JONNY
PROFESSIONAL PROFESSIONAL PROFESSIONAL PRACTICE PRACTICE PRACTICE
“I DON’T REALLY WANT TO PUT ANY QUOTES IN HERE, BECAUSE IT DOESN’T SEEM VERY GENUINE.” JONNY
CLAPHAM,
BEING DIFFICULT
CONTENTS - FUNTRODUCTION - WHO AM US? WHAT IF I? - ELEMENTS OF MY PRACTICE - PROCESS - INFLUENSPIRATIONS - LOBOTOMY OF SELF - RETROSPECTICLES - COLLABORATE/MYSTERY SACHET - FURTHER COLLABORATIONS - GRANDMOTHER RESSURECTION MECHANICS - NAKED! - ONLINE PORTFOLIO - TWITTER - EXTENDED THOUGHTS ON TWITTER - PROMOTION OF THE ME - CACTUS INSERTION TACTICS - COMPETITIONALS - AWARENESS OF INDUSTRY - FUTURE PLANS FOR THE FUTURE - DRAWING OF A VASE - EXHIBITIONS I’VE BEEN INVOLVED IN - LINKS OF RELEVANCE
FUNTRODUCTION Hello NAMELESS READERSHIP and welcome to the Professional Practice booklet. This book is a cyber-bound look into the past year of my life, a year filled with turbulent creativity and identity crashes. Luckily I’m through all that, for now, and I can present to you the most professional facade of my creative practice, filled with only the good bits of work and reams of self-congratulatory prose embellished with half-truths about my promotional prowess. However, it’s more likely I will be entirely honest. I was brought up a Catholic, and despite distancing myself from the more magical parts of that belief system, I still find myself unable to cope with the guilt of dishonesty.
WHO AM US? WHAT IF I? ‘What If’s’ drive my work. Simple one sentence concepts that can spawn imagery work as fantastic starting points for visual exploration. What if a man left his gun at the zoo and the animals got hold of it? What if a bee charmer led a swarm into a corrupt metropolis as an anarchistic statement? What if the universe had a baby? This curiosity towards bizarre storytelling brings my work into conceptually strange places, which informs my visual design. I like to keep my imagery vibrant and sharp, using simple forms to create characters. Character design is integral to my practice, creating avatars that I can use to explore my worlds. These worlds are ultimately extensions of myself and the things I love, poured through a visual filter for others to see, and hopefully, connect with in some way.
ELEMENTS OF MY PRACTICE HUMOUR ‘Illustration’ works as a legitimate platform for beautifully rendered imagery and somber pieces about hard hitting issues, but I find myself increasingly disillusioned by how saturated the market is with ‘safe’ pieces of work that look pretty but don’t function on any level beyond that. Therefore, I prefer to view my own Illustration as a form of entertainment and humour, to break through the boredom barrier
that
so
much
contemporary
illustration is stuck behind. I want my work to be interesting on levels that aren’t based entirely on aesthetic beauty, but also ideas and content too. Having a bizarre sense of humour in my work takes it outside of the expected and into the realms of ‘weird’. Normality is antiprogressive, only by embracing the weird can we be truly innovative.
CHAOS
HONESTY
PLAY
Sometimes my audience will find
It would be a lie to say that my
In these times of self-loathing it’s
my sense of humour confusing.
practice is always a saccharine
best to remember why I’m doing
This bamboozlement from a lack of
wonderland of fertile creativity and
what I do in the first place, and what
context is a wonderful reaction that
exploration. Creativity is terrifyingly
this can all mean to my current
not many illustrators try to elicit, so
unpredictable and can quite often
practice. Essentially, all Illustration
I derive a great level of enjoyment
make me feel like I’m going insane.
is a form of play. In this case we
from seeing the confused, often
The only way to solve these feelings
are playing with visuals, much like
disturbed, reactions to my work
is to keep making until something
we would play with toys when we
from peers.
good comes along. If my practice is
are younger. Therefore, I find, that
in a dark place, so am I. Sometimes
if I can view my practice in this
the anxiousness that this constant
way, constantly playing with both
self-reflection spawns can cripple
ideas and picture elements and
the creative process, but I have
most importantly finding the fun in
also found that I produce my best
the things I make, then the process
work in this period, being inspired
of making can become a lot looser
by personal paranoia to create
and genuine innovation can take
autobiographical content. Therefore
place.
it is safe to say that feelings of dread, insanity and despair all fuel my practice in unexpected ways, and keep me being productive.
PROCESS Although I can see the appeal in a tight and
difficult to achieve. However, with each
controlled image, I find that once you’ve
image I make in this way, I gain more of an
reached that stage of supposed perfection it
understanding of the way I work and how to
can often remove a lot of the intrigue from
refine it, or even un-refine it, in the future.
what’s been made. Due to this fascination
Recently I’ve been keen to use a minimal
with more lo-fi approaches, I sometimes
range of colours within each piece I make.
enjoy to have unfinished, looser elements in
This helps to unify the sometimes busy
the work I create. With digital processes this
elements of the pieces.
is a lot more difficult to achieve. However, this year has enabled me to work in a way
Whilst digital techniques have been the
that carries the stigma of being bad (with
most prevalent parts of my practice in this
work being reminiscent of MS PAINT) and
final academic year, I also am keen to not
then using this working methodology, with
abandon my traditional, pen work. However
an increasing knowledge of composition and
the digital processes have allowed to me to
colour, to create work with artistic merit.
return to my pen-work with a better idea of character composition and more sensibility
I mostly work with the pencil tool, using sharp pixelled square brushes to create my pieces, the result being lo-fi digital paintings. With this process I’m constantly searching for the balance between low quality and overrendered imagery, a state that’s incredibly
regarding shape and form.
INFLUENSPIRATIONS WEIRD WORLD CINEMA (MOSTLY ASIAN) Watching strange movies from across the
Ultimately what’s wonderful about these
world has become a fascination of mine, and
movies is that each artefact is quite
only recently has this love of bizarre cinema
unlike what the mainstream perception of
crept into my work.
cinema appears to be. They are windows into other worlds. Places filled with colour,
I enjoy watching movies that are genre mash-
compositional quality and accentuated
ups. Combining ideas from many sources
character.
can result in something that appears to be brand new, and in the case of these films,
In this sense they inform what I make more
strangely unique. And though these films are
than anything else, as I constantly look to
unique in their approach to filmic storytelling,
imbue my work with these same qualities,
they are all united by their weirdness.
mashing up elements to create something that is weird and therefore ‘new’.
Asian cinema in particular seems, to me, to be at the forefront of intriguing storytelling possibilities. More recently, however, I have found a fantastic range of technicolour films from the 1970s that also display the same sensibility of strange invention and an odd sense of humour.
STRANGE BOOKS This collection of strange books that I have amassed from second hand book shops has been particularly useful in informing my practice over the last year. Dipping into these tomes can be both a blessing and a curse. There’s so much inside to draw from visually, but eventually it can turn into self indulgent escapism, to the point where the mental imagery becomes so overwhelming that it seems impossible to do it justice. Nevertheless, they’re an excellent resource, and fascinating to read. If I could replicate a small part of the intrigue that these books carry within my own work I’d be happy.
DAVID O’REILLY His animation work and general internet presence has been hugely inspirational to me. Through his work, he comes across as somebody who is aware of culture around him, and how it in turn influences the creator. The sense of humour present in his work is admirable, and his lo-fi approach to creating work has pushed me to discover my own way of using digital processes in unexpected ways.
WE LOVE KATAMARI We Love Katamari is an insane game created by Namco. Aside from the innovative gameplay, the visuals have had a ton of attention and love poured into them. The incongruous elements that make up the world of Katamari are, much like everything else, influential because of their weirdness.
SHIGERU MIZUKI I recently discovered his work and fell in love with his drawings of Yokai Monsters, creatures from Japanese Folklore. The drawings are beautifully detailed, but also contain comical elements. The two combined create a fantastic world that you can’t help but want to explore, touch, feel, be inside...
CHILD ART Drawings kids do tend to be a lot better than grown-up drawings, in terms of character and expression. I’ve put a lot of work in recently trying to undo the tightness of my pen drawing and go back to a more childish aesthetic.
RETROSPECTICLES NEGOTIATED PRACTICE This was a huge learning period for me, during
my practice in interesting ways. However
which I discovered the flaws within my practice,
at this early stage, I hadn’t had the time to
which I could then take forward and learn
experiment with and refine this technique in
how to solve. The project started with high
any wholly meaningful way.
ambitions to create a narrative, with the theme of british folklore, magic and the supernatural
Nevertheless it’s important to remember this
as a starting point.
project as being part of a continuing body of work that has flowed onwards into the EMP.
My mind flitted from idea to idea, with different
All the pieces made here were essential in the
narratives forming and dissipating in my mind
development of what I am currently making,
within the spaces of mere days. I realise this
and what I’m sure to continue to make post-
now as a lack of focus, and I was backing
graduation.
out of project ideas down to fear rather than I also managed to find a way to compile all
solving the problems head on.
the pieces made during this project into a The parts of the project I enjoyed most were
humorous and chaotic glimpse into my ‘Identity
the
have
Cruise’ throughout the course of negotiated
influenced me further down the line in my EMP.
practice. Including unfinished themes, doodles
The most notable process to come out of these
and ideas that came together as a celebration
spontaneous pieces was the experimentation
of my failure to focus. This compilation meant I
with lo-fi processes on photoshop to emulate
could look back on the works created and find
microsoft paint. These were created in a period
new value in them as lovable malfunctions.
spontaneous
experiments
that
of creative dryness, and suddenly re-ignited
EXTENDED MAJOR PROJECT It took me a few months to get going, but
to interesting places visually. I became much
interesting things began to happen in this huge
more confident with the application of colour
space of time between December and May.
(in some cases, perhaps too confident). Colour has been less-present in my work previous
For a start, I realised that my lack of focus
to this, due to colourblindness making it feel
during longer projects could work in my
awkward.
favour when tackling shorter projects. This meant more openness to collaboration and
As I continued to use colour, I could see how
unexpected projects, like the Jimmy’s Iced
subtler combinations could also work in my
Coffee 24 Hr Brief.
favour, and created limited colour imagery, which I consider my strongest to date.
These shorter briefs, normally one day long, led me to make surprising creative choices,
This unit was not without it’s hard times of
and eventually I shifted back into making
wobbly indecision and future-fears, but now
digital work with the crunchy aesthetic I had
I’m finishing it feeling a lot more confident
been exploring before.
about my practice, knowing that within months I’ll have a whole new bunch of imagery to
I also began to experiment with moving image,
add to my portfolio. This constant evolution
kick started by the GIF workshop I organised
and refinement of aesthetic alongside a more
and leading on into my response to D&AD’s
constant work ethic has been extremely
Make Your Mark Brief. This, again, meant the
gratifying, and I can’t wait to see where it goes
fast paced creation of imagery, which led to an
next.
inability to be too critical of what I’d produced. Post the D&AD brief, my work ended up going
COLLABORATE/MYSTERY SACHET I feel that collaboration is essential in this current illustration climate. The
romantic
notion
of
the
isolated illustrator seems to be less fetishised within illustration practice, with illustrators instead turning to social networking and blogging to create vast networks of people to work with. Collaboration can also teach the individual a lot about their personal practice, with new or completely different ways of working informing their own work in unexpected ways. This year I became a part of a
collective,
Mystery
Sachet,
alongside Louis Wood and Nathalie Moore. A lot of the work created within this has had a humorous edge. The briefs tend to be a day long, creating fast-paced humorous content
without
reflection time,
the
luxury
of
STRUMPET CRUSH A 24hr LOVE ZINE created on Valentines Day. Besides artwork, it also contained a short story I wrote called “Story about a man who falls in love with his own heart”, which Louis illustrated. LEGITIMAT
SEXY
FASHION
SHOW A day of puppet and doll making, ultimately ending with a sexy fashion shoot and a makeshift catwalk. I then took these photos and edited them into an ‘ultraprofessional’ video, which aroused many. GIFPOCALYPSE A one-day
GIF
workshop
we
ran involving 10 or so students. Everyone got together to create apocalypse themed GIFS.
FURTHER COLLABORATIONS CORPSE MILK I gathered a diverse bunch of illustrators (2nd and 3rd years from AUB, Kingston University students and Japanese Aimi...from Japan) to create halloween based comics. This was published in digital form. SECRET ZINE A zine I participated in, drawing images of visiting tutors Marcus Oakley and Salvatore Rubinno. I chose a few of the most cuttingedge illustrators in my course to be involved in the project, and it was nice to see that I made the correct choices. 1000% BUTTITUDE ZINE A collaboration of nudey drawings made for the NAKED Exhibition, put together by Elliot Coffin and I.
JIMMY’S ICED COFFEE- 24hr LIVE BRIEF
LIVE DRAWING EVENT IN BOURNEMOUTH TOWN CENTRE
An event set up by marketing in which an Iced Coffee Merchant gathered students
I was involved with a group of students in
from various courses together to create
creating a strange woodland scene at an arts
ideas for him for free. My group decided
event, poorly organised by a girl who didn’t
to take a humorous approach to the brief,
seem to know what she was doing. It was a
where others were taking it dead seriously,
strange day, with an eerie fog hanging around
and created a mock advert for Jimmy with
the triangle, along with friendly vagrants who
cheeky pokes at his business. I edited the
wanted to share their own chalk masterpieces
video later, my body surging with Iced Coffee
with us. Nevertheless, it was an unexpected
after-effects. The result made Jimmy and the
and fun experience, working at a larger scale
marketing team laugh, and even inspired a
than usual. A shame, then, that the board
slight smile from a rather surly graphic design
was chucked away by the ‘organiser’. And
tutor who was present.
she was from Arts and Events management. Shame on her.
Jimmy, being the benevolent being he is, decided that he liked ALL the briefs and wanted ALL of them done for him for free, which was really kind of him. As time has passed, I feel that doing anything for him for free would be counter-productive in terms of making a living off my trade, and despite him being a very nice man, I would want to come into some kind of financial agreement with him before embarking on any projects.
NAKED! I was happy to be one of fifteen students involved in participating work to studentled exhibition called NAKED at OPEN SPACE gallery. This participation slowly became curation of sorts, myself and three other students taking the helm and setting up the gallery space. This was not only great for me as a turning point within my work, but was brilliant experience in organising an arts event, and working out where to hang pieces of artwork in relation to others. It was a wonderful weekly diversion from my general practice and an opportunity to work alongside peers to create something special. Curating this exhibition also involved working with Elliot Coffin to create a companion zine called 1000% BUTTITUDE: This zine contained sketches and rougher works from the ‘exhibitionists’ in the show. Gathering and designing this booklet was really fun, again learning how to handle a vast and diverse range of work.
ONLINE PORTFOLIO WEBSITE My main funtioning portfolio is my website, which I consider to be the most universally accesible means of getting clients to see my work. Creating the website has been useful in helping me to edit down my work and find the choice few pieces that both show my artistic prowess and represent me as a creative warrior. This
meant
For the sake of my portfolio review
creating
a
slick,
professional design to contain the vividness of my imagery. It’s
all
about finding the right mixture of chaotic vibrance and professional minimalism,
thus
catering
for,
and displaying, both facets of my creative services.
PDF FOR IPAD
with Gina Cross, I created a pdf document that can be viewed on the Ipad. I felt this was necessary in keeping up with the ways that potential clients now look at work. My pieces also look fantastic on the high contrast/brightness screens of the Ipad.
MY BLOG AND ME <3 Tumblr is an intersting tool in
I haven’t had a lot of followers, but I
seeing how productive I’ve been
feel like that’s not a major problem.
during previous months. Seeing
I’ve been using the blog as more
this growth of content over the past
of a ‘madman’s image dump’ than
few has been a really satisfying
a ‘professional diary’, uploading
experience.
images pretty much every single day. It’s more fun not explaining
I chose a minimal theme for my
the work, rather than filling my
blog, and this runs alongside my
blog with words. I want it to be
website nicely. I didn’t want a blog
confusing upon entry but intriguing
where the cursor was something
nonetheless, like rifling through the
sparkly or the background was
rucksack of a dead clown.
yellow with strobe effects. Though now that I’ve written that, I kind of do want it. A lot. But I’ll resist, because the minimal theme is useful in containing the ‘colourfulbusiness’ of my work.
TWITTER I set up a Twitter account to promote my creative practice. I seem to be slowly getting more followers week by week, but I’m also quite unsure how to gain more, and whether I should be aiming for a large amount of followers or just specific followers of honourable repute (meaning industry professionals and potential clients). Most of the time it just makes me feel like I’m intensely staring at someone famous from across the room, but they aren’t looking back at me. But it is slowly growing, and hopefully by submitting work to websites to get featured, I can get more twitter exposure and become more involved with the online networking world.
EXTENDED THOUGHTS ON TWITTER a
seeing Illustration peers I know
with
well interact on twitter, talking
riding
about practice in a way that
the see-saw, working out the
doesn’t feel entirely genuine.
balance
sounding
My twitter feed is a mixture of
like egotistical success-fiends
creative professionals sharing
and sad little ordinary people.
success stories and awkward
This results in an ambivalent
tweets from young practitioners
environment
nothing
trying to garner their attention
feels entirely real because no-
via insincere shout outs. I know
one feels safe to truly express
this because I too have tweeted
themselves. When trying to write
my fair share of these in an
a ‘tweet’ my mind turns to PONG,
attempt to gain interaction with
with one paddle representing
‘cool, famous types’. All of this
what I think I ‘should’ be saying
makes me feel like a shallow
and the other representing what
being.
often
dangerous industry
feels
like
playground,
professionals between
where
I want to be saying. Usually, what I want to be saying doesn’t feel
But is there anything inherently
‘professional enough’ and the
wrong with this process, or
resulting tweet ends up being
is this just the nature of the
fairly mundane; informative but
industry in general? I imagine
depersonalized, and I find that
that if we were to pretend that
troubling.
Twitter was a physical location, a real networking event filled
I have the same reaction to
with both industry professionals
and their followers, then the
way to move forward with comes
method of self promotion would
with understanding it. Yes, it
not be too dissimilar. Of course,
does encourage me to create a
with the amount of followers
fake, hyperbolic version of my
they
successful
creative lifestyle (without the
practitioners would be crushed
bouts of self doubt that are part
to death by their adoring fans, but
of daily practice), but hopefully
physical logistics aside I think
in being aware of that I can
interactions would be vastly
avoid coming across as a vague
similar.
statements
construct and more of an actual
happen all the time within real-
human being. Twitter may be a
life networking events and make
dangerous playground, but real
excellent conversation starters.
playgrounds are also dangerous.
“Please be my friend and see
Taking risks never hurt anyone.
me as a legitimate creative
Except for all those kids who
being” becomes “I loved your
died in playgrounds. This article
new book, it was really nice”
is for them. #deadkids.
have,
more
Insincere
(even if their new book was only vaguely interesting to you). Perhaps Twitter just exposes these shameless acts of self promotion for what they really are, because to do it in real life requires courage. Doing it online requires a keyboard. Despite all this, I’ll continue to use Twitter to promote my creative practice. I think the best
PROMOTION OF THE ME REPETITION OF SIMPLIFIED FACE a section written from the future sent back in time by an art critic “Jonny chose to promote his
At the time he believed he could
In fact a lot of other people
practice through the perpetual
hop his way to success via
actually had ginger hair for real,
repetition of his own face. This
stepping stones of his own visage.
and his was more of an auburn
avatar became an invitation into his
If he could make himself famous,
haze.
world, and how he viewed himself
then his work could follow in his
as an illustrator; young, vulnerable
face’s metaphorical footsteps.
Nonetheless, this ‘simpliformation’ of himself
and with a round head. Many of his peers viewed this as an obnoxious
This promotional device, although
was a useful tool in linking
move, a cavalcade of vanity spam
a narcissistic blimp-ride towards
together his internet presence.
with no inherent worth as a self
success, was often buffeted by the
It’s important to remember that
promotional tactic. It’s likely that
winds of ‘real-world-logistics’. He
he achieved all this in an age
it was a desperate attempt to
seemed to be ignorant to the fact
where the internet was incredibly
immortalise himself as an illustrator,
that other people in the world could
difficult
an individual, without putting in the
also have glasses and ginger hair.
personalised URLs became a
essential groundwork.”
to
use,
birth-right.” Written by Critic-bot 2073
well
before
Model by Allie Oldfield
GIANT VERSION OF MY OWN HEAD A giant version of my own head, made of cardboard, has been utilised in the past as a promotional strategy
at
parties.
Various
problems with the head include no eyeholes, balance difficulties and a lack of breathing space. However these
issues
are
trivial
when
considering the general outward aesthetic of the piece, which serves as a reminder to all of my inflated ego, physically â&#x20AC;&#x2DC;maskingâ&#x20AC;&#x2122; my true and vulnerable self. It also looks really good on other peoples bodies... Especially the topless guy.
BUSINESS CARDS I
haven’t
yet
sorted
out
my
business cards, but I definitely have a professional plan for when I do. In fact I have THREE. Plan A)
Plan B)
Plan C)
Instead of making Business Cards
A BUSINESS CARD with a
Print some normal business cards.
I am offering a unique service in
drawing of me on it. The drawing
which instead of potential clients
has perforated edges so you
taking my card home with them,
can push it out of the rectangular
they get to take ME home with
card and have a miniature
them, for at least a week. During
cardboard version of me. By
this time I will constantly remind
bending the legs and putting blu-
them of my existence through
tac on it’s butt you can sit him on
obnoxious shouting and hijacking
your desk where he can watch
of their social networking. I will
you forever.
wear a red t-shirt with my name on it. This relentless ‘notification’ system will eventually, with luck, land me an industry job. I will treat restraining orders in a similar way to rejections, seeing them as an indication of my supreme efforts in networking.
COMPETITIONALS LITTLE WHITE LIES I entered a competition that Little White Lies was running to promote Wreck-it-Ralph. The brief was to create a videogame titlescreen in MS PAINT, with the theme being ‘disney movies’. I took a less
serious
approach
to
the
competition (something that, since winning it, I realise is the best thing to do in most scenarios). This didn’t win me any exposure at all, but it does sound more impressive than it actually is PLUS I won an Ipad Mini, which was a nice reward for about an hours work.
D&AD Some of the most fun I’ve had creatively during third year was answering D&AD’s ‘Make your Mark’ brief, giving myself just a week to create an outcome. Like the Little White Lies brief, I deviated slightly from what I think the judges are expecting to see. It was great fun, and directly influenced the shape of my work in the following weeks so much that I WOULDN’T EVEN MIND if i didn’t win anything, because the artistic repercussions were so fat with creative juices that my belly is now swollen from consuming it all. I would really like to get some recognition, though...
AWARENESS OF INDUSTRY Visiting lecturers and tutors have given me a fairly good insight into the financial aspects of practice within industry. Anna Steinbergâ&#x20AC;&#x2122;s lecture and following workshop regarding
commissions
and
pricing, along with the talk from the AOI about copyright have given me a greater understanding of the logistics of being a freelancer. Talks from Hayley Potter about self promotion tactics have also been a great resource. These talks have also aided me in my awareness of potential pitfalls that I can avoid, pitfalls I would have otherwise fallen into and learnt about through my own mistakes. I still expect mistakes to happen, but hopefully theyâ&#x20AC;&#x2122;ll be significantly less dramatic since gaining this knowledge.
FUTURE PLANS FOR THE FUTURE There are steps that I must take to ensure that my
I’m keen to keep that sense of community felt at
post-graduate experience is not filled with too much
university after graduating. This will be a lot easier
suffering or regression of character. Luckily, I am in
due to the internet, but physical interaction has
a position to push my practice in multiple directions
become an important part of my practice. As such,
through the promotion of self and the continuation
I hope to continue to develop the Mystery Sachet
of the work ethic I have developed throughout third
Collective into something more marketable. I’m also
year.
interested in the curation of others work, particularly in setting up some kind of platform for innovative
This work ethic involves not becoming complacent,
illustration with the focus on works that are humorous
perpetually setting briefs for myself and taking on the
and bizarre. My main fear of the future is introspective
briefs of others. My fast paced working methodology
anxiety, so pushing my practice in collaborative
means that one day/one week mini briefs are well
directions is essential for my mental wellbeing. The
suited to me, which could be a fantastic skill in
only way to combat these dastardly future-fears is to
regards to the industry. This skill could be especially
just DO stuff. In doing, I can only progress towards
useful in regard to Editorial briefs, a place that my
something better.
style of work could also fit into with refinements. I’ll also continue to make my authorial work, as any After graduation, I’ll be sending my work out to design
self-led piece could become portfolio material and
institutions and publications, making contact with and
lead to commissions. I’m keen to set up some kind
presenting myself to as many people in-industry as I
of web-comic, as a portal to an audience with which
can. The best way to view this activity is to see these
to share my sense of humour and ideas. I’ve found
people not as clients, but as professional friends.
this goal difficult to achieve within an academic
Formal, friendly relationships are key to networking
framework, so I feel that it is very much a tangible
success, and being amicable towards people is more
possibility now. In this way I hope to build up an
productive than seeing people as money farms. I see
internet audience, and perhaps eventually rely less
myself as a service for clients, rather than seeing
on being employed by others to showcase my work.
them purely as a means of income.
Perhaps.
EXHIBITIONS I’VE BEEN INVOLVED IN 2013 NAKED - OPEN SPACE gallery, Bournemouth WORDS AND PICTURES - BIC, Bournemouth 2012 EQUINOX - Cafe Boscanova, Boscombe TROPICS - Cafe Boscanova, Boscombe 2011 HIBERNAL - Cafe Boscanova, Boscombe
LINKS OF RELEVANCE MY WEB PRESENCE www.jonnyclapham.co.uk www.jonnyclapham.tumblr.com www.twitter.com/jonnypclapham VIDEOS Jimmyâ&#x20AC;&#x2122;s Iced Coffee promotional video: http://www.youtube.com/watch?v=vQA4vmyrIOM Mystery Sachet Fashion Parade http://www.youtube.com/watch?v=27ZCX6Eng5k PUBLICATIONS Mystery Sachet Presents: Strumpet Crush http://issuu.com/jonnyppclapham/docs/strumpet_crush
JONNY JONNY JONNY JONNY JONNY JONNY