Sometimes there are places that hold the power of memory, those special landmarks that draw like minded individuals together to collaborate, create and grow. Across the world, there are, and have been, spontaneously evolved locations that have endowed communities with a sense of belonging. Places where many differences in backgrounds and beliefs have often been swept away by shared passions. Amongst these places are counted many of the worlds past and present sub-cultural destinations – Londons Fabric nightclub, 27 Rue de Fleurus, Harajuku Bridge, Tacheles, Goa, and …  Craigie?

There was once a wall that sat a stones throw away from where I grew up. Where my suburb of Padbury had the Macdonald park underpasses, bus shelters and the often bombed and riskily pieced wall behind Padbury Shops, Craigie had something unique – and yet its uniqueness wasn’t just restricted to those who lived in the area, it was shared amongst the entirety of Perths graffiti community . Post-Cinema City (a long standing graffiti artist hangout in the 80s and early 90s), the Craigie wall was, for fifteen years, a thriving communities bastion of experimentation and expression; its continually evolving works a testament to the passions of those who painted there.

Old, new, beginner, expert, toy, king, local or visitor, it was a rare artist who painted a wall within the West who wouldn’t have, at the least, if not having sprayed a lick of paint, visited this small suburb some twenty k’s north of the city. Craigie, a suburb whose biggest claims to fame include a long gone (but kick ass) old roller-skating rink and bowling alley, and where a gentle waft in the air from a certain water treatment plant can still be smelt … well, you’d be forgiven if you haven’t heard its name before. Sure, there are other, similar, sites today all over the world that hold the same significance to their communities (Melbournes Hosier lane amongst them), but there was something unique about the Craigie Walls that defies even these meagre words of explanation.

It’s a sad fact, however, that a place of that held such cultural substance was lost on anyone who didn’t share the enthusiasm of the painters who worked there. It is only now that a book has been produced, that the general public is slowly becoming aware of the artistic bounty that once stood in their midst.

For over two years, Craigie artist Trevor6025 has been collecting, collating, researching, talking, writing, scanning and documenting this extraordinary piece of local history. Through his efforts, and via the words and images donated by his peers, the forthcoming publication “Craigie Tales” examines the story of this once prominent landmark, and its place in the evolution of our countries graffiti culture.

Released this weekend in Perth, we had the chance to talk with Trevor6025 about the book, and were given the chance learn more about the walls, the artists who worked up them, and the bullshit politics that lead to the destruction of this lost piece of Australian art history …

Can you tell us a bit about yourself and how, back in the day, you became involved in the graffiti scene in Perth?

I grew up in Craigie which is in the northern suburbs of Perth. I’ve always been interested in art and completed an Honours Degree in Fine Arts at Curtin University. My practice has always involved engaging with the built environment and my first interaction with the streets was through a propaganda campaign entitled “The war on Trevor”. After that initial idea I began to explore the themes of identity and the representation of self. Aspects and aesthetics of graffiti art began to enter my practice and soon I was representing Craigie through the signifier of the postcode; 6025.

How did you come up with the idea to do Craigie Tales, and why did you choose one single wall to put a book together?

When the Craigie Walls fell in 2009, pushed by government orders and a Liberal direction I made a decision to document what I knew was the greatest day spot in Western Australia. The artists, the pieces, the stories that were all associated with 15 years of painting tradition needed to be preserved.

The need to read stories from my locale, from friends, and from painters that I admired, was a driving force to make this book. It’s not Europe, not the U.S or even East Coast, its Perth – and, specifically, north of the river.

In terms of significance, what do you believe the Craigie wall added to the artistic culture in Perth?

Craigie as a site was significant due to size, dynamics and the location. The culture that emerged from the three walls could not be replicated anywhere else. The site was legal but in the ending years of Craigie’s tale the site resembled a lawless environment of stolen cars, half-filled throwies and an urban tarmac of tags and tins.

Craigie was unique; it allowed a visual exploration and act that was outlawed by the state. This environment also lead to a number of artists, vandals and way ward youth a chance to develop their own art without the restriction of rules, the authorities and the public at large.

Why do you believe the Craigie wall, specifically, had such an impact on the youths and graffiti artists within Perth?

Craigie’s long standing history of 15 years, the amount of artists contributing to the evolving narratives and its place in Perth graffiti writing made it an unofficial Hall of Fame. It degraded to a day spot after 2004, but for those early years it was a sacred place where only a select few could paint. It was also a founding wall for the HK crew, whose writers made the place an open art gallery with no admission – all you needed was an open mind to abstracted letters and colours. Once again, it was Craigies unique nature that made it an attraction, and a safe way in to graffiti writing.

What are some of the more interesting, or crazy, tales that you have heard come out about the wall?

Perth writing has politics, whether it is at an illegal or legal site. It was interesting when asking for accounts from the individuals that made Craigie, that this was evident.

I guess their version of the walls, their stories, are theirs. I’m just fortunate to have had experienced Craigie through some of their tellings. I couldn’t do the tales justice without their images that accompany them, that’s part of why the book exists – all I can do is recall a few of my own.

I remember the occasional fires on the oval when painting on the top court and, also, the passed on urban myths of past burners, but, more importantly, I remember the relaxed vibe that Craigie created.

In terms of artists, who were some of the more prolific people to paint on the wall – tell us a bit about some of the artists that did work up there?

There were so many names on those walls but the first name that comes to mind when mentioning prolific artists at Craigie is Elms HK. The man pretty much was Craigie. He embodied a style, an attitude and an approach that could have only been developed in Craigie and at the Craigie walls. Other HK painters that grew up on those walls were Deks and Idol, both those guys played significant roles in shaping the suburb.

The Ayem crew were crucial in showcasing organised productions in early 2000. Kid Zoom and Feck were stand-outs with regards to technique and Stud was always one to watch out for with his characters and clean painting style. All in all, Craigie was a gallery, and a home of undesired marks, all set to a suburban backdrop.

What was the community’s reaction when they decided to knock the wall down? What was the reasoning and rational behind removing such an iconic piece of Perths artistic culture ?

Some of the Craigie locals were happy to see the old high school walls gone, for others it was a sad day. The decision to remove the Craigie Walls was simple; it was political. When the Liberal party assumed power it viewed Craigie as an “eye sore” that bore the brunt of propaganda techniques, and a lack of understanding by the power players. Now, a community of individuals has been splintered. Other day spots are now getting a quicker turn over, due to the lack of places to paint legally, and the idea of “the local painter in the north” is lost.

How has the feedback been to the book, and putting it all together, so far?

Feedback has been great. I’ve been told that Craigie needed a book to be made on it, and that I was the best person to do it, so, that was really nice to hear. It’s been a two year project just to source photos and stories, and to finally see a complete document that embodies what I grew up with is a nice keep sake.

Perth lacks these books, it has some of the best graffiti artists in the country and it’s a reason to celebrate both individuals and sites that contribute to a Perth writing culture.

Do you believe that Perth, and Australia, needs more, permanent, legal walls for artists to work on?

I believe that legal walls allow an opportunity to spend time with your art and to develop a relationship with a site. The elements that made Craigie revered in the late 90s will never occur again, well, not in the northern suburbs of Perth.

The only other walls I’ve seen that compare to Craigie on scale are Canberra walls. There is a need for these sites to exist; they play out social interactions that can’t be created in illegal situations. For me, the more day spots the better.

What do you have planned for the launch party, and what can people expect, beyond being able to pick up a copy of the book?

The launch will involve a group show of artists and individuals that contributed to the narratives of Craigie. A bit of music by the one and only Rok Riley, accompanied by tacos and good times. More importantly it’s a celebration of a site, a time and a group of painters that would not have developed their graffiti writing without the walls of Craigie.

The Craigie Tales website will be updated after the launch so people will be able to purchase on line, as well as read some stories and check out some pictures that didn’t make the book …

Head to www.craigietales.com.au to find out more about the project, and there is also a great interview with Trev on RTR Community radio here and another cool article, and, check out the launch of the book in Perth as well.

Lastly, on a personal note, we at Invurt would like to thank Trevor6025 and everyone who assisted him in documenting the Craigie Wall, and to all the artists who painted there and made it what it was – from one 6025er to all – respect.