Interview – DLUX – James Dodd
It’s 2004, Melbourne, and things for the cities vibrant stencil art community are about to change. For many years the stencil was king – so much so that books were written, international websites spawned and a global movement eagerly watched the streets come alive in nooks and crannies with cut and sprayed works of art. from the political to the humourous, – in these days, freedom aerosol was still, for the most part, mostly practiced by graffiti artists and what we know as the “street art scene” was dominated by stencils and the artists who created them, plied a swaths across the city.
But 2004 was the year of a major international event in Melbourne, the Commonwealth games, and with it came a massive cleanup across the city – walls washed and sterilised in the name of “making shit look better”, and with the cleanup went many of the cities beloved stencil art. The City of Melbourne, as hard as it may be to believe these days, went to “war” on graffiti and street art, one which, in hindsight, it appears it was less a victor than at the time it had thought it had been.
It was the year that the first incarnation of the Blender studios was shut down, and the year that the Everfresh studios opened – it was a time of transition between the old, and the new. Artist such as Sync, Ha-Ha and, of course, Dlux, three artists who had been right in amongst the stencil art and street art movement, moved off into different directions – continuing to pursue their works and enlivening their, and consequently our, surroundings.