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Paint jam creates vibrant art space

URBAN artists have put their mark on one of Hobart’s most awe-inspiring laneways during the recent Bidencopes Lane Paint Jam.

A joint project between City of Hobart and Vibrance Festival, the Paint Jams provide an opportunity for emerging artists to showcase and develop their skills, while celebrating the art genre.

“This will be the third Paint Jam at Bidencopes Lane, and we’re thrilled to be able to support Vibrance Festival in holding these events,” Community, Events and Culture Committee chair Cr Zelinda Sherlock said.

“The previous two events have produced some amazing artworks and we’re looking forward to seeing some new works created.

“Even more importantly, it fosters this great community where young people in particular have the opportunity to learn and to have their talent recognised.

“It legitimises street art and the artists behind it and provides an outlet for creative expression.”

As the event coincides with the International Women’s Day weekend, the event attracted a strong contingent of established and emerging female artists.

“This was a great chance for artists to get together and support each other,” Vibrance Festival co-organiser Jonny Scholes said.

“We know there are some outstanding female artists in and around Hobart and we’d love to see more girls and women pick up a paint can and get involved.

“That’s what these paint jams are all about.”

The first Paint Jam was held in September 2019 and coincided with the establishment of Hobart’s first Permission Wall – a legal street art wall maintained by Vibrance to give local artists an outlet for their work.

The wall contributes an evolving gallery to the laneway and a space for local artists to experiment.

Since then, more than 20 artists have added 22 mural works through the initiative, with the Permission Wall supporting a further 25 artworks, creating what Mr Scholes describes as arguably the largest street art gallery in Tasmania.

Caption: The recent Bidencopes Lane Paint Jam. Photo credit: Andrew Wilson, 2020.

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