A Melbourne man, Jack Gibson-Burrell, aged 21, is facing extensive legal troubles after being accused of vandalising numerous landmarks with his graffiti tag, “Pam the Bird”. In a striking display outside the Melbourne Magistrates Court, he donned a Spider-Man costume and executed wall-climbing antics, captivating onlookers while remaining silent during the performance. Despite the spectacle, he now faces a staggering 208 charges, an increase from the 60 charges presented in February.
Gibson-Burrell’s alleged criminal activities include trespassing into Victorian train stations and scaling heritage sites to spray paint his distinctive tag. His association with co-defendant Matthew Raoul White, 39, has been noted, with both accused of breaching Flinders Street Station in July 2024 to apply their graffiti on the iconic clock tower. Other locations impacted include Footscray’s historical Uncle Toby’s factory and Channel Nine’s Melbourne headquarters.
Prosecutors estimate that the damage from Gibson-Burrell’s graffiti spree exceeds $100,000, contributing to charges of vandalism along with various violent accusations, such as assaulting a worker at Emporium Melbourne and involvement in car thefts and a ram-raid incident at a Nando’s restaurant in Footscray. While specific details regarding the additional 148 offences were not disclosed in court, defence attorney Micky Milardovic mentioned that the police investigation lasted a significant duration, indicating some charges relate to prior cases.
The court proceedings have garnered media attention, particularly for Gibson-Burrell’s bizarre antics. He avoided directly answering questions from reporters who probed the reasoning behind his Spider-Man act. The case has been adjourned for a two-day committal hearing set for February 2026, where evidence will be scrutinised before decisions on potential trials.
As the legal proceedings unfold, Gibson-Burrell has yet to enter a plea, but his bail has been extended until the next hearing. The unusual nature of the charges, combined with his theatrical behaviour, continues to capture public interest and raise questions about the motivations behind his graffiti and public performances.