In the lead up to the opening next week of the Surface Popup Gallery space in their new Prahran location, and their opening show, Fibre Femmes, we decided to do something a little different. We set up the challenge for ourselves to do one interview with each of the artists involved for each day of the week leading up to the show. Somehow, we managed to pull it off, and, starting today, we’ll be posting up interviews daily from all the Melbourne street artists involved – Kaff-eine, Suki, Be Free, Doctor, Fresh Chop, Precious Little and Baby Guerilla.

First up, is an artist whose work has garnered a lot of interest lately, and who is quickly gathering a league of fans. Kaff-eines work, is, simply, a breath of fresh air. Her emotive, yet often whimsical work has struck a chord  with the street art loving public in the ‘burn – walls, discarded TV sets and trees have all received the Kaff-eine treatment, and we’re really looking forward to seeing what she has come up with for the show.

So, read on, and feel free to fall in love with Kaff-eine work, and all of the artists we’ll be showcasing, in the first part of our Fibre Femme feature  …

How did you first get involved in street art? Was it a reaction to the environment you found yourself in or was it always something you were interested in pursuing?

I’ve always drawn, ever since I was a toddler scribbling on the vinyl ‘wallpaper’ my supportive folks put up on the walls at home. My interest in street art is just part of an ongoing attraction to visual art in general. Last year within the space of a few weeks, I met a wonderful artist who reminded me that I should draw, and I met a talented street artist who encouraged me to broaden my audience, and with the support of adventurous and creative friends, I have gone from there.  It wasn’t something I planned, although I’m happy it has evolved in this way.

Your work is quite illustrative in nature – what are the processes you use when you’re drawing up some work?

I usually take a walk inside and outside of my head; I think, feel, remember, imagine, reflect and project. And then I draw, ink on paper or ink on found objects. Process depends on how long I have, and in what conditions I am drawing. Sometimes they are drafted up outside, in the dark, on the spot, and sometimes I have more time in a studio to plan and sketch out an image before completing the drawing.

You place a lot of your work on discarded items, hard rubbish and pieces that are a lot more ephemeral in nature than say, a wall – does it worry you that your work can often only be seen for a short time?

No, that’s the intention. I wouldn’t want the street pieces to last, there’s beauty in the fleeting and ephemeral. Nothing is permanent, anyway. Walls get painted over, buildings get renovated, the elements erode all surfaces over time.  It makes me smile to see something discarded that someone has altered in a thoughtful or playful way.

Adding work to hard rubbish or abandoned objects might transform their meaning for, or make an impact on, the people who see them. Whether my drawings are seen by one or 100 people, over the space of a day or four months, knowing that makes me happy.

Where does the natural world fit in with your work? We’ve seen a couple of pieces placed on trees as well! Tell us a bit more about the spaces you like to use and how you select them.

It’s only wheatpaste, so no trees were harmed in the making of those artworks! Sometimes pieces are pre-designed for a space, sometimes I pass a space that inspires me. Sometimes the history of a space, past use and experiences, and current purpose all point to the development of a particular piece.  Sometimes a space is just visually or emotionally striking, without any obvious context.  Everywhere can potentially be a canvas.

I love the natural world, just as I love the built environment and industrial spaces, so it makes sense to me that my work interacts with these realms.

How about your Hunter characters – what do they represent, and is there a story behind their presence, or would you rather leave that up to interpretation? Where did they spring from? Do any of your other characters also have any stories behind them? 

All of the works have stories, the story comes before the image. Some stories are very personal, others are political, or based on the lives of mind-characters. The hunters are first steps into thinking about the nature of hunting and being hunted, in every sense of the word. More of those to come in future, for sure. But yes, people read meanings into images according to their own experiences, and what they read into my images may not be what I was thinking when I drew them.

Often images I’ve thought were light-hearted or funny or quirky, others have seen as sinister, and vice versa – I like that.

In terms of public interaction and your art, what do you most enjoy? We saw on your blog a while back that someone had written you a message, and asked for something more literal – what are your views on this direct form of feedback, and how important is it to your work? 

Early on I came across some young boys, complete strangers, happily colouring in my work and searching the lanes for more – for me, it doesn’t get much better than that. I’ve also had some great feedback from artists I admire, which is really neat. It’s always fun to hear about works that have ended up in unexpected places, or that have been creatively reworked, I like that. The ‘more literal’ comment you mention also amused me, although of course they wouldn’t have known that the piece was entirely metaphorical and highly symbolic. I asked if they’d like me to produce anything along any particular themes, but they haven’t responded, and the snails have eaten most of that work away now anyway. Not everyone likes what I do, and I do get criticism along with praise, whether it is written directly on to a piece, or whether people make their opinions heard in other ways.

I’m very thankful and encouraged for the lovely comments that people have sent my way, everyone likes to be told they’re doing a good job. Regardless of the sort feedback I get, though, I just keep drawing.

There has been a lot of almost traditional styled, or nuevo-folk street art appearing across the city in the past few years – what styles do you gravitate towards when you’re doing something, and what other artists inspire you in your work?    

I draw in the same way I’ve been drawing since I was a kid – it has developed of course, but not really changed that much. I don’t consciously draw in any particular style, and I don’t draw with reference to what is going on in street art. I draw what’s in my head, when it appears. I’m inspired by feelings and spaces more than people.

That said, I’ve loved the art of Maurice Sendak and Raymond Briggs since I was little, and Tim Burton, Helmut Newton and Annie Liebovitz for decades. My favourite local artists are Ghostpatrol, Miso, Acorn, John Brack, and Jeffrey Smart – all wonderful artists.

Can you tell us a bit about what you’ll be doing for the upcoming show at Surface POP? What are you most excited about, being involved in the event?

Ahh, if I told you that, there’d be no surprise when you came along!

I’ll be doing little things and big things, things on walls and things with found objects, familiar things, and new things. There will be things drawn, pasted, painted and stuck. I have many new images that haven’t been out in public yet, and I’m looking forward to releasing them as part of this show. I’m most excited to be able to show my work to people who may not yet have come across it ‘in person’. I’m also excited about seeing how my work interacts with that of some very talented women, I’m really looking forward to it. I’d also like to thank my gorgeous, adventurous friends, for helping me out with my work for Fibre Femmes, I hope you enjoy the result!

What are some of your favourite locations around Melbourne and Australia for street art?  Both for viewing as well as for putting your own work up, and for what reasons do you love them?

I don’t really have a favourite location, I liked to be surprised by seeing great art in the most unexpected places. Places that I’m drawn towards include the remnants of Melbourne’s industrial past – warehouses, factories, beautiful buildings and structures made with skill and care, stinky cobblestone laneways with aged brick, iron, signage and wood. These areas have some wonderful histories and often some great artwork.

What are your plans for your art after the group show? Do you have any specific directions you want to go into, or any new ideas to try out that you’re excited about?

So many plans, but they always take longer than I’d like due to the constraints and demands of a 38 hour working week. At the moment I’m developing some ideas for a neat exhibition of my work. In my head, I’m also curating an exhibition that will showcase the work of some incredibly talented friends, it’ll be brilliant if I can make it happen. I’m thinking about new locations and new possibilities, new materials and collaborations – and I’m planning to do lots of drawing. x

You can check out more of Kaff-eines work at her blog and Facebook page. Don’t forget to check out the info on Fibre Femmes at the Surface Pop blog and the Facebook event.