Stop E.

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Beginning outside in the car park, take a look at the large mural of young Singaporean Chris holding a bowl with a burning house standing in it. This piece required scaffolding and three days of access, the artist is apparently making a comment on refugee policy here in Australia. Afterwards, make your way inside the building labeled Easey's, noticing the three train carriage cradled high on the rooftop, a direct symbolic and tangible export of early graffiti culture. Inside you will notice every wall and corridor consumed by graffiti, the kind we viewed earlier in the heavily contested alleys. Here, it is presented as it would appear illegally in public space, with an attempt to create a raw and dingy urban environment for consumers to digest graffiti culture. The trains on the rooftop bar are covered in pieces by local artists in a further effort to mimic traditional public and illegal graffiti spaces. All of this with the intention of capturing and relating with consumers. Does this presentation of traditional or, if you like, commonly held "vandalistic graffiti" change while viewing it in a commercial venue instead of an illegal public space?