Ōtautahi Street Art: Grassroots to citywide impact

Riverside Market developer and founding member of Action Reaction Christchurch City (ARCC), Mike Percasky, says the street art renaissance has been nothing short of amazing. 

“It’s become part of how the city presents itself to the world. Fifteen years ago, you never would’ve imagined street art being part of Christchurch’s identity."

ARCC has played a key part in the transformation, and the group has big ambitions. “We’ve always said we wanted Christchurch to be the street art capital of the Southern Hemisphere – that’s a big call when you’ve got a city like Melbourne to compete with – but we are getting there,” he says. 

Christchurch’s 2017 recognition by Lonely Planet as a global street art capital marked a turning point. Since then, the city has leant into the tagline, with 45 major murals in the CBD and over 750 works recorded by Watch This Space, a trust dedicated to promoting urban creativity.  

While many credit post-quake empty lots for the rise of street art, Percasky says the scene was already growing. “Street art was actually one of the first things to come back – the first ray of sunshine in the CBD, even before we started rebuilding anything.” After the quakes, many people stayed in the suburbs – but the flourishing central city canvas gave them reason to come back. 

Its impact goes beyond aesthetics. “It changes the way people interact with the space,” says Percasky. “If you’re walking through a place that’s just grey and bland, there’s no connection – you don’t feel anything. But when you start adding layers, it transforms how people engage with those spaces.” 

Much of the renaissance now centres on the Flare Ōtautahi Street Art Festival, led by project manager Selina Faimalo. With deep ties to the arts community, Faimalo took on the role after contributing to SALT District projects in the CBD. 

Flare launched in 2022 with support from ChristchurchNZ. Despite pandemic restrictions, its small scale worked to its advantage. “It was a weird time to launch, but we were lucky because street art doesn’t rely on big crowds,” says Faimalo. “It’s just one artist, one wall, and people can experience it in their own time.” 

The festival was a hit, with murals such as the now-iconic cat at Little High capturing the public imagination. “Christchurch has always had this street art culture – so many talented artists live here – and Flare helped reignite that scene.” 

After teaming with Watch This Space, Flare 2025 was the biggest yet, with 65 artists and 19 murals produced across the city. Among the standouts was Jacob Yikes’ work on the side of the Distinction Hotel – now the tallest mural in New Zealand.  

For Faimalo, the heart of the festival is connection. “It’s about creating a space where everyone can connect, whether they’re artists or just walking by.” 

“What makes Christchurch unique is the way local businesses, building owners, the Council – and of course the community – all back us. That kind of alignment is rare. In other cities, those can be the biggest barriers, but here, it feels like we’re all working together in a really cohesive ecosystem.” 

City economic development agency ChristchurchNZ plays a key role in coordinating artists, property owners, and organisers to support new works, long-term funding, and festivals like Flare. For Percasky, it’s a smart investment. “In terms of bang for buck, there’s really no cheaper way to transform a city. It’s an absolute no-brainer.”

He’s especially proud of the towering 3-D mural on the eastern wall of Riverside Market. Co-funded by ChristchurchNZ, it’s now one of the city’s most photographed attractions. The image draws on the architecture and history of the city and surrounding area, creating a patchwork of building fronts in homage to real people and places – adding layers to a previously blank space.

Faimola also talks about the importance of layers – in reflecting the growing diversity of Ōtautahi Christchurch.  

“A lot of the city’s older architecture and public art still reflects colonial history, which has its place – but it’s also time to add new layers. Street art helps tell stories that haven’t always had space in the visual identity of Christchurch,” she says. 

She points to two major recent works that explore Māori and Pasifika connections of Ōtautahi. “I absolutely love Kairau ‘Haser’ Bradley’s mural at Ara – Manawa Pou, Manawa Ora – it’s such a significant piece for Ōtautahi and carries a lot of meaning. Then you’ve got Kophie Su’a-Hulsbosch’s Dawn Raid mural, which tells a powerful, emotional story – tragic, but important to acknowledge through art.” 

Crucially, Flare has also created space for young artists once excluded from the mainstream. “I think that’s been a huge step in giving those kids – who often feel disconnected or left out – a real sense of place,” says Percasky.  

He notes that previously, young artists didn’t have the resources, networks, or time to fully express their creativity in such an impactful way. “It just wasn’t possible for them to do it on their own.” 

“Now, they can turn a corner and see one of their mate’s art up on a wall, looking amazing, and know it was done with permission. It helps them feel included – like they’re part of the city’s story, not outside of it.”