Where did your artist name come from?

My Cat Walter died during the first covid and my wife bought me an illustrated book on how to deal with the loss of a pet and it was called Ghostcat.

And what first sparked your love for vintage New Zealand iconography, and how did it evolve into your artistic identity as Ghostcat?

Ive always been a huge advocate for nostalgia, so seeing how iconic some of the builds we had pre earthquake were, helped me create a vision for bringing that essence into what I do.

Your work is super intricate and super high quality, how does street art and illustration intersect in your work?

I actually don’t have any background in street art but I have always drawn from an early age. It’s my skills in carpentry and joinery and model making that has helped me cross over into what I do as an artist.

There’s a huge sense of nostalgia in your pieces. What’s one particular memory or image from your childhood that continues to influence your art today?

I have memories of exploring abandoned places as a kid with my mates and how the excitement of those worn out forgotten places ignite something in me. Ive been fascinated with that type of  infustructure all these years, which reflects in what I do in my work.

What does your creative process look like? Do you start with a clear vision, or does the artwork evolve organically?

It’s a bit of both. Sometimes, I start with a clear vision, especially if it’s for a specific location or project. But often, my work evolves organically as I interact with the space.

Street art naturally interacts with the public in unexpected ways. Have you ever had a memorable or surprising reaction to one of your works?

I create places that people remember, so they can hold alot of emotion in many different ways. So it’s genuinely always quite emotive when people connect with certain buildings I make.

In the evolving landscape of street art, where do you see its role in shaping urban culture in New Zealand?

For me Christchurch has probably evolved more than most in New Zealand, as the earthquakes provided a blank canvas for artists, which started to bring joy back to people during such a dark time. Street art has now become such a staple in the city that it’s kind of become its own entity which is ever evolving and that’s fucking awesome to see.

How do you feel about the tension between commercial art and graffiti/street art as a form of rebellion?

Horse for courses really. The way I look at it is that you can’t please everyone no matter what you do. There will always be conflicts of interest, and that’s ok as long as you always do what means the most to you as an individual.

If you could collaborate with any artist—dead or alive—who would it be and why?

I get to collaborate with lots of my friends here in Christchurch, and that’s enough for me. Thers some crazy talent here and I’m honored that I get to be part of that in some way.

You’ve exhibited in galleries and left your mark on the streets—what’s next for Ghostcat? Any upcoming projects or dream locations you’d love to work in?

I want to take my book to New York and go for something there, i mean its a long shot, but why not? It a place I’ve always dreamt of going.

If someone unfamiliar with your work asked you to describe it in three words, what would they be?

Connectivity, nostalgia and joy.

Again I’m not really a street artist, but my best advice is to create from a place that gives YOU the most joy and whatever you do, don’t let anyone tell you, you can’t.

We’re so stoked to know Mike, it makes what we do infinitely more fun when we get to have connections like this who we can call friends.

To find out more about Ghostcat’s work, head here or for information on his upcoming show, check here.