FASHION ARTS CULTURE ENTERTAINMENT
THE ARCADIA PROJECT Photography: Amberly Valentine www.amberlyvalentine.com
L F L
We bring forth an amazing pool of artists home to roost in this ‘Hail Mary’ of an issue.
aissez
In its creation we may have broken four printers, but the impact caused was certainly worth it. Inside these buttock clenching articles, we feature two artists from the great hand-made London, so insanely talented they leave you purring with satisfaction.
aire
We roll out the red carpet for two heavy, chest-busting, banana- pounding, beastly Degree Show’s this year in finearts and photography. Without missing a trick, we are hatching a confluent scheme to sell art online, so lookout for the blatant push in the way of: ‘LickMyArt.co.uk’.
ondon
Let your imagination be the guide in this great spring of human activity - sky’s the limit for this pearl among one!
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Your muckraking editor Maximus Jo Kerr McGuire.
LAISSEZ FAIRE LONDON is published www.laissezfairelondon.co.uk
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LAISSEZFAIRELONDON
FASHION VALENTINE’S DAY The Arcadia Project:
Words have always been a major inspiration for me, and the Arcadia project began when I started writing a my (still not quite finished) book ‘The Water Boy’. It was really a meditation on my childhood spending time in Cornwall. The myths and legends of the area, along with the natural mystique of the place had always fascinated me, and I lived in a make-believe world of underwater palaces, pirates, mermaids and whatever my child’s mind could conjour up.
www.laissezfairelondon.co.uk
Words by Amberly Valentine Fashion Photographer www.amberlyvalentine.com
The book developed as a sort of fairy tale, but steadily became more about belief, growing up, a loss of innocence, and more and more a lost way of seeing. It tells the story of a perfect civilization, which is swallowed by the ocean to keep it from being destroyed by greed and war. The project as a whole is still in progress, and there are various components to it that will form the overall final piece. The images here show the people of the story on the eve of the fall – a once beautiful world gone to ruin. Clothing and accessories were all made by Amberly to accompany the written and photographic project.
www.laissezfairelondon.co.uk
ART FACE-OFF
Words by Zainab Hakim
Images supplied by Central Saint Martins
Interview with Aaron Facey
Aaron Facey’s artistic capability is obvious. Any philistine could easily discern the extreme amount of skill prevalent to his artistic hand. He predominantly explores the portrait, limiting his material to the ballpoint pen. The likeness of his work to its subject, is staggering. Hailing from South London, the magician with a ballpoint pen, talks to Laissez Faire London about his artistic process, his influences and peppermint tea.
Guitar Hero-Jimmy Hendrix (Medium - Ballpoint Pen (Bic Fine) on Bristol Board paper: Size: A3) ÂŁ350
www.laissezfairelondon.co.uk
Jazz/Blues legend Frank Sinatra (Medium - Ballpoint Pen (Bic Fine) on Bristol Board paper: Size: A3) ÂŁ350
Tell me a little about yourself. Where do you come from and how did you get in to this kind of fine art?
So break down the process for me. Where do you start and where do you end?
I am a south London based artist/illustrator/ink fiend/pen magician. I have what I like to think is a healthy obsession with faces and drawing them in ink. Music, books, people, manga, OCD, peppermint tea‌ these are just some of the many things that fuel my creativity.
Its always changing but right now it goes something like this... I think of a person to draw and find as many pictures of that person as possible. The pictures then go through a rigorous elimination process. I do rough sketches of the chosen pictures in an A5 sketchbook, Lay some guides down onto bristol board paper with pencil and ruler and sketch the piece. I usually start inking the following day so I can wake up and see the penciled image with fresh eyes. At this point I can decide if anything needs changing before I go in with the ink. Sometimes I record myself drawing which makes the process painfully longer but it’s worth it.
How long have you been drawing for? Since I could first hold a pencil really. But it was always an outlet or form of procrastination until I made it my vocation. I chose to start drawing professionally about 2 years ago, it was the only thing that made sense since I was constantly drawing anyway.
Why did you decide to video your drawing process? I film myself to give people an insight into the process. Starting a piece is like going on a journey and for me that journey is just as important as the final product.
www.laissezfairelondon.co.uk
In term of materials, what do you use and how do the outcomes differ? My fine Bic ballpoint pen is my current sidekick. I do my penciling with a HB pencil and I work on bristol board at the moment which has a smooth texture, perfect for working with ink. Yeah, it’s clear that a lot of your work appears to be in ballpoint pen, how flexible is it as a medium? I think a medium is as flexible as the artist using it. I am learning new things about drawing in ballpoint pen every day. One thing that can be annoying is not being able to erase mistakes, although mistakes don’t bother me so much now. Personally, which part of the portrait do you find difficult to get spot on? It varies from person to person. Some portraits draw themselves and some are a just plain difficult. With drawing, persistence is always key! When drawing I try not to think of getting the drawing spot on, instead I try to get the likeness down and just have fun with it. 60’s model Twiggy (Medium - Ballpoint Pen (Bic Fine) on Bristol Board paper: Size: A3) £350
You very occasionally use colour. Is this deliberate? Do you think black and white has a different impact? I will occasionally use acid free felt tip pens to add a touch of colour. Adding a hint of colour can sometimes give the artwork a bit more vitality. I think there’s something majestic about black and white and how it enhances the contrast between light and shadow. Bringing out these elements can give a drawing depth and an overall dynamic feel. I can’t ever really see myself drawing in colour but who knows? How much do you edit your work do you edit using photoshop? Most of my older works (before 2013) were edited in photoshop. I did a lot of digital work on them because the scanned image never quite did the original drawing justice. I reverted back to keeping my work as traditional as possible because I felt that it was starting to look almost photographic which isn’t the feel I’m going for.
www.laissezfairelondon.co.uk
A
aron Facey All originals available for sale at www.lickmyart.co.uk limited stock availability
Makaveli-Tupac Shakur (Medium - Ballpoint Pen (Bic Fine) on Bristol Board paper: Size: A3) £350
I notice that a lot of your portraits are of musicians and influential political or historical figures. Let’s start with music. What kind of music do you like? I pretty much listen to everything, I try to be as diverse as possible with what I listen to and watch. My favourite genres at the moment are jazz, blues, hip-hop and classical all for different reasons. I mostly draw to classical/symphony orchestra. Which music artist would you love to draw? So many! Bob Marley, Gil Scot Heron, Marvin Gaye, Lauryn Hill to name a few When you select who to draw, is it about the politics and the way they lived their life or is it just about having an interesting face to work with?
What other areas of artistic practice are you involved in? I was doing photography for a while but never really enjoyed it as much as drawing. I occasionally take a few snaps for personal use. What does the future hold? Do you have any exciting projects on the cards? There are a few illustration projects in the pipeline but not confirmed yet. The plan right now is to draw relentlessly so I can diversify my portfolio and do commissions when I can. Depending on how things go I may have an exhibition later this year. Good luck Aaron, and thanks very much for chatting with us!
My reasons vary from person to person. Most musicians I’ve drawn make music that resonates with me in some way. Sometimes I draw a person because of an eccentric personality. I did a series of small portraits of activists called ‘rebel with a cause’. Rebellious characters have always fascinated me and the ones I drew are some of my favorites.
www.laissezfairelondon.co.uk
ART BRITAINS GOT TALENT
Words by Zainab Hakim
Images supplied by Central Saint Martins
FINE ART DEGREE SHOW 2013 CENTRAL SAINT MARTINS COLLEGE OF ARTS AND DESIGN
The University of the Arts London has always boasted an impressive array of talent, and Central St Martins, a constituent of it, does not fall by the wayside. Tucked tidily behind Kings Cross Station, Central St Martins new building became a blank canvas for Show One, the first of two shows exhibiting the years work from various degree disciplines.
Maiko Shimada, Magazine Stand
Sarah Fortais, MA Fine Art
Including displays of work from Foundation Diploma in Art and Design, BA (Hons) Fine Art, MA’s in Art and Science, Fine Art, Photography and MRes Art courses in Exhibition Studies, Moving Image and Theory and Philosophy, the show exhibited an incredulous range. The Kings Cross campus building pregnant with the prospect of being adorned, successfully managed to cater for the demands of some of the impressive works on show. Displayed predominantly on the ground floor of the bustling metropolis building, even on its final day of exhibition, Show One boasted a healthy audience, and over its period of running, was grace by the presence of 16,500 people.
www.laissezfairelondon.co.uk
Kelly Ballett Venilia. ‘Spilt Milk’ BA Fine Art
The multitude of work on offer makes it naturally impossible to sum up the entire exhibition. For me one of the most exciting works was by Luke Franklin, a Masters student in Art and Science, and shortlisted for the NOVA – The Lowe and Partners award for fresh creative talent. Exploring the concept of process in art making, especially in relation to scientific and technological methods, Franklin developed his 4 Bothies project. This included producing and installing four bothies, basic shelters, each serving a different purpose, around the UK. The display at the Central St Martins Show demonstrates different aspects of this process through the method of installation. Photos, documents and narrative were married together in order to illustrate the process. Paralleling this project is an electronic version of it. www.4bothies.com, a website which archives Franklin and his teams journey, highlights a motif present in all the works which stood out for me. The end of the first page states ‘get out of the gallery. Art’s not just soft hands.’
Luke Franklin MA Art & Science
www.laissezfairelondon.co.uk
Becky Lyddon, similarly on the Masters Art and Science course, produced a project exploring the sensory perception of those on an autism scale, and consequently aimed to raise awareness of the differences inherent in their perception of the world. Her project involved producing experimental objects, which when looked in to or entered, distorted a particular sense. Lola’s World seeks to display disrupted vision. A facetted mirror was compounded in order to demonstrate how people with visual processing disorders might see the world. The mirror was then transported with Lyddon on a journey through India and photos were taken of the interaction of this piece with the everyday lives of the locals in Mumbai. The distortion that the mirror incites and the interactivity of Lyddon’s work, serves to be both exciting and enlightening.
Eleanor Fawcett MA Art & Science
Becky Lyndon MA Art & Science
Liz Hainsworth and Luke Frankline: ‘I need some advice’ Mixed Textiles MA ART and Science
www.laissezfairelondon.co.uk
Hwa Seon Yang, a Masters Fine Art student, exhibited A Safe Zone. This three part project, made up of an acrylic on canvas, a watercolour and a wall paper design, represented a place detached from the hectic everyday. Exhibited in the expansive space of the corridor of the second floor building, A Safe Zone bought together the aesthetic of Lego creations with that of an idyllic haven. Looking at the work, despite the bustle of the Central St Martin’s campus, the repetitive wallpaper design and the colour block canvas, did exactly what Yang intended. I was provided with a space to ‘hide, relax and feel safe’ in.
Hwa Seon Yang: ‘A Safe Zone’ BA Fine Art
Tanya Tier: ‘In Case of Emergency’
Amy Kingshill: ‘Bearfaced’, BA Fine Art
www.laissezfairelondon.co.uk
Veronica Gudmundson: ‘We are all made of stardust’. Acrylic, Mineral pigments and gravels on mdf-board
Tareq Sayed Rajab de Montfort d’rose BA Fine Art, A study of light, Aurora
Tareq Sayed Rajab de Montfort d’rose, BA Fine Art
www.laissezfairelondon.co.uk
Autumn term short courses at Central Saint Martins. Do something different. Advance your knowledge. Discover creative London. Let go. Be inspired.
Animation Architecture Business skills Ceramics Creative process Daytimes Digital design Drawing Evenings Fashion Film and video Fine art Graphic design Interior design Jewellery Journalism Online learning Painting Performance Photography Portfolio preparation Printmaking Product design Saturdays Sculpture Textiles Theatre design Weekends Writing
www.arts.ac.uk /csm /shortcourses
Autumn Term 2013 FP for LaissezFaire.indd 1
23/06/2013 18:59
ART A GLIMPSE INSIDE THE HEAD OF COLIN BARNES INTERVIEWD BY: Rossella Black
Arts events coordinator, Westminster Reference Library
Square Ghosts: Mixed media / Acrylic on canvas, 23.5 x 23.5 inches, £500.00
Colin Barnes - Do you think Art is Obsession? Sometimes it can feel like that, I know deep down the desire to create will never be resolved but I can temporarily feel a sense of completion by constantly finishing my work. It’s a strange thing to be addicted to. The idea of editing images is cinematic - the ability to put one thing by another. Do you feel like a film/image editor?
Verdant Fields: Mixed media / Acrylic on canvas, 23.5 x 23.5 inches, £500.00
I'm a massive fan of music videos; it's another one of my 'obsessions'. I've put together some images for some songs that I like; you can view them on the website. I wouldn't call them music videos exactly but editing the footage is very similar to finding and trimming images for collage. You get into a flow and how all the separate images should work together. You can be totally lost in the middle of something, not knowing how it's going to turn out but in the end, it all comes together and in a surreal way, it makes perfect sense. It happens so many times I've just learnt to trust it and let it do its thing.
www.laissezfairelondon.co.uk
Two things on their own might not mean anything, they don’t add up to something but when you put them together something new happens, there’s a new kind of dialogue between them which creates some sort of meaning. Is this how you feel when you are composing images from bits and pieces? Absolutely, there’s always a third ‘thing’ I’m looking out for, like a spark that gets the whole thing going when I combine unrelated images. Once that happens, it gets a lot easier to add or erase images because I can clearly see what direction to take, even if that direction leads to a mistake, that’s fine because it just means I’m adding more layers and depth to the picture. Juliet Prowse: Print / Acrylic on wood, 48 x 40 inches, £1000.00
How do you see your art branching out? I definitely want to edit more film, apparently it takes a certain type of person to sit there for hours on end going through footage, which I love doing. Also, I’m putting some music together for a side project so hopefully I can shoot and edit the video for that. But right now what I’m working on is making my collages bigger. Much bigger, and bigger is better, right? When did you start mucking about with bits of paper - how old where you, and did you use to cut up all your mother’s magazines? For me, collage is something quite recent; I got into it in the last 7 or 8 years. It doesn’t really feel like I’m making ‘a picture’; it feels more like therapy! Saying that, I remember trying to put together collages when I was about 16, it was a massive disaster so I left it until I was in my 30s at which point, I decided to give it another try.
Nancy Kwan: Print / Acrylic on wood, 48 x 40 inches, £1000.00
www.laissezfairelondon.co.uk
One Man Woman: Mixed media / Acrylic on canvas, 23.5 x 23.5 inches, £500.00
LA Fitness: Mixed media / Acrylic on canvas, 39 x 39 inches, £800.00
Psychic Equlas Pisces: Mixed media / Acrylic on canvas, 39 x 39 inches, £800.00
www.laissezfairelondon.co.uk
ISM: Mixed media / Acrylic on canvas, 30 x 30 inches, £700.00
When did this compulsion to make art start - how does it manifest itself? I can remember drawing from a very early age and spending school holidays just sat on my own with a WHSmith pad and pencils. I couldn’t really say when it started; it’s kind of always been there. I used to think it was something normal everyone could do, like reading and writing. Do you always know when to stop - know when you have achieved the result to strive for? Do you know when it is time to leave a picture alone or do you want to go back to it and amend/add/swap things around again and again? I pretty much always know when a picture is finished. I refer to it as a ‘click’ or ‘locking the picture’. At that point, I know there’s nothing else I can do to the image. Most of the time, I like to make mistakes at the beginning which I have to constantly try to correct; it’s quite liberating not having to worry about being perfect. The thing is, I never want it to be perfect; I want the truth. Trying to explain it is strange but I just do what the picture needs me to do and try not to let my ego get in the way of what’s emerging. If I ever go back to a painting or an image, it’s usually to completely erase it and start again, on the backs on a lot of my canvases you’ll see a few crossed out titles from previous paintings. I also get bored quite quickly of the latest thing that I’ve done and it ends up facing a wall somewhere in my flat! Once that feeling of completion has worn off, I have to start the whole process again, like a weird addiction!
www.laissezfairelondon.co.uk
What music inspires you? Do you work in silence or do you like a background?
Black Moon Sabbath: Mixed media / Acrylic on canvas, 39 x 39 inches, £800.00
www.laissezfairelondon.co.uk
I find that listening to music while painting is great for shutting out your own thoughts, it’s important to create quicker than you can think and I find that music is instrumental in doing that. Sorry, bad joke! But seriously, I also come from a musical background and I feel it sometimes runs parallel with the art when it comes to instinct and process. I always find myself going back to Radiohead, Mogwai and J Dilla for when I’m working on something. For me, I’ve always felt that there’s an interesting relationship between music and art, for instance, I see a connection between the sampling in Hip Hop and the repetition found in Andy Warhol’s work. Both seem to be taking the best bit and repeating it.
C
olin Barnes All originals available for sale at www.lickmyart.co.uk limited stock availability
Do you get hungry when you work - if so what do you like to eat?
Pepsi Logo, Mixed media / Acrylic on canvas, 30 x 30 inches, ÂŁ900.00
No, I never eat while I work but I do have a lunch break around 12:00 midday then work into the evening. Sometimes a walk to the shops is a good way to clear my head and get away from the picture if I get a bit stuck. South London - is it a source of inspiration or frustration suspect both? South London isn't really either to be honest, I've lived in south London for so long, I don't really notice it anymore, maybe back in the 80s with the rise of Graffiti, that had a really big impact on me because it was so mysterious, it just appeared over night, like some strange inner city crop circle! But saying that, the other morning on the way to work, I was waiting on the platform and one of those long freight trains slowly rolls through the station, it was about 20 cars long and on each car, there was a (graf) piece. To this day, that still makes me excited, it took about 3 minutes for the whole train to pass through the station and don't think anyone else was bothered. But I like the fact someone went to all that trouble just on the off chance someone like me will see it at 6 in the morning. Maybe that's what it's all about, that 'off chance.
Auto Task: Mixed media / Acrylic on canvas, 19.5 x 19.5 inches, ÂŁ1000.00
www.laissezfairelondon.co.uk
PHOTOGRAPHY POINTING AND CLICKING AT THE FUTURE OF PHOTOGRAPHY
Words by Jon Madge
Images supplied by University of Westminster
PHOOTOGRAPHY DEGREE SHOW 2013 UNIVERSITY OF WESTMINSTER VENUE : OLD TRUMAN BREWERY
Sarah Smith: ‘As The Crow Flies’ Obsession; the continual chasing of something unattainable.
www.laissezfairelondon.co.uk
When photography was first invented, a large part of society binned their brushes and packed up their paint. They said it spelled the end for painting. Photographs were machines and machines make things more perfectly than humans ever could. That was in 1841, the same year, the University of Westminster opened their doors to show off the first public photograph studio in Europe. Since then we’ve found a place for photography and painting to exist together and University of Westminster has established and maintained a reputation as one of the finest schools of photography in the world. In all that time, however, the question of how much of a photograph is the machine and how much is done by the guy with his eye pressed up to the viewfinder. It’s one of the things that will always make photography different to other forms of arts, you get to decide how much humanity to put into it. If you want evidence of that, you don’t have to look much further than this year’s Undergraduate Degree Show. Themes of belonging, cultural alienation and of family are never too far away from any artistic endeavour. But in the work offered up by Westminster’s finest these mainstays of the exhibition circuit find a new richness and colour.
Angela Chiara Ferrotti: ‘First Coat’. A self-portrait centred on the concepts of being and appearing
www.laissezfairelondon.co.uk
In Ayesha Alibhai’s collection of photographs taken in eight different parts of India, focus is pulled away from the expected subjects. There isn’t really a hint of bright sari fabrics or wise looking men riding elephants to be seen (India has always had an uncanny ability to step up and provided Western photographers with the images they’d imagined before they got on the plane). Instead Alibhai’s work is a detailed study of where the new crashes headfirst into the old. One photograph shows a train carriage full of women; heads down and holding on tight to the overhead handles in a way that will be all too familiar to any Londoner. The clearest point of the image is one of those handles, a lifeline of familiarity in an otherwise turbulent sea of challenged stereotypes. Alibhai’s set Mein Hindi Nahi Bolti has a real documentary feel to it. It’s as much the work of a scientist making sense of their observations as it is of an artist exploring a theme. The power of the photographer to uncover and tell a story like this is frequently on display throughout the Show, but nowhere more intensely than in the work of Caro Boulton.
Ayesha Alibhai: ‘Mein Hindi Nahi Balti’ Experiences of India
Looking for Uncle Allan by Boulton is presented as a lone bound copy of an artist’s book. It uses archival documents, new photographs and text to tell the story of the photographer’s great uncle. The eponymous Allan was lost to the family, following a feud with his mother until Boulton happened to notice his photograph was in the collection of the National Portrait Gallery. What follows is a mission to learn more about a man who was equal parts relative and stranger. Boulton’s use of a strong but open narrative, a story with a definite beginning and end but very little that’s defined in between, lets him play a lot with notions of what photographs are for. One key image shows a plate negative being held up to a light. The background is blurry which makes the clear lines of the monochrome negative seem almost holographic. Looking at it, you find yourself asking what you’re looking at. Is it a picture of a man, a photograph of a photograph or just an object captured on film. Being so far removed from the subject matter yet so unmistakably connected to it allows this image to say more about the dangers of treating photographs as visual facts than any number of angry blogs against photoshopping could.
Caro Boulton: ‘Looking For Uncle Allan’ Uncle Allan had a significant quarrel with his mother who never spoke to him thereafter
www.laissezfairelondon.co.uk
Max Barnett: ‘Pylot Magazine’ An all-analogue fashion magazine
Andrew Chisholm: ‘Unknown Persons’ “People don’t know I’m photographing them”
One of the most striking things about the Show this year is its willingness to stick two fingers up to the rising tide of digitally manipulated photography, to rest a Kodak Brownie on those two fingers and to wait patiently for the shot that the artist seems to know is coming. PYLOT Magazine is one of the pieces that best challenges the assumption that newer is better. The brainchild of Max Barnett, it is an all-analogue, touch-up-free fashion magazine. In the face of the ever-present criticisms of the fashion industry, PYLOT is an interesting experiment in whether we need to cut, crop and airbrush perfection onto our pages. The models, the poses and the clothes shown in the photographs that make up PYLOT do definitely look different to the fashion photography we're used to seeing in magazines and newspapers. If they'd looked exactly the same I wonder what point that would have made. After a few seconds of looking at an image you find yourself noticing stray hairs and the odd freckle or blemish. After a few more seconds you realise you don't care. It's a confusing form of honesty: beautiful people chosen for their look, in clothes made to fit them and made-up by experts, yet somehow it's captivating.
At the other end of the spectrum, there's Andrew Chisholm. His set, Unknown Persons, is one of the most disturbingly interesting explorations of the limits and uses of photography probably ever displayed. "The people don’t know I am photographing them." That's how Chisholm's catalogue description begins. The associated images are grainy, distorted snapshots of unidentifiable people. Looking at them there is a voyeuristic intrigue, you're judging an image that you feel you were never meant to see. Nobody sat for a painting, no model was paid for a photoshoot. The photographs that make up Unknown Persons almost feel illegal until you realise how artificial they are. The distortions aren't caused by movement or a strained long distance lens, they're the result of development techniques. Each image is pushed just past the point where the subject might be recognisable. What's left are spots of colour that feel like Pointillism: an abstraction that lets you pour meaning into the image. Just as Boulton's photograph of a photograph asks us to question the reality behind images we see, Chisholm's work encourages us to look at our own input in making photography what it is.
www.laissezfairelondon.co.uk
A stroll around the Undergraduate Degree Show could leave you thinking that, as a species, we don't need to do any more photography after this: it's all been done now. There are video pieces using medical imagining techniques, intimate photographs of family members, monochrome landscapes and mock newspapers. Adam Dunnet photographs Ibiza in a way that shows it cold and still, something slightly sad that sits between the usual images of the island as a den of inequity or party central. Adam Dunnett: ‘Eivissa’ Ibiza is an island of stark contrasts
Kristof General documents the rising fame and notoriety of a Hungarian transsexual. And Adam Sofroniou photographs the London skyline, set to a backdrop of Mark Knopfler lyrics. The thing is, anyone visiting last year's Show would have thought the same and anyone along next year will think the same again. Since it first opened its photographic doors to the public, more than 150 years ago, Westminster University and its students have lead the world in finding out just what photography can be. This year is no exception. Kristof General: ‘Kari’ with twenty-one year old transsexual singer in Budapest
www.laissezfairelondon.co.uk
PHOTOGRAPHY SHORT COURSES Faculty oF Media, arts and design New Niche phOtOgraphy ShOrt cOurSeS: BLack and white darkroom
aLternative photographic processes
allan F. parker
constanza isaza
photographing the city – London
Laurence harding
the history of photography through London’s archives
arendi Lambrechts
Practice of black and white analogue photography.
exploration of two separate procedures:
discovery of london’s multifaceted identity.
History of photography by focusing on the rich heritage of london.
Starts 26 September 2013 – 8 week course
• cyanotypes and Vandyke prints 26 October to 2 November 2013 – 2 week course
Starts 26 September 2013 – 8 week course
Starts 25 September 2013 – 8 week course
• albumen prints and liquid emulsion 16 November to 23 November 2013 – 2 week course
Book early and receive a 15% discount on any of the courses above (booking must be made by Friday 30 august 2013) westminster.ac.uk/photographyshortcourses
6263_PhotographyShortCourse-LaissezFaire_Advert_final_06.13.indd 1
19/06/2013 17:29
ART CREATIVE COUPLINGS IN THE DEPTHS OF DEPTFORD
Words by Britt Pfl端ger
THE OPINION MAKERS EXHIBITION DATES: 29 June to 27 July, Wednesday to Saturday, 12-6pm
Enclave Gallery, 50 Resolution Way, Deptford, London SE8 4AL
James Hopkins: perception of perspective
Straddling their dual roles as artists and curators, Iavor Lubomirov and Bella Easton are about to break new ground: their latest exhibition The Opinion Makers, conceived as paired juxtapositions of one work by an artist-curator and one work by an artist of their choice, opens at the Enclave Gallery in Deptford on 29 June. Its aim is to encourage an open discussion about the dual role of the artist-curator, to confront the issues which arise from it and to use it as both a unique window into the intricate subjectivity of the curating process and a statement about the significantly expanded presence of the artist-led approach in the contemporary curation language.
The exhibition features works by Juan Bolivar, Richard Wathen, Gordon Cheung, Sayhsun Jay, Richard Ducker, Charles Mason, Matt Hale, Chris Rawcliffe, James Hopkins, Nick Hornby, Iavor Lubomirov & Bella Easton, Frances Richardson, Kate Lyddon and Maria Baijt.
www.laissezfairelondon.co.uk
Matt Hale, Untitled (Piped) 2012
‘I do not see myself as an opinion maker. I am more affected by others and absorb their opinions and ideas without even realising. I once made a work which relied heavily on a work a friend had made previously and I had no idea for years.’ As well as an artist, Matt Hale was one of the founders of the artist-run space City Racing which he ran together with other artists between 1988 and 1998. He has worked for Art Monthly Magazine since 1991 as ad manager and has been the presenter of The Art Monthly Talk Show on Resonance 104.4FM. His work Untitled (Piped) 2012 will be shown alongside work by Chris Rawcliffe.
www.laissezfairelondon.co.uk
Juan Bolivar, Hells Bells, Acrylic on canvas, 2012
‘I see curating as an inquisitive exploration; projects often evolving organically through chance connections. I work in collaboration with artists, but not as their agent. My approach is in favour of inclusivity and experimentation, often showcasing artists without exhibition experience, alongsie established practitioners.’ Artist and curator Juan Bolivar’s work investigates geometric abstraction as a language reconfigured. His paintings deal with formalism and abstraction as a language rearranged and translated into fantasy, tragicomical visions. For the Opinion Makers, Juan Bolivar has chosen to pair his work with a portrait by Richard Wathen.
www.laissezfairelondon.co.uk
Frances Richardson - i-beam to pass through, 2012
Gordon Cheung, Firewood, 2012, made from Financial Times Newspaper
‘About 18 years ago I did not see any Chinese names in the galleries I was looking at. It meant curating for me was driven by a focus that I needed to take control and adapt to my reality to survive as an artist and to show with other like minded people I respected.’ Gordon Cheung’s multi-media art captures the hallucinations between the virtual and actual realities of a globalised world ocillating between Utopia and Dystopia. Cheung has curated shows, including The Departed Mind at Edel Assanti and The Lucifer Effect at Gallery Primo Alonso. He has chosen to present his work alongside Sayshun Jay’s video installation Constellation Generation.
‘Brancusi said something like it is impossible for anyone to express anything real by imitating its exterior surface. I feel that language and visual advertising culture makes us look so fast at the surface of things that we are forgetting how to be with things and to be sensitive to the physicality of the world surrounding us. I want to examine the form of things, to ask what is our relationship with the physical world and perhaps in the basic act of drawing I can find my feet so to say, but I dont want to deal with illusion.’ i-beam to pass through, a large work by Frances Richardson which uses lighter materials to suggest a much heavier object but is at the same time softer than the actual, typically metal structure it mimics, has been chosen by curators and and organisers Iavor Lubomirov and Bella Easton to be shown alongside a new collaborative sculpture.
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FILM IN A WORLD
Brian Mills is editor of Movies-by-Mills
issuu.com/brianalbertjohnmills/docs/mbm-_-_june_9__1_
Written, directed and starring: By: Lake Bell
Screened at Sundance London
Carol Solomon is a struggling voice coach who is both motivated and annoyed by the gargantuan ego of her father, Sam Sotto, the king of movietrailer voice over artists. Carol pursues in secret her ambition to be a voiceover star with the help of Louis, a skilful sound engineer who is a brilliant techno wizard and her sister, Dani, who acts as her trusted confidante? Carol not only nabs a prime voice-over gig but wins it over the industry’s bad boy Gustav Warner. But on her journey to fame, Carol becomes involved in a dysfunctional web of sexism, unmitigated ego, and pride. This is a very confident first feature by Lake Bell about a subject that has rarely been depicted on film, and one that we may take for granted, even when we hear them in a voice over TV commercial. The artist must possess the versatility and ear to immediately capture the correct intonation and accent of a speaker and then reproduce it to match the animated cartoon character that is playing on a screen before them. They will invariably have a large library of voices within them that they can call on at any time, from a squeaky voiced child to a stentorian politician, a soft soothing voice to sell shampoo or a rich velvety tone to promote a lust-filled movie. A great example of voice-over in film can be heard in the film Little Children and Will Lyman’s narration was for many the highlight of the movie. For Lake Bell, sound has always fascinated her since a child and she would take any moment she could to record them. In the Q and A after the film Lake stated that she had always liked the idea of the blind voice, where no one knew what you looked like or judged you. She cast the film by using her friends, nearly all having comedic backgrounds, but they took a huge chance on her abilities as it was her first feature. She actually wrote many of the roles for her friends so that she would get them. She actually took the script to an acting coach a couple of weeks before the shoot to get her advice. The film took approximately three and a half years from writing it to getting to the final stage of releasing it. But the editing alone took seven months. You write one story, shoot one story, and edit one story. I wanted my character to be self deprecating and to bring a lot of myself into the character. So, I did make her a lot like me. She originally came up with the idea of the story about five years ago. Lake Bell in person is very endearing and effervescent and that is actually how you feel about her character Carol, which is why it comes across as so real and enriches the comedy. Her supporting actors are excellent too: Fred Melamed as Carol’s father Sam Sotto, Demetri Martin as Louis and Michala Watkins as Carol’s sister Dani.
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UK Release date: 13th September
C - TUNES Putting on a show What’s that you say? What have we been up to? Only planning the best festival London will ever hear! For a long while Cofi Radio has been really shouting from the rooftops about how good London’s unsigned music scene is. Now we’re really putting our money where our mouths are and we’re putting on an unsigned music festival. Because, let’s face it, music is just better live. We’re going to be at four different venues across London from 15th to the 18th August. But you don’t want to hear about that or that you can get more information at www.cofiradio.co.uk/2013 , you want to hear who we’re recommending this week.
Capital Collision In 1980 Joe Strummer had a dream. That dream was Magnificent Seven, a daring combination of rap vocals with rhythmic punk. It was also, unfortunately, one of the few awful things the Clash did. Now, just 33 years later, that dream is being done properly and the people doing it are Capital Collision, a four piece from London. For a band that sounds unabashedly modern, Capital Collision do a lot to hark back to some of the best acts of the ‘70s and ‘80s. Tracks like Ten to Two (go and listen to it now, you will not be disappointed) have the kind of infectious rhythms and borderline smutty lyrics that would make Ian Dury proud. On other tracks, their hip hop vocals sound like they should be contemporaries of NWA or Public Enemy. It may be decades in the making, but an act that combines the best of punk, rock and hip hop is here. Enjoy it because it might be another thirty years until the next one.
www.soundcloud.com/capitalcollision
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Rowen Bridler
Simon Stirling
The sound of a generation is always really influenced by the technology available to it. The ‘50s had electric guitars and that’s why we got rock’n’roll. The ‘80s had synthesizers and from their loins sprang forth electro. And in 2013? Well, we have YouTube.
If you’re a singer with a guitar there’s a good chance someone will at some point compare you to Bob Dylan.
A lot of people would say that like it’s a bad thing. But for bands social media, and anything that lets you broadcast yourself freely and easily, has to be a good thing. Thanks to the Myspaces, YouTubes and Facebooks of the world we’v3e got all kinds of lo-fi bedroom singer songwriters we wouldn’t otherwise have. All of which brings me to Rowen Bridler. She’s everything you would want in a musician and almost nothing a record exec would want in a money-spinner. She’s talented, she’s great at telling stories with her music, she’s herself (and real individuality is never fashionable) and she’s also really approachable. Five minutes on her website and you feel you know her. Five minutes with her music and you feel like her greatest confidante.
www.rowenbridler.com
That’s a good thing right: Dylan was influential and successful and lots of people like his work? Except all that stuff came from the fact he was original. So being told you’re like him is being told that you’re exactly like someone who was original and breathed their own unique voice into music. Exactly like them. Simon Stirling isn’t like Bob Dylan. He is exactly like Simon Stirling. His music walks a tightrope with familiarity on one side and engrossing originality on the other. Every single one of his finally crafted acoustic stories is his alone, from the way he sings to the way he writes. In years to come, people will talk about Simon Stirling like they talk about Bob Dylan. They’ll compare all the new acoustic singers to him. And they’ll still be wrong.
soundcloud.com/simonstirling-1
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BOOKS GOLDEN BOY By: Abigail Tarttelin
‘Max Walker has the perfect life... Max Walker has a secret...’
Weidenfeld & Nicholson 9 May 2013 406pp £12.99 (eBook: £6.99)
Max Walker is a golden boy. Sixteen, attractive, academic, captain of his school football team. And a perfect older brother to nine-year-old Daniel who is obsessed with killing aliens on his computer games and may or may not be autistic. Now that their barrister father Steve is running for Parliament, it is more important than ever that no scandal rock their seemingly perfect family. But Max is hiding a secret, and a traumatic incident is about to change all their lives forever... One evening, when his parents are entertaining their best friends the Fulsoms and Max is alone in his room enjoying some ‘me’ time, the Fulsoms’ son Hunter enters his room and rapes him. Only Max’s parents and their best friends, including Hunter, know that Max is in fact intersex, and now the older boy uses this to his full advantage. Ashamed, and afraid to rock the boat, Max decides not to tell anyone about the rape – except for Archie, his matter-of-fact doctor who finds herself getting increasingly involved in Max’s case when her research reveals that certain things have been kept from her patient, including the fact that he is a ‘true hermaphrodite’, ie neither female or male, or both to the same extent. As his father’s political campaign gathers pace, Max is struggling not only with his secret but also his growing attraction to Sylvie, a kookie girl
at school who assumes he has had sex with a lot of girls. When the two eventually become an item, Max is keen to keep his intersexuality hidden for as long as possible, but an unexpected turn of events soon makes this impossible – and is about to rock the foundations of his family to the core. Abigails Tarttelin’s first novel, Flick, was published when she was twentytwo, and heralded as a slow burn cult classic by GQ and compared to Bret Easton Ellis and Chuck Palahniuk. Still only twenty-five, Tarttelin now tackles what can only be described as a taboo subject, and the result is an exceptionally poignant coming-of-age story which forces the reader to think about its ramifications for a long while afterwards. Max in particular is a three-dimensional and utterly sympathetic character whom the reader cannot help to root for throughout the novel, and so is his kid brother Daniel who explains to him how to be ‘special’. Told in first person narratives alternating between Max, Daniel, their parents, Sylvie and Archie, the novel delivers plenty of surprises, keeping the reader hooked until the very end, and the multiple perspective, although maybe not entirely necessary, works well overall. A wonderful story about love, identity and acceptance, and above all a stonking good read.
www.laissezfairelondon.co.uk
Words by Britt Pflüger
Literary scout, agent and literary consultant at Hardy & Knox www.hardyandknox.com
KISS ME FIRST By: Lottie Moggach
“’I’m scared.’ ‘What about?’ ‘I’m so scared. Do you understand?’ ‘Of course.’ ‘Can I see you?’ ‘’I----‘ ‘Switch on your camera.’ ‘I think it’s best if we don’t.’ ‘I want to see you. You get to see me.’ ‘I don’t think it’s a good idea.’ ‘I can’t do it.’ ‘Of course you can.’” Picador 4 July 2013 288pp £14.99
With Kiss Me First, billed as ‘The Talented Mr Ripley for the digital age’, Deborah Moggach’s daughter’s marks her debut as psychological thriller author. Leila has recently lost her mother after a long struggle with MS. At twentythree, she suddenly finds herself in a shabby flat above an Indian restaurant in South East London, friendless and without real aim. Leila has always been a loner, brought up by her single mother and then caring for her during her terminal illness. Never even been kissed. So when she stumbles across Red Pill, a philosophy website run by American Adrian Dervish, she finally feels as though she is connecting with other people, albeit via the virtual medium of their online forum. Then, out of the blue, Adrian suggest they meet. Adrian makes Leila feel special, intelligent and worthy, and confides in her that his wife too suffered from MS. Asks her how she feels about assisted suicide before telling her about Tess, a woman in her late thirties with a long history of depression who wants to kill herself while sparing her family from grief. Having established that Leila supports assisted suicide, he explains that Tess is looking for someone to impersonate her online after her death in order to keep the fact that she is dead from her friends and family. And she is prepared to pay for it. Partly because she is seduced by Adrian’s charm, partly because she needs the money, Leila agrees and quickly sets about her task. After Adrian puts the two women in touch with each other via email and Skype, Leila, in her trademark methodical fashion, compiles as much data as possible about Tess’ life in order to be able to impersonate her online. As it turns out, Tess is a charismatic but troubled woman with a chaotic past: bipolar, promiscuous, artistic, with a complicated family history. Soon Leila’s walls are covered with charts, timelines and names, but Tess’ mercurial nature makes it
difficult to pin her down, and the two women could not be more different: sensible, socially inept Leila versus passionate, chaotic Tess. The one thing they never talk about is ‘check-out day’, the date on which Tess will take her own life. Leila has decided that ‘virtual’ Tess will move to Sointula, a small island off the coast of Vancouver, difficult to reach and thus a deterrent to those amongst her friends and family who might be tempted to visit. And so, once ‘check-out day’ has passed, Leila devotes all her waking hours to maintain a convincing online presence pretending to be Tess. But then someone whom Tess has never mentioned sends her a cryptic email, and events take a sinister turn... There is much to recommend here, not least Leila’s portrayal as the naive but well-meaning loner who not only becomes Adrian’s perfect victim but falls hopelessly in love with a guy whose object of desire is the very woman whose identity she has taken over. Tess is equally convincing as the troubled woman who can no longer face life and seems unaware that her family, dysfunctional as they may be, love her and will miss her. Kiss Me First has all the hallmarks of a psychological thriller bestseller, not least a very clever structure - the novel opens with Leila’s arrival in Spain and works its way backwards, thus revealing only gradually how socially inept and unworldly she is - and the mystery surrounding Tess’ fate which runs through the entire narrative, complete with plenty of twists and turns. Disturbing and compelling in equal measures, this is a tightly plotted and irresistible debut which packs a hefty punch. One of those rare beasts: a true page turner.
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HUMOUR-SCOPES
Artist: Yoanna Pietrzyk in collaboration with Facehunter. www.yoannapietrzyk.carbonmade.com / www.joannapietrzyk.carbonmade.com
This is no time to hang about, so take a good look at yourself and make that change. As usual, a disclaimer is needed as these are only the premonitions of our grumpy star gazer and not the views of Laissez Faire!
Aries
Don’t offer me advice. Just give me money!
Taurus
Remember, the best things in life aren’t things, and there is no problem too difficult that cannot be solved by chocolate.
Libra
Stop working; go to the movies! And make sure the party is worth the hangover. One day it will be funny how serious you are – SMILE!
Scorpio
Tie your shoes, pack a good lunch and remember that we’re all in this together. Take everything with a pinch of salt and occasionally a slice of lemon, and a shot of Tequila!
Gemini
Cancer
Leo
Virgo
Your choices at this moment will be good ones. Trust yourself. One day your life is going to flash before your eyes. Make sure it’s worth watching. If opportunity doesn’t knock, build a door.
Only time can heal a broken heart, just as time can heal broken bone; and don’t forget to call your folks.
Happiness is like peeing your pants. Everyone can see it, but only you can feels it’s warmth. Take into account that great love and great achievements involve great risk. (Took this one from the Dalai Lama)
Shut down your computer; go outside and meet someone. When nothing goes right, go left. Fuck‘em if they can’t take a joke.
Sagittarius
Capricorn
Aquarius
Pisces
Have you ever loved someone so much that you wanted to keep them hidden from the world and have them all to yourself? Well, apparently that is called kidnapping.
Be nice to your kids. One day they’ll choose your nursing home.
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Don’t let the bastards get you down. Most of the things you worry about never happen!
You need to get more exercise, but can’t tear yourself away from the computer. Do what I do: glue your keyboard to the ceiling, and get yourself a mini-trampoline!
THE JOKER
LAUGHTER TO THE BRAIN IS LIKE EXERCISE TO THE BODY
Thanks for all the jokes you have sent in. You lot clearly love this page! Try to keep them clean though London, some of these are really pushing it. Sorry for any offence caused.
Birthday Present A wife decides to take her husband to a strip club for his birthday. They arrive at the club and the doorman says, “Hey, Dave! How ya doin’?” His wife is puzzled and asks if he’s been to this club before. “Oh, no,” says Dave. “He’s on my bowling team.” When they are seated, a waitress asks Dave if he’d like his usual and brings over a Budweiser. His wife is becoming increasingly uncomfortable and says,”How did she know that you drink Budweiser?” “She’s in the Ladies’ Bowling League, honey. We share lanes with them.” A stripper then comes over to their table, throws her arms around Dave, and says “Hi Davey. Want your usual table dance, big boy?” Dave’s wife, now furious, grabs her purse and storms out of the club. Dave follows and spots her getting into a cab. Before she can slam the door, he jumps in beside her. He tries desperately to explain how the stripper must have mistaken him for someone else, but his wife is having none of it. She is screaming at him at the top of her lungs, calling him every name in the book. The cabby turns his head and says, “Looks like you picked up a real bitch tonight, Dave.”
Girls night out Two women friends had gone out for a Girls Night Out, and had been decidedly over-enthusiastic on the cocktails. Incredibly drunk and walking home they suddenly realized they both needed to pee. They were very near a graveyard and one of them suggested they do their business behind a headstone or something. The first woman had nothing to wipe with so she took off her panties, used them and threw them away. Her friend however was wearing an expensive underwear set and didn’t want to ruin hers, but was lucky enough to salvage a large ribbon from a wreath that was on a grave and proceeded to wipe herself with it. After finishing, they made their way home. The next day the first woman’s husband phones the other husband and said, “These damn girls nights out have got to stop. My wife came home last night without her panties.” “That’s nothing,” said the other. “Mine came back with a sympathy card stuck between the cheeks of her butt that said, ‘From all of us at the Fire Station, Well never forget you!’
Illustrated by: Alvaro Arteaga www.alvaroarteaga.com
A Really Bad Day There was this guy at a bar, just looking at his drink. He stays like that for half of an hour. Then, this big trouble-making truck driver steps next to him, takes the drink from the guy, and just drinks it all down. The poor man starts crying. The truck driver says, “Come on man, I was just joking. Here, I’ll buy you another drink. I just can’t stand to see a man cry.” “No, it’s not that. This day is the worst of my life. First, I fall asleep, and I go late to my office. My boss, outrageous, fires me. When I leave the building, to my car, I found out it was stolen. The police said that they can do nothing. I get a cab to return home, and when I leave it, I remember I left my wallet and credit cards there. The cab driver just drives away.” “I go home, and when I get there, I find my wife in bed with the gardener. I leave home, and come to this bar. And just when I was thinking about putting an end to my life, you show up and drink my poison.”
Church Bells On hearing that her elderly grandfather had just passed away, Katie went straight to her grandparent’s house to visit her 95 year old grandmother and comfort her. When she asked how her grandfather had died, her grandmother replied, “He had a heart attack while we were making love on Sunday morning.” Horrified, Katie told her grandmother that 2 people nearly 100 years old having sex would surely be asking for trouble. “Oh no, my dear, “ replied granny. “Many years ago, realizing our advanced age, we figured out the best time to do it was when the church bells would start to ring. It was just the right rhythm. Nice and slow and even. Nothing too strenuous, simply in on the Ding and out on the Dong.” She paused, wiped away a tear and then continued, “And if that damned ice cream truck hadn’t come along, he’d still be alive today!” www.coolfunnyjokes.com
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The Buffalo Theory The “Buffolo Theory” of Beer. A herd of buffalo can move only as fast as the slowest buffalo. When the herd is hunted, it is the slowest and weakest ones at the back that are killed first. This natural selection is good for the herd as a whole, because the general speed and health of the whole group keeps improving by the regular killing of the weakest members. In much the same way the human brain can only operate as fast as the slowest brain cells. Excessive intake of alcohol, we all know, kills brain cells, but naturally it attacks the slowest and weakest brain cells first. In this way regular consumption of beer eliminates the weaker brain cells, making the brain a faster and more efficient machine. That’s why you always feel smarter after a few beers, and that’s why beer is so GOOD for you!
State Of The Art Watch A rather confident man walks into a bar and takes a seat next to a very attractive woman. He gives her a quick glance, then casually looks at his watch for a moment. The woman notices this and asks, “Is your date running late?” “No,” he replies, “I just bought this state-of-the-art watch and I was just testing it.” The intrigued woman says, “A state-of-the-art watch? What’s so special about it?” “It uses alpha waves to telepathically talk to me,” he explains. “What’s it telling you now?” she asked. “Well, it says you’re not wearing any panties.” he said. The woman giggles and replies, “Well it must be broken then because I am wearing panties!” The man explains, “Damn thing must be an hour fast.”
LAISS E Z F A I R E - M A D E I N L O N D O N