Here’s a clipping from Life Style Asia Magazine – Circulation for this publication is 20,000 in Australia and 1,000,000 in China.

Another photo series can be found on KonsumTerra’s Flikr page here:
http://www.flickr.com/photos/konsumterra/

also some pix on Blomtrog’s Flickr here: http://www.flickr.com/photos/blomtrog/with/6298821002/

How did u develop your 3d paste up plaques ?
It was probably the Liquid Nails ease of putting this up (which actually involved the paste-up/plaque combo with the pasting up of the red paper underneath) which helped me to come up with the plaque idea as a way of being able to quickly put stuff up. I was probably also inspired by seeing some of Mal Function’s work on that first street art tour – although I use silicone now as my wall adhesive, I first experimented with Mal’s Liquid Nails. I was also inspired by seeing how well Invader’s pieces worked as tiled plaques high on the wall.
My style of collage – in its early days, created using Blutack – was typically that of cardboard-mounted pieces set in relief on a background; the plaques that I made soon became multi-layered like the one below. It soon became natural to include the paste-up on the wall as a base layer – and the idea of a plaque and paste-up combo emerged.

What are your thoughts on Paste Modernism and what kind of work might we see from you for this year’s event?
Pastemodernism is growing like an irradiated SciFi mutant beast – so exciting to be dancing with it – and seeing the boards go up. I’m planning to do the biggest paste-up works I’ve ever done during this event. The plan printer will be running hot.

Paste Modernism 3 is part of the Outpost festival – opening Nov 4th until Dec 11th, 2011.
more details here: outpost.cockatooisland.gov.au

- Why do you use the name ‘BUNKWAA’?
This really beautiful lizard woman named me Bunkwaa, after she had explain that the dimension she existed in lived off the energy created by human emotions and thoughts.  It existed in the folds of this dimension, so I thought i’d use it.  I sometimes shorten it to WAA, because it’s quicker to write.

- How long have you been making paste-ups / street based work, and what draws you to this style?
I started doing street art before i even really knew what it was. I started blu taking characters on cardboard to walls. That way people could grab them and take them home. Since then stickers and paste ups have been my main focus. I find putting art on the street really rewarding. At the moment i’m teaching kids, they tell me they love seeing my stickers around, they collect my drawing, zines and stickers. Haha.. that’s my fan base 5 – 12 year olds. That’s okay, they totally get in to it. So, i think what i find rewarding about it, is putting my art out there and that sometimes people look up and notice it.

- The city or place that an artist lives often inspires the kind of work they do – how does your location influence you?
I’m alway’s influenced by my surroundings, no matter where I am.  I like interacting with the environment around me.  When i lived in Adelaide I would draw these angry looking little characters and after i moved to Sydney 4 years ago my drawing became I lot happier.  When I moved to Sydney I started busking – drawing my characters on cardboard with little stands on the back and selling them on King Street.  I noticed my art change over the two years I busked.
I moved to Sydney about 4 years ago and was inspired by artist’s such as Syke and SMC3 and the movement crew.  I remember seeing their paste ups on the taxi ride from the airport – also seeing paste ups by artist’s like Zapp and Jumbo always inspires you to push your art further.  When it comes to Sydney and especially the inner west, I like making the familiar unfamiliar – making people take a second glance at what is around them. 00

- You’ve been referred to as ‘the light bearer of laughter’ –  what does that mean?
haha… that came form an article about an art collective I’m involved called Punk Monk Propaganda.  It seemed to stick.  I think it’s because I laugh a lot. Humour is important in my work.
haha That was coined by a certain AWOL monk.   I think because I laugh a lot and because I like to put a lot of humour in my work. I use to busk in Newtown with my little cardboard cut out characters lot’s of people who bought art off me, said the characters made them happy.  I like that lines and colours on cardboard can make someone happy.

- What are your thoughts on Paste Modernism and what kind of work might we see from you for this year’s event?
I’m really excited about it.  It’s going to be massive.  It’s a chance to see so many local and International artist’s all one one place.  Each artist having their own call to street art.

www.bunkwaa.blogspot.com
www.youtube.com/user/bunkwaa

- Why do you use the name ‘Mr. Sweet’?
I wanted a name that wasn’t your everyday tagger name, something that sounded a little unlikely.  I came up with Mr.Sweet because I liked the contrast between the common uses of the word ‘sweet’ with the sour undertakings of a street artist.  On the surface it seems relatively harmless but under this facade is something much more critical. This gave me the contrast I wanted.

- How long have you been making paste-ups / street based work, and what draws you to this style?
I haven’t been working with paste-up’s for long.  When I was about 14 I started getting interested in graffiti and street art but it took me quite a while to find a style I really wanted to pursue and push.
I have had a pencil in my hand since before I can remember so it was a natural progression into the style you see today.  I work with paste-up’s because I can really develop my drawing in the studio and think about what I want to say and where. I also like how the paper becomes part of the space, following the texture of the surface it occupies.

- The city or place that an artist lives oftens inspires the kind of work they do – how does your location influence you?
I was born in London and raised to be very independent from a young age. I got public transport everywhere I needed to go.  I spent hours on numerous trips about town staring out the window watching the world scroll past. I think it’s very important to take time to absorb our environment, its shapes our own character. This is the same with street art, if you become too egotistical you miss the small details around you, which makes life interesting. I am still experimenting with what it is I really want to get across in my work.  I take influence from the people I meet and different cultures around the world. Street art doesn’t exist without an urban landscape to put it in,  so I guess this is an understated influence in my work.

-  Your’e part of the Outsiders Collective, tell us more about that . .
The Outsiders Collective was started by artist and good friend, ‘TEEM’ and myself.  Originally we took the principles of a graff’ crew and integrated in DJ’s, photographers even a playwright to all vibe off one another’s work and build new ways to collaborate. It’s early days for most of the artists involved but there is a lot of energy being generated by this collective and I for one am very excited for it.  We have our first exhibition opening in early December so listen out for that!

-  What are your thoughts on Paste Modernism and what kind of work might we see from you for this year’s event?
This will be my first Paste Modernism event and I’m very excited about it.  I think it’s a great concept that the public will love and when finished it’s going to look really imposing and powerful amongst the Cockatoo island aesthetic.  I will be donating some of my figures to the cause.  Monochromatic line drawings of working class people to fit with the industrial setting.  Personal experiences and memories fuel the creation of my images.  Some portraits of friends may also make the cut.

http://theworldofmrsweet.tumblr.com/

- Why do you use the name TEZ?
Well it’s short for Tezza, a nickname that is derived from my family name, which is Terry. I started signing my work as Tez at a very early age, like 15 years old or so, back then I think I liked it because it was short and sweet and the fact it ended with a Z was cool. Years on the pseudonym now serves as a practical one, living a reasonably private life with my family I’m comfortable If people can’t make the distinction between me and my work.  It’s kind of like living alternate lives; the art being just one facet of who I am as a person.  Of course working under a pseudonym is beneficial when delving into the street art realm for obvious reasons.

- How long have you been making paste-ups / street based work and what draws you to this style?
Well not that long really, I have always held an appreciation for street based art and when in the city I would make a point to slap a few stickers about but they were never huge campaigns, I have to say. I do recall talking to Beastman some time back just when he started building a lot of momentum on the street and his advice to me was to just get your stuff out there, to do it. I think what also drove me was a frustration with the type of work I was now producing and the messages I wished to deliver. There was a need to maximise my audience and I found it somewhat limiting when just showing in the confines of a gallery environment.

- The city or place that an artist lives often inspires the kind of work they do – how does your location influence you?
Originally my work was heavily inspired by my immediate surroundings, growing up on the Central Coast in the 80′s & 90′s I was exposed to surf and skate culture. All the associated mags, clothing labels and skate graphics gave me a heavy dose of eye candy. Interestingly these very same things today, especially when it comes to branding and advertising, I have a more cynical outlook on.  I would say my work now is more influenced by our social environment and the current state of the world as a whole, as opposed to where I reside.

- Some of your work has underlying political messages, how important are these concepts in your work?
They seem to have become more important of late; maybe the cynicism comes with age? I do know raising two young boys has caused me to question many of today’s issues we are faced with.  I suppose I feel, in some way, a generational responsibility? It’s like I owe it to them to acknowledge and address some of problems we have created and, in turn, they will inherit. The best way for me to do that is through my art and through the messages conveyed I hope the viewer will pose the very same questions I have. This is where I think art can be a very strong tool to bring about change.

- What are your thoughts on Paste Modernism and what kind of work might we see from you for this year’s event?
Well it just seems to be getting bigger and better every year! What better stage to hold it than in conjunction with an amazing festival on a bloody big island in the middle of Sydney Harbour?  This year I will be offering a mixed bag, a heap of small hand done pieces and a couple of larger scale digital pastes that will require tiling to achieve the desired size. All, of course, will be comments on our society and our cultural identity and I will be even throwing in a bit of political humour for good measure.

http://www.skullpussy.com