like some form of voodoo charm, it would hurt somebody if I ran over it. Sometimes I would remember it before my encounter, anxious to see if it finally had aroused enough offence in the community to have it painted over. Every once and a while I would stop next to it, seemingly not of my own accord, and stare around, wondering what sort of thought or action it was meant to invoke, feeling like someone was watching and noting my confusion with pleasure. One biker stops, check.

It’s almost mathematical in is perfect pointedness. Even the fact that one testicle hangs slightly lower than the other seems to me to be anatomically correct. Thinking that after months of study, I had now understood its form, my analysis of the thing moved on to function more seriously. The phallus points straight down the asphalt path. My first inclination was, of course, to assume that it points the way to something. Perhaps it was the remnant of a petty birthday party joke, a Facebook tagline proclaiming “when you arrive in Clapham Common, follow the penis to Dave’s party.” Later, I began to wonder if the trajectory of the penis was subsidiary to its location. Could it be a meeting point of some sort?

This notion seemed to be reinforced by my mate Mike over drinks one night who proclaimed Clapham Common as a place where gay men go to “get bummed” which in America (where I come from) means to be depressed but here is some euphemism for anal sex. Could it be that this innocuous little sign I swerved around everyday was a meeting point for clandestine homosexual encounters at night? Perhaps one day, I thought to myself, I would conduct a 24-hour stakeout to satisfy my need to unravel this mystery.

Finally last week, wrapped up in sweaters, scarves and gloves, in some strange sociological crisis, I did indeed undertake such a weird experiment. What happened was this: just across from the white penile package, there is a park bench which, if you were to sit on it, positions you perfectly to observe the sign (or encounters with the sign). I sat there on a lazy Sunday, pretending to read a book so that I could view interaction with it. And what I saw disturbed me.

Time after time, whether confronted by pram pushing Mommies, solitary walkers or ambitious runners, no one noticed the phallus. They rolled over it, stepped on it and ran past it without even a glance. Thinking that maybe I had, in some sick vision, just imagined the damn thing, I walked over to it. Still there. And then what I saw gave me the shivers.

A second phallus, just up and to the left, barely visible, but there. Even worse, it was a different colour and facing a different direction! How could I have missed this before? Horribly disturbed by the new revelation, I walked home, sullen, curious as to what kind of ghastly person would sketch a pair of horrors like this, knowing the frustration their presence would invoke.

[Now that Bradley has pointed out this parkland penis in London, the Pavement Graffiti blog site will return to the subject of street wangs from time to time]

Islands of light

Street haunting in winter, writes Virginia Woolf, is the greatest of adventures. In the early evening she rambles, her eyes “gliding smoothly on the surface” of things and noticing, for example, that “here under the lamps are floating islands of pale light”.*

One of the loveliest qualities of the pavement is the way it reflects the glow from lights in the street at gloomy times of the day, especially when it is wet. Clarice Beckett captures these reflections in her subtle paintings of Melbourne scenes, like Wet evening c.1927 and Taxi rank c.1931.

A single tail light or traffic light can form a wavering pillar submerged in the depths beneath the surface of the street.

Rainy morning, West Pender Street, Vancouver, November 2009

 

*Street haunting: a London adventure, first published in 1942 and reproduced in The art of the personal essay, Anchor Books, 1995.

Lu Xun Park (Guest spot)

Today’s guest spotter is Jeff Stewart – author, artist and sometime bread-seller at his local Sunday market

DSCN1451 JS outlineI love Lu Xun Park. It’s in Hongkou, Shanghai, and is my most favourite place on earth at the moment. Everything happens here – there is dance, tai chi, singing, talking, and sitting. Lovely, to me, and I can’t even speak Chinese.

People also write on the footpath there in water or chalk. They often write poetry, advertise their calligraphy skills, or quote common Chinese sayings. In the first photograph the man is writing characters in outline, which is very difficult.

writing JS colourblurSometimes migrant workers write their story on the ground asking for help. They come to the city from rural areas and often have trouble finding work. The second photograph was taken after rain had blurred a woman’s story about her current living situation.

Jeff’s  photograph of a man writing on the pavement in water accompanies his journal entry Translating Lu Xun Park on the  Kai Xin (Happy Heart)website

Eternity

09gapr12-cp1060384-eternitythSydney’s most famous pavement graffitist was Arthur Stace, a reformed no-hoper who walked the city’s streets writing the single copperplate word ‘Eternity’,  after being dramatically converted to Christianity in the 1930s. Some years after his death in 1967, Sydney artist Martin Sharp adopted his chalked word and began incorporating it into prints, posters, tapestries, postcards and T-shirts. Thanks to Sharp’s thirty-year Eternity industry, what was originally a religious message has become a product of popular culture. In 2001 ‘Eternity’ in Arthur Stace script was registered as a trademark by the City of Sydney because of its ‘iconic value … to the people of Sydney’.*

A replica of Stace’s one-word sermon is preserved in metal near a fountain below Town Hall Square.  Unfortunately is it is hidden from most people except the patrons of a café whose outdoor chairs and tables surround it. It was raining the day I took this photograph – the cascades off the café umbrellas matched the cascading fountain.

Every now and then I come across ‘Eternity’ written in chalk by someone trying to imitate Stace. And a stencil artist in Melbourne has used the form of Stace’s word to write ‘Optimism’ on the pavements there.

(* I have written about chalk and pavement writing in ‘The Eternal City’, Meanjin 65(2), 2006, pp.139-146).

Text and texture

Welcome to pavement graffiti, where asphalt rules and grey is good. The focus is on roadways and footpaths, and ‘graffiti’ means anything written, drawn, scrawled or stencilled on them.

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First up, one of my favourite photographs. It shows a lane off Enmore Road in Newtown.  I took it in 1999, not long after I started noticing pavement graffiti, and somehow managed to capture the texture and colours of worn asphalt on a rainy day. Some months later a smart coffee shop opened at the end of the lane and crumbling asphalt was replaced by regimented pavers.

The graffiti is by Phibs. He is a big boy now, his art is used by advertisers, and his framed works sell for thousands. Currently he is based in Melbourne but he recently visited his roots. His show was at Oh Really Gallery, not far from the laneway in the photograph.  For the exhibition he sprayed the gallery floor with geometric figures like some of the stuff he was spraying on Newtown pavements back in 1999.

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