On the Role of Street Art as a Public Provocateur with Paul West

Recently, I chatted with Paul West on ABC South East radio. You might know Paul as the TV presenter from ABC Backroads and co-founder of Grow It Local, a grassroots initiative inspiring people to connect through growing their own food. We dove into the world of street art, its role in public spaces, and how it brings communities together. It was such a fun and thought-provoking conversation!

Paul West: Good morning! You're tuned into ABC South East Breakfast. Now, when you think of art, do you picture a white-walled gallery? People in turtlenecks sipping champagne and thoughtfully stroking their chins? But what about street art? What kind of person do you imagine as a street artist? And more importantly, what role does street art play in our cultural landscape? Is it petty vandalism or a powerful public statement?

Here to shed some light on that is Braidwood-based artist Bohie. She joins us on the phone. Good morning, Bohie!

Bohie: Good morning, Paul. How are you going?

Paul: I'm doing well, thanks, especially now that I'm chatting with you on this grey morning. Let’s dive right in—I love the question: “petty vandalism” or “provocative public statement”? What do you reckon?

Bohie: Oh, that’s such a great question. You know, I grew up in a pretty conservative, white, working-class community in country New South Wales. For me as a kid, art felt like this elitist thing—the kind of thing that rich, intellectual people in the city did. I didn’t see how it could exist in public spaces or how it could connect across different demographics.

Paul: That’s really interesting. So what first drew you to street art or public art?

Bohie: Well, I had a similar perception of art as a kid, but my parents were craftspeople. That made a big difference for me. My mum was a traditional signwriter, and my dad was a ceramicist. I grew up surrounded by craft, which is all about creating practical, beautiful things that serve a purpose. It’s such a different world from fine art—and often looked down upon by traditional art schools.

When I was about 10, my mum got me into painting murals with her. She handed me a brush, and I haven’t looked back since.

Paul: So you had a family apprenticeship?

Bohie: Exactly! And I’m so grateful for it because there aren’t really courses to learn traditional signwriting anymore. It’s such a beautiful craft, passed down from one generation to the next. That foundation shaped my approach to public art. I’m all about creating work with integrity—something meaningful that can stand the test of time and connect with a wide audience.

Paul: That’s such a thoughtful perspective. One of the things I love about public art is how accessible it is. You don’t need to walk into a gallery or pay for a ticket. You could be driving down the freeway at 100 kilometres an hour, catch a glimpse of something, and it sticks with you. What do you think about public art’s role in society?

Bohie: Public art is powerful because it interrupts the noise of advertising. It’s raw and surprising. You see vinyl signs and plastic logos everywhere, and they’re designed to sell you something. But public art? It’s different. It brings wonder and sometimes even challenges your perceptions.

It’s also democratic in a way galleries aren’t. In a gallery, people can curate their cultural experience—choose what books to read, music to listen to, or art to see. But with public art, you might encounter an opinion or perspective you didn’t choose. That’s what makes it exciting.

Paul: That’s such a great point. In a world dominated by algorithms feeding us what we already like, public art cuts through all that. It’s for everyone, not just the elite. But I imagine being a public artist must be a very vulnerable experience. How does that inform your creative process?

Bohie: Oh, it’s definitely vulnerable! When you’re painting in public, there’s no hiding. For me, collaboration is key. I love working with community groups to understand what matters to them and why. Whether I’m painting with them or on their behalf, the work is deeply personal and connected to the people and place it’s for.

But the process can be intense—especially with tight deadlines. Imagine having just three days to paint all four sides of a massive sports pavilion! It’s a high-pressure job, but I’m driven by the impact it has on the community and the broader public.

Paul: It sounds like such a rewarding yet challenging career. Unfortunately, we’re almost out of time. But for those listening who want to connect with you or see your work, what’s the best way to do that?

Bohie: Thanks, Paul. My website’s the best place to start. After the bushfires and COVID, I’m keen to hear how people are doing and work on projects that can really help the community.

Paul: That sounds like an amazing opportunity. Thank you so much for your time, Bohie. It’s been such a pleasure talking with you.

Bohie: My absolute pleasure, Paul. Thanks for having me.

Paul: That was Braidwood-based street artist Bohie, currently part of the Surface Festival. Stay tuned—more to come here on ABC South East Breakfast.