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Amelia’s Magazine | Exhibition: I have this strange kind of feeling and I just can’t place it…

Charly Coombes and the New Breed Live
Charly Coombes and the New Breed are a contemporary rock and roll band, salve hailing from the same nest as Supergrass. They are currently working their way around the UK promoting their latest EP, medications Waves, and offer a great blast of rock and roll freshness through the musty sound waves at the moment.

You can buy tickets here and check them out at the followign venues:

25th Nov-The Cape Of Good Hope, Oxford, Oxfordshire, UK
26th Nov-Wycombe Academy, Buckingham, UK
27th Nov-The Cellar, Oxford, Oxfordshire, UK
1st Dec-Nice n Sleazy, Glasgow, Lancashire, UK
2nd Dec-The Duchess, York, Yorkshire, UK
4th Dec-The Soundhouse, Leicester, Leicestershire, UK
10th Dec-Kasbah, Coventry, West Midlands, UK
11th Dec-Water Rats, London, UK

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear a wrist-piece by Mr Jones’ Watches is to accept the designer’s re-evaluation of our modern understanding of time as a series of fixed units, medical through which the day is neatly compartmentalised. A concept visualised within the permanent collection, in the form of The Average Day watch. Originally produced for The Muses, (Mr Jones matched five professionals whose “work or life thematically linked them” to five new watches) the watchface represents the average activities undertaken at different times throughout the day. The information was digested from a variety of sources researching how the average person consumes time on an average day.

The Average Day, Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with the unquestioned measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share the development of an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair’s (Author of Hackney That Red Rose Empire) Compass Watch relates to 90 minutes of film time, rather than your usual TV time of 60 minutes. Sinclair discussed the relation of time to walking, the layers created as time passes both between an event and the walker’s presence, within the walker’s own time. For Sinclair this interest is perhaps pinned down into an interest in the relation between Landscape and Authors.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. How time can dramatically change as different systems compete for ownership of land, in his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

Brian Catling, a performance artist, presented an art historical slide show, introducing the ideas behind Dawn West Dusk East through a series of paintings and performances exploring the concept of ‘the cyclops’. The watch itself was designed -as spoken by the artist- to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is request to a return to a slower pace, as the dial continually measures 12 hours between Dawn and Dusk and back again.

Brian Catling

The final speaker of the evening was the twice claimant of The Hour record, cyclist Graeme Obree, whose watch The Hour visualises the time span of the toughest record in cycling. Fittingly the hours have been replaced by words relating to the passage of time. As the hand rotates through a 12 hour cycle, a different word is revealed with the aim to encourage the wearer to question the inhabitation of every hour in every day. Obree described the record breaking attempt as the best, worst, most exhilaratingly painful hour imaginable, as each second ticks past…

A fantastic event, which sadly William Andrews and Tom Middleton were unable to attend, in turn their watches played with the idea of ‘death’ on stage in The Last Laugh and displayed a DJ’s relation to BPM and . BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM.

Tom Middleton

William Andrews

William Andrews The Last Laugh functions as both symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Both Compass Road and The Last Laugh have been released, you will need to watch Mr Jones Watches’ website for the appearance of BPM, The Hour and Dawn West Dusk East… An beautifully clever selection of watches, available to view in the flesh at Mr Jones Design, Unit 1.11 Oxo Tower Wharf
Southbank London SE1 9PH.

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

The Compass Road by Iain Sinclair illustrated by Faye West

The decision to wear one of Mr Jones’ Watches is to accept the designer’s challenge to a modern concept of time being a series of fixed units, discount through which the day is neatly compartmentalised. A concept most succinctly visualised by the watch The Average Day watch. This piece was originally produced for The Muses. The watch-face illustrates the average activities undertaken at particular points throughout the day. The information was digested from sources researching how time is spent by an average person throughout the day. The hours are replaced by words, diagnosis for example 6pm becomes social life and 11 am becomes work.

The Average Day, viagra sale Photograph by Chris Overend. The Muse for this particular watch was Jonathan Gershuny, Director of the Centre for Time Use Research and who Mr Jones stipulates has “750,000 time-use diaries.”

Continuing to dispense with Western Modernities accepted measurement of time, Mr Jones developed Cyclops, a watch with no hour, minute or second hands. Instead a circular disk mimics the movement of shadows across a sundial, as the passage of time is meditatively documented. Encouraging the wearer to reevaluate their relationship to capitalist time in which every precious second counts.

Cyclops

On Wednesday 3rd November 2010 Mr Jones’ Watches launched The Masters of Time a collaboration with five unique professionals who share the development of an unique and personal concept of time.

During the launch Iain Sinclair, author and psycho-geographer, Greame Obree, record breaking cyclist and artist Brian Catling discussed the ideas behind their watches and the process of negotiating whilst collaborating with Mr Jones. The final two watches were developed with Comedian William Andrews, and DJ Tom Middleton.

Iain Sinclair Photograph by Emilie Sandy

Iain Sinclair – Compass Road interview from Mr Jones on Vimeo.

Fittingly Sinclair’s watch replaces the units of time with authors whose experience was shaped both by the influence of both geographic location and a complex understanding of time. In his 15 minutes Sinclair discussed the breakdown of the poet John Clare after the enclosure of the landscape to JG Ballard’s experiences as a prisoner of war before his arrival in Suburban England.

Compass Road by Iain Sinclair and Mr Jones Watches

The performance artist and sculptor Brian Catling, introduced the ideas behind Dawn West Dusk East via an art historical slide show. Original paintings and performances explored and expanded on the concept of ‘the Cyclops’. The watch –in the words of the artist- was designed to be “enigmatic, subtle and poetic.” The single rotation of this exquisite design is a silent request to return to a slower pace. The dial gradually measures the 12 hours between Dawn and Dusk.

Brian Catling Photograph by Emilie Sandy

The final speaker of the evening was the twice claimant of the toughest cycling challenge The Hour – a race between the cyclist, distance and the clock. Fittingly the title chosen for Graeme Obree’s timepiece is The Hour. As the hand rotates each hour reveals a different word encouraging the wearer to question emotions experienced during a variety of daily activities. Obree described The Hour as the best, worst, most exhilaratingly painful amount of time imaginable, each second a step closer to achieving or failing a lifelong obsession.

The Masters of Time launch was a fantastic introduction to an individuals complex relation to time. Sadly William Andrews and Tom Middleton were unable to attend, their watches The Last Hour and BPM played with the idea of ‘death’ on stage and a DJ’s relation to the beats per minute respectively. BPM comes complete with a specifically designed animation to help the nocturnal DJ keep count of each record’s BPM prior to the moment of a live mix.

Tom Middleton Photograph by Emilie Sandy

William Andrews Photograph by Emilie Sandy

William Andrews The Last Laugh functions as a symbol of the performer’s need for the last laugh and a momento mori, a reminder that life is brief as time flashes past on the moving teeth of the skull illustrated watchface

The Last Laugh by William Andrews and Mr Jones Watches

Mr Jones Watches are available from the website or you can visit Mr Jones Design, Unit 1.11 Oxo Tower Wharf?Southbank London SE1 9PH.
Compass Road and The Last Laugh are available today.

The Utrophia Project space’s short history has seen it transformed from an old ice cream factory in the 50’s to an exciting art space. Utrophia prides itself on ‘sailing into lands uncharted, discount ’ providing a platform for interesting and diverse events while trying to make the most of the building’s unusual character (there’s even a decent vegetable patch in the courtyard where the cows used to be kept). Folie à Deux seem to have found a natural home in which to house their first project which aims to ‘promote thoughtful and provocative contemporary art’. They stress a desire both to encourage community participation in cultural events and to inspire the individual with a sense of magic.

Illustration by Giulia Ricci

I have this strange kind of feeling and I just can’t place it… teems up five artists with talks about their work (such as Giulia Ricci on 21st, erectile and Judith Lyons on the 28th) and an Alternative-Folk music evening on the 20th. The artists all have an innate concern with environment: ‘the ways in which we shape it, try and are in turn shaped by it’; but in talking to Clara, she emphasised the instinctual nature of the way in which the artists were chosen for the event. She said, ‘we’re drawn to artists who are theoretically interesting, while motivated by the unexplainable.’ As a consequence while theoretically there is a unity between the artists, formalistically they are quite different. Judith Lyons’ work is a series of bold close-up photographs of flowers, half dissected, saturated with intense colour that transforms the ordinary into strange alien like, underwater sea creatures.

Illustration by Nina Mankin

Illustration by Nina Mankin.

Giulia Ricci uses a simple pen and paper to create systems and patterns that explore the nature of various repetitive processes within science and maths. Nina Mankin and Keith Roberts use mix media and collage, while Nina Royale uses a more traditional oil on canvas. Having seen some of the photographs, it should prove to be a diverse exhibition with some beautiful works.
If this wasn’t enough there’s a music night on 20th which brings together three different acts from the UK folk scene to perform within the art space itself. If you haven’t heard of the bands, they’re well worth checking out. Dear Winesburg have just released a fantastic debut album, produced by Fairport Convention’s Mike Pela that has garnered considerable acclaim.

Dear Winesburg

Amber States

While Amelia’s Magazine reviewed Amber States a little while back, picking up on their ‘catchy hooks, dreamy melodies, exhilarating builds and toe tapping rhythms’. With Benedict Rubenstein (front man of Brighton seven piece Alt-Folk band The Mariner’s Children) to finish off the night with a solo performance, playing intimate stripped-down versions of the band’s songs.

Mariners Children

In combining both music and art in so many different forms – the various events positively bubble with the enthusiasm and excitement that Christopher and Clara have put into them and the music night promises to be ‘laced with mulled wine, beer and other seasonal drinks’. It’s also worth noting that the admissions are free. Although there is nothing concrete planned for the future Clara assured me that this was going to be the first of many ventures, so we should see a lot more of Folie à Deux in the near future.

Exhibition title: I have this strange kind of feeling and I just can’t place it…

Opening times: 11-28 November 2010

Event Times: Thu-Sun, 11.00 – 18.00

Admission: Free

Location: Utrophia Project Space, 136 Tanners Hill, London SE8 4QD.

Event title: Alt-Folk night at Utrophia Project Space

Event times: Saturday 19.00 – 23.00

Admission: Free

Location:
Utrophia Project Space, 136 Tanners Hill, London SE8 4QD.

Written by Ed Gosling on Thursday November 11th, 2010 4:21 pm

Categories ,Amber States, ,art, ,Benedict Rubenstein, ,Dear Winesburg, ,exhibition, ,Folie a Deux, ,Guilia Ricci, ,Judith Lyons, ,Keith Roberts, ,Mariner’s Children, ,New Cross, ,Nina Mankin, ,Nina Royale, ,Pop-up, ,Utrophia Project

Amelia’s Magazine | Harun Farocki at Raven Row: Against What? Against Whom?

Copenhagen Climate Summit: Lord Monckton rap battles Al Gore

“It’s freedom they’re plundering, viagra sale website and you’re the scare-monger king!” cries global warming sceptic Lord Monckton to former American Vice President Al Gore, store during their furious rap battle over climate change. Hold on… Lord Monckton and Al Gore in a rap battle?! It happened! Sort of. In this ingenious video by The Juice Media you can see how it might play out if Monckton and Gore were to get down wit da kids and engage in a juvenile debate over the issues of climate change and the Copenhagen summit. This video in particular is part of a series called Rap News – with Robert Foster, order which was born in October this year, other titles in the series include ‘Nasa bombs the moon’ and ‘Obama receives Nobel War is Peace prize’. Rap News was spawned from the artistic and philosophical minds of Giordano and Hugo, who reside in Melborne Australia, where they met after moving from the UK and Italy. Together they write and produce the show; Hugo, an MC/spoken-word performer/poet and actor creates the rhymes and impersonates the various public figures featured in the shows. Giordano, a writer, historian, academic, music composer and founder of Juice Media directs using themes and narratives based on his deep-seated interests and ideas about history, the media, the environment, social justice, indigenous peoples and politics.

They’re an intriguing pair, over 1000 are subscribed to their You Tube channel, and amongst the comments on their page is “What a talent mate” and “You make me proud to be Australian”. With the Copenhagen summit underway I have a few questions for the madcap duo, who going by our email correspondence are not only talented but super friendly.

goremonk

So, why rap?

Chuck D once said that Rap was the CNN of the ghetto. We figure, why CNN? Why not a quality news channel like DemocracyNow.org?

How did you 2 first come to work together? What is your relationship like?

We met over common interests in politics, nature and medieval Italian poetry. Our relationship is great. We sit around in the garden and have brainstorming sessions over homegrown salads.

Your raps are driven by politics, environmental and social issues. Tell me more about your views and motivations?

Our view is that the mainstream media is manifestly almost completely failing in its duty to inform the populace of world events in a measured and contextualised manner, and our motivation is therefore to rectify that in a small way, helping people join the dots between the quotidian occurences, and the broader picture. We are putting into practice that wise adage, ‘become the media’, for, as Jello Biafra famously stated, ‘we demand fair and more accurate balanced news coverage – and if we don’t get it… we’ll make it ourselves!’

algore

Hugo, you impersonate various public figures in the video, who is your favourite person to be and why?

So far the only real public figures i’ve impersonated have been Lord Monckton and Al Gore. Out of those two, Lord Monckton came the most naturally – i finally got to use those skills from ‘Latin For Pseudo-Scientists 101′. Of all public figures to impersonate, my favourite has to be David Bowie when he does the Goblin King in Labyrinth: “Go back to your room… play with your toys!” and so on.

What are your hopes for COP15?

That it will be a turning point. Wherever we’re headed, the future’s not looking too good right now. This seems like a good opportunity to take a break from the reckless ride we’ve been on for the past few centuries and reassess our situation; a chance to consider that we may not have thought all this through that well from the outset: Civilization? – what self-respecting civilization would totally trash it’s own home? And climate is just one of the massive challenges we now face; yet it’s the surest sign that ‘something is rotten in the state of Denmark’ and what better place to rectify this than in Copenhagen?!

Monckton

So, we hope it doesn’t become another Kyoto – with the little time we have left we simply don’t have that option. We hope it won’t legitimise false solutions and myths such as ‘clean coal’ or emission-trading schemes – these just encourage a business-as-usual mentality, and if it hadn’t taken as many as 15 COP’s since the ’92 Earth Summit in Rio, then perhaps these wouldn’t be a case of too little too late. We hope the media does its job and keeps its eye on the ball and doesn’t degenerate into coverage of smashed windows and protester arrests.

But above all we hope that COP15 won’t all come down to money and be limited to market-based solutions – we need a real supra-economic movement to spring from Copenhagen which will carry us through this. It can’t just be about hatching new technologies but also about regaining old knoweldge. We are going to have to finally remember that our economy and society has to adapt to the planet, to the law of the land, and not the other way around. This is the simple fundamental lesson which we are going to have to (re)learn. Whether we do so the easy or the hard way, is what will be decided in these coming days in Copenhagen.

rapnews

What are Juice Media’s future plans? What’s next?

Although this project has existed for several years in our imaginations, we’re really only just setting out on this journey and, well, we’re still figuring out what to pack in the suitcases.

TheJuiceMedia itself is a broader prtoject which seeks to facilitate access to the voices of Indigenous people – particularly from Aboriginal Australia, since that’s where we are. So we’ll carry on working on doing what we’re doing and look to keep the information flowing. As far as Rap News episodes, we are looking forward to covering many more topics, as they come up. First on the cards is a website where we can set up our little campfire in the world-wide-web, light up some hyperlinks and start foraging for new stories.

We’re quite clear about what won’t come next: we’re not hoping to get on TV! The way it is, we encourage people to turn off their sponsor-saturated, Murdoch/Berlusconi-owned mega-networks and tune in to alternative, independent media sources. The internet seems to be the only medium left to us to retain some form of global participation in the production of meaning in today’s society and we intend to dedicate all of our creativity to making the most of it – while we still have it. The more people use this vital medium, the less the likelihood of it being hijacked, like what’s happened to TV. That would truly leave us in the dark(ages), once again.

rapnewslogo

Check out all Juice Media’s Videos here
Workers Leaving Factory © Harun Farocki

Harun Farocki is a strange sort of a person. Although he has been making films since 1967, order he is a fairly new addition to the artisan world of video. Developing film as a creative medium since the mid 1990’s, look his Against What? Against Whom? exhibition at the Raven Row gallery in East London feels very much retrospective. It is as if he is inadvertently peering back across his filmic history and showing his audience what he found out.

I sauntered in on a Friday afternoon and was surprised to find the exhibition space bustling with spectators. People from distant walks of life mosied from room to room, giving the labyrinth like gallery an almost homely feel. Picking up a leaflet and heading straight into the first room to see Eye/Machine III, I was somewhat at ease. Unfortunately, the first installation was not an entertaining piece. Two simultaneous projections of computerised views of bombs and aircrafts – and at twenty four minutes long, left me concerned that I had eight more to watch.

Fortunately, this was not the case. As the reels of the following pieces unravelled, the exhibition became more evocative and enthralling. The second piece documenting the archaic bricklaying techniques of the third world juxtaposed with more modern methods was a bridge into Farocki’s extensive knowledge of how film works. And indeed how to display film in an artistic approach.

Workers Leaving Factory © Harun Farocki

The two most outstanding works of the exhibition would have the most elite cinephile astounded. The first; Workers Leaving the Factory in Eleven Decades took on the Lumière Brothers original film, extending their original premise through the past century to show the anamorphism of the working class. Intersecting works across eleven screens, Farocki includes sights from film greats such as Fritz Lang’s Metropolis, Charlie Chaplin’s Modern Times and, most recently, Lars Von Trier’s Dancer in the Dark. Including headphones for sensory immersion, each headset contained a different score. I was blessed with some jovial and jaunty music (I’m assuming from the Chaplin piece but couldn’t be certain). The whole experience of the piece was like a historical document; not only of workers leaving a factory, but also of how filmmakers over time have captured this banal event to create something extraordinary.

inextinguishable Fire © Harun Farocki

The second, Feasting or Flying, made in collaboration with Antje Ehmann, follows the tragic hero in Hollywood. The six screen set is haunting and heart wrenching. Concentrating on male protagonist suicide, it is extremely fluid, spilling from screen to screen along with an overture of highly resonant and mournful scores. The whole experience signifies and remembers tragedy, with saturnine morose. Along with clips, posters and screens of red black inserts determine film, director and how the hero ended his life. Leaving the viewer subdued but deeply attentive, the piece is arresting and thought provoking, and worth the trip in itself.

Farocki once said ‘I always use more than one image, I compare the images, to see what they have in common, it is not a linear image. It’s a form of ‘soft montage,’ taking one image ‘a,’ finding it’s not quite right, and replacing it with ‘b’’. The exhibition at Raven Row is an epitome of Farocki’s way of thinking. Multiple screens; a continual flow of disorientating images, occasionally bombarding, but predominately enthralling. Farocki twists and manipulates images to create a visually provoking and perplexing set of works.

The exhibition runs from 19 November 2009 to 7 February 2010 at Raven Row, Raven Row, 56 Artillery Lane, London E1 7LS. T +44 (0)20 7377 4300, info@ravenrow.org. Open Wednesday to Sunday 11am–6pm.

Written by Hannah Osborne on Thursday December 17th, 2009 12:56 pm

Categories ,art, ,contemporary art, ,director, ,ehibition review, ,film, ,Harun Farocki, ,installation, ,london, ,projection, ,Raven Row gallery, ,review, ,Spittafileds, ,video, ,Video Art, ,video installation

Amelia’s Magazine | Dark fairytale: An interview with artist and illustrator Natasha Chambers

Babylon Twins

Dreamy, try intricate details dominate Natasha Chambers’ work, viagra sale and you can easily imagine her immersed in creation, viagra sitting by a large window overlooking some light-drenched Cornish beach. Cups of tea go cold as she pieces together the exquisite tiny patterns or the bold colours of her latest ‘Bywa’ series, a homage to the stories and beauty of Cornwall. But as Natasha has entitled one of her collages, ‘You need chaos in your soul to give birth to a dancing star’ – there are also hints of darkness underneath all the beauty. You can’t have one without the other.

Watergate (part of Bywa)

Most of your work has an amazing level of detail, be it the horses as waves, embroidery patterns or the butterfly wings. It’s beautiful, but it must be very time-consuming?
It is really time consuming, but I get all my satisfaction from the details. It’s a double-edged sword because these details also drive me mad. Sometimes the dots and lines imprint themselves in my head in the same way as when you look at the sun and then look away and you see suddenly see black spots.

There seems to be a lot of nostalgia in your work, or maybe this is just what it feels like when a piece of art focuses on nature? Do you consider yourself a nostalgic person?
I suppose I am a nostalgic person – and perhaps nature and childhood are synonymous in these feelings of the past. I have a box on my dresser, a treasure box if you like that could belong to a magpie, where I hoard broken bits of things that I have picked up over the years that I am unable to part with.

Yesterday

While the work is very pretty, there are also plenty of slightly twisted elements within the art, with the snakes and skulls. Do you do this to create contrasts, or is it because beauty on its own can be a bit, well, dull?
With every fairy tale there is always a dark side that creates tension with its lighter facade. You only have to think of the stories of Hans Christian Andersen, the fairy tales of the Brothers Grimm or even Walt Disney to see there is always this balance. Imagine Snow White without the Evil Queen.

In Stitches

I first saw your work at the Last Tuesday Society’s Beasts Royal exhibition (review here), and you’ve been part of prior shows there as well. Could you tell us a bit about what it’s like to work with the amazing Last Tuesday Society please?
Mr Wynd has a fine collection of treasures. His shop makes you feel like a child in sweetshop, so I was obviously very pleased to have some work there. The show Beasts Royal was curated by Alice Herrick, who also curates the House of Fairy Tales with Gavin Turk and Deborah Curtis. Their shows are consistently beautiful and intriguing – bringing together a wonderful selection of artists to show in some great spaces. Shows have included the exquisite trove exhibition at the Newlyn Art Gallery and the House of Fairy Tales at the Saatchi Gallery and Millennium Gallery in St Ives. In Newlyn, each artist was invited to donate an object of interest to them either created or found to create a wonderful cabinet of curiosities amongst a plethora of carefully selected objects from museums across the Cornish county.

Bowerbird (part of Beasts Royal)

How do you build up your work? What inspires you?
It usually evolves through many stages and I work using quite a ramshackle but huge library of reference material. I am especially inspired by the narrative form of literature. I studied storytelling in LA and whilst I thought I would become a writer realised I was more interested in the static image. At some point I would like to return to the written word. I can remember quite vividly the books I was read as a child from their images, they’re works of art that are very engraved into my psyche.

Polzeath (part of Bywa)

The Bywa series seems different from your other work. There is less detail, but there’s also really wonderful use of colour with the green clouds and pink sky. I especially love Polzeath, the one with white-patterned sand and skies. What’s the inspiration behind this series?
I live in Cornwall, and apart from the stunning beauty of the area I live in, it is also rich in legends and it feels like the land itself breaths this ancient folkloric history. I find it very inspiring. Bywa means ‘to be alive’ in Cornish, or Kernuek. I thought this was an appropriate title especially given as the work became vividly coloured. The most recent pieces in the series, such as St Enodoc and Watergate, are almost made up entirely of dots and lines and are very intricate. St Enodoc even has a few lines of one of Sir John Betjeman’s poems half hidden in a cloud – he was very fond of this part of Cornwall and is now buried in the church.

Yellow

You do commissioned work for magazines, music and advertising. How did you go from being a design student to being a successful working artist?
After I graduated I was forced to do commercial work as a way of creating income but these projects were also useful in developing technical and artistic confidence and also a linguistic freedom. I have gradually tried to spend more and more time on my own work. I’m currently working some new ideas for an exhibition coming up, but also some commissions and other work.

Natasha Chambers

See more of Natasha Chambers’ work on her website.

Written by Jessica Furseth on Tuesday April 26th, 2011 3:27 pm

Categories ,Alice Herrick, ,art, ,Beasts Royal, ,Brothers Grimm, ,Bywa, ,Cornwall, ,Deborah Curtis, ,Disney, ,Fairy tales, ,Gavin Turk, ,Hans Christian Andersen, ,House of Fairy Tales, ,Millennium Gallery, ,Natasha Chambers, ,nature, ,Newlyn Art Gallery, ,Saatchi Gallery, ,Sir John Betjeman, ,storytelling, ,The Last Tuesday Society, ,Viktor Wynd Fine Art

Amelia’s Magazine | Exhibition Review: A World of Glass – Nathalie Djurberg and Hans Berg at Camden Arts Centre

Nathalie Djurberg A World of Glass - Andy Peake
Photography by Andy Keate.

The Nathalie Djurberg exhibition at the Camden Arts Centre greets you with a rainbow-like ceiling installation, before plunging you into an altogether darker space.

Nathalie Djurberg A World of Glass Andy Peake
In the middle of the first room, three large tables are lit, displaying hundreds of glasslike objects – vessels, urns, vases and household cutlery. Djurberg has said she wanted to create a shipwreck effect, but another way of describing the translucent odds and ends collection is that it’s like stumbling upon the Snow Queen’s dining room. It was tempting to reach out and touch the objects, painstakingly produced from manmade materials, but I held back, convinced they might break.

Nathalie Djurberg A World of Glass Andy Peake

Photography by Andy Keate.

At either end of the room two different films are projected, displaying images of creatures from fairytales and myths: bulls, elks, foxes and horses. These animals are in fact puppets moulded from clay, and the attention to detail Nathalie Djurberg has paid in terms of their movements, textured fur and colour means that they are compelling to watch. In one film, a horse brays over a naked woman and in another, a woman is licked by what looks like an ox, melting, speaking and interacting with the animal at the same time.

Nathalie Djurberg A World of Glass Zach Feuer Gallery New York Gio Marconi Milan

Images directly above and following courtesy of Zach Feuer Gallery New York, Galleria Gio Marconi Milan.

Both films are primal, with much gnashing of jaws, reminding me of Roald Dahl’s book Dirty Beasts. Limbs are lost and subconscious desires considered, but there are no firm morals or outcomes. Rather, this is an exploration about what it might be like to be trapped in a parallel universe made of glass.

Nathalie Djurberg A World of Glass Zach Feuer Gallery New York Galleria Gio Marconi Milan Collection

But these are only the visual aspects. In the background, Hans Berg’s soundtrack starts with a gentle electronic pulse which builds throughout the duration of the five-minute-long films. The percussive soundscape is interspersed with glass taps and smashes, holding the installation together in a perfect balance. At the main entrance to the Camden Arts Centre, you can watch a recorded interview between Djurberg and Berg. It supports what is made clear in this exhibition –that this is a magnificent partnership between two artists who truly understand and complement one another’s work.

Nathalie Djurberg A World of Glass Zach Feuer Gallery New York Galleria Gio Marconi Milan Collection

Around the corner is another room containing further objects and two additional films. Here, crocodiles emerge from a bubbling jelly cocoon, and a naked body is hidden within a hippo’s mouth. Scrawled speech bubbles declare ‘I will eat youre leftovers’, which is both amusing and terrifying in a violent, shaky picture. Opposite, we can watch a proverbial bull in a china shop, including miniature versions of the glassworks actually on display. It comes to a bloody end after cutting itself on broken glass, and the frame is flooded with red.

Nathalie Djurberg A World of Glass Zach Feuer Gallery New York and Galleria Gio Marconi Milan Collection
Djurberg’s installation is enthralling, a kind of playful goriness in vibrant colour. If you’re interested in finding out more about her previous works, be sure to check out Jenny Roper’s 2009 Venice Biennale review for Amelia’s Magazine.

An interview with Nathalie Djurberg and Hans Berg at the Walker Arts Center.

With free admission and the chance to watch further Nathalie Djurberg films in the Reading Room, you’ll want to get along while you can: on until 8 January 2012 at the Camden Arts Centre, London. Read our full listing here.

Written by Caitlin Sinclair on Wednesday November 23rd, 2011 11:14 am

Categories ,Andy Peake, ,animals, ,art, ,Camden Arts Centre, ,Collection of Hadle, ,Dirty Beasts, ,Galleria Gio Marconi Milan, ,Glass, ,Hans Berg, ,Jenny Roper, ,Nathalie Djurberg, ,Reading Room, ,review, ,Roald Dahl, ,Snow Queen, ,Sound installation, ,video, ,Walker Arts Center, ,Zach Feuer Gallery New York

Amelia’s Magazine | Helen Lovelee’s life lessons: An art exhibition about sustainability

Helen Lovelee’s art is a powerful mix of bold and subtle at the same time; on the one hand you have strong ideas and thick lines, visit web whereas on the other the work is rich with tiny, illness intricate detail. You tilt your head as you follow the dots, remedy which join to make the curve of the frog or the owl – the patterns of nature is a key theme in Helen Lovelee’s work.

In the flesh, Helen seems quite shy, like she’s not quite sure why all these people are here. But they were there for her, as her first solo show, ‘Open your eyes, look around you and watch out’, opened last Thursday night in Green Lens Studios in Haringey, North London.

‘When shelter is required construct a frame by interlocking sticks, then overlay it with palm fronds to block out rain and mosquitoes. Close off entrance with small bushes.’

The title of the show is the translation of a concept put much more succinctly in the Aboriginal language: ‘wollemi’. Australian-born Helen has put her country’s indigenous culture at the heart of her exhibition. ‘When I looked into the issues, it seemed the indigenous people of Australia were always portrayed in such a negative way, either because someone had committed a crime, or a crime was committed against them,’ says Helen. ‘As an illustrator I see the indigenous culture as being so rich and unique. I am also interested in conservation, and they lived so resourcefully with respect for the environment.’

In an effort to communicate the native Australian philosophy of inventiveness and respect for the natural way, Helen chose five basic human needs to illustrate: heat, shelter, water, food and communication. The result is five drawings: a fox, flower, frog, lotus and a message stick. Underneath each image is a block of text with simple instructions.

‘It is a gesture of simple living, or using less and being resourceful,’ says Helen. She created the images by first drawing in felt tip, before scanning them into the computer and rendering them in Photoshop. The series was produced as her final work at Central Saint Martins. It is also fitting that the exhibition takes place at Green Lens Studios, which is the UK’s first sustainable photographic studio built from 70% reclaimed materials. The space recycles all waste, offsets carbon emissions through tree planting and there are plans to install solar panels to take it off the grid – right in line with the Wollemi spirit.

‘For a cool drink dig into the dry earth with a long stick until you locate the position of a bloated frog. Hold the frog to your mouth and apply a slight pressure with your hands to release the water it is holding. Free the frog unharmed.’

Helen Lovelee photographed by Lachlan Pettit

‘Open your eyes, look around you and watch out’ runs until 31st March at Green Lens Studios in Haringey: 4a Atterbury Road, London N4 1FS. For more information see our listing.

Written by Jessica Furseth on Monday March 28th, 2011 9:36 am

Categories ,Aborigine, ,art, ,australia, ,Central Saint Martins, ,Green Lens Studios, ,Haringey, ,Helen Lovelee, ,illustration, ,indigenous culture, ,london, ,nature, ,Open your eyes look around you and watch out, ,sustainability, ,wollemi

Amelia’s Magazine | Tracey Emin: 20 Years

peggy%20sue%20film.jpg

“It’s nice everyone getting dressed up and making an effort, hospital stomach round Christmas time ‘n that”, generic slurred an old man at the bar after telling me this was his local. Halloween did he mean? A gaze and a nod.

Peggy Sue (there were some pirates but they’ve long since fled to the Caribbean to find themselves) have a knack of adding a distinct flavour to everything they do. Brewed in soulfulness and peppered with giggles, they are an intoxicating concoction of many lovely things; compared to the likes of Lauryn Hill and Regina Spektor in a single breath, all manner of genres tossed in their direction.

But references aside, that tend to reduce everybody to something regurgitated, there’s lots of other good stuff – like a compilation CD released for every month (100 copies only, complete with artwork), like how their voices emulate astonishing power and soft effortlessness all at once; or that their low-fi sound is brought together with honeyed harmonies, punctuated Spektor-like noises and an unending supply of bizarre percussion instruments. It is finally exquisitely tied together with lyrics that detach our body-parts as things to be stolen, tell stories of the woes of superheroes, and give life to ‘those fragile little things’ that live inside. It all feels very refreshing, and nicely homemade – ‘Peggy Who?’ asks the drum-face.

The Horror Movie Marathon had the Peggy stamp all over it, made apparent in its details. A projection screen hung behind them playing classic horror gems; a new horror song, complete with screams had been written for the occasion; and the widely acclaimed ‘superman’ was illustrated by a live puppet-show on stage. The wide-eyed Alessi’s Ark and feet-shuffling Derek Meins were there to support, marking the beginning of the Triptych Tour – one bus, two weeks, three acts. Catch them if you can in a venue near you! But what oh what does Triptych mean?

beinspired%20copy.jpg

Be Prepared, sildenafil long the motto of the Scouts, is now being added to by The London Climate Camp Social Group with Be Inspired and Be Involved. A series of nights around town broadly divided into these three headings encouraging all to socialise and fund-raise for Climate Camp.

Be Prepared nights fund-raise with bands, djs and comedy. It’s one to bring your friends who may not be into all the “eco stuff” but would be interested in finding out more about Climate Camp.
Be Inspired focuses on what’s going on at the moment. Film screenings, speakers and debates wil inform people what is happening and why Climate Camp is doing what its doing.
Be Involved is the actions based adventures, such as Climate Rush, the forthcoming Day of Action and what ever else happens in the future.

The first one is tomorrow and is a Be Inspired night held at The Old Crown, 33 New Oxford St starting at 19:00. The line up consists of Alistair James playing music, Leo Murray introducing his excellent animation Wake Up, Freak out and Get A Grip, a short presentation from Climate Camp about what is being done right now and where it’s going and why, including two ladies instrumental in organising Climate Rush. Plus plenty of music to dance the night away.

The Old Crown
33 New Oxford St (corner of Museum street),
London WC1A 1BH.
Between Holborn and Tottenham Court road tube station.

Tracey%20Emin%20Hotel%20International%201993%20a4.jpg
Hotel International 1993

Dear Tracey, discount

It wasn’t so long ago that I really thought I’d had it up to my neck with you. I think it was one of your columns in the Independent that did it. You’d had a bad day, page you know, one of those ones when you don’t particularly feel like getting out of bed in the morning and then when you do, you burn your toast, or scald yourself in the shower or something. And instead of having a quick cry, or swearing, or generally getting on with things as most people might do, your especially bad day led you toward one overarching question: ‘did my dad ever really love me?’ I thought it was a tad dramatic. So upon hearing about your retrospective at the Scottish National Gallery of Modern Art I was expecting 20 years of torment in the space of a few rooms. And you didn’t disappoint. But what I wasn’t expecting was that I was going to leave the exhibition liking you. Feeling for you, maybe. Being critical of you, definitely. But actually liking you? No, I wasn’t expecting that. But there is a reason that we hear so much about you Tracey, because you know what, you’re actually a pretty good artist.

Emin’s exhibition opens much like one would expect it to, throwing the viewer head-first into the deep-end. The first work we encounter is a tribute to her deceased grandmother; the second, a graphic description of a traumatic abortion. All the staple Emin classics are here: the neon signs, the tapestries, expressionist etchings, and of course, the infamous bed. And yet after the piss-stains, the used condoms, the confessional video diaries, the purging of torment and the sheer tragedy of it all, something beautiful remains. Emin’s letter to her uncle Colin is a striking example of this. Lucid and incredibly moving, Emin succinctly describes her emotions as she learns of the horrific accident that caused her beloved uncle’s death. Exploration of the Soul, a work comprised of 32 sheets of handwritten text, is similar in its expressive eloquence. You may baulk at the several spelling mistakes, shudder at the sadness of other people’s lives or smile at the moments of humanity within it; Emin will fail to leave you unmoved.

Tracy%20Emin%20My%20Bed%201998.jpg
My Bed 1998

The further we continue through the exhibition the more we feel as though we are Emin’s confidante; her scars are ours now and they are weighing us down. To enter, toward the end, a room removed of much of the abject excess of the others, comes as welcome relief. Two sculptures in particular reveal the diversity of Emin’s talent as an artist. Self Portrait (Bath) comprises a rusty bath filled with bamboo, barbed wire, chicken wire and a contorted neon streak entwined to create a work of great textual interest. In the same room a rollercoaster of reclaimed wood, It’s Not The Way I Want to Die from 2005, dominates the space. Constructed entirely from old crates, the past life of the wood seems to echo Emin’s own (one plank retaining it’s FRAGILE label), but is here reworked into a somewhat rickety yet undeniably beautiful piece.

Tracy%20Emin%20It%27s%20Not%20the%20Way%20I%20Want%20to%20Die%2C%202005.jpg
It’s Not The Way I Want to Die 2005

Emin is a chameleon, expressing herself in several mediums and seemingly mastering them all. Love or loathe her – you won’t easily forget her, and to my mind, that’s what makes her continue to be worth talking about.

Tracy%20Emin%20The%20Perfect%20Place%20to%20Grow%2C%202001.jpg
The Perfect Place to Grow 2001

Images courtesy of Scottish National Gallery of Modern Art

Written by Annika Kristensen on Thursday November 6th, 2008 11:28 am

Categories ,Art, ,exhibition, ,Review, ,Scottish National Gallery of Modern Art, ,Tracy Emin

Amelia’s Magazine | Fashion on Film: L’Amour Fou

Yves Saint Laurent by Krister Selin

The relationship between a fashion designer and his business manager-cum-lover isn’t a new concept to cinema. Anybody who has seen Valentino: The Last Emperor will have already witnessed the trials and tribulations when two men – one a rare, creative genius, the other a businessman, have to work together on a daily basis for fifty consecutive years.

Yves Saint Laurent and Pierre Berge by Karolina Burdon

L’Amour Fou is a little different, however. For starters, where The Last Emperor was a celebration of Valentino‘s illustrious career, L’Amour Fou doubles as a celebration of Yves Saint Laurent‘s life. This film is more of a romantic tribute to the designer through the eyes of his partner, Pierre Berge.

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Cruz

From the opening credits, I was hooked. An homage to Yves‘ ‘Love‘ cards that he designed and produced for staff (many on display at the Majorelle Gardens, Marrakech), flashes of colour and geometric shapes flood the screen. I saw the film at the ICA, and its diminutive cinema with old fashion red velour seats and dusty projector make the experience even more apt.

Yves Saint Laurent at his final show by Mitika Chohan

When the title sequence has rolled, we see Yves at a press conference declaring his resignation, juxtaposed with Berge‘s touching eulogy at Saint Laurent‘s funeral. We’re only about 6 minutes into the film here, and already I’m in pieces.

Yves Saint Laurent at Dior by Cruz

The film features archival footage of Yves Saint Laurent, from his days at Dior through to his greatest collections during the 1970s and 1980s, pieced together by Pierre‘s narration. The film skips between Yves Saint Laurent the fashion designer, Yves Saint Laurent the art collector, and Yves Saint Laurent the tempestuous lover. The film culminates with the dramatic, poignant and record-breaking art auction of 2009 in which Yves and Pierre‘s entire art collection was auctioned for AIDS charities.

Yves Saint Laurent Wedding Dress S/S 1999 by Janneke de Jong

The film explores the early relationship between the pair – they met at Christian Dior‘s funeral and it was pretty much love at first sight. You can tell by how Pierre talks about Yves that this was not an easy relationship. Yves‘ crippling depression, substance abuse, morbid insecurities and changeable state of mind have taken their toll on ol’ Berge. But through all this, a glint in his eyes remains, as his relates countless stories about one of the world’s greatest, creative men.

Yves Saint Laurent for Zizi Jeanmaire by Joana Faria

Amidst the drama of the relationship, fashion fans won’t be disappointed. The film features never-before-seen photographs of Yves at Dior, adjusting hemlines and admiring his creations on models. There’s film footage of his most celebrated collections, from bridal wear to Russian-inspired collections in the mid-seventies. We see Zizi Jeanmaire dancing in one of Yves’ most spectacular creations made of feathers.

Opium advert (1977) by Katrina Conquista

Wondrous footage of the original Opium ad is one of the film’s many highlights – and Berge describes how controversial this was; not so much the advert but the name (the controversial adverts would follow, with Sophie Dahl naked and spread eagle for Opium and the first ever fully naked man in a print advertisement for M7). The irony, as Berge describes, was that Yves selected a name with a narcotic reference, when it would be alcohol and drugs that would almost destroy their relationship. Berge talks about this at length, and how Yves would only ever be happy moments after a show; Berge would have to wait another six months to witness that same level of happiness.

Opium advert (2000) featuring a naked Sophie Dahl by Katrina Conquista

But it is the couple’s love of art that dominates this film. After Yves‘ death, Berge decided to sell the collection that they had tirelessly put together over twenty years. Why? Because, after Yves‘ death, ‘the collection had lost the greater part of its significance.’ There are less sombre anecdotes in the film: ‘When Yves designed the Mondrian dress, we never dreamt that one day we would own one,’ Berge says with a smile.

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Mitika Chohan

And so at the end of the film, during the auction, we see Pierre sitting backstage clapping his hands and marvelling at the record-breaking sales prices. Finally, he’s the last to leave the auction and we see him walking down the stairs of the Grand Palais. It’s a poignant ending to a pretty poignant film, and there’s something a bit sinister about it that I couldn’t really put my finger on – the endless shots of empty rooms? Christies‘ employees, the ‘undertakers of art’, boxing up paintings? Berge‘s willingness to openly discuss every facet of Yves’ personality, at the risk of seeming a little bitter? I’m not sure. But I loved it, nonetheless. It’s a sombre tribute, but a colourful one.

Written by Matt Bramford on Monday November 21st, 2011 6:47 pm

Categories ,AIDS, ,art, ,Christian Dior, ,Cruz, ,Dior, ,fashion, ,film, ,france, ,ica, ,illustration, ,Janneke de Jong, ,Joana Faria, ,Karolina Burdon, ,Katrina Conquista, ,Krister Selin, ,L’Amour Fou, ,M7, ,Majorelle Gardens, ,Marrakech, ,Mondrian, ,Opium, ,paris, ,Pierre Berge, ,Pierre Thoretton, ,review, ,Russia!, ,The Last Emperor, ,Valentino, ,Yves Saint Laurent, ,Zizi Jeanmaire

Amelia’s Magazine | Helen Lovelee’s life lessons: An art exhibition about sustainability

‘When shelter is required construct a frame by interlocking sticks, then overlay it with palm fronds to block out rain and mosquitoes. Close off entrance with small bushes.’

Helen Lovelee photographed by Lachlan Pettit

‘Open your eyes, look around you and watch out’ runs until 31st March at Green Lens Studios in Haringey: 4a Atterbury Road, London N4 1FS. For more information see our listing.

Written by Jessica Furseth on Monday March 28th, 2011 9:36 am

Amelia’s Magazine | Delphine Lebourgeois: Sisters are doing it for themselves!

Barbara Millicent Roberts, medical prostate you might know her better as Barbie, cialis 40mg turned the big 5-0 in 2009, shop March 9th to be exact. Rather than getting down about this life milestone she’s been partying all year long! To celebrate makers Mattel have launched line upon line of specialist dolls throughout 2009. From Hollywood Stars to Supermodels, It is now the turn of three ladies who, probably safe to say, may lead Barbie astray. “The Ladies of the 80’s” are The Pop star, The Rock star and The Punk Star. Cindi Lauper, Joan Jett and Blondie Babe, Debbie Harry.

Since her hit making heyday eccentric Miss Lauper has continued with music, just on a less successful scale. Saying that, her 2008 electronic album “Bring Ya To The Brink” was grammy nominated. Also in 2008 there was a strange collaboration between Cindi and The Hives when they recorded an almost anti-Christmas single entitled “A Christmas Duel”. This was only available in the bands native Sweden where it reached number 4. She continues to work with contrasting artists as she features on Wyclef Jeans latest track “Slumdog Millionaire”. Cindi shall present us with autobiography in 2010 as she continues to work with charities, appear in the odd crime drama and she shall surly find somebody else who nobody expected her at all to collaborate with. I’m wondering if anybody else thinks her doll looks more like Gloria Estefan though?

Besides being Barbie-fied Joan Jett has had a pretty busy year. Appearing in crime dramas seems to be a reoccurring theme with the ladies as Joan has also appeared in such shows, including Law & Order. Jett is producing a film entitled “The Runaways” which tells the story of the girl group of the same name that she began her career in. Now, What is the best way to get your film attention? Get two of the most in demand young ladies in the world to play the leading roles of course. The film features “Twilight” stars Dakota Fanning and Kirsten Stewart, the later playing Jett. The film due for release in 2010 and will be complimented very cleverly with a Greatest hits album that shall feature two new tracks.

Fellow CBGB alumni Miss Harry has also jumped onto the film bandwagon. She lends her voice to narrate “Downtown Calling” which features DJ:AM and Mos Def. The documentary film starts by looking back on a troubled NYC, circa 1970s. The developments in music and the arts are investigated and also how the city continues to be such a phenomenal influence in the industry today. In 2010 Harry shall contribute two tracks to a tribute album to Jeffrey Lee Pierce entitled ‘We Are Only Riders – The JLP Sessions Project’. Debbie’s Barbie captures the cover of “Plastic Letters” complete with microphone stand and pink PVC dress .

With the negative associations with Barbie as a role model its great that they have chosen three influential strong women to become the newest members of the gang and that these shall be in young girls toy boxes around the world. Introducing young girls to these great idols is a brilliant idea and shall perhaps provoke a new generation to look back and discover the stunning music of the ladies from the 80’s. Your Dad might also appreciate his own version of Debbie Harry in that revealing PVC dress before all the plastic surgery happened. If you think he will you can pre order the dolls that are released next month.

Dolls each sold separately.
Yesterday a group of activists joined representatives from Canada’s First Nation communities to protest against RBS’ continued funding into Tar Sands.

Tar sands is a particularly oily soil which is extracted by using huge open pit mining, pharm leaving huge 75 meter scars in the wake or by ‘In Situ mining’ which requires huge amounts of natural gas to operate.

Tar Sand extraction is also the dirtiest forms of oil, click producing 3 to 5 times as much Co2 per barrel as conventional oil, check which shows a desperate attempt by corporations and governments to profit from oil no matter the cost to the environment.

These ‘oil sands’ are found predominately in Canada, which means the US can look to have less reliance on oil from conflict regions such as the middle East. However it doesn’t stop them trampling over Indigenous communities in Canada, polluting the soil, water, turning forests and ecosystems into desolate wastelands and pushing groups of people that have lived sustainably for hundreds of years into extinction. Eriel Tchekwie Deranger, of the Athabasca Chipewyan First Nation of Northern Alberta, noted: “The tar sands is the world’s largest and most destructive industrial development. “It is destroying an area of ancient forest larger than England. Millions of litres a day of toxic waste are seeping into our groundwater and we are seeing terrifyingly high levels of cancer in our communities.”

The three women also from the First Nation communities had previously attended a meeting in Parliament to deliver an open letter to the Chancellor, Alistar Darling outlining the threat to their homes and were later planning to deliver the letter to an RBS representative.

Shouting and using megaphones they got their messages across and thanked all the people for coming down and showing solidarity with the movement. The women are on a tour of the country to promote their cause so make sure you catch up with them in your area.

Role-playing, shouting and mass dying everyone else on the protest organised by People and Planet, aimed to get their message across on the busy street, plenty of leaflets were also handed out even a fair few press turned up as well as the bankers themselves coming out for their lunch.

RBS is one of the big payers investing into Tar Sands, which they plan to expand production on over the next few decades. What is worse is that RBS is public owned since the banks bailout in 2008. We are effectively funding human rights abuses from Tar Sands extraction through our taxes and our treasury.

The protest yesterday was calling for RBS to shift investments away from projects like the tar sands as well as investment into things like the controversial new coal power plants planned by e-on.

A few of the bankers obviously found it really funny that people would choose to lie on the street and not, instead wear a suit and tie and play with peoples money in the stock market, but hopefully with the continued presence outside the bank hopefully something might start getting into their heads.
Yesterday a group of activists joined representatives from Canada’s First Nation communities to protest against RBS’ continued funding into Tar Sands.

Tar sands is a particularly oily soil which is extracted by using huge open pit mining, information pills leaving huge 75 meter scars in the wake or by ‘In Situ mining’ which requires huge amounts of natural gas to operate.

Tar Sands extraction is also the dirtiest forms of oil, doctor producing 3 to 5 times as much Co2 per barrel as conventional oil, approved which shows a desperate attempt by corporations and governments to profit from oil no matter the cost to the environment.

Eriel Tchekwie Deranger, of the Athabasca Chipewyan First Nation of Northern Alberta, noted: “The tar sands is the world’s largest and most destructive industrial development. “It is destroying an area of ancient forest larger than England. Millions of litres a day of toxic waste are seeping into our groundwater and we are seeing terrifyingly high levels of cancer in our communities.”

The protest yesterday was calling for RBS to shift investments away from projects like the tar sands as well as investment into things like the controversial new coal power plants planned by e-on.

Barbara Millicent Roberts, ambulance you might know her better as Barbie, turned the big 5-0 in 2009, March 9th to be exact. Rather than getting down about this life milestone she’s been partying all year long! To celebrate makers Mattel have launched line upon line of specialist dolls throughout 2009. From Hollywood Stars to Supermodels, It is now the turn of three ladies who, probably safe to say, may lead Barbie astray. “The Ladies of the 80’s” are The Pop star, The Rock star and The Punk Star. Cindi Lauper, Joan Jett and Blondie Babe, Debbie Harry.

Dolls each sold separately.

Today, price we have the pleasure of speaking to Delphine Lebourgeois, buy more about a French illustrator living and working in the UK. Her free-spirited images show fellow women there is an amazon in all of us; Delphine’s creative quest lead her to leave her homeland and settle in London. Since then, viagra sale she has enjoyed working for a variety of clients in publishing, editorial and advertising.

Valerie Pezeron: Hello Delphine, how long have you been in the UK for and what made you move across the channel to live with “Les Roast beefs”?

Delphine Lebourgeois: I came in summer 1998, just after graduating, and looking for a change of air. I only intended to stay a couple of months, which turned into 3 then 4… After 2 years, it became home and I still love London for everything it has to offer culturally and career-wise.

VP: You experienced the French and English higher education system. Tell us about studying an MA at Central St Martins and how the experience compares with studying arts in French universities?

DL: Both were very different experiences, socially and academically. I studied fine art in Lyon when I was just 20 and the school was very conceptual. Aesthetic seduction was a no-no!! Tutors used to stir us away from anything just purely visually pleasing, and as a result the ideas became more important than the form or the technical skills. Socially, however, my BA was a school of life. All students lived very close to each other, we were like an extended family, and therefore, we shared something very strong. At St Martins in London, the social experience was somehow different. A wider variety of students and less time spent together meant that most of us were really focusing on work and the challenges of an MA. A this time, I started to develop a visual language and a pictorial style to convey my ideas. It was important for me to marry beautiful images and concepts, and the MA gave me the opportunity to explore this.

VP: What about the UK illustration industry compared with France’s?

DL: I have worked within the UK market for 4 years now and in the last few months, I have had a small taste of the French industry through my agent Illustrissimo. My feeling is that both markets are very different. There seem to be more opportunities in England when it comes to editorial and general publishing, while it is the opposite in certain areas such as children book. The French market is much more adventurous and quirky when it comes to Children picture books. The rates are also overall a lot better in England (but it’s not too bad at the moment as the Euro is so strong!)

VP: Many illustrators point to their childhood as the key formative element that made them want to become an illustrator. Tell us about one significant moment that influenced the child drawer to dedicate her adult life to making pictures?

DL: When I was a child, I wanted to be an archeologist. The joy of digging mud and discovering treasures I guess! I wasn’t born with a pencil in my hand, and I only started to draw when I was a teenager. I remember well the day my parents offered me a box of pastels. Not a medium that I would use now, but I drew a cherry tree branch with those, and I still have it. My teenage years were of course very formative. I was writing a lot, creating stuff, building an identity and an imaginary world which would gradually lead to what I do now. I never decided to become an illustrator. I understood I was one at the age of 30, finally feeling happy about what I was doing!!

VP: You describe your illustrations as feminine, fun, quirky and delicate. Are there any female artists out there you keep an eye out for? Also, what would you say are your influences?

DL: I have just discovered the illustrations of Helen Builly and I think they are fantastic. There is also Zoe Mendelson, Petra Borner, Rachell Sumpter, Fernanda Cohen, Paula Scher, Nina Katchadourian and many men artists too: Marcel Dzama, Henry Darger, Jockum Nordstrom...and in a pure stylistic way, artists such as Ernst Haekel. There are also writers, photographers, film directors…However influenced I might be from other artists, most of my work comes from inside, from what I feel at a given time. I trap an emotion like a little wild animal and I dress him up in an image, I make him look beautiful (well, when I can!)

VP: Could you describe to us a typical day for you and your work process? Do you have a studio?

DL: I have invaded my whole living room and turned it into a studio bubble. It has big windows because light is so important, two big sofas, a desk with computers and bits of old paper flying all around. It is a bit like a space ship from where I operate and create my journeys. I have however no real drawing space. I do this on the floor, on the corner of the coffee table or on one of my daughter’s playmobil boxes. Not ideal, but I guess if I had wanted a clear wide table to draw on, I would have got it by now. I must be happy this way.

VP: It seems the main challenge for many artists is to develop business acumen. Do you have an agent and what advice would you give young talents trying to make it in this business?

DL: I have two agents, one in France and one here in the UK. What I would advise to young illustrators is to approach clients directly at first, in order to get a feel of the industry. It is important to go out with your portfolio and do the leg work. The AOI is also a good place to start. They offer a lot of support for new comers, and interesting events too. When you are a bit more settled, getting and agent is a good option, They will be able to get higher fees in general, and protect you against bad contracting and other problems that may arise.

VP: Illustrators promote themselves in a variety of ways- their mailer, the envelope and its content, the postcards, the tags, etc…are often personalised. How do you promote yourself?

DL: Regarding the way I promote myself, it is rather old fashioned: I grab my book and I visit people for most of it. I rarely send stuff out (apart from Christmas cards), and I regularly update clients with new work via email with jpgs. I find that for most of my clients (in publishing predominantly), a portfolio visit is really valuable.

VP: I really like “Untitled with Pink Clouds”. Tell us how this piece came about and what inspired you to create a show about amazons?

DP: “Amazons” came up when I realised that most of my images narrated a quest, a fight, a search. It is directly related to being a freelancer in London and the battle it represents. Each day is an adventure, with its losses and its victories. It’s a relentless lifestyle and I love it. I wanted to create portraits of imaginary women warriors, to explore this intimate fight. “Untitled with Pink Clouds” shows a woman with a strong, belligerent look, while in contrast, her hair is made of soft, pinky clouds. This could be the duality of the artist. Being able to nurture the dreaminess necessary to any creation, while in parallel, you need to be tough enough to survive materially in the real world.

Thank you Delphine! It was a pleasure discussing with a fellow French expat illustrator!

Written by Valerie Pezeron on Wednesday November 18th, 2009 6:30 pm

Categories ,art, ,children book author, ,commercial art, ,design, ,french, ,illustration, ,illustrator, ,interview, ,london, ,women

Amelia’s Magazine | Fashion on Film: L’Amour Fou

Yves Saint Laurent by Krister Selin

Yves Saint Laurent and Pierre Berge by Karolina Burdon

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Cruz

Yves Saint Laurent at his final show by Mitika Chohan

Yves Saint Laurent at Dior by Cruz

Yves Saint Laurent Wedding Dress S/S 1999 by Janneke de Jong

Yves Saint Laurent for Zizi Jeanmaire by Joana Faria

Opium advert (1977) by Katrina Conquista

Opium advert (2000) featuring a naked Sophie Dahl by Katrina Conquista

Yves Saint Laurent A/W 1965 – the ‘Mondrian‘ dress – by Mitika Chohan

Written by Matt Bramford on Monday November 21st, 2011 6:47 pm

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