Urban artist TOGO is notorious for his defiant acts of vandalism – he's plastered his name in impossible spots on buildings overlooking Christchurch's city centre. As he moves into post-vandalism installations, the pseudonymous artist talks to Cityscape about his motivations, his methods, and how it feels when his art sells out in a matter of hours.

Tell me about getting started – did this begin with tags and grow from there?

It all started from playful misbehaviour. One antic always introduces another, so graffiti was the culmination of everything I enjoyed. Adventure, trouble, creativity, excitement. From that point I began a journey of learning the art form, developing a groove, improving and exploring different avenues - and becoming a good runner.

Your art seems to have gone through a bunch of different stages.

When I was younger, I just wanted to see my name in as many places as possible. It felt powerful being able to change and influence your environment, to say "I was here, and here, oh, and over here!" As I grew older it became less about me and more about art in the streets. I started to paint illicit abstract pieces that had no connection to a name but still held that dirty, graffiti aesthetic. Some look pleasing, while others look like a bad mural. Either way, it is all art in the wrong place and seeks to raise questions. Now I am working on post-vandalism installations which contribute to a wider discussion about society.

What’s street art about for you?

Graffiti is a great tool for the minority who wants to be heard. It gives them a voice when they have none, and the tools are easily available. I see a piece of art at a museum or on the internet and I look at it. And then I look at something else. I see a piece of art in the street and it’s a surprise, it shocks me. It’s not meant to be there. How did they do that? When did they do that? It’s engaging and inviting, you can interact with the art, you can play.

Tell me about the massive TOGO bombs on top of buildings – like the one on the old Rydges hotel. What attracts you to those spots?

These hard-to-reach places are often challenging and difficult. They require a lot of planning and preparation but because of this, will increase an artist’s notoriety. They are also harder to remove and often stay up for longer periods of time, adding to the artist’s fame or reputation. For me, this was the game. I never cared for aimless tagging or painting anything without a goal, I was more attracted to these dangerous spots and found pleasure in the risk and reward aspect. How far are you willing to go?

What’s involved? Are you using ropes and harnesses?

There’s not much to it. Just hold on tight!

You’ve gotten a bit of heat for damaging property to get your art up – is that something you think about much?

I know it doesn’t seem like it, but I have a strong moral code to where I put my graffiti. I seek out forgotten spaces and enjoy finding the hidden nooks and crannies of the city. I can’t say never, but rarely have I damaged property to get my graffiti up. The damage was already there but by painting my name on it, this space that was largely ignored is suddenly revealed.

There’s this public rejection of graffiti, but a growing acceptance of street art that’s traditionally beautiful. What do you think about that?

Most people do not like graffiti ‘tagging’ but appreciate graffiti ‘art’ and larger, more artistic murals. The difference is that the art is intended for a wider audience to enjoy, while the tagging is only for a select few. Graffiti isn’t meant to please. It is rebellious in nature and should be frowned upon. The illegality and risk of it makes it what it is.

Is your art about creating something aesthetic or defying authority?

It’s not about the art, it’s the compulsion of action and being unruly. It’s an obsessive desire for excitement and adventure. It’s taking that risk just because you can.

Is Christchurch a significant place for you?

Upon arriving in Christchurch post-earthquake, I had heard things like "it was boring", "nothing to do", "looks like a war zone", et cetera. I found it to be totally the opposite. There was so much life in the streets, colour everywhere, creative use of space, more urban exploring than you could ever imagine. It was my ultimate playground and I had such a blast. It was also during this time that Christchurch really cemented itself as the street art capital. Besides the crazy amount of murals and graffiti everywhere, there were street art exhibitions being held and other pop-up events. The earthquake was a terrible event, but it has really shaped Christchurch into being a cultural and artistic hub. I was only there for a short stint but it will always hold a special place to me.

Your prints are on display at Fixate in Christchurch - a gallery dedicated to supporting urban artists. Your latest sold out in a few hours. How important are galleries like that for you?

Hugely important. They have created a space and community for artists who typically don’t get to display their art in this way. This provides neat opportunities and gives artists a moment to work with new mediums. Even moreso than the artists themselves, Fiksate gallery is risk-taking and adventurous, they're challenging ideas and taking on the established norms. It's bold and daring and we need more people like that.

Tell me about the print.

It's refined adaptation of a transfer technique I have been experimenting with in my unlawful abstract pieces. I started doing this approach on outdoor walls, then took to the studio to improve the method, and have been back applying what I learnt in the studio to the streets. It hasn’t quite worked as well yet, and is much messier due to time and pressure constraints. I’ll get there though!

It sold out within a few hours – why do you think people were so drawn to it?

The risograph process worked so well with this style. The overlaying of colours and discrepancies made for a great final product. Or maybe they like the big TOGO bombs on top of buildings.

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