I love so many amazing jewels it’s hard to know what to share, but here’s a selection that tickle my festive fancy.
I discovered Alex Ramsay at the recent Craft CentralMade in Clerkenwell event: which is a great place to buy jewellery directly from the makers themselves. Alex Ramsay works principally in precious metals to create exquisite objects for top interior designers – but this Christmas she has also created a series of individual pendants that double as Christmas decorations and each delicate handmade silver and pearl mistletoe is slightly different.
Jewellery by Cabinet keeps popping onto my radar: so I did a bit of investigation. Formed by two textile graduates, Cabinet combines unusual materials to create bohemian jewels with an 80s touch. I love these Myan Swarovski Shadow earrings, which come in yellow or rose gold, available from Young British Designers.
A call out on twitter led me to this intriguing seaweed pendant by Sea Sparkle, which was inspired by finds on the beaches of Devon and Cornwall.
I chanced upon the designs of Milena Kovanovic at Tent London (which I still have to write up, bad bad me) – a trained gemologist, she hosts a great website which features work by herself and other designers. Her Ursula Studs feature freshwater pearls nestled in gold plated silver, just one of her beautiful designs that utilise unusual combinations of metal and gems.
On instagram I have discovered the Vanilla Ink Studios website, which stocks a variety of interesting designers. I particularly like modernist jewellery by Jane Gowans but my favourite pieces are sold out: I also like work by Katherine Seaman – this gold plated brass pendant was inspired by a broken pottery shard and looks satisfyingly heavy.
These bold skull gem rings inspired by mythological symbolism are by Jewel Heritage and they look great stacked up on top of each other.
I am a massive fan of Scott Wilson‘s jewellery and I am always tempted by his wares when I visit the twice annual Cockpit Arts open studios: a great place to grab a bargain. For those of you who aren’t quite so easily placed to visit such events its possible to buy one of his bold architectural pieces online from the curated Valery Demure shop. His Swarovski barrel collection is one of my favourites: and this necklace would be a real show stopper for whomever wears it.
For something far simpler and sweet as pie, how about this ace wishbone pendant by Muru Jewellery?
At the weekend I fell in love with Moko Sellars‘ bone china jewel rings. Her unique approach to jewellery making stems from a background in product design.
On a more affordable tangent I am still hankering after one of the limited edition Me & Zena pieces for the Saatchi Gallery. Perhaps this enamel paint splash heart?
Inspired by mineral formations, Craft Central designer Mandana Oskoui creates unusual abstract jewellery such as these criss-cross earrings.
And as ever Tatty Devine comes up trumps for Christmas with this festive design. The Christmas Spirit Necklace will fire up party conversations a treat.
Now you just have to choose what suits your loved one… More present ideas coming up shortly! Follow me on instagram and twitter for sneak peeks of my fashion, jewellery, art & craft finds as soon as I see them!
Written by Amelia Gregory on Tuesday December 11th, 2012 10:44 am
A year or so ago Thereza Rowe came over to visit me with an idea for a wonderful, colourful, heartfelt graphic novel. Hearts has now been realised thanks to Toon Books, and I was lucky enough to pick up a copy at the recent ELCAF. The book is aimed at children who are just learning to read, so I have been reading it with Snarfle who is now two years old and in love with letters. He adores the story of a fox travelling through a rich landscape in search of lost love, and asks me to read it again and again. Thereza has a very special way of using clever arrangements of shapes to create a plethora of fantastical images, and although the book is aimed at small people it will appeal just as much to adults, who will probably more closely relate their own lives to this tale of learning to let go and love again.
When and where did you first dream up the central idea behind Hearts?
It was heading up to my final project for my MA in illustration and the core of my research was based on sequential narrative, comics more specifically. In parallel, my personal life was messy as I was dealing with loss; of a dear close one and that of my cat Flash, which happened within the space of a week. A hard time indeed. The narrative reflected this process of rescuing a little battered lost heart and keeping faith / hope alive that things would be ok in the end. Essentially, it kind of worked as a magical part of my own healing process.
Why is Penelope a fox? we all know of your special love for cats…
But I am a fox, didn’t you know?! Penelope the character just happened as I was doodling her whilst crying all over the paper. It was exactly how I was feeling at that particular moment. I wallowed a lot…
What was your process for putting together the illustrations for Hearts?
After that first scene of Penelope sitting on top of a cliff crying her eyes out, the process developed pretty much on a ‘wing it basis‘. That ‘making it up as you go‘ sort of thing.. after she accidentally drops her heart in the ocean, I suppose, due to the sequential nature of the story, each illustration worked as a response to cause and effect of the characters’ actions… I didn’t really know how it would end, up until the last minute. All I wanted is that she should triumph one way or another in retrieving her heart – but at some point that pesky heart had become so troublesome that maybe a new / renewed one would be the answer. But better not give the whole story away!
How did you come up with the Garden of Lost Things?
It comes from the thought of all the things we misplace or lose in life… from tangible ones such as ‘where does that odd sock end up when the washing machine decides to swallow it?‘ all the way to that childhood little something we wish we still had but have absolutely no idea as to what happened to it. And on a more abstract note, feelings and stuff that mattered and/or still matters and lingers at the back of our heads/hearts but we tend to shoo them away until life’s circumstances, for whatever reason, prompts us to look for them and revisit them again.
When you first showed me your idea for Hearts idea it was far longer, how did you edit the whole into a book format that worked?
It was indeed a lot longer… (as I said, there was a lot of wallowing) and my initial idea for it was more like a wordless graphic novel. But when I showed it to Françoise Mouly (editorial director of Toon Books) we both agreed that it would make a great level one Toon book so together we edited it down to suit the first reader level and also decided to give Penelope a wee voice.
How did you get hooked up with Toon Books?
The project was very personal and quite precious to me so naturally I wanted it to get published by a special publisher. I then made a little list with a carefully selected handful of publishers which I knew would take great care of the process of editing the book and that I would be happy to work with and submitted the proposal. As it happened Toon Books was on the absolute top in order of personal preference as I’ve always loved their books and luckily the fantastic Françoise got in touch straight away and I had no doubt that the project would have the happiest possible ending in every sense of the word.
What new projects are you working on?
I am currently sorting out the storyline for my next children’s book and excited to return to working on a commission involving branding / identity which had to be put on hold for a while due to delayed funding but it’s now back on. And, of course, we are also working on an exciting project together, to be announced soon.
Hearts is published by Toon Books, and is available online and at all good bookshops now.
Written by Amelia Gregory on Wednesday August 13th, 2014 3:05 pm
Having spearheaded the new London folk scene with their debut album, theremedicalNoah and the Whale are back with their hands full up, releasing a new single, album and film out this summer. We talk school plays, Daisy Lowe, weddings, gardening, Werner Herzog in the studio with the effortlessly charming frontman, Charlie Fink.
Photos by Katie Weatherall
Amelia’s Mag: You’ve got a whole host of new releases coming up – single, album, film – how are you feeling about it all, happy/nervous/excited?
Charlie Fink: All of the above… I dunno, we did the album so long ago… From the last album, I realised the only satisfying feeling you’re going to get is the feeling you get when you’ve finished it and you think it’s good, that’s the best it gets. Reading a review of somebody else saying it’s good is good to show off to your mum, but it doesn’t really mean anything. Likewise, if there’s something you believe in and someone says it’s bad, you’re still going to believe in it.
AM: And the live shows must add another dimension to that?
CF: Yeah. What I’m excited about really is that this record realises us as a band more than the previous one. So that’s going to be really exciting to go out and play that live to people.
AM: And is there anything in particular that has done this or has it been the natural progression of the band?
CF: It’s a million small things, from us playing together more, us growing up, learning our trade a bit better, from what happens in lives and the records you listen to. I very much try to rely as much as I can on instinct and satisfying myself. And this is not a selfish thing because the only way you can supply something worthwhile to somebody else, is if you’re totally satisfied with it yourself. Doing the right things for us and hoping that’ll transfer to the audience.
AM: Was there anything in particular you were listening to whilst making the record?
CF: The things I’m listening to now are different from the things I was listening to when I wrote the record. When I first started the record, I was listening to ‘Spirit of Eden’ by Talk Talk, which is a different sounding record to what we did. Nick Cave, lots by Wilco…
AM: So tell me about the film, ‘The First Days Of Spring’, that accompanies the album (of the same name)… which came first?
CF: The first thing was the idea of a film where the background and the pace was defined by an album. But it totally overtook my whole life. It’s one of those things you start for a certain reason and then you keep going for different reasons. The inspiration was sort of how people don’t really listen to albums anymore, they listen to songs. We wanted to try making an all emersive record where the film puts people into it. We’re not dictating that this should be the only way people listen to music, we just wanted to offer something alternative. On a lot of records these days, you don’t feel like the unity of the album gives it more strength than each individual song. Whereas with this record, the whole thing is worth more than the individual parts. That’s how I see it anyway.
There’s this quote from I think W. G. Collingwood that says, ‘art is dead, amusement is all that’s left.’ I like the idea that this project, in the best possible way, is commercially and in lots of other ways pointless. It’s a length that doesn’t exist. It’s not a short film or a feature, it’s 15 minutes and the nature of it is that it’s entirely led by its soundtrack. It’s created for the sake of becoming something that I thought was beautiful.
AM: And Daisy Lowe stars in it, how was that?
CF: She’s an incredibly nice and intelligent person. I met with her in New York when we were mixing the album and I told her I was doing this film… She was immediately interested. And her gave her the record as one whole track which is how I originally wanted it to be released. Just one track on iTunes that had to be listened to as a whole and not just dipped into. She sent me an email two weeks later, because she’s obviously a very busy person. With her listening to the album, a kind of live feed of what she thought of it. Making a film and having her was really good because she kept me motivated and passionate. She genuinely really took to this project. The whole cast as well, everyone really supported it and it was a pleasure to make. I had to fight to get it made and understood. It’s one of those things that people either passionately disagree with or agree with. From thinking it’s absurdly pretentious or beautiful. Fortunately all the people working on the film were passionate people.
AM: So is film making something you want to continue with?
CF: Yeah, definitely! At some point I’d like to make a more conventional film. The thing that really stuck with me about making a film was surround sound. When you’re mixing a film, you’re mixing the sound in surround because you’re mixing for cinemas. You realise the potential of having five speakers around you as opposed to just two in front of you. The complexity of what you can do is vast. So I’d love to something with that. If you record in surround sound you need to hear it in surround sound, so maybe some kind of installation… Then another film after that…
AM: You’ve been put into a folk bracket with your first album, is that something you’re ok with?
CF: I like folk music, I listen to folk music but then every folk artist I like denies they’re folk. It’s one of those things, it doesn’t really matter. We played last year at the Cambridge Folk Festival and I felt really proud to be a part of that. It’s a real music lovers festival. That was a really proud moment so I can’t be that bothered.
AM: I recently sang your first single, ‘5 Years Time’, at a wedding, do you ever imagine the direction your songs may go after you write them?
CF: Wow. That’s really funny. I’ve had a few stories like that actually. It’s touching but it’s not what I’d imagine.
AM: Do you write songs in that way? Some bands set out to write a love song, dance song etc…
CF: I can’t really remember how I write… I was writing last night but… do you drive?
AM: I just recently failed my test.
CF: Perfect! Well, you know when you start driving you have to think through everything – put my foot on the clutch, take it off the clutch etc. Then when you’ve been doing it a while, you just do all those things without even knowing you’ve done them. That’s how it feels with songwriting, I can’t really remember doing it. It just happens how it happens. Or like gardening… you’ve just gotta chop through and it’ll come.
AM: Is being in a band everything you imagined it to be?
CF: For me it’s more about being creative. I do some production for people, the band, the writing and now the film. I just love what I do and just keep doing it. I follow it wherever it goes. The capacity I have for doing what I do is enough to make it feel precious.
AM: So are there any untapped creative pursuits left for you?
CF: At the moment what I’m doing feels right. I never had any ambitions to paint. I don’t have that skill. I think film and music have always been the two things that have touched me the most.
AM: So how about acting?
CF: I did once at school when I was 13. I played the chancellor in a play the teacher wrote called ‘Suspense and a Dragon Called Norris.’ Which had rapturous reactions from my mum. I don’t think I could do that either. When you direct though you need to understand how acting works. It’s a really fascinating thing but I don’t I’d be any good at it.
AM: Do you prefer the full creative potential a director has?
CF: The best directors are the ones that build a character. Building a character is as important as understanding it. It needs major input from both the director and the actor. You can’t just give an actor the script and expect it to be exactly right. You need to be there to create the little details. The way they eat, the way they smoke… That’s an important skill.
At this point, Charlie asks me about a note I’d made on my reporter’s pad, which was actually a reminder about a friend’s birthday present. Which draws the conservation to a close as we recite our favourite Werner Herzog films. Turns out, he shares the same taste in film directors as my friend.
If Charlie from Noah and the Whale tells us he likes Wilco, then we like Wilco. It’s as simple as that. It’s time to get educated.
Wednesday 26th August
The Hot Rats
The Old Blue Last, London
Otherwise known as half of Supergrass plus hot shot Radiohead producer, The Hot Rats get their kicks taking pop classics by, amongst others, The Beatles and The Kinks and infusing their own alt-rock psychedelica – worth a gander.
Thursday 27th August
KILL IT KID Madam Jo Jos, London
Their blend of durge blues, barndance and freestyle frenzy jazz blues make KILL IT KID a gem to behold in a live setting.
Friday 28th August
Swanton Bombs Old Blue Last, London
If you like your indie adorned in Mod and brimming with angularity, then Swanton Bombs will be pushing the trigger on your buttons.
Saturday 29th August
South East in East Festival – Teenagers In Tokyo, Tronik Youth, Ali Love, Publicist Vibe Bar, London
It’s all about South East London – full stop. In this cunning event, it up sticks to East London, where synth-pop Gossip descendents, Teenagers In Tokyo headline a night of New X Rave.
Sunday 30th August
The Gladstone Open Mic Night The Gladstone, London
As it’s Bank Holiday Weekend and all the bands are at Reading/Leeds Festival, London is starved of big gigs. No fear, The Glad is here – A little known drinking hole in Borough that continually serves up a plethora of folkey talent… and pies!
Sunderland born designer Rosie Upright is truly passionate about design. Aren’t we all I hear you say? Well, health she’s up, recipe all hours, medical day or night… cutting away with her trusty stanley knife… stopping only when her numb fingertips plead for rest. Do your fingertips bleed? I thought not! Rosie developed her unique hand-crafted techniques whilst at university in Epsom, where she learnt all the usual computer design programs… and then decided to steer clear of them. She’s fled the suburbs of Epsom now, to live in London town with all the other hopeful new freelancers. She spends her days photographing, drawing, organising balls of string… and deciding what hat to wear.
We caught up with Rosie for a little chat…
Hi, how are you today?
I’ve got a bit of a sore throat coming on, the irritating children over the road are noisily playing some kind of shooting game, a car is beeping its horn continuously just below my window, itunes is refusing to play anything other than Billy Idol (which I’m not in the mood for), my coloured ink cartridge has just ran out, I’ve got a blister from my favourite pink shoes, an uninvited wasp is stuck in my blinds, my ginger hair has faded to a weird brown, I forgot to buy milk and Ronnie Mitchell is still crying on Eastenders – but apart from that I’m topper thanks.
What have you been up to lately?
Fingers in pies, fingers in pies!
Including…cross-stitch and a week in a cottage in Norfolk (no telephone signal or internet connection, bloody lovely!)
Which artists or illustrators do you most admire?
I don’t think I would have done a degree in graphic design if my ever-encouraging parents hadn’t taken me to a Peter Saville exhibition at the Urbis in Manchester many moons ago. Made me see the ideas process at its very best and the crucial-ness (that’s not even a word!) of initial doodles and sketchbooks.
“Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Where would any of us be if it weren’t for Dr Seuss?
I really love a bit of Russian Constructivism, in particular Alexander Rodchenko and Varvara Stepanova, bloody genius. Mr Vaughan Oliver, for making us all think differently about where to crop the image, for being an ongoing influence and for that opportunity. Harry Beck, Robert Doisneau and most recently Philippe Petit.
If we visited you in your hometown, where would you take us?
Stroll down to Seaburn beach because when you don’t live next to the sea anymore you really miss it, and it has really nice sand. Then to my very best friend Sarah Bowman’s house, to play with Peggy Sue the kitten, have mental vegetarian sandwiches off a cake stand, and a glass of red wine, ice cubes and coke. We should pop to an art shop in Darlington and then to The Borough, the best pub for tunes, a pint of cider and a Jaeger bomb.
Who would most love to collaborate with creatively?
Mike Perry and YES art studio please. Thank you.
When did you realise you had creative talent?
When some hippy artist came into my junior school to create banners for some event at the local library with us. I was told after five minutes of colouring it in that I had to go away and read because I couldn’t keep within the lines.
If you weren’t an artist, what would you be doing?
A teenage Mam or an actress, haven’t decided which yet.
Where would you like to be in 10 years time?
I’d like to be the designer than graphic design students hate because their tutors always tell them to get their book out of the Uni library. And I’d quite like to have my own shop in London, Brighton or maybe Newcastle (or all three, and maybe Paris then if we’re going crazy) selling things made by me!
What advice would you give up and coming artists such as yourself?
Take other peoples advice but make your own mistakes, don’t be a dick and always colour outside of the lines.
How would you describe your art in five words?
Hand made/ typography/ narrative/ personal/ I’d like to say idiosyncratic too but don’t want to sound like a twat.
What is your guilty pleasure?
Seeing people fall over.
(and cake)
If you could time travel back or forward to any era, where would you go?
It was horrific enough moving away to University and into London and trying to find a job and start my life up. I think if I had to go backward or forward to another era I would probably just straight up die. Having said that though I would like to be a highwayman’s assistant.
Tell us something about Rosie Upright that we didn’t know already.
I can’t wait till I’m an old lady so I can wear those lacy nighties from Marks & Sparks and I love animals in clothes.
What are you up to next?
Going to make a cuppa tea, kill this wasp and then take over the world.
While most of us at the tender age of 19 rooted our existence in smacking down vodka jelly shots at the bar with kebabs at four in the morning and the Hollyoaks omnibus on a Sunday, pilule some people, of course, are born to shine in different ways. Take, for instance, London College of Fashion student Millie Cockton, somebody who has already had their work featured in a shoot for Dazed and Confused, styled by Robbie Spencer.
As a lover of clean lines and beautiful silhouettes, Millie looks for the wearer to bring their own identity to her gender non-specific pieces. At the moment under new label Euphemia, with her AW09/10 about to be stocked in London boutique and gallery space Digitaria, after being chosen to be the first guest designer at the Soho store. Check out the Dazed piece to see some brilliant Shakespearian-style ruffs that Millie has also created working with paper (a material proving popular as with Petra Storrs, who I featured last week).
Each to their own, mind you. I could totally do all that, if I wanted to.
At the age of 19 you’ve already received quite a lot of attention – how has that been?
It’s been great so far! It’s very flattering but its also very daunting! I am on a constant learning curve and my work is developing all the time so although the attention is great it creates a lot of pressure!
Describe your design aesthetic in three words.
Clean, sculptural, understated.
Who do you see wearing your designs? Are they reflective of your own personality?
I like to think of a real mixture of people wearing my designs. I love the way that the same garment can look completely different on different people- for me its all about the individual and how they carry themselves, bringing their own identity to the piece.
I don’t think that my designs are necessarily a true representation of my personality and personal style. I feel that my designs are more of a reflection of the aesthetic that i find desirable and aspirational.
Thinking about the ruffs featured in Dazed, people have touched on the theatrical nature of your designs – is the idea of performance important to you in fashion?
The idea of performance within fashion is something that interests me but I wouldn’t say that it’s a key element within my own designs. I like the notion of a performative element within a piece or a collection as i think that it helps gain a further understanding and insight of the designers thought process and inspiration.
What else do you respond to?
I am constantly discovering new sources of inspiration, being so young I know that I still have so much to learn!
I like to use elements of craft within my designs, such as origami style folding. Craft elements can add interesting details to simple pieces.
What are your plans for the future? Who would you like to work for?
I am about to launch my new collection which will be stocked in Digitaria, recently opened on Berwick St, Soho. I have just started to work with Digitaria’s creative director , Stavros Karelis and stylist Paul Joyce on some future projects which are really exciting and I am thoroughly enjoying. I want to continue learning and developing my ideas, challenging myself and most importantly keep having fun!
‘Having fun’ of course might well translate to ‘becoming future fashion empress of the galaxy’. This is a talent to watch out for.
The Camp for Climate Action 2009 is almost upon us – now’s the time to gather ourselves and prepare to swoop. Convinced that the response to climate change needs more? Ready to share skills, stomach knowledge and experiences? To be part of the grassroots swell of people demanding a difference? To get out there and do something?
Be ready next Wednesday, 12th August, from noon, in London. We’re going to swoop on the camp location together. The more people the better. Secret until the last moment, you can sign up for text alerts and join one of the groups meeting scattered about central London before moving together to the camp.
Why Camp? We can all meet each other and learn stuff – reason enough? – I mean, an enormous, public, activist-friendly child-friendly student-friendly climate-friendly gathering with an ambitious and well-prepared programme of workshops covering all things from Tai Chi for those of us up early enough, through histories student activism, DIY radio, pedal-powered sound systems, legal briefings, stepping into direct action, singing, dancing, jumping and waving.
Why London? Climate Campers have listed ten reasons to focus on London – right up the top of that list is : tall buildings and low flood plains. London is big corporate central, the City square mile itself accounting for a huge proportion of the UK economy, that FTSE100-flavoured slice of barely accountable, shareholder driven pie. And yet, as the Thames Barrier should always remind us, the whole city sits low on the ground. Just check out what the centre looks like with a few metres rise in sea level.
So what’s first? The Climate Camp Benefit party/shindig/jamboree/palooza/knee’s-up/gala ball/discotheque/rave/soiree at RampART, 9pm-3am this Friday 21st August. Consisting of fun/revelry/ribaldry/tomfoolery/jocularity/jive/merriment/high kinks, low jinks, jinks of all stature/cheer/gambol/horseplay & frolic. With bands & DJ’s including Rob the Rub & Sarah Bear & those amazing skiffle kids ‘The Severed Limb’. That’s at:
9pm-3am
rampART, 15 -17 Rampart Street,
London E1 2LA (near Whitechapel, off Commercial Rd)
Donations on the door much appreciated (and needed!) – all going straight to Climate Camp
And then? The Swoop – Night Before – Londoners and out-of-town visitors are welcome to ‘the night before the swoop’ – near the bandstand in Lincoln’s Inn Fields, 7-8.30pm, Tuesday 25th August – for any last minute info, a legal briefing and an opportunity to join an affinity group and get excited. Lincoln’s Inn Fields is just behind Holborn tube station – this map here might help.
Awesome. See you soon.
Ctrl.Alt.Shift dropped us a line to let us know about a comics-making competition so get your promarkers and layout pads at the ready. Ctrl.Alt.Shift Unmarks Corruption is giving you the opportunity to design a unique comic style story. Ctrl.Alt.Shift is the experimental youth initiative politicising a new generation of activists for social justice and global change. The competition hopes to raise awareness of the Ctrl.Alt.Shift and Lightspeed Champion goals and views by inspiring this generation of designers to work together.
Oscar nominated Marjane Satrapi, medical V V Brown and Lightspeed Champion are amongst the judges for the Ctrl.Alt.Shift Unmasks Corruption competition launched today. Corruption is both a cause of poverty, and a barrier to overcoming it. It is one of the most serious obstacles to eradicate.
Entrants to the competition will be in with the chance to create a unique comic style story in collaboration with acclaimed musician and writer Dev Hynes aka Lightspeed Champion. After the first round of judging at the end of September, shortlisted entrants will be given Lightspeed Champion’s comic script as inspiration and asked to create a visual adaptation of the story.
The winning commission will be published in a comic alongside new work exploring the issue of Corruption by some of comic’s greatest talents. The work will also be showcased as part of a new exhibition, Ctrl.Alt.Shift Unmasks Corruption, later this year at Lazarides Gallery, Soho.
To enter the competition please send relevant examples of your visual work along with your contact details to Ctrl.Alt.Shift by Friday 25th September by visiting www.ctrlaltshift.co.uk/unmaskscorruption.
Five short listed artists will then be given a comic brief to respond to and a winner chosen by a panel of judges including: Marjane Satrapi (Writer and Director of Academy Award Nominated Animated Film Persepolis) Paul Gravett (Comica founder), V V Brown and David Allain (Musician and Comic Book Writer/Artist duo), Lightspeed Champion and Ctrl.Alt.Shift.
The competition is restricted to UK Residents only
For further information about the competition please contact John Doe on 020 7749 7530 or Hannah@johndoehub.com / Jo.bartlett@johndoehub.com Brooke Roberts is my favourite new designer. Why? Well, more about after exchanging several emails with her over the last few weeks, for sale for a young designer making such waves in the industry, her witty and playful personality has impressed even via my inbox! Having worked with such characters such as Louise Goldin and Giles, her avant- garde aesthetic really shines through in her highly tailored and retro-feel designs. Miss Roberts is going places, and she’s more than willing to take us along with her!
What made you want to be a designer? What’s your design background?
I’m definitely not one of those designers who always knew that’s what they wanted to do. I did a degree in Applied Science at Sydney University (I’m from Australia) and worked as a radiographer for a year before moving to London to find out what I wanted to do. I did some work as a stylist with a fashion photographer (random hook-up). I knew his girlfriend and she knew my massive extensive collection of vintage clothes and shoes. My mum had a boutique when I was growing up and I loved clothes – I just never knew it was going to be my career.
I did a few jobs in London (pub, bank – more randomness) before realising I wanted to study fashion. I went to London College of Fashion and Central St.Martins (graduated 2005) wanting to be a pattern-cutter or tailor. I really wanted to create, rather than design. I get most satisfaction from making beautiful things and being involved in the whole process. I have a close working relationship with my suppliers, and go to the factories to develop my garments. I cut them all myself, which is probably bordering on control freakery, but I feel it shows in the final product and I can realise my designs exactly as I imagine them.
I’m waffling. I worked for Giles for two seasons after I left Uni, and started with Louise Goldin when she launched her label. We worked together for three years (until last October when I launched my label).
What are your inspirations for your collections?
I get lots of inspiration from my radiography job (I do that part-time to fund my label). So I’m running between the hospital and my studio all the time. I have used CT (cat) brain scans this season to create knit fabrics and digital prints. My obsession with reptile skins never seems to go away, and I have worked with Anwen Jenkins (awesome print designer) to create skull slice python skin prints. Basically, the python scales are replaced with multi-dimensional skull slices.
Apart from that, I research at museums and LCF Library. This season went to the British Museum and discovered Yoruba sculpture and traditional costumes. I researched these for silhouette and style lines. I also looked at Niger garments. They’re beautifully colourful, vibrant and flamboyant.
What are your favourite pieces from your latest collection?
Umm. I wear the cat suit most. I actually met my boyfriend the first time I wore it. So I’m renaming it Lucky cat suit. I also love the Flex jacket in red snakeskin. The razor sharp points make me feel like I am ready for world domination!
What was it like working with Giles Deacon and Louise Goldin? What did you learn from them?
I learnt that I hate taking orders from others! I’m really not one to toe-the-line. I am a perfectionist and this drives other people mad sometimes. I was a pattern-cutter at Giles, doing mostly tailoring, which suited me fine. Most people wanted to do the showpieces, but I was most happy cutting jackets. Giles is a really lovely bloke. Working with him was really my first experience of doing shows and the pressure and stress of getting everything done.
With Louise, my job was broader because in the beginning it was just the two of us. I learnt so much, I can’t even write it down. I worked in the London studio and the knitwear factory in Italy. I had the opportunity to learn knitwear programming, selecting yarns and cutting and constructing knit. I still work in the factory for my own label and really love it. The other big thing was learning about running a business and starting from scratch. The hoops you have to jump through, the process of getting sponsorship, doing shows, sales and production… It’s a massive undertaking starting your own label. And I still chose to do it! Bonkers.
Who do you think are the most important designers of your generation?
Hmm. Well, I like the work of Tina Kalivas and Gareth Pugh. If we’re talking most important, it has to be Gareth.
What do you think are the problems facing young designers at the moment?
The biggest problems are funding and dealing with suppliers, particularly for production. Creating a beautiful product that you can reproduce is actually really difficult! You need to understand the technicalities of fabrics and construction (or hire someone who does) otherwise it all goes wrong.
What’s next for Brooke Roberts?
In fantasy land, what’s next for Brooke Roberts is a holiday. In reality, I’m working hard on marketing and sales for London Fashion Week. I’m collaborating with jewellery designer Chris Edwards and shoe and bag designer Laura Villasenin on side projects for the label. Look out for skull slice stacked rings and metal bone-fixation embellished super-soft bags for SS10!!
Not slim tomatoes, viagra dosage narrow cucumbers or squashed, um, squashes – no, we’re talking about digging for victory in our own meagre abodes. With allotment waiting lists stretching beyond a century in Hackney and not many of us owning the half-county some how-to books seem to assume, options on grow-your-own approaches might look limited. But before you get the howling fantods at the piling impossibilities. As those of you who read the Amelia’s Magazine review of Growing Stuff (an Alternative Guide to Gardening) will know well, even the meagrest city apartment can burst forth in cornucopic life.
And but so then it seems the thing to do is simply to get a pack of seeds and a container and get growing, no hesitation about it. If a brief pause in favour of screenreading sounds like it could lead to better inspiration, I entreat you, read on. There’s a glut of blogs and enthusiasts all over the place to speak to or read up upon. Here are just a few of our favourites.
Life on the Balcony tells Fern Richardson’s encounters with gardens small and smaller, great for fresh faces and old hands alike, with an awesome friendly dirt cheap ways to garden.
Carrie, of Concrete Gardening blogging fame (true in a juster world), digs organic urban gardening, and has gotten into gardening without the erm, garden, since buying a house in the city (Philadelphia) and sees all the possibilities of planting up, sideways and over – just recently blogging about taking things to the next level and climbing up on her roof to plant out veggies, seedlings to sit and soak up sun.
Herbs and Dragonflies is written by a group set up by Kathy Marshall back in 2008 for the Pudsey Carnival and have been creatively, craftily planting since, encouraging others to get their green fingers dirty – doing activities with children and volunteering about the place. Most recently, they encouraged us blog-readers to leave the comfort of plastic planters and terracotta pots – most anything can sit with some soil in it. They suggest novelty Cadbury’s Fingers tins, I’ve used fancy jamjars, and seen anything from skips to wellington boots enlisted in the service of greenery.
Emma Cooper (I’m cribbing now from the ‘Growing Stuff’ contributor biogs page) lives in Oxfordshire with two pet chickens – Hen Solo and Princess Layer – and six compost bins. She has written an ‘Alternative A-Z of Kitchen Gardening’, which Karen Cannard The Rubbish Diet reckons is ‘an inspirational tour of an edible garden that can be recreated in the smallest of backyards. An essential guide for a new generation of gardeners who are keen to join the kitchen garden revolution.’And she blogs about anything from compost to pod plants to the future of food…
Madeleine Giddens loves herbs, which I guess you’d guess from the name of her blog – Mad About Herbs. But there’s nothing off the wall about any of it, she’s plunged into an obsession and come out smelling of roses and lavender, buzzing about bees too, recently, and their favourite flowers.
So there you have it, just a few spots and pointers. Good evening, and wishes for a fruitful weekend from Amelia’s Magazine.
The Royal Bank of Scotland. RBS. Formally known with pride as the “oil and gas bank” due to their close alliance with the fossil fuel industries. What on earth would I have to do with them? They may have lost the unfortunate moniker, treat partly due to a hugely successful campaign by People and Planet student activists who launched a spoof ad campaign and website named the Oyal Bank of Scotland before delivering a host of greenwashing awards – but they’re certainly not due for any special ethical mentions yet.
Not yet.
There was of course a massive £33 billion bank bailout from the taxpayer for RBS last year. But RBS didn’t spend the money on anything worthwhile. Oh no, the truth is that RBS still has oily blackened hands. Most people will remember the Fred Goodwin debacle, he who managed to retire at the age of 50 on a £16 million pension funded by taxpayers. But that’s not the whole of it – since the bailout some of our money has been used to arrange loans for the fossil fuel industries worth a staggering £10 billion, including a substantial sum for E.ON, the company that wants to build a new coal fired power station at Kingsnorth. Despite the best efforts of activists – there was an impromptu snowball fight during the winter, Climate Rush held a luncheon dance and Climate Camp set up camp down the road at Bishopsgate – RBS continues to invest in unsustainable resources.
But the good news is there is hope for change!
As I’ve got more and more involved with activism I’ve got to know members of PLATFORM, who together with People and Planet and the World Development Movement have launched a legal challenge against our government to make sure that public money used for bailouts is put towards building sustainability. PLATFORM is an organisation that combines art with activism, research and campaigning, so in many ways we are perfect partners and I was really excited when they recently approached me to collaborate on an exciting new project at the Arnolfini gallery in Bristol.
As part of a wider festival named 100 Days, PLATFORM will be co-producing over 50 events, installations, performances, actions, walks, discussions and skill shares over a period of two months. This season is called “C words: Carbon, Climate, Capital, Culture” and is intended to highlight what needs to be done to change the world in the run-up to the incredibly important (but unlikely to solve anything) COP 15 conference (think Kyoto 2 – it failed first time around so why would it succeed now?) in Copenhagen in December.
Your part in this audacious experiment?
We’re going to re-envision RBS as a bastion of sustainability – the Royal Bank of Sustainability in fact. And it will be down to you to create the artwork… once more I will be running one of my becoming-somewhat-regular open briefs. We would like you to submit either a logo or a poster (or both) that will suggest a swing in the direction of all things sustainable in the most imaginative way possible. Around ten of the best artworks will be shown for a week at the prestigious Arnolfini gallery in Bristol as part of the whole shebang, culminating with a public judging and prize-giving overseen by yours truly and helped out by the folk at PLATFORM and no less than the Marketing Manager of the Arnolfini, Rob Webster, and Fiona Hamilton of Soma Gallery (Bristol), a woman with great taste in the arts who runs a cult art shop that has been a long standing supplier of my print magazine. We might even invite someone powerful from RBS! (invite being the operative word) After the event PLATFORM will profile you on their website with links to yours, and prior to the actual event I’ll be posting the best entries onto my website – one good reason to get your artwork in as quickly as possible.
If you are interested read on:
What you need to know:
Ideas:
Yeah yeah – we all know wind turbines are great news and polar bears are having a terrible time, but for this brief we’d like you to think a bit outside the box. We’ll be looking for the most refreshing ways of thinking about how we can live in the most sustainable way possible, and most importantly how RBS could play a possible role in aiding this transition to a low carbon world. Don’t forget that we, the taxpayers, own 70% of RBS – why not make it into the people’s bank? You should make clear in your chosen design the re-imagining of the old RBS into the new. Instead of investing in carbon-intensive industries the new RBS will serve the public interest by investing only in socially conscious, ethically driven, and environmentally sound projects.
Style:
Think serious or earnest, kitsch or ironic, warm and fluffy, abstract or illustrative; whatever best communicates the concept and appeals to the broader public, the press and perhaps even people in government. It should engage and inspire. You can collage photography on your computer or paint with your fingers and toes – what matters is the outcome. We want to see imagery that speaks of something new, radical and POSSIBLE. Think positive social force. We love the Obama image that was used in the run up to his election – the reworking of his image in a simple pop art style somehow speaks volumes about new, positive change – and has fast become an iconic piece of graphic design, so we thought we’d use it here to demonstrate that you don’t have to be too literal in your interpretation of the brief to create a successful image. If you choose to create a poster remember that it could be made as an advert.
Technical specifications:
your image should be created to these sizes and scannable or put together on a computer:
A1 for the poster.
A2 or squared off A2 for the logo.
Please send me a lo resolution version but make sure you work to these sizes. We will arrange for the printing of your image should it be chosen.
Deadline:
We need your submissions to reach me by Monday 2nd November. Please send lo res versions of your design to info@ameliasmagazine.com
Future projects:
Please bear in mind that if we really love your work we might want to use it in further literature and exhibitions. Just think, your work really could persuade RBS to change course at a pivotal point in our history. What a fabulous idea!
Join the facebook event here to stay in touch with updates
And join the “Stop RBS using public money to finance climate change” facebook group here
Below is a list of links you might want to peruse for inspiration:
Get scribbling folks! Any queries please contact me directly via email rather than on the comments below.
If you have been to a UK festival in the last few years, pharm chances are that at some point you found yourself dancing in the OneTaste tent. Having residency at Glastonbury, sicknessBig Chill and Secret Garden Party to name but a mere few, OneTaste have acquired a devoted fan base of festival goers who want a guarantee that when they walk into a tent they will get the following components; top quality live music, an high-spirited and friendly crowd, and twenty four hour revelry.
OneTaste in Hyde Park, London
Yet their festival appearances are just one aspect of the multifaceted music troupe. When they are appearing at say, SGP or Glasto, they perform as a collective of musicians, poets and artists who, for many of the festivals, break bread and share space with Chai Wallahs. When they put on events in Greater London and Brighton, (where every night is different from the last), their roots run deep, towards diverse and innovative singers, performers and spoken word artists. They are fiercely proud of their reputation of facilitating and nurturing emerging talent; promoting, not exploiting it, connecting with the audience and creating a true OneTaste family, both onstage and off.
I have known of OneTaste for years, being friends with some of the artists who have performed with them. Having shamelessly utalised their tent at this years Secret Garden Party to dance, drink, chill, detox and then re-tox, I felt it was time to get to know them a little better. The perfect opportunity came at the recent OneTaste night at the Bedford in Balham which I attended recently on a balmy Thursday night. The vaudeville past of the Globe Theatre within the Bedford was an apposite setting for the style of event that OneTaste puts on. As the preparation for the evenings entertainment began in this deeply historical building, I managed to catch a quick chat with the creator of OneTaste, Dannii Evans, where we talked about the rhymes, reasons and the meaning behind this unique and innovative event.
photograph by Kim Leng Hills
When I saw OneTaste’s excellent night in the Jazz Cafe a while back, I saw a lot of different styles of music and spoken word. What would you say is the one common thread that unites everyone?
We’ve always been trying to find out what the thread is! It is definitely not genre, we do every single style and welcome every style, probably the only genre we haven’t booked yet is heavy metal! The thing that links us all together .. (pauses)… is that everyone has got a massive social conscience; it is not always explicit, but it is implicit within a person, it’s in their art. It’s something that holds us all together, everyone at OneTaste has that in mind – that there is a bigger picture and that we need to better ourselves in everything that we do.
The OneTaste music and spoken word night, started four and a half years ago by myself, and Jamie Woon. We basically started it in order that these musicians can do something where they could get paid.
You pay the performers? That’s so rare!
Definitely. We wanted to put on a night where the quality of every single act was really high and it could be where musicians could start their career, so that was the premise. Also the concept is that the event is always half music, half spoken word.
So is it a collective, a record label, an event? I’m kind of confused!
It started off as an event, with us meeting a number of artists and acts that we got on really well and gelled with, who we took on tour around festivals, and then out of spending three months together we formed the OneTaste collective. It started becoming an artist run collective where people would help with the actual event production and then it ended with them all collaborating on material together.
How do artists become part of OneTaste? Is it something that they can dip in and out of?
Absolutely, it’s not exclusive. It grew organically, it’s not an in or out thing – it happens more naturally than that.
Do you have to audition to get in?
To take part in the OneTaste night, either myself or someone running it have to have seen them live. Audience engagement is very important to us, to reach out and to be able to communicate with the audience is really vital. The live aspect and their live dynamic with the crowd is so important, so while they don’t audition, we do need to see how they will perform.
So it seems to have grown hugely in the last four years; Can you give me an idea of the numbers of acts that you have worked with?
In the collective, we have around 30 acts that we are currently championing, but in the last four years we have worked with around 300 artists. The audiences have grown from 40 people to 300 here at the Bedford, 500 at the Jazz Cafe, and 5,000 at the recent gig we did in Hyde Park.
How does OneTaste promote its artists?
It has always been very grass roots, we’ve never done an advert, it’s always just been people coming down and then telling their friends and from that it grew really quickly.
Are there many of the artists signed to labels, and do you help them along their way?
We do, we give them industry advice – we develop their music, or spoken word, we try to help where we can. Some of the artists like Jamie Woon or Portico Quartet have gone on to get more media attention and they kind of carry the OneTaste name with them and still do gigs for us.
What is the direction that OneTaste is heading in?
Potentially, we might have our own venue at festivals next year, which is really exciting. We have a digital compilation coming out, the first one will be coming out in September, and eventually we may form a OneTaste record label.
Gideon Conn performs at OneTaste Bedford.
Dannii and I continue chatting for a short while, and after this she has tasks to do. The audience is filling up, and the night is about to start. Sitting on a bench in the back with a big glass of red wine, I watch the event unfold. The performers are electric, and completely different from one another, yet equally complimentary. Most appear to be old friends, and loudly cheer each others performances. The atmosphere is infectious, I can’t remember the last time I enjoyed myself so much at a gig (and it’s not because of the wine!). I’m quite au fait with the open mic nights and acoustic gigs of London, but I haven’t been to a night which is as cohesive and inclusive as OneTaste. If you want to experience it for yourself, OneTaste are easy to find. Check out their Facebook, MySpace, YouTube and Flickr for images, articles, and dates about upcoming shows, which include a September 8th gig at The Distillers in Hammersmith and 27th September at The Hanbury Club in Brighton.
This week Climate Camp 2009 swoops on London, this site aiming to pressure politicians ahead of the Copenhagen climate change summit in December. Climate Camp will achieve this by encouraging individuals to think about lifestyle changes possible both collectively and personally to prevent climate change.
Sharing these sensibilities, the French Collective Andrea Crews encourage a new life philosophy outside the corporate rat race so often associated with London and other major cities. Being introduced to the fashion/art/activist collective Andrea Crews felt like a breath of fresh air often associated with Amelia’s magazine, a long time supporter of sustainable fashion, craft, activism and individual design.
Andrea Crews Collective express their desire for economic and social change through “the use and the reinterpretation of the second-hand garment” calling it “a social, economic and ethical choice.” A choice displayed by the sheer volume of abandoned second hand garments used throughout the catwalk shows, art exhibitions and activist events. The group criticise the relentless waste of modern consumption, fast fashion has helped to create, through visualising the stress on land fill sites around the world in their staged events. Subsequently by ignoring market pressures: mass seduction and seasonal calendars, Andrea Crews re-introduces a slower, more individual fashion culture through the processes of sorting and recycling.
The Crews Collective march to the same tune as Climate Camp, not only by caring for the environment but in their dedication towards an alternative developed sustainable economy. Andrea Crews encourages mass involvement stating that the project “answers to a current request for creative energy and social engagement. Recycling, Salvaging, Sorting out, are civic models of behaviour we assert.” Thus the power of low-level activism or grass roots activism becomes apparent, if enough people participated with Climate Camp or The Andrea Crews Collective. The pressure on governments to look for an alternative way of living would be undeniable.
The ever-expanding coverage of ethical, eco fashion on the internet plays testimony to the idea that the individual is changing. The Andreas Collective through their exquisite catwalks –particularly the Marevee show with the appearance of clothes mountains which the models scrambled over to reach the runway- draw attention to the powerful position regarding sustainability, fashion can occupy if it so chooses.
All quotes and images are from the Andrea Crews website. DIY LONDON SEEN The Market Building
Covent Garden, doctor London WC2 8RF
Until 5th September
DIY LONDON SEEN hopes to illustrate the growth of the movement inspired by the ‘Beautiful Losers’, doctor which is now a global phenomenon, generic by showcasing the work of local artists whose work takes the ethos of the Alleged gallery Artists and runs with it.
Show runs from: 28th August- 2nd September ’09,
with a preview on the 27th September from 6.00-9.00pm
Artists: Ellen Burroughs presents intricate technical drawings of a surreal nature, Sophie Axford-Hawkins shows bespoke jewelery that follows an identical theme.
The Jake-OF Debut UK Solo Show
Austin Gallery
119A Bethnal Green Road,
Shoreditch London E2 7DG
Running from the 3rd-16th September.
The opening evening is on the 3rd at 6:30pm.
Featuring a collection of his best print, sculpture and instillation work from the past four years. The show will include prints from the Quink series and the first original Quink painting to be exhibited.
So Long Utopia East Gallery
214 Brick Lane
?London ?E1 6SA
Until 2nd September
EASTGALLERY is proud to present the first solo exhibition of UK artist Sichi. ‘So Long Utopia’ will feature a thematic collection of new paintings and drawings. ??‘So Long Utopia’ is an energetic exhibition focusing on the theme of the lost Utopian dream. The artworks in this collection are of portraits, statements and imagined characters, where any premonition of ‘Utopia’ is quickly dispelled by the creatures inhabiting Sichi’s dystopian world.
Opening 19 August 6:30 – 8:30
20th – 31st August
Free
A busy August Bank holiday weekend is almost upon us, dosage and if you cant make it to Climate Camp starting on Wednesday there is plenty of other events to keep you occupied this week.
Festival of The Tree 2009
Delve into the world of wood and trees with sculptors, workshops, walks, art exhibitions and more with all proceeds going to treeaid, a charity that is enabling communities in Africa’s drylands to fight poverty and become self-reliant, while improving the environment. Weston Arboretum has a week long run of activities, with the organisers calling it a radical transformation from last year with exciting new additions.
Check the full programme of events here.
From Monday 24 – Monday 31 August…
Open daily from 9am-5pm?Admission: Adult £8, Concession £7, Child £3.?
Camp for Climate Action
A week long event kicking of this wednesday with with a public co-ordinated swoop on a secret location within the M25, make sure you sign up for text alerts and watch Amelias twitter for updates. Join your swoop group here, the locations have been revealed so get planning your route.
Check the great list of workshops here, and get ready for some climate action.
There’s workshops to suit everyone from direct action training to consensus decision making for kids, as well as evening entertainment from the Mystery Jets among others. Come along for a day or the whole week.
Wednesday 26 Aug 2009 to Wednesday 02 Sep 2009
E-mail: info@climatecamp.org.uk
Website: www.climatecamp.org.uk
Carshalton Environmental Fair
The Environmental Fair is one of the biggest events in the London Borough of Sutton. 10,000 people attend with over 100 stalls with environmental information, arts and local crafts, with stages showcasing local musical talent, a Music cafe and a Performing Arts Marquee. Food stalls and a bar thats also showcasing some local talent. There is a free bus operating from Sutton.
Adults £3, concessions £1 and kids get in free.
Monday 31st August
Contact: fair@ecolocal.org.uk
Website: http://www.ecolocal.org.uk/
Green Fayre
Range of Green craft workshops where you can learn about the most pressing environmental issues and how you can live a more sustainable life, all set in the Welsh country side. Yurt making, permaculture design, spinning, screen printing, pole lathe, bird box making, cooking from the hedgerows and much more.
Date: Friday 28 Aug 2009 to Monday 31 Aug 2009
Weekend Camping for the family £40?E-mail: info@green-fayre.org
?Website: www.green-fayre.org
Benefit gig for Anarchists Against the Wall
At RampART social centre, music with Hello Bastards, Battle Of Wolf 359,Suckinim Baenaim (Israel), Julith Krishum (Germany). The AWW group works in cooperation with Palestinians in a joint popular struggle against the occupation.
Monday 24 August 2009 19:00 RampARTSocial Centre?15 -17 Rampart Street, London E1 2LA?(near Whitechapel, off Commercial Rd)
London Critical Mass
Cyclists get together to take control of the roads around London usually with a sound system in tow. The London Mass meets at 6.00pm on the last Friday of every month on the South Bank under Waterloo Bridge, by the National Film Theatre.
Not got a bike, dont worry, any self propelled people from skateboarders, rollerbladers to wheelchairs are welcome.
Friday 28 August 2009
Website: http://www.criticalmasslondon.org.uk/ Earth First Gathering 2009 was held over last weekend. It’s an event we’ve been looking forward to since it appeared in our diary back in July. Check out our Earth First preview for more information. We all pitched up our tents in the wettest place in Britain which unluckily lived up to its name, doctor but although it didn’t feel like summer it didn’t stop any of the numerous workshops from going ahead and there was even a handy barn where people could take refuge if their tents didn’t survive the downpours.
There were chances for people to get to grips with water activities like building rafts and kayaking on the nearby Derwent lake, help plenty of discussion groups and chances for people to learn new skills. A forge kept many enthralled, viagra me included, and it was great to see the dying trade in action and people learning from the experienced blacksmiths.
Seeds for change, a group that holds workshops for action and social change, were down at the camp, get in touch with them if you’re thinking of holding your own event and they will be willing to facilitate a range of engaging talks and discussions. Tripod, a Scottish based training collective working with grassroots and community groups is another to check out – there is plenty to benefit from with training and support that gears towards social action.
Earth First has been going for decades and with direct action at the heart of what they do, it has helped and nurtured many to get involved and start taking action themselves rather than relying on leaders and governments. Look out for the next gathering, as EF notes, “if you believe action speaks louder than words, then Earth First is for you.”
We legged it up the amazing waterfall that created a great backdrop to the camp before tea one evening to get some great views over the valley.
Joining the queue for our meals was a daily highlight, you could browse the radical bookstall along it that had numerous zines and books for sale. Then the food, put on by the Anarchist Teapot, was amazing and i was queueing up for seconds at every opportunity. Evening entertainment was put on by a ramshackle group of poets and musicians and hecklers, and sock wrestling was also a new experience for me, got to try that one again.
On cue the heavens opened on the last night, but I managed to get my tent down and joined the chickens in the barn where I literally hit the hay.
Just thought I’d say well done to the police FIT team who were able to navigate the windy and tricky road to turn up most days: good effort! The Legion in Old Street has undergone a bit of a refurb since the last time I was there. Vague recollections of dodgy sauna-style wood panelling on the walls and a Lilliputian stage awkwardly occupying one corner are now banished by what seemed like an even longer bar than was there before. The venue has had a fresh wave of new promoters which appears to have progressed it from a jack of all things club-based, website like this in an area drowning in the like, there to somewhere incorporating a broader musical palette. A case in point tonight, being the headline band, Death Cigarettes.
I’d seen Death Cigarettes a couple of times around various East London venues over the last twelve months. For a band whose reputation is in part founded on an explosive live show, the cavernous confines of the Legion seemed to take some of the sting out of them, compared to more intimate settings.
Musically, they inhabit that driving New York No Wave inspired sound – thrashing guitars, pounding drums and rumbling bass coupled with urgently delivered vocals. An obvious comparison is with early Yeah Yeah Yeahs, and there is certainly more than a touch of Karen O in enigmatic lead singer Maya.
With this band though, the music is only half the story. Coming on unusually late for a Sunday night, Maya emerges from the encaves of a slightly startled audience to take the stage to join the rest of the band as they thrash away around her. It’s not long though before she heads back out into the throng… One group of people were ensnared by her mic lead, another was treated to an intimate introduction with a flying mic stand before Maya suddenly reappears behind the audience, exhorting the crowd before her from atop a table. At this point, the guitarist also wanted a piece of the audience action and decides to go walkabout, before concluding the set with a piece of probably not premeditated Auto-Destruction, reducing his guitar to matchwood.
Death Cigarettes have certainly been making a few noises of late, with the likes of Artrocker and The Fly singing their praises, and they are set to appear at the Offset Festival (new guitar permitting). For a band with a distinct approach to their music and performance, it will be interesting to see if they will, over time, develop their sound to the same extent that NYC steadfasts, Yeah Yeah Yeahs, have so spectacularly done. Liberty prints have become something of a British Institution in the fashion world, cialis 40mg inspiring the current vintage scarf and headband trend as well as influencing designers to include whimsical prints in their own creations (basically everybody on the high street). Prints conjure up an image of refined country values, thumb and have a truly English feel to them, stomach reminding us of our grannies chicly riding their bicycles in winding country lanes after World War 2 (maybe that’s just my overactive imagination!)
Until 2nd September an entire exhibition is being dedicated to this quintessentially British item on the fourth floor of the London Liberty store, and Amelia’s Magazine think you should get in touch with your inner fifties housewife and check it out!
Aptly entitled Prints Charming, the designs at Liberty’s exhibition certainly do what they say on the tin. Six designers were invited to contribute to the show to create their own unique take on Liberty’s iconic prints. Designs span from the pottery artist Grayson Perry’s enigmatic creations featuring tombstones, teddy bears, knuckle-dusters, swings, roundabouts and bicycles mounted on fabric, to uber-famous Meg Matthews’ teeny floral print wallpaper pieces given an injection of rock and roll heritage (like Meg herself) with snakeskin and skulls motifs. Other artists involved with the project include Paul Morrison, Mike McInnerney, Michael Angove, Anj Smith and Simon Hart, each taking an individual and modern approach to the eponymous Liberty print.
The exhibition reads like a piece of installation art. In fact, art aside there is much more happening. Take note of the furniture and décor (mirrors, chairs, chandeliers and tables) coated in Liberty prints, heavily featured throughout the window display designed by Interiors company Squint. Not forgetting that the store’s entire exterior is decorated in the Betsy micro-floral print. The show also includes full size dolls dressed in Liberty rags, a Wendy house covered in strips of print by artist Helen Benigson, and vintage bicycles by classic bike-maker Skeppshult redesigned with a Liberty twist (complete with feather headdress!)
Being an exhibition, the history of the iconic print is thrown in for good measure too. Documentation of the label’s historic collaborations can be found throughout, featuring modern legends such as Chloe Sevigny for Opening Ceremony, APC, NIKE and Kate Moss for Topshop. This is an art-fashion collaborative experience not to be missed!
Everything designed is available to buy; whether that be in fabric, notebook, scarf, luggage tag, boxer short, wellie boot or lampshade form! With the endless list of talent involved, there’s no doubt something to catch anyone’s magpie eye. Several prints are one-off pieces made especially for the show, such as Matthews’ wallpaper, therefore ensuring a chance of grabbing a piece of history in the making. And who doesn’t love a bit of print patterning? After all, with the current revival of all things retro, Liberty prints are up there with shoulder padding and acid wash in fashionistas’ hearts! So get down to the exhibition before the opportunity to soak up the artistic atmosphere disappears (like most the stock will be sure to do!)
Swap shops, ampoule Freeshops, generic give away shops, visit this site they all aim to go against the capitalist framework, and often people can’t quite get their heads around the idea, that, yes it is free and you can take it!
When I dropped by the free shop near Brick Lane, I received firsthand experience of this when a woman asked the way to the ‘trendy’ Shoreditch area and when invited to look around the Freeshop declined with a shrug of the shoulders. It appears it just wasn’t hip enough, that or she couldn’t quite comprehend the idea of a piece of clothing for under 50 quid.
When speaking to some of the squatters, the Freeshop felt like an organic progression from the original squat in the building: “The idea of this Freeshop had come out from a series of workshops held in the squatted building last month. Originally, the building was opened up for a free school, and when that was over we realised we had this shop front on Commercial Street and felt it would be interesting to kind of undermine the shops down the road.” Donations from friends helped to get it off its feet and now they seem to be undated with more than enough.
With our ‘throw away society,’ Freeshops can form direct action and can engage people to think about the way they live and consume. They also see it as a chance to try and engage with the community, which means the squatters don’t get isolated in the neighborhood. They also feel the shop was an important medium of communication to people. It seems to be working well with most people having a chat or picking up leaflets when they come in to look around. The basic idea is that it should not just be about taking things, but sharing ideas too.
The squatters make efforts to engage with the community, with flyers sent out when they set up shop. Although the state has rigid bureaucratic rules to follow regarding squats they hope that support from the community will help their cause. The court date regarding an impending eviction is on 28th August, but they are hopefully looking to get it adjourned. Signatures and people giving support certainly can’t hinder their defense.
As well as offering clothes, shoes and household items, the Freeshop also has space for regular workshops and events where members of the community and network can get involved. A wind turbine course is in the pipeline so make sure you drop in to check when it’s happening.
I had a chat with one of the squatters to get a better insight into the ideas and experiences behind the Freeshop.
Have you had any experiences of Freeshops before you came here?
Berlin, Barcelona, Bristol all have set up freeshops and there are plenty more around the world. One time in Barcelona went down the main commercial road with a stall, loads of people came to pick up stuff, completely ignoring the chain stores. It was like people were just interested in consuming products wherever they came from. The cops were called of course.
Can you get moved on for that?
Maybe, I mean, but look at the number of people selling sausages in the centre of town – it depends on how big or moveable the stand is. We had the idea of maybe setting something up down in Hanbury Street, just at Spitalfields Market, but that’s just an idea so far.
What kind of people do you get coming in?
Some homeless people come in and others, how shall we say, are like the kind of people who go down Brick Lane on a Saturday or Sunday afternoon. There’s a really broad range.
Can people get involved in the Freeshop?
Come along to say hello or to the meeting on Tuesdays, that’s a good place to start, talk about and organise things we want to make happen, maybe do a shift in the shop.
Do you look to publicise, and how do people find out about the Freeshop?
There’s a big difference between being on the net and Facebook/social networking, and just relying on old style traditional methods, just by being here, and it works like a shop that people can just come into. It’s good to see how far just traditional ways can get us, and if that works well, then maybe others will do the same. It’s not rocket science, there’s no big intellectual concept behind it, it’s just a free shop.
Located on Commercial Road at the end of Quaker Street, drop in to pick up some new stuff while it lasts and offer your support.
What was formerly the Lush store in Covent Garden’s main piazza is now host to the exhibition ‘DIY London Seen’, this site a homage to the subjects of the film ‘Beautiful Losers’.
The film recounts the story of a group of likeable young suburban artists who, approved despite creating work outside the established art system in 1990s NYC, more about very quickly rose to commercially vaunted fame and success.
Their ethos, borne of skateboarding, punk, graffiti and DIY living, was to be an artist without adhering to art history or education. Doing what you love whatever the rest of the world thinks. These artists, Harmony Korine, Ed Templeton, Mark Gonzales, Barry McGee, Shepard Fairey, Jo Jackson, Thomas Campbell, Deanna Templeton, Stephen Powers, Chris Johanson, Mike Mills and the late Margaret Kilgallen were united by the then curator of Alleged Gallery, Aaron Rose, now Director of the film “Beautiful Losers’.
In the 90s, the Beautiful Losers’ work was outsider. In 2009, the art exhibited at DIY London Seen is mainstream commercial fodder that is regularly used for major branding.
However, this fact doesn’t reflect negatively on the spirit of the artists’ work or the exhibition itself. It merely highlights an unprecedented support for the arts (commercial or otherwise) and a vastly adjusted attitude about what it means to be an artist where to be commercial does not mean being a ‘sell-out’.
The space is donated by Covent Garden London, which provides gallery space in the West End to diverse forms of art through part of Covent Garden’s Art Tank movement.
The exhibition is curated by Bakul Patki and Lee Johnson of ‘Watch This Space’. Their previous experience in the commercial and critical art markets spans over ten years and as a result, they know how to put together a good exhibition.
The private view, replete with canapés filling enough to make a full dinner, was packed mainly with trendy young adults in their 20s and early 30s and a few stylish characters in their 40s. The invitees milled about in the two-storey, three-roomed space, drinking free cider, looking at the art and gathering in pockets outside to chat and smoke.
The exhibition space boasts 52 pieces of mainly original art including a seven foot tall mirror-tiled bear created by 21-year-old Arran Gregory and a lightbulb suspended from the ceiling, revolving on a record as it spins (I kept hoping that the bulb would eventually melt the record but instead the record keeps endlessly spinning).
There is a lot of illustration and photography of the sort you see around in many galleries in East London and on various advertising paraphernalia and as usual, some of it is good.
What stands out most about the exhibition is how, in a decade and a half, enough has changed so that what might once have been outsider art is now perfectly at home and fully catered for in the bustling centre of one of London’s most well-trafficked areas.
Young artists and older artists, property organisations, the public and the commercial world are a blur, shaking hands in every direction.
Disused property is now the breeding ground for emerging artists and successful commercial art curators are there to provide fully functioning and well-run exhibitions.
Whether the Beautiful Losers were the seminal artists paving the way for opportunities afforded to such artists as those of London Seen or not, they were lucky enough to rise to success. The acceptance of skateboard, graffiti, DIY culture could have come earlier, later or not at all.
London Seen and Beautiful Losers are reminders that in a commercially driven market making art isn’t about how much the public loves, or ignores, what you do. As trends come and go, their message is to never forfeit the ethos of doing what you love whatever the rest of the world thinks. History will always move forward and with it, the randomness of success.
Check out DIY London Seen in Covent Garden until 5th of September at 11, The Market Building, Covent Garden, London WC2 8RF.
Beautiful Losers is now available on DVD from the ICA.
Are you a budding comic artist? By that I don’t mean stand-up of course, approved but rather someone who fancies themselves as a bit of a comic stripper…
Well, visit this if so you might fancy getting your teeth sunk into this little competition from Ctrl.Alt.Shift.http://www.myspace.com/lightspeedchampion Judged by such luminaries as Dev aka Lightspeed Champion and Paul Gravett – who directs the Comica festival at the uber cool ICA and has authored countless books on comic art – this should be an excellent chance to get your work seen by a wide audience.
So what happens then? If your work is picked as the winning entrant you will be asked to interpret a comic script written by Dev, which will then be featured in a 100 page book about corruption in politics and contributed to by all the best names in the world of comics and graphic novels. 5000 copies of the book will be sold in aid of charity and your work will feature in a month long exhibition about political comic art in the Lazerides Gallery in Soho during November.
The suggestion is that you pick as your submission something that is applicable to the theme of the competition (ie. corruption in politics), but bear in mind that the final entrants will be chosen on the basis of their visual flair rather than subject content. You can see the competition flyer below.
This is your chance to have your work included a really great project with a whole host of the best names in comic art. Plus it’s for a really worthwhile cause… Sounds like a great plan to me!
Written by Amelia Gregory on Wednesday August 26th, 2009 4:48 pm
Valerie Pezeron: You mentioned previously that you did a project as a comic book at school. Do you think that if kids did that now, visit webadiposity they would be better received…? Becky Barnicoat: I doubt it in the school I went to, prescriptiondecease but maybe in a school where you had an English teacher who was creative? It would probably be more in a state school I feel. I’ve got a really good friend who is an English teacher, page she does English media and film and she loves comic books and I’m sure if a kid did that, she’d be interested and maybe she’d recommend some comic books? But my teachers, had they ever heard of a comic? No. They had no interest. We had to do this project, which was about your future career in English literature, and I wanted to be a cartoonist. And I thought I should draw this and I have to confess it was an absolute load of shit! It was so badly drawn, it was really really superficial and I’m sure if I had executed this beautifully she would have been more impressed but I did do it quite roughly.
All photographs courtesy of Valerie Pezeron
VP: You think so?
BB: Maybe, because it would at least have been interesting but I gave in were those stupid cartoons…I didn’t take the project very seriously but yeah, I did get a D minus and a detention for not doing it properly! (Becky laughs)
VP: That is really a shame, because I think that it is quite an original way of doing things and you were trying to approach it from another point of view. If I were an English teacher, I would applaud this because it’s about the content. Did she even look at the content? Maybe she balked at the fact that you decided to draw instead of writing?
BB: I think it was a combination of both. What I did was a story of these two people that wanted to be cartoonists and they went on journey to try and find some cartooning heroes in America and it all went very wrong for them and they failed because nobody was interested in them. And it was really silly; I don’t know why…my school was not interested, I was actually told I was not allowed to do GCSE Art because I was too interested in cartoons and that wasn’t appropriate. They made me do a still life to prove I was serious about art. I did draw a still life of a bowl of fruit…b because my sketchbooks were full of cartoons. And they said, “We just don’t think you’re taking this very seriously, this isn’t art, this is messing around.” How depressing is that!
VP: Very depressing! I’d be very depressed!
BB: How horrible is that because the only thing I cared about was art and I felt really upset about it!
VP: I agree and little knocks like that actually make a comic book artist, don’t you think?
BB: Yes, I guess, maybe eventually. But I felt I had too much self-doubt that what they said, “You’re not right, you can’t do art”, I thought, “Oh god, maybe they’re right.”
VP: I know because when you are at that age, you wanted to follow in the footsteps of all those great satirists. Who were you looking at when you were a teenager? How did you even get the idea that you could say things through cartoons?
BB: Yeah, I know! I don’t know why I liked cartoons.
VP: Did you know Bosch or Gerald Scarfe?
BB: A little bit. My parents love art and cartoons. It’s more typical for British people to be interested in political cartoons. I used to thin I love the cartoons but I find the subject matter really boring. (Laughter) Why do cartoons have to be about politics all the time?
VP: But you were aware of the Victorian cartooning?
BB: Yeah, we had lots of Punch books and I used to look through them. And I did really enjoy some of them, but I’ve always really enjoyed the absurd more than possibly satire. I love satire but I think for what I want to do…I really enjoy Spike Milligan, but they were just little doodles. I’ve always enjoyed a drawing where you don’t need to be realist and you can still make someone feel something.
VP: What about movies, or anything that could have influenced you?
BB: Well, I guess, the beginning was probably just children books, which I absolutely loved. I ate them up.
VP: For instance?
BB: Oh, I mean I love them so much! We read so many, and the illustrations, I never forgot them! I still remember all the drawings from all the children books I read. You know, Meg and Mog,John Burningamwho did the Avocado Baby, Mister Gumpyand Simp, they were really beautiful. We read Tim and Ginger by Ardizzone, we did a lot of Edward Ardizzone and Maurice Sendak. And I read all theTintin books. My dad is a massive Tintin fan! That was good, that’s actually a proper comic strip in my life. The Tiger who came to Tea byJudith Kerr…they were just magical to me and much better than just words, which I always felt was a really controversial thing to say. But now I think you are allowed to say that! Pictures are almost borderline as respected as words, not quite, but still not quite! (Laughter) But I’d look at the pictures and you don’t need words, because it was so exciting and your imagination would go wild.
VP: So what attracted you to this world were the characters, the incongruous…?
BB: Yes, I’ve always loved those worlds where… The Tiger who came to Tea is a great example, actually. Have you read it?
VP: No, I must admit my references are more French. But I do know the Maurice Sendak, Ardezoni and the Tintin obviously.
BB: But this book The Tiger who came to Tea is about this girl and her mum waiting for the dad to come home. And then this tiger just turns up in the house and they invite him in. He has tea with them but he basically trashes the house; he drinks out of the tap and he drinks all of their water, he messes up all the kitchen but they never really question the fact that there is a tiger in there, they’re not really scared! (Laughter) You know, he’s just there and the mess he causes is like the idea of a big person coming around and it’s all very harmless! I love that and Babar: elephants and people, they just coexist, you know, that’s how it is! I love that!
Image courtesy of Becky Barnicoat
VP: London is like that, isn’t it? Our surroundings is filled with the strange, the incongruous, the elephant in the room but everybody is going about their business not seeming to notice each other. They’re all in a way little elephants! Or it’s actually the opposite: you are the elephant in the room!
BB: Yeah, I suppose so. I don’t know what it is; I think it’s pretty really simplistic. I think the world would be more fun if a dinosaur just walked down the street, right now…
VP: And just eating everybody? (Laughter)
BB: …I just love imagining that! And everyone would be like “oh, hello!”
VP: We can see all of the above have influences this new comic you have been working on?
BB: Completely. Part of my interest is people and their faces; I love drawing that. But in terms of my storytelling, I love people with…(Becky shows me a cartoon of hers). So this was a story about an old lady who has a robot and she doesn’t ever question the fact that her friend is a machine and he has to be plugged into the wall. He is slightly limited. In this story, she is watching X Factor and wanting to take part. She is telling him all about it but his plug is not in, so he hasn’t been listening in to anything she has been saying. It’s kind of sad but she doesn’t really feel sad about it, she just “oh dear” gets on with it. I love to have people interacting with unexpected characters and it’s almost normal.
VP: But that’s a bit different because that is for adults.
BB: But my upcoming children’s book will be, well sort of.
Image courtesy of Becky Barnicoat
VP: So this will be for adults?
BB: I think so, yeah, but for most adults and children. It’s going to have darkness in it because it’s about a couple that go to stay in a cabin in the woods. And then the boyfriend goes out, he has to go and get batteries or something. He gets eaten by a bear. And then the bear comes into the house. She is waiting for the boyfriend to return and she hears what she thinks is the boyfriend coming into the bedroom, but it’s the bear! You think, “he’s going to eat her”, but he picks up the guitar and he sings a song on the end of her bed. And she hears the music and smiles. You don’t know if she knows the bear and she doesn’t mind. And the bear is not probably going to hurt her; he’s just singing a song. I don’t know what that really means but I like those kind of weird, absurd scenarios.
VP: I like this take on childhood. In a way, children are more ready to enjoy or to open the door to the unreal or surreal.
BB: Yeah, I think that’s true.
VP: And they are more accepting of the extraordinary.
BB: Yeah, definitely. I like the idea of the extraordinary being fairly normal. That’s probably what runs through everything. (Valerie is looking at the sketchbooks) I’m trying to draw every morning now. I have to do a comic. I was so tired when I did these sketches!
VP: I think it’s a really good effort! In the last few months, I have not worked on my comic book. I think I’ve been through writers’ block. Now, since last month, I’m forcing myself to do this again. Do you have moments like that? I mean, it’s terrible; my publisher at New Humanist is still waiting on me to show my complete graphic novel! Do you get that?
BB: Yes, definitely. I had it…hum…a longish period of my life when I wasn’t really drawing. When I was in university, I was the cartoonist for the student paper, so I was drawing every week. And then I just got to a point where I felt “I’m just not going to do this anymore”. I’m going to do journalism and I started editing my own magazine. And for that year, I was barely drawing at all. And then I went down to London and I got a job on a teenage girl magazine. I wasn’t drawing at all during the whole year I worked for that magazine. I barely drew; I think I drew card for friends. And then I started to really worry about the fact I hadn’t drawn for ages. I was getting insomnias as well, which was weird. And I started to try and draw again and I just couldn’t do a thing. I had an almighty creative block. I’s sit at the pad and draw rubbish, awful stickmen pretty much. I’d think: “this is it! Oh my god, I’ve killed it!” And it took me, well, until now, to get back to a place where I have ideas. I just forced myself.
VP: You know, I find that with me, when I have those blocks, I don’t have the dreams that I usually get when I am really creative- mad and very rich dreams. And I have to run the next morning and write it down or draw something. Do you have that?
BB: Yeah, definitely. When I am not drawing I become really dead, I think, inside. And I don’t sleep, I’ve discovered. If I don’t draw, I get insomnia.
VP: What made you want to go into journalism if you wanted so early on to be part of the visual arts?
BB: Well, when I started drawing on the student paper cartoons, I started editing the art section. I actually do enjoy editing articles. I find it really satisfying; tightening it up, cutting it down, you know, questioning things that don’t make sense. That appealed to another side of me.
VP: So would you recommend it as a way to get into comic art?
BB: I don’t know. I keep thinking I should try and draw something for the paper. But then similarly to you, I feel going to them with my portfolio, I think “Oh no, they won’t like it”, so I’m a bit scared of being judged and rejected.
VP: Yeah! One of the reasons why I really had to do this interview is that we really have a similar journey. We’re very different, but in some ways we have some similarities. Especially, I wanted to know about the blog. I find interesting what you said about…when you started the blog, and then things started to happen. Did you have that in mind when you created the blog?
BB: Yeah, definitely. The idea of the blog was to make sure I was drawing every day, to have something I’d say “public”. But I mean, god knows how many people check it; maybe ten of my friends. The idea would be they’d be expecting me to do something and I couldn’t just put it off because I’d be really letting myself down in public. You know, people would know I wasn’t drawing. So if I say “I really want to be a cartoonist”, they’d go “oh, you really didn’t update your blog for three months and they’d know that it’s bollocks. That was part of it; to force myself to actually follow through with this thing I was telling everyone. And then, ok, you have to show people what your cartoons are. So I started doing that.
VP: Did you advertise the blog?
BB: I sent a group email around to my mates saying here is my new blog. And that was it!
VP: I think it’s a very nice blog, very offbeat with great sense of humour and comic timing.
BB: Oh, thank you, I’m so glad. I think what’s been really nice about it. One person won’t get what I put up, but then somebody else would say, “That’s my favourite!” It sounds so corny but even if it’s one person who likes it, it makes me feel it’s totally worth doing a cartoon if even one person enjoys it.
Written by Valerie Pezeron on Thursday January 7th, 2010 7:16 pm
Becky Barnicoat works as the commissioning editor on the Guardian Weekend magazine, purchasepharmacy but is also a cartoonist and currently works on a new comic about a musical bear – you can see a couple of sketches from it on her blog.
She’s always drawn, buy information pills and when she was at school I did a whole English project (the title was ‘My future career’) in comic book form. She got a D- and a detention for it. One could say that was kind of the theme of things – most authority figures think cartoons are for babies. “I wish I could have shown them Maus so they could see how wrong they were, ambulance but I didn’t know it existed back then” Becky says.
She started the blog Come in, Everyone is here already a couple of years ago and since then has started drawing for various people – including Le Cool magazine, Harry Hill and Five Dials. She was on the panel at the Salem Brownstone event at Comica this year, and last year drew the ‘Bowie and Bowie’ comic strip for Comica PoCom – which was on the wall in the ICA.
She is an enterprising gal as she also sporadically self-publishes a zine called Everyone Is Here Already.
Valerie Pezeron: What is the inspiration behind your work? Did you use visual references doing your faces?
Becky Barnicoat: Actually, that particular page all came from my head. It’s probably what I have always done from when I was a kid sitting in lessons, just drawing faces and caricatures of my teachers, that was quite a big thing. One of them was quite a nice woman, but she had an odd-looking face and I drew an awful caricature of her. She found my notebook and she looked really hurt, that was awful!
VP: Was it the lady who sent you to detention?
BB: She wasn’t one of the bad teachers but one of the good ones. It’s just that she looked a little bit like a guinea pig. But I won’t say anymore because she might read this! So this what I have always done; I just did “Faces” from my head, I find it really fun. I love the possibility of how ugly something could be but I don’t find that disgusting: I love weird faces so much and sometimes I see people on the street and their faces are just bizarre. The odder the shape the better it is.
VP: I agree with you there are so many different characters out there, especially where you live, in Stoke Newington.
BB: Oh yes! I cycle to work and I see many faces I want to draw! The other day I was cycling through Newington green and I saw this woman crossing the road and she had so much of something on her face that her skin was almost reddy-orange. And I was thinking “My, she’s put a bit too much foundation on, it looks extraordinary” and I thought maybe the poor woman has some terrible skin condition. And she would be a wonderful drawing but not in a way that would be mocking her. I love it when people look unusual.
VP: So would it be fair to say it is people that draw you to being creative? It’s not about the blandness of objects…
BB: That’s probably true; I’m not very good with objects. Landscapes? Not so much. It’s never been my thing, which is actually now a problem. I can get my pen going on a person or an animal but I have to put them somewhere and perspective is tricky.
VP: Don’t downplay your abilities!BB: (Laughter) So this is one side of what I am interested in. These were people who were on the Internet, and I drew them in on style…
VP: Glad you bring that up. I have noticed you don’t have one particular style.
BB: No, Definitely not!
VP: Is it on purpose or did you try to develop one or you don’t care that much?
BB: Good question as I think about it a lot. I definitely don’t try not to have one style. I just can’t imagine myself committing to just one style; I’d really miss too much the other style.
VP: So do you apply one style to one specific subject?
BB: Yeah, I suppose that is it, but it’s not that conscious. It just happens. I think of an idea and it’s immediately obvious to me what style should be for that.
VP: I see, very interestingly, you use all kinds of medium, inks, pen and washes, watercolour…
BB: It’s not premeditated when I use, and I love to use pen and ink. And I use this medium mostly.
VP: Tell us about the fanzine. When did you start it?
BB: That was a project a comic book artist friend of mine called Tom and I started. Just like me, he has a full-time job. We both want to be comic book artists and we decided we should do a comic book. A friend of mine who used to work in a bookshop called Persephone proposed we do a comic book evening; it will be in two months, you both work on the comic book and then we can sell it in the shop with drinks and music and we invite people along. They were ALL of our friends, there weren’t any strangers there at all!
VP: How many people?
BB: It was quite full actually…all of my family, friends of friends! I had about 50 copies of my magazine and they all sold! But another project came up at the same time and I had to really rush it!
VP: So this is issue 1 and issue 2 is planned for later? When did you do this one?
BB: That was earlier this year, sort of June / July.
VP: How often would you see yourself doing this fanzine?
BB: I’d like to do them much more often than I do but with my full time job, it’s not really that straightforward. Wake up every morning at 6.30 am, draw for an hour and then go work full-time at the office. I’d like to do it much more often. What Tom and me are going to do in the next couple of weeks is a 12-hour comic and whatever comes out of that will probably be issue 2. It will be much messier, scruffier and perhaps not make much sense!
VP: So I’m really interested to know about your journey? Did you go to university and study journalism?
BB: I didn’t, no, not for journalism. I went to an all-girls school in Barnes and then to Wimbledon Art Collegefor foundation. It’s not that exciting, I was shocked at how crap it is. Everyone said “this is one of the best art schools” but it was awful! I stayed and I just about scraped a pass. Some of the people who I thought were the best there got fails because they just didn’t care. They were vicious about your actual work: “This is fine”, looking at someone’s beautiful drawings “but where is your reflective notebook and diary…sorry but that is part of your course requirements. If you don’t have those then we can’t pass you. Some of the students were part of that course in the 1st place because they are dyslexics, they didn’t want to write, and that’s why they are artists! It’s just insane. Wimbledon wanted everyone to be totally institutionalised, do their 9 to 5… The people whose work was the least inspiring but came in every day got the best grades. They were the stars of the year- the work was not great but they got lads of it!
VP: Woody Allen said a big part of success is showing up. It’s one of my favorite quotes and I think about it often.
BB: It’s so true! There were these brilliant dysfunctional characters with amazing imaginations and absolutely raw talent…you should allow them to thrive and allowing people work in the way that they naturally do because that is going to produce the best work. I hated doing the foundation. I really liked the idea of going to art school and part of me regrets it now; I don’t regret the choice I made because I had a brilliant time going to Leeds reading English Literature. Before that, I had a lot of pressure from everybody; I went to an all-girls private school all through my secondary school and all they were interested in was academia. They didn’t care about you wanting to be an artist; they just thought that was pathetic, they hated me. I’d say I want to be a cartoonist when I am older, and they’d go “Come again?” I always wanted to be a cartoonist since I was about 5. And then I ended up doing English, what was I thinking!
VP: I think it actually ties in, as it’s very close. I call what I do visual journalism or… cartoonist?
BB: Oh, but you’re not allowed to say cartoonist! We are visual communicators or sequential artists.
VP: So you knew that young! I remember doing my 1st graphic novel at 7.
BB: But in France, they have a much stronger culture of comics.
VP: That is true if you come from the right background. My family did not have a clue and I had to come here to explore all that was possible…
BB: I feel exactly the same. I did not even know people did comic books until I was maybe in my 2nd and 3rd year at university. I was in Cornwall on a holiday with my family and I was getting the train back to London. We went into Waterstonesas I wanted to buy a book for the train. I noticed this really colorful cartoon and I picked up this book and it was Daniel Clowes “20th Century Eight Ball”. I thought grown-ups didn’t do cartoons, I had nor idea! Some of his pictures are so grotesque and disgusting; then I realised some of them were just about people chatting over coffee and having existential conversations.
VP: It’s very close to what you do, isn’t it? It’s definitely inspired you?
BB: Oh yeah, oh god, completely! I picked up this thing and it was a revelation! I recall thinking I can’t believe this thing is real; I can’t wait to read it. I was laughing so much while reading it on my way back on the train. Then I read this comic strip called “Art School Confidential”. You have to read it if you did not have a good time at art college. It’s so fun, it’s just the best, it’s perfect, and it’s exactly my experience of Art College! And then I realised other people were like me, they wanted to be a cartoonist and everyone at art school told them they were fools. You have to read it, it’s very good, it’s a collection of a lot his fanzines. It’s a satirical expose of his time at art school with a lot of people who are very pretentious. It seems amazing now that I didn’t know that he existed. I always associated comics with either superheroes, for boys or the dirty and sexy stuff like Vizz. Part of me wishes I could really love Vizz but I am put off every time I read it. “Yeah, right, woman with massive boobs naked in some joke…” it’s really basic toilet humour!
VP: We need more women graphic novelists!
BB: I agree. From those books, I discovered a whole world of cartoonists in America. It’s massive over there!
VP: What do you think of the UK comic book industry?
BB: I don’t think it even exists. There is not even a publisher that has an interest in it, really. Jonathan Cape do a few but they mainly bring American ones over. They just publish so very few British people. I don’t feel there is anyone really looking for it. So everyone over here is getting obsessed with Daniel Clowes, Charles Burnesand Chris Ware. They’re just about discovering people that, if you don’t know who they are, you must be living in Britain.
VP: Have you had a look at what’s going on in Europe?
BB: I did take a look. I went over to Portugal, in Lisbon to write a feature on the arts scene there for the Guardian. I met up with a load of comic book artists and illustrators such as Andre Lemos, Joao-Maio Pinto,Filipe Abranches. It was fantastic! They had that wonderful European attitude: “We grew up with comic books, it’s part of our culture”. I said I only discovered “Strip Burger” when I was 21. They said “Strip Burger, we knew about that when we were only 2!”
VP: That’s true with French people too. When you went to Comica festival, did you feel that something was about to take off? I know Paul Gravett feels very religiously that it is happening!
BB: Ah, Paul! Paul is incredible and without him, it would be…he is basically the comic book scene now. It all kind of stems from him, it is fantastic to have him there like this uncle who advises all those artists who didn’t’ think they could do this. He is the catalyst. Since I have discovered that, I’ve realised there is this world of people who want to do this, who love it, who know about all these artists. And they’re really frustrated in this country because it’s not really understood. People are quite illiterate, I think, regarding comics. But I have met loads of people now through Comica and other things. I just discovered this guy called Dash Shaw; his first book is about a thousand pages, called “Bottomless Belly Button”, Fantagraphics. He did this living in a tiny bedroom; he said he was so poor. I asked him how he made it as a comic book artist, how he paid his rent. He said, “ When I left college, I went and rented a tiny, tiny room for $200 a month and I worked part-time as a life model and I drew every second of every day. And he said it took him years, he must have drawn over a thousand pages of comics until anything happened. And he presented a manuscript to a big editor at a comics’ fair; they took him on and published it immediately. It’s a fairytale.
VP: Well, it is. You have to have some kind of break otherwise…
BB: Otherwise you are plugging away in the bedroom!
Tune-in next week for Part 2 of the interview!
Written by Valerie Pezeron on Thursday December 10th, 2009 4:59 pm
