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Interview – Shida

Interview – Shida

At the ripe old age of twenty one, Shida already has an impressive list of accomplishments under his belt, with several solo shows, and multiple group show both here in Australia and overseas. His work can be found across the country, and is instantly recognisable – his characters often feels familiar, comfortable, and yet are congruously obvious in their alien appearance, entwined as they are in a symbiotic mesh of mythology and style.

From the street, to the gallery, to the differing styles and techniques, the stories and the mythagos inhabiting an artists work often relate their stories directly into our minds with very little effort, as Shidas work does. This may be because many of us are already suckers for mythology and fantasy, and for the characters that inhabit those realms. Speaking personally, I have a particular penchant for artwork that revolves around myths and fables, but, I also have a love of fine line work and intricate illustrations, and repeating, but not repetitive, variations of character – combine them all together, and, in my eyes, you often end up with a true bardic saga – where the images themselves are simultaneously both music and chronicle.

Shida is one of my personal favourites (I’m allowed hundreds, right?) for these reasons and more –  and, after you read this interview, watch the videos, and ponder his images, he may end up being one of yours too – that is, if he isn’t already  …

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You have a pretty unique illustrative/painting style, which has obviously evolved over time. It takes in everything from traditional, to tribal, to street art techniques – what other influences have you drawn upon that you’ve found to be a critical part of your work?

I think I’m most influenced by a combination of Australian Indigenous art, science fiction and Classical painting. However, traditional Graffiti techniques also strongly feature in my work.

As you said, it’s an evolution and I’m not always sure where my art is heading – but it’s always changing and I hope its always improving.

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Back in September 2010, you did a show in conjunction with Georg Whelan, Nec Spe Nec Metu, at Nine Lives Gallery – firstly – could you explain the name? Sounds like it would have been a lot of fun – what did you and Georg come up with, and how did it all go?

Nec Spe Nec Metu is latin for “Without hope, Without Fear”, which was Carravaggio’s motto, him and his gang would go around tagging the streets with it. I think it reflects mine and Georg’s outlook on life quite well. The show was really successful, on opening night the space was overflowing, and they had to turn off the lights to get everyone out. We tried a lot of new things, an interactive sculpture, actors in costume and hand labelled wines.

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You’ve had the chance to do some shows in Europe with Viennas Inoperable Gallery – putting on your solo show Fates Fantasy, and being involved with the Stroke 2.0 art fair in Munich. Can you tell us a little about those shows, how  you came to be involved with Inoperable, and what you took away from it?

The show in Vienna was amazing, it really put my life into perspective and made me decide to pursue art as my career for life. Working with the Inoperable guys has been a dream, and they continue to push to my work. They are great friends, and they have a real passion for what they do.

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Your upcoming show, Crystals of the Colossus, looks like an extension of the show you held in Brisbane in 2009, how have you pushed the idea along in the past year from the previous incarnation – and what are the themes behind the show itself?

It is an extension in the sense that all of my art illustrates the same world, and each piece of work breathes life into it. The Crystal’s of the Colossus is just one story behind my work, and it itself is constantly changing.

I think to get a proper sense of my work you have to look at it as a whole, as each painting is only a small part of a greater picture.

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How do you believe your gallery work has evolved since your first two solos at Cylinder in Brisbane? What do you do differently these days, and what did that very first solo teach you about the whole gallery experience?

I think, technically, that my work has evolved greatly, and my influences have matured.

I did my first solo show when I was seventeen, back at this point my gallery works were exactly the same as my street practice, whereas now I am trying to create a distinction between the images, themes and the way I approach them.

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Can you give us a bit of insight into your techniques for both your illustration as well as your work up on the walls? If you could pass on any of your knowledge in mediums and design to others who love your style, what would it be?

When I approach my gallery works, there’s a lot of push and pull, in the sense that no mark I make will necessarily be there in the finished piece. However when painting in the street I try to make everything count, as time is restricted.

Well, people always ask me about how I create such thin lines, it’s actually an endless struggle – I don’t have any secret really, except to never give up.

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What tales and stories do you have behind all your creatures, and the world that they inhabit? Are there any mythologies in place, or is it something that is spontaneously evolving with every work you create – ie, a set universe with defined parameters , or is it an evolving taxonomy of the weird and wonderful within it?

There’s a great number of mythologies within my world, some I share with people and others are secret. I think this adds mystery, I don’t want people to think a painting or a piece on a wall is specifically related to a certain story, as the stories will evolve as I create new works. The story behind any Shida painting is not static, it is living …

You seem to get up all over the place, we’re constantly seeing new work by you around here in Melbourne, tell us a little bit about your travel routines and getting up in different cities- what do you think you gain from having such a wide and varied geographical canvas?

Travelling is a huge part of my life – art, and especially street art, works perfectly with this. Working on the street is the best way to experience any place you go – you leave behind your art like a gift, you take away the experience like a souvenir, and you get to see the city at its rawest.

I usually work alone, in the middle of the night – that’s when the beasts come out.

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(Shida collab Gimiksborn)
During the Brisbane floods you did a number of light-drawing pieces – some pretty awesome representations of reptilian creatures above the flooded streets – we’d love to know more about that, and the light drawing itself – is it something you want to pursue more of?

I think I’m good at light drawing as it’s exactly the same way I paint when I’m on the street. It’s something that I’ve been practising with my friend Kake, I thought it would be a good way to interact with and document the floods.

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After your show in Melbourne, what are your general plans? What do you hope to accomplish for the rest of the year, and how are you going to keep pushing the boundaries of your work?

I plan to do a lot more street work while in Melbourne, and will be heading back to Europe later in the year.

I will keep trying new mediums and keep trying to paint bigger – I want to paint really big …

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You can check out more of Shidas work in his amazing Flickr photostream here, more info on his upcoming show can be found here and at the Until Never website.

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