HAHA
New Zealand 1972
Australia from 1996

PHIBS
Australia 1974

SYNC
Australia 1976

Derailed 2003
stencil
3/5 , published state
edition of 5
no manufacturer's mark
Inscribed inside cover in black felt-tip pen, 'LIMITED EDITION BOOKS/By/ SYNC.PHIBS.HA-HA'. Inscribed inside cover in felt-tip pen, '3/5'.
book (closed) 21.6 (h) x 26.8 (w) x 2.1 (d) cm
Purchased 2010
National Gallery of Australia, Canberra
NGA 2010.546.1-57
© Regan Tamanui

Derailed is the result of a fruitful collaborative project between three of Melbourne’s leading stencil artists, Ha-Ha, Phibs and Sync, to create an artists’ book. The title riffs on the subcultures of the street art scene. Having deviated from the normal art-school/gallery route, these artists work ‘off the beaten track’, or go against societal norms to produce their art. Similarly, the work acknowledges the early growth of the street art scene around railways, train carriages and underpasses.

From HaHa’s pages, emerge members of the Robot army, gangsters, Australian football heroes, TV icons like Dr Who and off-beat modes of transport, such as an ambulance, tank or astronaut space-suit. Although Ha-Ha often now works with colour and complex layering of stencils, the works in this book are very stripped back. The page that introduces his section of the book features a tag-like signature made of dancing red arrows. Thereafter the style is bold and simplified, stencilled in minimalist black on white. While Ha-Ha’s work is often grounded in political dissent or critique, his figures show a quirky humour that belies a real affection for pop culture.

Phibs work shows much more intricate line work and layered, bright colour. There is a strong graphic quality to his art with the influence of the art and mythology of other cultures, especially Aztec and Mayan, prominent in much of his work. Faces of warrior goblins, with curling beards and spiked ears, leer at the viewer, while elsewhere a hand morphs into a love-struck heart, with a halo and wings. Other hands have their palm open and raised, with a Cyclops eye indicating inner wisdom or warding off evil.

Sync’s work draws more on popular film culture and altered signs, largely in bold black on white, with touches of red and sometimes a faint blush of yellow. Yoda from Star Wars wields a spray can rather than a light sabre and on another page we’re asked to be wary of ‘Children Crossing’, although these children wield guns – perhaps guarding themselves against the red encircling glow of an atomic future.

Elizabeth Howell