Four years ago, stonemason Callum Hotham had never touched a spray can or considered himself an artist. Today, the 29-year-old has become one of the most recognizable street artists in Bathurst, Australia, transforming the famous motor racing city with hyperrealistic murals that celebrate local community members and breathe new life into the urban landscape.
Hotham's artistic journey began during the COVID-19 pandemic when he was locked down in Sydney. Inspired by the street art surrounding him, he picked up a pen as a hobby and gradually progressed to paints and eventually spray cans. "It was just perfect timing to pick something up because I wasn't really doing too much else," Hotham recalls. What started as casual experimentation has evolved into a passion that now defines his career and his city's visual identity.
The transformation of Bathurst's city center began when retired real estate agent Peter Rogers decided to revive what he considered a dying downtown area. "I'm trying to improve our CBD – I believe Bathurst is dead," Rogers explained, prompting him to commission the self-taught artist for an ambitious project. Rogers was inspired by a massive brick wall measuring 50 meters wide and 10 meters high, envisioning it as the perfect canvas for urban renewal.
Hotham's breakthrough piece, known as the Eureka mural, took three months to complete and transformed the side of an old department store that once sold clothing to workers at the region's historic gold mines. The artwork reflects the town's rich mining heritage and has become a centerpiece of Bathurst's cultural renaissance. The project's success exceeded expectations, with Rogers noting, "Now we're getting people from all over Australia coming to look because it's actually on the Silo Art Trail. I commissioned it to try and set it off to get other people interested in doing murals in town."
The artist's technique centers on hyperrealistic portraiture, a skill he developed entirely through self-teaching rather than formal training. "I just fell in love with painting with spray cans because there's such a technical side to it," Hotham explains. "It's not that you're just getting better at painting, you're also getting better at controlling the can, which I'm really fascinated by." His work demonstrates remarkable technical proficiency, with local arts advocate Maryanne Jaques from ArtsOutWest comparing him to portrait artists of centuries past: "If he was painting a couple of hundred years ago, he'd be the guy that you would hire to get your portrait painted if you were very rich."
Over the past three years, Hotham has created murals on approximately 25 locations throughout Bathurst, including schools, businesses, and sports clubs. Each piece typically features portraits of community members, from beloved local figures to cultural icons. One particularly meaningful project involved painting Bob Clancy, the founder of the Bathurst City Colts, on the wall of Hotham's childhood cricket club. "He's such a lovely fella and everyone knows him for that – I wanted him to have a slight grin because that just gives off his character," the artist shared, describing the work as a humbling experience.
Another notable piece features Aunty Mary Kennedy at Kelso Public School, while a mural at a local gym depicts motor racing legend Peter Brock, connecting to Bathurst's famous association with the Bathurst 1000 race. The artist has also created commercial works, including advertisements for local businesses that double as public art installations, demonstrating how commercial and artistic interests can align to benefit the community.
Local business owner Kyle Keen, who owns a butcher shop on the road leading to the Bathurst 1000 circuit, commissioned Hotham to create a mural that incorporates the city's racing identity. Keen painted the artwork during race weekend, attracting numerous spectators and highlighting the intersection between Hotham's art and the city's signature event. "We're trying to have it like the silo art," Keen explained. "Hopefully this – and all of Callum's other murals – will be something like that as well, where [people] can go around and check them out."
The impact of Hotham's work extends beyond tourism, significantly affecting daily life for Bathurst residents. Keen reports that customers regularly comment on how the artwork brightens their day, while social media responses show strong community pride in the local artist's achievements. "The amount of people who come through the shop every day and say how lovely it looks, it's just so good," Keen notes.
Maryanne Jaques emphasizes the broader cultural significance of Hotham's work, noting that research demonstrates public art's ability to improve people's sense of safety and confidence in communal spaces. "Bathurst does feel really proud of these works," she observes. "Every time he does a new work, I have seen so, so many comments on social media from locals who are celebrating that and championing someone from their community."
The demand for Hotham's work has grown so significantly that he now struggles to keep pace with requests. The artist signs his work as "CALUM" and views his contribution to the city as something lasting and meaningful. "I was a little kid here," Hotham reflects. "Now I'm leaving something that's going to be here longer than me." His humble approach to his success resonates throughout his comments about the work's impact: "The amount of people the work impacts, it's so much bigger than me. I just hope people appreciate it and it makes their day better."
The success of Bathurst's mural project demonstrates how grassroots artistic initiatives can revitalize urban spaces while celebrating local culture and community identity. What began as one man's effort to save a dying city center has evolved into a comprehensive artistic transformation that attracts visitors, supports local businesses, and instills community pride. Hotham's journey from pandemic hobbyist to renowned street artist illustrates the power of self-directed learning and community support in fostering artistic talent.
