Do most graffiti artists express themselves on the side of a building because it is the only medium large enough to contain their massive egos?
Why is their artistic vision so special they feel the need to share it with me, whether I want it or not?
I make an exception for internationally renowned artists like Stormie Mills, because they have earned the right to exhibit in a public space. But when Johnny Nobody from Bibra Lake feels the back of a bus shelter is best canvas to convey the subtle nuances of his Buxom Amazon Slaying a Dragon, I think he might be overcompensating for something.
Why can’t they doodle on some butchers paper, take a TAFE class, find an exhibition for new artists and then let the public decide if they want to see it.
Michaelangelo painted the Sistine Chapel because the Pope recognised him as Europe’s most talented artist. He wasn’t a 17-year-old clambering over the Vatican’s back wall with a ladder and some cherub stencils.
Mediocre graffiti is even worse than a substandard busker because at least the latter endures the cool indifference of the general public. They don’t press play on a recording of them murdering The Drugs Don’t Work then run away.
I understand the role public art plays in creating a vibrant city. If ever own a funky urban warehouse in need of a makeover, whoever painted the angel and demon fighting on horseback near the Claisebrook train station will be the first person I call.
It is simply a matter of quality control Like Mark McGowan’s plan to ban P-platers from driving V8s, all artists should be confined to an A3 sheet until they prove they can do more than write their name in giant jagged letters.
Displaying your art in public should be an earned privilege reserved for talented artists, not a legion of content generators for the Worst of Perth website.