Grant Apiata has been quietly photographing New Zealand's underground hip-hop scene for over 10 years. What started off as an easy way to get into gigs has led him inside the home studios of the country's best bedroom producers. An exhibition of his intimate images opens this week in South Auckland. Ahead of the show, VICE got in touch with Grant to ask him about his work and the changes he's seen in local hip-hop.
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VICE: Hey Grant! So how long do you think you have been documenting the scene?
Grant Apiata: Probably at least a decade. I'm a DJ first and foremost, that's what I do. So being a DJ I get to go to all these places and my camera gets me in the door—I'm like "Yeah sweet, just here to take photos." And then you keep going to the same places and people end up like: "Oh hey, it's the photographer guy, come in and have a look."
Grant Apiata: Probably at least a decade. I'm a DJ first and foremost, that's what I do. So being a DJ I get to go to all these places and my camera gets me in the door—I'm like "Yeah sweet, just here to take photos." And then you keep going to the same places and people end up like: "Oh hey, it's the photographer guy, come in and have a look."
So that's how you first started, but you've also been documenting people in their studios right, as well as out at gigs?
I'm really geeky, so I got a camera and shoot heaps of different things. I have tonnes of stuff that I'll probably never use but it's just one of those compulsions. Like a beatmaker—producers and stuff, they just want to make beats, just for the hell of it. Because they're passionate about it.
I'm really geeky, so I got a camera and shoot heaps of different things. I have tonnes of stuff that I'll probably never use but it's just one of those compulsions. Like a beatmaker—producers and stuff, they just want to make beats, just for the hell of it. Because they're passionate about it.
Can you tell me any of the stories behind your photos? What are some of your favourites?
One thing that I noticed when I was sitting down at one of the first meetings with the gallery, we were sitting there, looking at how many pictures I need. And someone at the meeting goes, "Where are all the female producers?" And I was like, oh snap, because I guess I didn't really think about it, I had to go back and really look at what I had. So I think there is a little bit of—it's a boys club and I didn't even realise. Beatmakers are usually male. One of the images is of Aaradhna and she's the only one who did come to mind as a female producer.
One thing that I noticed when I was sitting down at one of the first meetings with the gallery, we were sitting there, looking at how many pictures I need. And someone at the meeting goes, "Where are all the female producers?" And I was like, oh snap, because I guess I didn't really think about it, I had to go back and really look at what I had. So I think there is a little bit of—it's a boys club and I didn't even realise. Beatmakers are usually male. One of the images is of Aaradhna and she's the only one who did come to mind as a female producer.
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Why do you think it is such a boys' club?
I don't actually know to be honest with you. It kind of troubled me the whole time, I was asking friends—do you know any female producers? And they would drop some names but again, it was just really a boys club. It makes me wonder, do we just deal that way? I can't explain it. When I DJ, I care less about dudes dancing, you want to have women dancing. If there's too many dudes dancing there are no women. So I set up my set that way: if the women are having a good time, the dudes will come anyway. But that's why it's sort of, for me, weird recognising that there's only one person I've shot that I know, a producer who is female. It's really dominated by males. I don't know if that's because of the scene itself, different opportunities. But I recognise there's something there.
I don't actually know to be honest with you. It kind of troubled me the whole time, I was asking friends—do you know any female producers? And they would drop some names but again, it was just really a boys club. It makes me wonder, do we just deal that way? I can't explain it. When I DJ, I care less about dudes dancing, you want to have women dancing. If there's too many dudes dancing there are no women. So I set up my set that way: if the women are having a good time, the dudes will come anyway. But that's why it's sort of, for me, weird recognising that there's only one person I've shot that I know, a producer who is female. It's really dominated by males. I don't know if that's because of the scene itself, different opportunities. But I recognise there's something there.
So in your decade documenting the scene, has it changed much?
Yeah, I think it has changed. How do I say it without sounding bitter [laughs]. It has and hasn't changed. People are still passionate about the music. I think the older generation, even older than me—they might look at what's happening and go, man, what are these kids doing? Where's the love? Of the actually music, and of the culture of hip hop. They feel it's more, let's do this because we wanna be cool. But on the flip side of that I see a lot of the next generation coming through, they're amazing. You have people who've been hustling for a long time and their work is really good. Then you have people like The Grow Room, coming out with some crazy stuff.
Yeah, I think it has changed. How do I say it without sounding bitter [laughs]. It has and hasn't changed. People are still passionate about the music. I think the older generation, even older than me—they might look at what's happening and go, man, what are these kids doing? Where's the love? Of the actually music, and of the culture of hip hop. They feel it's more, let's do this because we wanna be cool. But on the flip side of that I see a lot of the next generation coming through, they're amazing. You have people who've been hustling for a long time and their work is really good. Then you have people like The Grow Room, coming out with some crazy stuff.
You're showing the photos this week at Fresh Gallery in, as part of a big exhibition. What do you think it means for this scene to be publicised, shown in this way?
A lot of the people I've shot have come from Auckland and these communities. And seeing that they have done something and they've now got something visual, this record to look at, it gives a sense of pride. It really does. I was talking the other day to Anonymouz, and he was like, "Bro, you've captured it. You've captured what it's like to be a bedroom producer." And that's the thing—people do kind of know [about the scenes], but there's nothing to show it. Nothing to see. And having it on this platform is really amazing to get the community involved.
A lot of the people I've shot have come from Auckland and these communities. And seeing that they have done something and they've now got something visual, this record to look at, it gives a sense of pride. It really does. I was talking the other day to Anonymouz, and he was like, "Bro, you've captured it. You've captured what it's like to be a bedroom producer." And that's the thing—people do kind of know [about the scenes], but there's nothing to show it. Nothing to see. And having it on this platform is really amazing to get the community involved.
