Street artist Peter Drew on why his 'Aussie' posters are still important

For ten years, Australian street artist Peter Drew has been a familiar, albeit sometimes controversial, presence on our cityscapes, pasting up his iconic 'Aussie' posters. Unlike the elusive Banksy, Drew embraces his identity as a vandal, yet his work resonates deeply with many Australians who appreciate his unique contribution to public art and national discourse.

“

I know it's illegal, but I think the reason why I haven't been brought to justice is that the posters are popular.

Drew's 'Aussie' project, initiated in 2016, began with a striking image of Monga Khan, a Muslim hawker who arrived in Australia in 1895. This choice was deliberate, aiming to counter the rising tide of anti-Islamic sentiment and xenophobia prevalent at the time. By featuring archival photographs of diverse individuals who have shaped Australia's history, Drew seeks to challenge narrow definitions of national identity and celebrate the multicultural fabric of our nation. His recent expansion of the series, adding more images with the stated aim to 'fix racism,' underscores his ongoing commitment to these ideals.

“

People don't want to prosecute me because they like them [the posters] and I put them up in places where there are ugly walls all over the city.

What makes Drew's work particularly significant from an Australian perspective is its direct engagement with our evolving national identity. In a country built on immigration and diverse cultural contributions, his posters serve as a powerful reminder of our shared history and the many faces of what it means to be 'Aussie.' The fact that he operates independently, self-funding his extensive efforts and resisting government partnerships, speaks to a desire for authenticity and a direct connection with the public. This approach allows him to remain accountable to the people who appreciate his art, rather than to bureaucratic interests.

“

As soon as I saw the photograph, I knew that was the guy.

While Drew acknowledges that his work sometimes draws criticism or even verbal abuse, he also notes the widespread popularity of his posters. This popularity, he suggests, is why he hasn't faced more severe legal repercussions. It reflects a broader sentiment in Australia that values artistic expression and a willingness to confront uncomfortable truths about prejudice. Drew's project is not just about art; it's a conversation starter, a visual counterpoint to division, and a celebration of the inclusive spirit that many Australians aspire to uphold. His dedication to plastering these posters across communities, including smaller ones, highlights a commitment to ensuring this message of inclusivity reaches far and wide.

“

He looks majestic and mysterious, and I knew he was going to be the hero of this project.