Abstract forms collide with elements of nature where notions of familiarity are both endorsed and challenged. The imagined and realistic harmonise through the juxtaposition of themes.
Installation work is where Sauce is keen to keep pushing the boundaries and experimenting with. For this work, he used aerosol on a composite board, creating a three dimensional effect to contrast with the natural landscape.Read More
Five Letters was a solo retrospective for aerosol artist, Sauce. Sauce started sketching and painting the back of factory walls in 1994 and his back catalogue is filled with images which represent graffiti lettering and hand-style tags. Five Letters was not about showcasing gentrified graffiti, rather it was a celebration of Sauce’s roots and the ‘good old days’ when painting was about riding the lines and using whatever paints you could get your hands on.
You are cordially invited to the opening night of the ESCAPE Fine Art Gallery.
Last Saturday Destination Tweed held their annual event Tweed Fusion, which promotes arts and culture in the Tweed. As a part of the celebrations, we joined the cool crew at Caba Creative at Norries Headland for some aerosol art demonstrations where Sauce painted a mural on the amenities block. Cabarita is an amazing beach, and it was the perfect day for markets, live music and interactive art. We met some great people, and hope to work with the community again in the future.
Over the weekend, Sauce and I caught an old Parks and Recreation episode, The Camel where the Parks Department design a new mural for the town. Not only did we laugh ourselves silly because Parks and Recreation is one of the best Sit-Coms around (Ron Swanson is pretty damn funny), but the episode remind us of some experiences we’ve both had when dealing with past clients and councils. In light of the mistakes made by Leslie Knope and the rest of her team in the Parks Department, I thought I would add a post with some hints and tips about designing and commissioning a mural.
- Have a clear idea about why you’re commissioning a mural, and allow this to set the tone and theme. If you want a mural to encompass a town, think of the narrative or story that town has to offer. Also, keep in mind of the whole story of the town. In the Parks and Recreation episode, a new mural was commissioned, since the original mural was defaced due to it’s racist undertones.
- Who is the target audience? Is this mural a part of a graffiti management strategy, or is it about adding colour? Is the mural a part of your advertising strategy, or all of the above? A mural can be an effective way to discourage unwanted vandalism, but this is only going to work if it is culturally appropriate. The target audience should influence and shape the theme. A lovely and peaceful scene of an elderly person feeding the pigeons in the park sounds great on paper, but if you want to deter vandalism, you’re going to need to add something a bit more relevant.
- Where is the mural? If the mural is in the CBD of town, or an area of high traffic, then it is worth spending more time and effort to make it stand out and memorable. If the mural is in a town, will people be taking photos and selfies in front of it? Is this mural a large component of your advertising strategy? The saying of ‘you get what you pay for’ rings true here. If you want a showpiece or stand out feature, it pays to hire a professional mural artist who can guide you through the design process. By asking people with no public art experience and expecting a committee to make an assertive and creative design you’re just setting yourself up for failure. And let’s not forget one of the most realistic lines from the show:
Landscape Architect: “It’s a camel.”
Leslie Knope: “A camel?”
Landscape Architect: “A camel is what you get when you ask a committee to design a horse.”
And lastly, be mindful of simplicity. There is nothing worse than a convoluted message which tries to be all things at once.
To organise a design consultation, contact us today.
Three Sixty Five explores the highs and lows of an aerosol artist over a one year period. During the Wet Season of 2012/13 Sauce and Ainslie Rose spent too many days cooped up inside and spent long mornings talking over coffee about ‘what would be really cool’. It was from these heartfelt conversations the pair decided they needed to be the change and not the problem, and thus, The Sauce Studio was created. The Sauce Studio was meant to be the catalyst Murwillumbah and the Northern Rivers needed in regards to aerosol and contemporary art.
Since opening last March, Sauce and Ainslie Rose have used the workshop and showcase to meet new friends and create new artworks, but it hasn’t been all beer and skittles for the creative couple. A large part of the challenge has been navigating through the bureaucracy associated with public art and murals. Sauce has worked with over eighty schools and has over a decade of professional experience, but he is still dictated to by public servants who know little if anything about public art. The bureaucracy isn’t usually site specific, that is, most large scale organizations and councils have the same level of paperwork and inane demands, however recent experiences with councils have taken the bureaucracy and flagrant stupidity to a new level.
#exhibitionthreesixtyfive, aerosol on found object. Sauce 2014.
This paper-trail full of maintenance schedules, risk management plans, design briefs, and selection criteria may be a part of everyday life for the myriad of Cultural Development Officers, but it doesn’t denote high quality art, nor extrapolate cultural innovation; except when this is used as inspiration for an exhibition. It is these experiences of tribulation and encumbrance which has fueled this creative output. This exhibition serves as a metaphor for the challenges faced by a professional aerosol artist. The Sauce Studio arose out of dissatisfaction for the hegemonic demands of traditional gallery expectations and tokenistic public art projects and this celebration one year of operations in Murwillumbah exemplifies the positivity and success.
From the Wreck, acrylic on canvas, 183cm x 91.5cm. Sauce, 2014.
Overcast Enlightenment, oil on canvas, 70cm x 50cm. Sauce 2014.
We’ve had some varied feedback about our A-frame today, and I would like to thank those who spoke to me about their feelings regarding the sign’s content.
This link explores the same themes provides insight into the issue of popularity and death.
At the studio, we’re not about sledging Margaret Olley or her legacy, but what we are advocating for is support for living artists, so their careers can flourish. And as an organisation which is living in the shadows of other well funded facilities it is a challenge to run a successful arts business.
We’ve exhausted every other polite way to demonstrate these experiences to the ‘powers that be’, and this is one way of creating critical debate about this topic.
p.s. Sorry about the relfective selfie!