Kat Phan – AmeliasMagazine

Amelia’s Magazine | An interview with photographer Andrew Meredith

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How do you define good travel photography? I’m not sure what other people think but for me, it’s an image that beckons with its infusion of colours, seduces with its ambience and caresses with an intriguing subject matter. It’s not so much about capturing something divinely exotic as it is about viewing an unfamiliar and mystical part of the world through the window of a photographer’s lens. I’ve always been allured by such landscapes which is why I recently found myself trekking across London on a constipated District Line in the blistering heat, to check out photographer Andrew Meredith’s new exhibition, ‘Excursions’.

I came across Andrew’s work a few months ago when I was writing up my Pete Fowler interview, which he kindly provided the images for. A nosy parker by nature, I couldn’t help but Google stalk him. The search results threw up an impressive website, with an even more impressive portfolio.

Santiago, Chile 2008

Counting big names like Selfridges, Chanel and Anya Hindmarch as his clients, The Falmouth College of Art graduate has worked on numerous projects, including one entitled ‘The Slaughtermen’ for OnOffice Magazine, featuring a day in a life of an abattoir worker. This subsequently led to Andrew winning the 2008 ‘Best in Book’ Category for the Creative Review’s Photography Annual. Amongst other photography award nominations, Andrew’s credits include Kanye West’s Late Orchestration album cover and his work has been featured in The New York Times, Vogue Russia and Frame Magazine amongst several other well-known magazine titles.

Santiago, Chile 2008

Having exhibited at galleries across London over the past eight years, Andrew’s latest project, ‘Excursions’, spans two years’ of travels across the Americas and the Caribbean. Now before you start visualising cheesy smiles in front of Machu Picchu, bottom shuffling down Chichen Itza or staring moodily into the distance with a vintage Cohiba in the Plaza de la Revolución a la Che, the photographer has decidedly taken a less conventional approach by capturing less familiar, deserted and occasionally dilapidated landscapes in favour of popular picture perfect landmarks.

Describing the exhibition’s theme, Andrew explains: “Excursions is a photographic journey through Chile, Argentina, Mexico, Cuba and America to document every day scenes that are far removed from our own. The route I took was mainly by road, impulsive and unplanned and avoiding all the obvious tourist traps along the way.”

The result is an honest and raw photographic essay that pitches the beauty of nature amongst rugged urban landscapes. Having developed a deep bond with Chile, Andrew will also be auctioning signed and framed images of the Santiago stills, with all proceeds going towards the Global Givings Relief Fund for Earthquake in Chile to help rebuild regions that were hit hardest by the earthquake earlier this year.

On a balmy summer evening, we caught up with the photographer at a private view of his exhibition to find out more about his travel encounters…

Santiago, Chile 2008

Your new exhibition is entitled ‘Excursions’. Is there any particular reason why South America is the focal point of these excursions?
I originally went to Chile for my friend Erwin’s wedding in Santiago, but couldn’t help feeling excited about exploring the city. It reminded me of scenes from Alec Soth’s book ‘Dog Days in Bogata’ where he finds himself in Colombia’s capital, waiting to adopt his first child. As he found himself with time on his hands, he decided to document his surroundings as a future reminder of his new daughter’s birthplace.

Based on this idea, I too felt compelled to start documenting the trip and pretty soon we started going off further south of Santiago to places like Chiloe, Pucon, Osorno, Villarrica and Temuco. The fact it was South America was a complete accident; I was merely a traveler passing through. We went off the beaten track and immersed ourselves in the exploration, finding skeletons in forests and tiny villages along the way as well as those impressive cityscapes too. We had some time to fly out to Buenos Aires where I found other types of landscape, greyer than in Chile – a lot more concrete and crumbly. It struck me that the further we went, the more differences we were exposed to and before my eyes, a project started to unravel and evolve the further we traveled.

Buenos Aires, Argentina 2008

Did you literally stumble across your subjects or did you have an idea of what you wanted to shoot beforehand?
I had no preconceptions about Chile and Argentina. I had seen some beautiful holiday pictures taken in the southern parts of the countries, but they were never the kind of images I would like to have captured myself. What I found most interesting were the ramshackle and crumbly parts of the city, with power cables overflowing to the far corners of the buildings. That impressed me the most in a downtrodden dirty kind of way!

Where Cuba was concerned, we all have stereotypical ideas of what Havana looks like; the fine 1950s cars, gents smoking cigars, and a city that is crumbling faster then one can refurbish – I wanted to avoid all of that. My first night in Havana ended up being in this huge hotel which was pretty horrible. However, at about midnight when I looked out of the window, there was this incredible view of darkness with vibrant streams of light blazing through it. It was a beautiful moment as the night sky appeared as if it were on fire.

Pucon, Chile 2008

Your photos are mainly of landscapes opposed to people – was this a conscious decision?
I get a real sense of calm from observing landscapes and cityscapes. Being able to view it from up high above, looking down is endlessly interesting to me. At that distance, you cannot see people’s faces or their problems; all you can see are things moving around in the distance unaware that they are being photographed. I guess I’m sort of a voyeur, although not in a pervy sense! There was definitely an element of escapism for me around capturing images of landscapes. Hopefully through viewing my work, my audience might also join me in feeling that way too.

You mentioned that you wanted to avoid tourist traps – other then the landscapes being less recognisable, what were you hoping to portray in these photographs?
As a tourist, you are often only shown certain things. As a result, I end up feeling as if I’m being led around on a lead most of the time. I don’t like the idea of tours only passing by the attractions which people assume you’d be most interested to see. By avoiding all the tours and tourist traps, I was able to encounter landscapes less manipulated by mankind, which was much more appealing to me. My surroundings seemed to possess a purer beauty.

Tulum, Mexico 2009

Were there any challenges you faced whilst shooting abroad?
The first few days in Havana were incredibly hard work where everyone just seemed to be after your money. I guess it comes with being a tourist but I experienced this more in Havana than anywhere else I’ve ever been. I know that people just need the money so they can work towards a better life than what the Communist government will hand to them but it felt abusive at times. I just knew we had to get away from there and go further afield to avoid the tourism.

Other obvious challenges were language barriers and differences in culture. I have a basic grasp of Spanish so I could get by some of the time. Luckily I have a few fluent Spanish speaking friends who were able to help me along the way, although mostly they were useful for teaching me offensive Spanish phrases and swear words!

Was there a country in South America which really stood out during your travels? If so – why?
Most of the countries I shot during this project were so different. For example, Tulum in Mexico was initially like a paradise until you walked a mile around the coast to find, what seemed like, an invisible gate to a much more deprived and semi-built landscape. There were dirty beaches with truck tyres and rubbish washed up on the sand and shelters abandoned half-way through being built.

Overall, my favourite country was Chile. It was my inspiration for the whole project and I saw some wonderful places and met some amazing people. It gave me access to some of the most impressive landscapes I’ve ever captured due to the sheer diversity and scale. Another reason for it holding a special place in my heart is the fact that I was able to see and document Chile before the earthquake in February and it saddens me to think of the landscape being so different now. I feel incredibly strongly about trying to give something back to the people and the landscape that allowed me to capture those images in the first place, which is why some of the stills will be available for auction.

Santiago, Chile 2008

What’s next for you?
I would love to explore other South American countries such as Brazil, Bolivia, Venezuela, Guyana, Peru and the Falkland Islands. The next chapter of ‘Excursions’ will happen at some point.

The next place on my list though that I am keen to visit has got to be Hong Kong. I love the landscape, the tall buildings, the light, the thick air and the density. Running alongside this, I would also like to visit the Svalbard Islands deep in the Arctic Circle, miles off the Norwegian coast. It’s the most northern town in the world and one of the least populated places in the world. I think I can draw on some pretty interesting contrasts between Hong Kong and Svalbard…

‘Excursions’ by Andrew Meredith is running until 10th July at The Riverside Studios, Crisp Road, London W6 9RL.

A very limited edition, signed and framed Santiago, Chile 2008 portrait will be autioned with all proceeds going to Global Givings Relief Fund for the Earthquake in Chile. For more information, see here.

All photographs courtesy of Andrew Meredith.

Written by Kat Phan on Wednesday July 7th, 2010 2:55 am

Categories ,Alec Soth, ,Andrew Meredith, ,Anya Hindmarch, ,Arctic Circle, ,Argentina, ,Bolivia, ,brazil, ,Buenos Aires, ,chanel, ,Che, ,Chichen Itza, ,chile, ,Chiloe, ,Cohiba, ,Creative Review, ,Cuba, ,Dog Days in Bogota, ,Falkland Islands, ,Falmouth College of Art, ,Frame Magazine, ,Global Givings Relief Fund, ,Guyana, ,Havana, ,Hong Kong, ,Kanye West, ,Kat Phan, ,Manchu Picchu, ,mexico, ,New York Times, ,OnOffice Magazine, ,Osorno, ,Peru, ,Pete Fowler, ,Plaza del la Revolucion, ,Pucon, ,Santiago, ,Selfridges, ,Svalbard, ,Temuco, ,The Slaughtermen, ,Tulum, ,Venezuela, ,Villarrica, ,Vogue Russia

Amelia’s Magazine | An interview with The Cabinet of Living Cinema’s Rob Parkinson

Courtesy of The Cabinet of Living Cinema

The cinema has certainly evolved since the early twentieth century when the first silent black and white film appeared on our screens, thumb accompanied by a finely dressed man tinkling the ivories at a piano. In stark contrast to these humble beginnings, cure we seem to live in an age now where the flashier we can get with our Dolby Digital sound and 3D, more about the better. So where do we go from here in terms of creating a more enriching cinematic experience?

The answer in short is: live film-score performance (or perhaps adding a modern twist to the concept of the old dude sitting behind the piano). As part of the Becks Vier Music Inspires Art UK Tour, The Cabinet of Living Cinema, in collaboration with Future Shorts, is fusing the worlds of live music and cinema across England on their Cabinet Tour 2010. The Tour features some of the most innovative short films of recent years along with surrealist experiments, Czech claymation, Russian animated oddities, British Transport films and other obscure masterpieces from the last century.

Courtesy of The Cabinet of Living Cinema

Founded by Rob Parkinson and Kieron Maguire in 2007, The Cabinet of Living Cinema is an artistic initiative, providing artists with a platform to showcase their film and music… together. By blending live music performance with short films ranging from rarely-seen animation to the avant-garde, the result is the creation of a “living cinema” experience.

Currently on tour in the UK, I managed to track down one half of the brains behind The Cabinet of Living Cinema, Rob Parkinson, to quiz him about an old idea given a brand new makeover…

How did The Cabinet of Living Cinema come into being?
Future Shorts asked us to rescore the music live to some short films in 2007 and it went down very well. So, we went on to play major UK venues on the Future Cinema tour. At this point, for us it was a realisation that a new way to present performance was an important thing and something to explore.

What has been the general response to your work so far?
The audience comes towards us after a show, of whom most are either really into film or music, or both (who isn’t?). We have a lot of conversations with our audience.

Courtesy of The Cabinet of Living Cinema

How do you go about commissioning films for the project?
We work with the film-makers, they submit work, and we perform the music live. They tend to appreciate the platform. We also always try to feature cutting edge directors and Future Shorts are instrumental in our film selection and commissioning.

What do you look out for in particular in work that is submitted for consideration?
Work that inspires. We spend a lot of time watching short films, looking for potential material. We generally sit watching with instruments at hand; it could be said that the films choose us when we all reach for instruments at the same time.

What do you think is lacking from the current cinema-goers experience?
A lack of understanding of where films originated from. For example (Jan) Sjvankmajer pioneered the claymation and stop-motion technology, but it’s only a handful of people who know about the impact he had on modern day cinema.

In your mind, what cinematic experience do you want your audience to walk away with after they have been to one of your shows?
To have experienced something different and unusual. 3D is big at the moment and maybe we are the 3D of the film-score world. I’d like to think our audience walks away with a soundtrack to wherever they go next.

Still from ‘Ballad of a Broken Vow’ by Carla Mackinnon for The Cabinet of Living Cinema

Tell us about The Cabinet Tour 2010 and Future Shorts collaborative.
The tour has been amazing; cool people, cool bands and excellent audiences. We’re lucky that we see familiar people that are touring the same venues as us and are able to share our energy. It’s a good, positive vibe amongst the artists.

Regarding Future Shorts, they are pioneers who have whole-heartedly supported our vision and are a wealth of inspiration.

What can we expect to see on The Cabinet Tour?
Beautifully directed films, amazing animation, musicians working on a different level, instrument swapping, happy accidents and bubble wrap (it’s perfect for making the sound of the sea).

What has been the most exciting project that you have worked on to date and why?
Hmmm, tricky…We performed at Fabric in 2007 in association with Future Shorts. The space was set out with old-school cinema seats, front to back. We played a few films through and people started to stand up, it was very emotional, there were tears.

Since then there have been many exciting moments, but that’s the thing with film and what we do. It’s all about the moment. To say a particular gig or event is more important than a specific moment isn’t appropriate in our world.

Still from ‘Ballad of a Broken Vow’ by Carla Mackinnon for The Cabinet of Living Cinema

Who is the most exciting live cinema guest you have worked with and why?
Without a doubt: The Paper Cinema. They are a hand-drawn paper puppetry live projected theatre show…and they are amazing.

How do you see Cabinet of the Living Cinema evolving?
New film-makers submitting their work for us to rescore. That’s where it’s at. A friend of mine strapped a waterproof camera to the front of his surfboard and went out to sea for a couple of hours. The resulting film was amazing, which we use as the backdrop to all our gigs. We want more!

What’s next on the Cabinet of the Living Cinema agenda?
Music and film festivals including Larmer Tree, FAIF ISFF and The Big Chill. We are also performing rescores to feature length films over August in London and very importantly, again, we are currently looking for new film-makers to submit work, so we can dedicate an event to new and up-and-coming talent due for performance in Autumn 2010.

In partnership with leading film pioneers Future Shorts, The Cabinet of Living Cinema bring live scores and animation to cities across England, including Leeds, Sheffield, Liverpool, Portsmouth, Bristol and Bournemouth on their Cabinet Tour 2010 throughout June, July and August. For more information, see here.

Written by Kat Phan on Monday June 21st, 2010 11:50 pm

Categories ,3D, ,Becks Vier Music Inspires Art, ,British Transport films, ,Czech claymation, ,Dolby Digital, ,fabric, ,FAIF ISFF, ,Future Cinema Tour, ,Future Shorts, ,Jan Sjvankmajer, ,Kat Phan, ,Kieron Maguire, ,Larmer Tree, ,Rob Parkinson, ,The Big Chill, ,The Cabinet of Living Cinema, ,The Paper Cinema

Amelia’s Magazine | Billbored highlights

Illustration by Leinz

The above scene probably wasn’t too far off how things looked during those first few days after the election, information pills as talks between Nick Clegg and David Cameron opened and a five-day negotiation period ensued. This image is just one of the many political slogans designed by an array of artists, which were projected onto a number of London landmarks during the election campaign.

‘Billbored’ – launched by POLLOCKS – is an art collective, spearheaded by artist and curator Josef Valentino, who described the project as a viral art initiative aiming to empower people: “The political parties aren’t inspiring us, so we will have to inspire ourselves.”

Featuring initial designs from several artists including M.I.A, Pete Fowler, The Futureheads, Anthony Burrill and Robert Montgomery, this creative venture aimed to encourage and empower general members of the public to develop their own ‘Billbored’ campaigns, showing their personal vision for change.

Illustration by M.I.A.; photography by Cakehead Loves Evil

The submitted visuals were then projected onto the front of key London buildings and structures, including the Tate Modern and Canary Wharf during and after the election period by a team of guerrilla projectionists, gathering support and encouraging further online activity. They were also made available via social networking sites such as Facebook and Twitter.

As David Cameron warms up the bed at No 10 and the campaign draws to a close, we take a look at some of the most eye-catching projections during the election period, providing us with an alternative take on UK politics…

Illustrated by Leinz

Visual by The Futureheads

Visual by Sarah Maple

Visual by Riot Art

Illustration by Neville Brody

Visual by Konrad Wyrebek

Photography by Annabel Staff

Illustration by Josef Valentino; photography by Cakehead Loves Evil

Visual by Hayden Kays; photography by Cakehead Loves Evil

Illustration by Dave Anderson; photography by Cakehead Loves Evil

Written by Kat Phan on Tuesday May 18th, 2010 8:44 pm

Categories ,Anthony Burrill, ,Billbored, ,Cakehead Loves Evil, ,Canary Wharf, ,Dave Anderson, ,David Cameron, ,Election, ,Facebook, ,guerrilla, ,Hayden Kays, ,Josef Valentino, ,Kat Phan, ,Konrad Wyrebek, ,M.I.A, ,Neville Brody, ,Nick Clegg, ,Pete Fowler, ,POLLOCKS, ,Riot Art, ,Robert Montgomery, ,Sarah Maple, ,Tate Modern, ,the futureheads, ,twitter

Amelia’s Magazine | Billbored highlights

Illustration by Leinz

The above scene probably wasn’t too far off how things looked during those first few days after the election, as talks between Nick Clegg and David Cameron opened and a five-day negotiation period ensued. This image is just one of the many political slogans designed by an array of artists, which were projected onto a number of London landmarks during the election campaign.

Illustration by M.I.A.; photography by Cakehead Loves Evil

Illustrated by Leinz

Visual by The Futureheads

Visual by Sarah Maple

Visual by Riot Art

Illustration by Neville Brody

Visual by Konrad Wyrebek

Illustration by Annabel Staff; photography by Cakehead Loves Evil

Illustration by Josef Valentino; photography by Cakehead Loves Evil

Visual by Hayden Kays; photography by Cakehead Loves Evil

Illustration by Dave Anderson; photography by Cakehead Loves Evil

Written by Kat Phan on Tuesday May 18th, 2010 8:44 pm

Amelia’s Magazine | An interview with JD Samson of Brooklyn-based band and art/performance collective MEN

(Left: Michael O’Neill, centre: JD Samson, dosage right: Ginger Brooks Takahashi)

Take two-parts infectious electro-disco rock, capsule add an ounce of social politics, a splash of über cool haircuts, and a few generous handfuls of electrifying live performances and blend… è voila, you have MEN!

It’s not the first time we’ve featured MEN in Amelia’s Magazine but in case you missed our exclusive interview with the trio back in February, here’s a quick overview: MEN are a Brooklyn-based band and art/performance collective (by their own definition) focusing on the radical potential of dance music and the energy of live performance.

Formed in 2007 by the DJ/production/remix team of feminist electro-punk Le Tigre members, JD Samson and Johanna Fateman, and decidedly left-wing, the band deliver politically-motivated tunes, with an emphasis on issues ranging from wartime economies to the demand for liberties via hypnotic disco beats and creative, high energy stage shows.

With Le Tigre on hiatus, Samson and Fateman have teamed up with Michael O’Neill and Ginger Brooks Takahashi of Hirsute (a band of which Samson also fronts) to form the core of MEN, with Fateman taking on the role of writer, consultant and producer with artist Emily Roysdon.

Although the marriage of music and activism is no longer revelatory in today’s contempory music scene, what makes MEN worth checking out is that beyond the belligerent “rad image” and the “I ain’t nobody’s bitch” attitude, their tunes are pretty damn good and are likely to get you attempting robot moves on a beer-smeared dancefloor, even if the lyrical content may occasionally draw a few raised eyebrows (e.g. check out “Credit Card Babie$” where Samson exclaims “how expensive it is if you have a baby when you’re queer” over funky looped electronic intrumentals and slinky guitar riffs).

Having previously toured with the likes of the Gossip and Peaches, it is to no surprise that the fashionable threesome are being labelled as a “punk/disco/electoclash” band. In truth, their radio-friendly synth-driven sound makes them better placed next to New Young Pony Club, CSS and Ladytron in your record collection, which is certainly no crime at all in my book.

Fresh from closing a set of UK tour dates, Amelia’s Magazine takes some time out to talk with JD Samson about MEN’s creative direction, the merging of diverse musical minds and how he’ll be spending the festive season…

You’ve just completed a set of tour dates in the UK – how did you find playing to a UK audience compared to a US one?
I’ve noticed over a long time with touring that the audiences change mostly city to city, or even venue to venue, instead of country by country. Some towns can be super responsive and engaged and freaking out, whereas in other places, some can seem a little depressed or inquisitive. We had a great tour with lots of great audiences that seemed to really care about what we are doing and feel very grateful to have experienced it.

Your have been described as an act who ‘speaks to issues such as trans awareness, wartime economies, sexual compromise, and demanding liberties through lyrical content and an exciting stage show’ – was this always the creative angle you wanted to take as MEN or did this happen organically?
I think it is important to us not to adhere to any preconceived notions of what an electronic music band is. We don’t want to fit inside a box. We want to be fluid beings that move from one genre to another and one area of content to another. We want to be able to push ourselves out of a label and be able to discuss things that bewilder us with new adventures in music production.

You all come from different backgrounds (JD Samson is from Le Tigre, Michael O’Neill is from Ladybug Transistor and Ginger Brooks Takahashi is from LTTR) – did you find it relatively easy to merge your musical styles?
We all have very different music styles actually and are psyched to be able to merge them together. We are constantly inspired by each other, making mix CDs for each other and drawing from so many different areas of music.

Your live shows have been cited as one of your most enticing features as a band – how would you describe your shows to MEN gig virgins?
We go for it and give the crowd the energy so that they can give it back. It’s that exchange that pushes us through the set.

What’s the most unusual gig you’ve played to date?
Hmm, well we played at a friend’s wedding at a poolside in the south of France. That was cool.

What have been the most euphoric moments of being in the band so far?
Just getting our record finished and being able to tour without a press release or anything. Also realising how many rad fans we have.

Which bands excite you at the moment and why?
Midnight Magic because I love her voice and I love disco. Kim Ann Foxman because she is rad, deeply cool, a friend and I love her.

Who would you most like to collaborate with?
David Byrne and Joan Armatrading

Can you describe your new album (due for release in January 2011) in three words?
Body, money, power.

How will MEN be spending their Christmas this year?
I can’t speak for the others but I will be in Australia with my girlfriend’s family.

And finally, if there were a tagline for MEN, what would it be?
Humans can be whatever the fuck they want.

MEN’s debut album “Talk About Body” is released on IAMSOUND on Monday 31^st January 2011.

Written by Kat Phan on Wednesday December 1st, 2010 9:19 am

Categories ,Credit Card Babie$, ,css, ,david byrne, ,Ginger Brooks Takahashi, ,gossip, ,Hirsute, ,JD Samson, ,Joan Armatrading, ,Johanna Fateman, ,Kat Phan, ,Kim Ann Foxman, ,Ladybug Transistor, ,Ladytron, ,Le Tigre, ,LTTR, ,MEN, ,Michael O’Neill, ,Midnight Magic, ,New Young Pony Club, ,Peaches

Amelia’s Magazine | An interview with King of Kitsch Luke Twigger

At first glance on Luke Twigger.co.uk, mind you’d be forgiven for thinking that you had stumbled across a slickly designed online charity/tacky souvenir shop. Firstly, page there are the ornamental fawns, viagra replicas which you may well have seen nestled among the clutter in your Nan’s display cabinet. Secondly, there is the glazed winged-cherub, staring serenely into the distance with a violin resting on its shoulder, which wouldn’t look out of place on one of the dusty shelves of a country souvenir shop (except these ones have ipod docks – check them out here!). But look more closely and you’ll find that there is certainly more than meets the eye.

Original drawings of ipod dock series (courtesy of Luke Twigger)

There is no denying that Luke Twigger’s work is kitsch with a capital K. His work is, however, palatable because it is built on a foundation of the familiar, drawing you in, but also challenging you to think beyond the realms of conventionality and the expected with a postmodern twist on his subject matter. His creations frequently involve taking something purely functional and modifying it to the point where it no longer resembles its original form, challenging the viewer’s belief system in how an object should be defined. Drawing on the influences of kitsch culture to create objects made entirely by hand, Luke straddles art, design and craft to form an impressive portfolio, which is quirky and cool (and occasionally bizarre) in equal measure.

Original drawings of budgie speakers (courtesy of Luke Twigger)

From kaleidoscopic Chesterfield sofas to melting candles of the Virgin Mary, this eccentric marriage of classic objects/well known figures with something so out of context is what makes Luke’s work compelling. For example, take his latest project, The Three Mothers. Viewed as potentially sacrilegious by having a novelty candle moulded into the shape of Virgin Mary which can be burned, the project poses questions about the significance of the image and the function. If Mary lights up the dark, isn’t she essentially fulfilling her function, by guiding those who are lost? If so, how can this re-forming, regardless as whether it be viewed as burning, be blasphemous? One thing to realise is that there is always an intellectual layer to his work.

Coinciding with Frieze Art Fair this weekend, Luke will be collaborating with BEARSPACE, a pioneering art space in London exhibiting emerging artists who push the boundaries of contemporary art practice, for the launch of Christie’s new art fair, Multiplied, serving as a platform for emerging artistic talent.

In the lead up to the event, Luke talks to Amelia’s Magazine to educate us on his refined artistic style, Konsthantverk, and provides us with intriguing insights into some of his most ambitious projects to date.

Superkitschman illustration (courtesy of Luke Twigger)

You went to Loughborough University of Art and Design to do fine art but your work now seems to have more of a focus on sculptures – how did this evolution in your artistic style come about?
My time at Loughborough was primarily directed toward working in 3D. It started off quite heavily ‘conceptual’ but I just felt that it was something very tired and restricted. I wanted to work in a way that would have this conceptual weight but in a much more playful and enjoyable way that encouraged a great deal of experimentation and focused on the making of an object. I looked toward artists and designers working within these ideas and learned that process and manufacture could be used as a method to really enhance and amplify what it is they want to say. These artists and designers were mainly working in the Scandinavian countries and I was so compelled by their work, I booked a ticket to Sweden to find out more, which led to my work taking on a much more “Scandinavian” aesthetic and approach. I started using craft and a multitude of techniques to create work that magnified my ideas of kitsch and how to work beyond the “trash’ notion often associated with this term.

Your work has been described as ‘Konsthantverk’, a Swedish term which translates to ‘the handmade art object’. Can you tell us more about this?
This mainly relates to my style and methods of production; I work as an individual making things quite factory like, which results in everything being unique, in a sense, but not entirely original. I don’t want to make anything that is a one-off, as that would instantly fall short of any definition of being kitsch.

Original drawings of speaker designs (courtesy of Luke Twigger)

Many of your designs appear to fuse the traditional with the modern (e.g. your kitsch cherubic figurines which also serve as ipod dockers). What fascinates you about this combination of old and new?
What excites me is not necessarily the old and new aspect; it’s the idea of taking something purely functional and working it so much it that the function, which was once primary to the existence of the object is over-ridden by the form. I think this is essential to the manufacture of kitsch. A vase is the perfect example of this; it was created purely as a vessel but over time it has been exaggerated, re-styled, over-styled and elaborated beyond any functional sense, making its most basic of functions obsolete and giving way to pure aesthetical pleasure. I guess with functional undertones, which I think makes something that has the ability to both raise questions and pose answers simultaneously. In terms of my work, the function happens to be new as it must work within our regular lives and fit in with contemporary culture to make itself understandable. Victorian artists and makers made sugar bowls and inkwells; we as a society don’t have much need for these objects anymore, so its function must be relevant.

How would you describe your artistic style from a subjective AND an objective point of view?
Subjectively, I’d say that my ‘artistic style’ would be experimental behavior that manifests itself into a tangible and almost design led conclusion. Objectively, I like to think that my work encourages inquisitiveness, questions, answers and adoration.

Tell us more about your ‘The Three Mothers Paraffin Candles’ project
The Three Mothers Paraffin Candles were really an experiment into the Super-Kitsch, a prelude to my new body of work, ‘Super-Kitsch Manufaktur’. The idea was to take something that has been so over-used, so exploited and in a way so obviously kitsch; the image of the Virgin Mary, and push its Kitsch-ness so far by applying function to the form and using the image not in an ironic or subversive way, but celebratory. This object would not look out of place in the souvenir shops of The Vatican City and was made as something that should exist; making the Kitsch, Super-Kitsch.

Was there a particular reason you decided to choose the Virgin Mary for a waxwork sculpture to burn?
Entirely for the reason that I felt this should be something that exists; I think it raises interesting questions in the significance of the image and the function combined. Is it unholy to light the candle? Yet it illuminates the dark? I guess it’s a bit like a shrine in one object, although could also be deemed sacrilegious. Very ambiguous! But these were all after-thoughts; Mary was used because she is depicted on candles but never represented and I wanted to do that.

Is there a symbolic meaning behind this piece?
None whatsoever. I don’t use kitsch as an ironic or subversive device. It was made because the souvenir shops didn’t have them.

What’s next for you and where can we find more of your work??
I am currently working on a brand new body of work called “Super-Kitsch Manufaktur” that explores in greater depth what the Three Mothers Paraffin Candles touched upon. Using all sorts of Kitsch devices to create the Super-Kitsch: enlarging, representing, replicating, associating function and re-working the familiar creating something sub-familiar. This marks the departure of using found objects, which I feel is important to really strengthen my ideas of the Super-Kitsch. All the sculpting is made in plasticine, then moulds are taken of the original; effectively ruining it, therefore the work only exists in multiple, no original is ever kept. Every age spawns its own kitsch; I guess this is made to serve that purpose in time.

To view The Three Mother’s Paraffin Candles in action, click here, or to purchase the candles, visit his online shop here.

Luke will be exhibiting with BEARSPACE as part of Christie’s brand new art fair, Multiplied, which runs from 15th – 18th October 2010 (Christie’s, 85 Old Brompton Rd, South Kensington, SW7 3LD). In addition, he will be part of a group show at BEARSPACE, focusing on new objects/multiples and sculpture, which will be showing from 27th Nov 2010 – 15th Jan 2011.

Luke is also currently working on a collaborative project with illustrator, Mike Perry.

Written by Kat Phan on Friday October 15th, 2010 1:45 am

Categories ,Bearspace, ,Christie’s, ,Frieze Art Fair, ,Kat Phan, ,Loughborough, ,Luke Twigger, ,Mike Perry, ,Multiplied, ,postmodern

Amelia’s Magazine | A review of Ctrl.Alt.Shift’s latest venture, “Dear Diary”

Dan Eldon’s visual diaries; courtesy of Kathy Eldon

At some point in your life, cost you may have kept a diary, capsule pouring into it all of your deepest and darkest thoughts; the ones that you felt were too embarrassing or inappropriate to say aloud. My experience of reading old diaries is always toe-curling, but amusing as I struggle to make sense of why I cared so much about some things to write about them (for example, “loaf of bread head guy” who I adored from afar featured regularly in my diaries for a while – don’t ask!). As much as I would like to say that my diary entries were highly interesting, intelligent, deep and profound, most of them are sleep-inducing and consist of a type of written diarrhea. Thankfully, this is not the case at Cltr.Alt.Shift’s new exhibition, “Dear Diary”.

“Dear Diary” is a new project launched by the youth anti-poverty charity to explore the art of diary keeping, taking participants on an inspirational and reflective journey, through the private pages of young individuals across the globe. The exhibition is housed under a funky t-shirt shop in Covent Garden in an intimate space, bringing together several diary collections ranging from Nirvana frontman and lyricist Kurt Cobain, to the stunning visual diaries of Dan Eldon, a young and promising photojournalist who was killed on the front line by an angry mob in Mogadishu, aged only 22.

Dan Eldon’s visual diaries; courtesy of Kathy Eldon

The room is divided into seven exhibits where on entry, you are confronted by four portraits of Eldon’s work, each infused with vivid, bold colours; a stark contrast to the bare white walls. The first image I encountered was the profile of a young, elegant looking tribeswoman wearing an intricate-looking traditional headdress, set against a backdrop of vibrant oranges and pinks. What I found most intriguing about this visual is that it had been signed with “Love and kisses, Angela” and “Love Maria”, and I was curious to know who these woman were. Had they been part of Eldon’s life at some stage and if so, how would their own diaries have read after his death?

Another one of Eldon’s portraits which had a gripping effect on me was that of four faded pictures in what appears to be a group of friends on a camping trip, smiling and chatting happily amongst each other, mounted on a map of Tanzania’s national parks. On closer viewing, the outlines of what appears to be three people – sketched with thick graphite pencil onto grainy beige/orange-coloured paper – are superimposed onto each of the original photos, as if they are joining the group but are separated through their apparent difference in physicality. A sentence is scrawled across the bottom of the map reading: “Dedicated to all 3 who lost their lives during the dramatic escape from Mikumi Nat Park”, providing us with a glimpse of the harsh reality of civil warfare, to which Eldon perished.

Kenya to the UK: Secrets and Struggles Diary Wall (photography by George Ramsay)

I was deeply moved by some of the diary excerpts displayed on the diary wall, written by teenage Kenyans living in extreme poverty and political instability. Although many of the entries were simplistic and occasionally poorly structured, the diarists’ basic descriptions painted a vivid and poignant image of the future that they longed for: “It’s also my hope in future this kind of thing will never happen again coz it also took death to many of my friends and also the separation of my beau and since then we have never communicated which made me so lonely”. Other diary entries detail the violence around elections and the hardship that economic deprivation brings: “…Our family made up of 11, it was hard to grow up due to poverty. It was hard and difficult to study”.

Audio diaries with images above audio decks by Kenyan conservationalist and playboy diarist, Peter Beard (photography by George Ramsay)

Aware that I am painting quite a grim and depressing picture of the exhibition, I assure you that this exhibition is not just a collection of doom and gloom. The audio diaries present a more eclectic mix of personal accounts, ranging from the inspirational to hilarious. Of these, the most compelling piece was of a courageous 19 year old South African girl called Thembi who broke the silence about living with AIDS at a time when it was still a taboo subject in South Africa; she eventually went on to share her story with more than 50 million people. A highly amusing reading from comedian Richard Herring about his painful years as a chubby brainiac, who at the time believed he would be a virgin forever, also makes for an entertaining listen.

Diary library with comfy sofa chair (photography by George Ramsay)

In a far corner of the show room, there is an area for quiet reflection with an extremely comfortable chair which I made my home for a good part of the evening, taking advantage of the diary library, which included entries belonging to Samuel Pepys, Frida Kahlo, Kurt Cobain, Courtney Love and several volumes of Anaïs Nin’s journals. On the top shelf (no, not what you are thinking), there were two books available for documenting your own thoughts, which people had written in throughout the course of the evening, with one refined gentleman expressing that he was looking forward to going home and banging his wife! Nice.

Irving Finkel’s collection of diaries (photography by George Ramsay)

Other exhibition highlights include the unpublished diaries of ordinary people from the 19th century displayed in a glass case, collected by the British Library’s Irving Finkel over the years. Finkel would often search for these items at secondhand shops and house clearances, believing that they hold the key to our histories through the casual documentation of one’s environment at the time. The child in me gravitated towards the Children’s Pocket Annual and Birthday Book of an eight year old girl and scouts’ diaries with stained pages and frayed edges, detailing the mundane routines of school work, bath days and playing with wolf cubs (well maybe playing with wolf cubs wouldn’t have been so mundane).

Ctrl.Alt.Shift’s “Dear Diary” is an intelligent and thought-provoking initiative, which takes a concept that we are all familiar with to help us understand and relate with others. Through encountering a range of diaries, including that of Mexican artist Frida Kahlo, a boy living with Tourette’s in the US and teenagers living in the slums in Kenya, our attention converges on the fact that whatever our language and ethnicity, the expression of thought transcends cultural boundaries. Although we may be divided geographically and by our heritage, fundamentally the feelings that we experience are the same.

Limited edition diary with cover illustrated by Alexa Chung

As part of the project, Ctrl.Alt.Shift have also launched a limited edition diary, with a cover illustrated by Alexa Chung featuring extracts from Courtney Love, Daniel Johnson and Anaïs Nin, which you can buy here. All proceeds raised from the ‘Dear Diary’ project go towards Maji Na Ufanisi, working with young people from the slums of Nairobi.

For more information about location and opening times, check out our listings here.

Excerpt from Courtney Love’s diaries; courtesy of Courtney Love

Written by Kat Phan on Friday May 14th, 2010 8:58 pm

Categories ,Anais Nin, ,British Library, ,Cltr.Alt.Shift, ,Courtney Love, ,Covent Garden, ,Dan Eldon, ,Daniel Johnston, ,Dear Diary, ,Frida Kahlo, ,Gallery Seven, ,Irving Finkel, ,Kat Phan, ,Kenya, ,Kurt Cobain, ,Maji Na Ufanisi, ,Mikumi National Park, ,Mogadishu, ,Nairobi, ,nirvana, ,Richard Herring, ,Samuel Pepys, ,Scouts, ,South Africa, ,Super Superficial, ,Thembi, ,Tourettes

Amelia’s Magazine | A review of indie film Catfish

Amelia’s Compendium of Fashion-sm-Dem Collective
Amelia's Compendium of Fashion-cover

So, this the book is finally here and you should be able to find it at Tate Modern, health Magma, nurse Design Museum, Serpentine Gallery, Tatty Devine, Cornerhouse, Arnolfini and many other good independent book stores.

Tatty Devine Amelia's Compendium
Harriet of Tatty Devine takes receipt of her copies of Amelia’s Compendium of Fashion Illustration.

Amelia's Compendium Magma
On the shelves of Magma.

Or you can buy it online here for a reduced price and receive 12 unique Amelia’s Magazine postcards, plus a selection of bookmarks. This offer is EXCLUSIVE to my website. You can’t get these postcards anywhere else!

Amelia's Compendium postcards
Postcards come free with all orders of Amelia’s Compendium of Fashion Illustration made through this website.
Below are some pages from inside the book – which is the usual riot of colour and pattern for which I have become known.

The following up and coming fashion illustrators feature in Amelia’s Compendium of Fashion Illustration:
Abigail Daker, Abby Wright, Amy Martino, Andrea Peterson, Aniela Murphy, Antonia Parker, Bex Glover, Emma Block, Erica Sharp, Faye West, Gemma Milly, Jennifer Costello, Jenny Robins, Jo Cheung, Joana Faria, June Chanpoomidole, Katherine Tromans, Katie Harnett, Kellie Black, Krister Selin, Lesley Barnes, Lisa Stannard, Michelle Urvall Nyren, Naomi Law, Natasha Thompson, Natsuki Otani, Rachel de Ste Croix, Yelena Bryksenkova, Zarina Liew & Gareth A Hopkins.

The book features interviews with the following ethical fashion designers:
123 Bethnal Green Road, Ada Zanditon, Andrea Crews, Anja Hynynen, Beautiful Soul, By Stamo, Camilla Norrback, Christopher Raeburn, Ciel, Dem Collective, Edun, Emesha, Emma Ware, Fifi Bijoux, From Somewhere, Goodone, Gossypium, Henrietta Ludgate, Hetty Rose, Howies, Ivana Basilotta, Izzy Lane, Joanna Cave, Junky Styling, Little Glass Clementine, Lu Flux, Martina Spetlova, Maxjenny, Michelle Lowe-Holder, Minna, Nancy Dee, Nina Dolcetti, Noir, Noki, Oria, Partimi, People Tree, Pia Anjou, Prophetik, Romina Karamanea, Sägen, Satoshi Date, Tara Starlet, Ute Decker & Wilfried Pletzinger

Amelia's Compendium of Fashion-cover

So, pharmacy the book is finally here and you should be able to find it at Tate Modern, Magma, Design Museum, Serpentine Gallery, Tatty Devine, Cornerhouse, Arnolfini and many other good independent book stores.

Tatty Devine Amelia's Compendium
Harriet of Tatty Devine takes receipt of her copies of Amelia’s Compendium of Fashion Illustration.

Amelia's Compendium Magma
On the shelves of Magma.

Amelia's Compendium postcards
Postcards come free with all orders of Amelia’s Compendium of Fashion Illustration made through this website.

And…. the book features interviews with the following ethical fashion designers:
123 Bethnal Green Road, Ada Zanditon, Andrea Crews, Anja Hynynen, Beautiful Soul, By Stamo, Camilla Norrback, Christopher Raeburn, Ciel, Dem Collective, Edun, Emesha, Emma Ware, Fifi Bijoux, From Somewhere, Goodone, Gossypium, Henrietta Ludgate, Hetty Rose, Howies, Ivana Basilotta, Izzy Lane, Joanna Cave, Junky Styling, Little Glass Clementine, Lu Flux, Martina Spetlova, Maxjenny, Michelle Lowe-Holder, Minna, Nancy Dee, Nina Dolcetti, Noir, Noki, Oria, Partimi, People Tree, Pia Anjou, Prophetik, Romina Karamanea, Sägen, Satoshi Date, Tara Starlet, Ute Decker & Wilfried Pletzinger

Below are some pages from inside the book – which is the usual riot of colour and pattern for which I have become known.

Amelia's Compendium of Fashion-sm-From Somewhere
From Somewhere illustrated by Rachel de Ste Croix.

Amelia's Compendium of Fashion-sm-By Stamo
By Stamo illustrated by Krister Selin.

Amelia's Compendium of Fashion-sm-Christopher Raeburn
Christopher Raeburn illustrated by Gemma Milly.

Amelia's Compendium of Fashion-sm-Edun
Edun illustrated by Katherine Tromans.

Amelia's Compendium of Fashion-sm-Dem Collective
Dem Collective illustrated by Michelle Urvall Nyren.

Amelia's Compendium Aniela Murphy
Aniela Murphy’s pages in the content proofs.

Amelia's Compendium Antonia Parker
Antonia Parker’s pages in the content proofs.

Please note that I will not be posting any orders out until the 4th January 2011. Have a very merry Christmas!
Amelia's Compendium of Fashion-cover

So, diagnosis the book is finally here and you should be able to find it at Tate Modern, side effects Magma, cialis 40mg Design Museum, Serpentine Gallery, Tatty Devine, Cornerhouse, Arnolfini and many other good independent book stores.