OOMK 3 preview by OOMK Zine

ONE OF MY KIND

ISSUE THREE : DRAWING

Editor Sofia Niazi Assistant Editor Heiba Lamara Designer Rose Nordin ISSUE THREE, Autumn 2014. Cover image by Sofia Niazi and Rose Nordin. If you wish to reproduce any content from OOMK Zine please contact the relevant artist/s listed. oomkzine@gmail.com Facebook: OOMK Zine Twitter: @oomkzine www.oomk.net

“Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing.” — Arundhati Roy

Drawing + Zoe Taylor + Brianna McCarthy + Phoebe Boswell + Sofia Niazi + Molly Crabapple + Arub Saqib + Fatma Al-Remaihi + Foo Swee Chin

Words + Sumaya Kassim + Hannah Habibi Hopkin + Arwa Aburawa + Shaheen Kasmani + Hamiza Adenan + M Ly Eliot + Hadeel Eltayeb + Heiba Lamara

Illustration + Design + Divya Osbon + Sabba Khan + Nuha El Shareef + Saira Wasim + Sonia Yekinni + Reiko Chen + Jasmine Parker

Photography + Nasreen Raja + Sara Foryame + Nasreen Shaikh Jamal Al Lail + Sanaa Hamid

Conversation + Laal Boutique + Lonely Londoners + Media DIversified + Madras Cafe

Whether drawing to discover, record, instruct or just pass time, the process of drawing is one that most people are familiar with but few take seriously. In our third issue, we take a look at artists and individuals who have approached drawing with great curiosity, passion and commitment. Whether using their skills to weave intricate stories or raise awareness about important issues, these artist continue an ancient tradition of seeing the world around them and translating it in their own lines.

Interview Sofia Niazi

Zoe Taylor channels inky film-noir to create striking improvised illustrations of women possessing mysterious intent and purpose. She speaks about discovering drawing, harnessing drama and the possibilities of storytelling. + What is drawing? It’s not easy to define but for me it’s about making marks on a surface to visualize or suggest something. + You’ve been working as an illustrator for some time now. How did you get into it? I’ve always enjoyed drawing but I didn’t have any understanding about what illustration was or could be until I took a foundation course, which I enrolled on just for fun as a kind of gap year – I was all set to start a masters in Social Anthropology afterwards. But during that time I realized that all of my drawings were narrative based and it was great to discover that there was actually a discipline where you could explore that. So I went on to study illustration instead and eventually started getting some commissions. + Are stories and sequences something that you are naturally drawn to? I do really like drama and theatricality and stories that are ambiguous and open – ended. I don’t really know where it comes from as I’ve never been a big reader of fiction or comics. My mum teaches drama and used to bring me along to all of her classes when I was very young. We’d always have to improvise and make up stories as we acted them out, so maybe it started there. + Does text play any role in your process? Whenever I’ve tried putting text with my personal drawings, it always seems to detract from them and I end up scribbling it out. But I’ve shaped stories around phrases from song lyrics or bits of dialogue, and I tend to write out my stories before I draw them so writing is often a part of the process. When I’m working on commissions the drawings normally have to relate to a text.

+ When starting a new piece of work what sources do you draw influence from? I find music and film inspiring. I always want the drawing to suggest a particular atmosphere – that’s the main thing and then I gather loads of photographs. I often use film stills or photographs as a starting point. + I was surprised to learn that you did a lot of fashion illustration – was it a natural progression or something you have had to adapt to suit your way of working? It was really unexpected – I think all of the commissions I received after graduating were fashion related so it just happened (although I approached AnOther magazine myself, offering to do a kind of comic strip for their website). They asked me to do fashion illustrations instead but they wanted the drawings to suggest stories. Coming up with the ideas was easy but drawing them took ages; I re‑drew some of them so many times. When I make personal drawings I like to improvise and see what happens but I find it hard to approach commissions that way; I try to control everything. I’d do things a bit differently now but at the time I just saw it as a chance to explore some mini narratives I didn’t really think of it as fashion illustration. + Women feature quite heavily in your work. What sort of women and female narratives most interest you? Over the years, fairy-tale heroines, Alice Through the Looking Glass, and film noir women have been influences. Probably stories in which women experience some kind of tension or danger or extreme feeling interest me most. I like ‘woman in peril’ narratives. Directors like David Lynch and Rainer Werner Fassbinder have explored this theme in interesting ways but you also find it in horror films, melodramas and thrillers – I think most of my favourite films follow this kind of story. I also like the romantic narratives performed by groups like the Ronettes or the Shangri Las where all the feeling is so heightened.

+ Where is your favourite place to draw? Probably at my desk at home. I don’t go out sketching much. + You use pencil a lot in your illustrations; what quality attracts you to it? I like the directness and expressive qualities of pencil on paper and the texture it gives.

+++ It’s all about imagination; look at, read and watch as much as possible, old stuff and new. +++ + Are there any drawing materials that you experimented with that you hated working with? Generally I don’t like to draw on smooth, glossy white paper – although it’s fun to draw with pen on that... + What advice would you give someone wanting to become an illustrator? It’s all about imagination; look at, read and watch as much as possible, old stuff and new. Don’t worry about making your work fit with what’s already out there – focus on developing your own visual language and exploring ideas that excite you. Try and collaborate because working with other people gives you confidence and spurs you on.

Anima/animus series, Brianna McCarthy

Words Sumaya Kassim, Illustration Divya Osbon

Based on readings for her PhD research, Sumaya Kassim writes on recognising the legacy of Claudia Jones and debts owed to the radical, black political tradition.

Alice Walker, June Jordan and Audre Lorde, et al. saw their feminism as inextricably tied to anti-racism, anti-imperialism and Third World struggle. But what connects Claudia Jones to the tradition of these women? What spaces did she forge as a predecessor? What arenas of discussion did she open internationally? Claudia Jones is remembered as a “civil rights activist” or “the woman who set up Notting Hill Carnival” - labels that are more palatable than her dynamic engagement with Marxism and the Communist Party. If we remember her in this way, we erase what made her radical.

not only in the “Third World” but also for the poverty-stricken working class in “free” America. Her internationalist, anti-racist, anti-imperialist stance through the McCarthy era would lead to multiple incarcerations and her eventual exile. Claudia Jones was born in 1915 in Portof-Spain, Trinidad. In 1924, aged nine, she arrived on the SS Voltaire in New York City with her three sisters and aunt. In Harlem, Jones began to seriously consider the injustices of her reality, the racism, extreme financial inequality and violence of Jim Crow America. In a short autobiographical letter to a friend,

Claudia Jones wanted to change the world and she saw an engagement with Marxism as the logical method for doing so. She believed with complete conviction that Marxist-Leninism would bring about peace

she identifies several key events, locally and globally, as explicitly awakening her political conscious: her experience as a working class, black woman, and that of her mother who died at the age of thirty-seven as the result of the

dire work conditions she was forced to work under. Jones also mentions the Scottsboro Boys case, in which nine black men were found guilty by an all-white jury (after three separate trials) of raping two white women and

Shortly after, she suffered from heart failure and was hospitalized, diagnosed with cardiovascular disease exacerbated by her time in prison. The next year, she became editor of Negro Affairs Quarterly. Finally, in

variously sentenced to imprisonment or death - a false conviction. Jones joined the Communist Party in 1936, and threw herself into writing, organizing and campaigning for justice. She became Associate Editor of the Weekly Review, and the secretary of the Executive Committee of Young Communist League in Harlem - a year later she was the New York State Chair of the NCNYCL. In 1941 she became the Educational Director of the Young Communist League, organising and giving courses titled ‘Negro Women in Political Life’ alongside Lorraine Hansberry and Charlotte Bass. She then became Editorin-Chief of the Weekly Review and Spotlight. In 1947, she was elected Secretary of the Women’s Commission, Communist Party USA. All whilst under intense FBI surveillance. Over a period of four years, Jones was arrested and released three times. In 1948, she was arrested and imprisoned on Ellis Island: released on bail the next day, she was immediately assigned by the Party to tour 43 US states, reorganizing state-level women’s commissions, recruiting new members and organizing mass rallies. In 1950 she was, again, arrested and held on Ellis Island for four months. Again, released on bail, she continued to speak, write and organize, serving on the National Peace Commission at the end of the Korean War. At her trial on February 2nd, 1953, at the height of the McCarthy witch hunt, she stood before the courtroom and declared: ‘Your Honor, there are a few things I wish to say! ... I say these things not with any idea that what I say will influence your sentence of me. For even with all the power your Honor holds, how can you decide to mete out justice for the only act which I proudly plead, and one, moreover, which by your own rulings constitutes no crime - that of holding Communist ideas; of being a member and officer of the Communist Party of the United States?’

1955, she was imprisoned on Ellis Island and then deported to London on compassionate grounds. In deporting her, America attempted to forget her and until very recently it had nearly succeeded. Jones was little mentioned until the release of Carole Boyce-Davies’ groundbreaking book, Left of Karl Marx: The Political Life of Black Communist Claudia Jones (2008). Davies demonstrates brilliantly how Jones revised Marxism to accommodate the experience of the black, working class woman, who Jones recognised had the potential to be the vanguard of revolutionary action. This is explored in her famous 1949 tract, “End the Exploitation of the Negro Woman!”. She writes: ‘The Negro question in the United States is prior to, and not equal to, the woman question; that only to the extent that we fight all chauvinist expressions and actions as regards the Negro people and fight for the full equality of the Negro people, can women as a whole advance their struggle for equal rights. For the progressive women’s movement, the Negro woman, who combines in her status the worker, the Negro and the woman is the vital link to this heightened political consciousness. To the extent, further, that the cause of the Negro woman worker is promoted, she will be enabled to take her rightful place in the Negro proletarian leadership of the national liberation movement, and by her active participation contribute to the entire American working class, whose historic mission is the achievement of a Socialist America – the final and full guarantee of woman’s emancipation.’ It cannot be overstated what a remarkable individual Claudia Jones was, but it is important to recognise her predecessors, friends and collaborators who formed a wide network of fiercely anti-imperialist, anticapitalist, internationalist men and women across the Atlantic. Claudia Jones cannot be written about without mentioning her

works with the ‘Sojourners for Truth and Justice’, a short-lived radical black women’s organisation which campaigned against imperialism, racism and sexism. Named after the abolitionist intellectual Sojourner Truth,

instinctively knew what the Caribbean community in London needed. She worked tirelessly to inject not only a sense of political consciousness, but a taste of joy and comforts from of the homelife so many had left behind.

the fourteen black women (artists, writers and activists) who made up the group are perhaps best known for convening over 130 women from across America to Washington, to protest the US government’s attempt to imprison W. B. Du Bois. Claudia Jones was a member of the Sojourners, and publicized their work whilst she was editor of the Communist paper The Daily Worker. She wrote about the Sojourners’ Pentagon protests against the Korean war, and their demonstrations against apartheid at the South African consulate in Manhattan. In 1955, when Jones was imprisoned in the immigrant detention centre on Ellis Island, just off the coast by New York, the Sojourners were her primary supporters, speaking out against the McCarthy witchhunt. In America, Claudia was best known for organising housing for the poverty-stricken - a cause that she continued after her arrival in London, where Caribbean families and workers were often turned away from accommodation because of their race. In London, she cofounded the West Indian Workers and Student’s Association, as well as setting up the West Indian Gazette And Afro-Asian Caribbean News (1958-1964) - Marcus Garvey’s first wife, Amy Ashwood Garvey, was on the editorial board. Donald Hind, writer for the paper, emphasizes its political engagements: ‘It reported the Sharpeville Massacre and the Rivonia Trials. The names of Walter Sisulu, Nelson Mandela, Oliver Tambo and Robert Sobukwe were known to WIG‘s readers – freedom fighters labelled by the British national broadsheets as troublemakers at best and terrorists by definition. There was no louder voice than WIG‘s on Commonwealth issues or on decolonisation.’ Entertainment was also high on the paper’s agenda: celebratory articles for Caribbean Beauty pageant winners, news articles on Caribbean writers and adverts on where to buy saltfish and rum. Jones

Jones also set up London’s first Carnival as a direct reaction to the Notting Hill Riots, and the violence and social discrimination of British racism. With London as her base, she visited the Soviet Union, China and Japan - tirelessly networking and writing to further her ideals. In 1964, she met Martin Luther King Jr. on his way to Oslo for his Nobel Peace Prize - her editorial feature of this meeting would be her last, and was published posthumously in WIG. It is still a time when men and women are accused and imprisoned, often without trial, for the colour of their skin, for the literature they have in their homes, and the personal convictions that they may or may not hold. In this sense, the many urgent questions and debates that were on-going in Cold War America and the world over remain: regardless of whether we align ourselves as Marxists or Communists, the spirit of anti-racism, anti-imperialism and internationalism that Jones espoused is something to be embraced, remembered and upheld. There is a direct debt to the radical, black political tradition - and to Claudia Jones for opening a space for creative expression, an arena for discussion and debate that returns to the question of the relationship between politics and art, and the embracing of a Third World solidarity and abandonment of national borders through our own “elsewhere” ties and beliefs.

Did I simply want a reminder of how bad I felt? Did I seek comfort and composure through this act of self-awareness? Or did I plan to channel my grief into my work, creating something new and hopeful from what

the notion of selfies so particularly loathsome, whilst accepting more traditional forms of self-portrait? One reason may be that the ability to constantly capture and publish one’s own image, only disconnecting for sleep,

felt like miserable failure? It was probably all of the above, and I know that I am not alone in taking a photo exactly like this. Selfies are so ubiquitous and easy to dismiss as narcissistic, amateur personal PR, but however averse to them I feel, there is definitely more to the selfie than that. Many friends have confided in me that they have also taken selfie style photographs in moments of sorrow, loss or despair but these are rarely shared, let alone touched up with Lo-Fi or Nashville. Once I had taken my own sad selfie, I didn’t actually look at the picture very often, and I didn’t do anything with it at all. Two years on, when I heard that the theme for this issue was drawing, I knew exactly what I wanted to do. I found the photograph, held in the memory of my old mobile, and I sat down to draw it. My selfie became a pencil drawn selfportrait, and just like the original photo, it is not embellished and does not flatter. I have always been fascinated by self-portraits and the intimacy they permit. I was very content to share this drawing with you, when I began questioning why I was so happy to publish this self‑portrait, whilst my selfie had languished in a forgotten phone, never uploaded, posted or ‘liked’. The Observer art critic Laura Cummings, another lover of self-portraiture, described how; “Self-portraits go further than portraits. Whatever they show of the outer appearance — and they may be fanciful, flattering or downright inconsistent — they always offer a special class of inner truth, a pressure from within that determines what appears without, how an artist chooses to picture himself both in and as a work of art.” And I would argue that this can also be true of selfies. My selfie photo is no less meaningful, intriguing or considered than the drawing that came from it, so why not share it rather than the drawing? Why have I, and so many others, found

has led to an overload of indistinguishable and unremarkable headshots. In our world of instant social interaction, where the superficial image is king, far too many selfies seem to have a reductive effect on the subject, simply to clamour #LOOKATME, #LOOKINGSEXY and little else. As a result of social networking it would appear that self-portrayal has become almost inseparable from the aim of selfpromotion, and more darkly, self-obsession. But must all selfie self-portrayal be consigned to the cesspit of duck faces, trout pouts and Blue Steel? Self-awareness and taking ownership of one’s own image is not always shameless narcissism; self‑portrayal has the ability to capture and convey an undiluted intensity of feeling and truth. Perhaps the act of turning my selfie into a drawn self-portrait stripped the image of the connotations that make selfies so reviled, and in my case made it more palatable for me to consider sharing. Recognising these connotations has led some critics to discuss the selfie in art terms- it has its own language, its own code that communicates something about the individual portrayed, more than just the visual image. The American art critic Jerry Saltz has gone so far as to describe selfies as a “new visual genre” in the world of art. Importantly, he also argues that ‘good’ selfies are more revealing than they are superficial, and that’s when they become “thrilling. And more like art”. “When it is not just PR” he suggests, “it is a powerful, instantaneous ironic interaction that has intensity, intimacy, and strangeness.” Whatever reservations I may have about sharing my own selfies, I really appreciate this argument. The most compelling selfies are certainly those that resonate with authenticity, and don’t seek validation. They may be conscious of your gaze, or even intended for it, but just as Laura Cummings described of self-portraits, in seeing

Warehouses, Sabba Khan

Photography Sara Foryame

Everything being built in Doha leads to 2022, when Qatar plays host to the World Cup. Sarah Forayme has begun the first stretch of an 8-year project to document the developed, undeveloped and the semi-developed in Doha until the World Cup takes place. Beginning with the communities of migrant labourers living downtown, to the visible changes to urban infrastructure, transportation and lifestyle, her work-in-progress bears witness to a city as it is revised and reshaped.

+++

Interview Fatuma Khaireh, Photography Taylor Kay

Rianna, Pelin and Kareem are The Lonely Londoners, an art haus of self actualising artists of colour working as curators, creative directors, editors, micro-press and distro to capture the wave of potential this generation has to offer. OOMK caught up with them on their return from a 3-month residency in NY to talk about shaping a movement, shaking up the art game and taking ownership of Londonâ&#x20AC;&#x2122;s diasporic streets.

+ Who are The Lonely Londoners? Kareem: We’re best friends from Jamaican and Turkish families who share research, influences, experiences and creative resources with each other. We each have interests in art

feel in 140 characters or less if we didn’t agree with them on Question Time that week. As much as we travel, we always come back. These grey skies, rainy days and stiff upper-lips are a part of the package. London is that cup of tea

direction, curating, the cultural DNA of fashion, visual art, film, DIY publishing and progressive literature. When creating dynamic, authentic spaces for our community and ourselves our approach is grassroots.

with a splash of milk, two sugars and brewed just long enough.

+ Why the name and how does it relate to the novel by Caribbean writer, Sam Selvon? Rianna: Selvon made it a priority to represent the underrepresented. He told the stories of working-class Caribbean immigrants and how they navigated through London streets when signs proclaimed ‘Keep The Water White’. We model ourselves upon this history. We resist and exist every day actively by claiming a city that belongs to us too. Kareem: His novel captures London as we know it; young London, immigrant London, racist London, hustling, dreaming London. It’s a great documentation of the early decades of a subculture that is still incredibly complex and something we are very much products of. Pelin: We all know the struggle our parents and we went through trying to assimilate in a new country without stripping away our own culture and identity. LL is about reclaiming spaces as our own, with no apologies, with no feeling that we owe anything to anyone. We have more to give than that which is given to us. + And what about London, how do you feel its influence? Pelin: From our logo to our aesthetic to the way we pick our gallery spaces - we are Londoners through and through. We love clean but gritty, honest but nuanced, saying something loud in a whisper. That’s the way London is as a city. You have to look carefully to catch something. That’s what we hope to reflect in our work no matter where we are. Rianna: London is the city where nobody will look each other in the eye on the tube but we have no issue telling an MP exactly how we

+ How do digital spaces inform your work? Pelin: Where would we be without digital spaces and the wide casting net that comes with it? We’ve made so many connections from a simple repost on Soundcloud, friend request on Facebook, a reblog on Tumblr and a retweet on Twitter. Rianna: We’ve made networks with people on almost every continent in the world (South America we’re coming for you!) all made possible by the digital. We’re the first generation to really grow up parallel to the world wide web and it would be odd for us not to utilise and command it the way we do. + What’s next? Rianna: We had an intense but fulfilling three months in NYC where we had our biggest and first international collaborative show, Queenies, Fades & Blunts, centered around the QPOC beauty space experience. We met the kind of artists that are hard to find; the ones who put their community first and that is the most cherished thing of all. And whilst in the States we co-produced a documentary with Javier Canaval-Saavedra that we can’t wait to share with you all. Personally and professionally the only way is up. We’re going to continue to expand the team and our particular practice of curating and creativity that demands inclusivity and innovation. Museum/gallery culture and what it means to exhibit art is something we’re looking forward to grappling with this forthcoming year. Basquiat said that he was “just tired of seeing white walls, with white people, with white wine” and so are we. Pelin: Just know that it’s no coincidence you can hear Clipse’s ‘Grindin’ playing softly in the distance.

Images Molly Crabapple, Words Sofia Niazi

In an attempt to collate and organise personal accounts about the effects of theÂ â&#x20AC;&#x2122;war on terrorâ&#x20AC;&#x2122;, 100,000 Names was a memorial project spearheaded by US based Syria activist Amal Hanano to honour the memories of those killed in the ongoing conflict in Syria. On March 14, 2013, Hanano lead a powerful 72-hour-long recitation on the White House lawn of 100,000 names of those killed in Syria. To coincide, political illustrator and activist Molly Crabapple made a series of haunting portraits of some of those mentioned in the memorial. The portraits have been shared widely online on different platforms, confronting us with a glimpse of the real lives of the people behind the statistics; they act as a haunting reminder of the devastating loss of life in Syria.

Amina Othman, was a second year literature student at the University of Aleppo. She was displaced three times during the conflict. Amina was killed in Aleppo in 2013, when her uncle’s home was shelled while she was inside. Rua Ismael, was eleven when she reportedly died from a bombing in the town of Salamiyeh on Jan. 25, 2013. After her death, Rua was nicknamed “Syria’s Snow White” on Syrian social media.

Made in America, Saira Wasim 26

Words and Image Arub Saqib

“Drawing is a supernatural process; the artist, a supernatural being. Their gift is otherworldly, their talent seemingly unattainable.”

Or is it? An obsessive alchemist forensically deconstructs evidence she gathers of her own drawings. Obsessed with her own masterpieces, she is in wonder at how she produces them, frustrated that there is no formula that can be replicated. She looks for patterns, repetitions, rhythms, routine and order in the performance that can be standardized, formulated, relied upon. That can be built on, instrumentalised, reappropriated, reduced or refined. To this end she subjugates herself to a harrowing series of introspective investigations. The process becomes the piece of art. Of the same — if not more importance — than the masterpiece itself. For it demystifies. It is the code that gives a way into the practice of the artist. Prototype of a Drawing Machine was the alchemist’s calculated attempt to cast a restraint on her own gestures. To initiate her scheme, she needed a mechanism that she could manipulate to extract the blueprints of the drawings behind a drawing. Glancing over her workbench, her gaze cast over an abandoned typewriter. She flung herself at it. Pulling it towards her, she jammed at the keys. She beat at them repeatedly for hours, until she found consistency. She found order. She found discipline. There was reassurance in the repetitive ringing of the keys. There was rhythm in the resonating bell at the end of each sentence. She would use this prototype to encode layers into her own movements. Layers like sound, and the same repeated action. To attach a different perspective to her own movements, another layer of meaning. However arbitrary that meaning may be, for now.

Untitled Sketchbooks, Fatma Al-Remaihi

In her recent project Fabulous Generation, Reiko Chen set out to show the creativity, style and vitality of an older generation through fashion. Confronting the age old problem of people wanting to look younger she created images encouraging senior people to be positive, to achieve their dreams and goals through their own lifestyle and also to encourage younger people.

Words Hamizah Adenan

Hamizah is founder of Odd One Out, a new independent Malaysian magazine, focusing on the topic of ‘people’. The promotional issue was distributed for free earlier this year in conjunction with Desiderata magazine Vol.3, and will become Paperleaf’s third publication.

+++ At this point, giving up is no longer an option, so I have to continue to power through and get it done even if it takes me a hundred years to hold the magazine in my hands. +++ “I started Odd One Out because I wanted to create something to call my own, a combination of my passion for printed matter and wanting to prove to myself that I was able to take on a project of this scale. Odd One Out was about focusing on everyday individuals and allowing them to express themselves and share their ideas, ambitions, and experiences. Choosing to centre the magazine on the topic of people was an instantaneous decision. I wasn’t interested in covering people who were

reported in other more renowned publications already, but in those who weren’t given the opportunity to tell their stories as often as they’d like. So I started somewhere familiar, my home soil, Malaysia. One of the key things I wanted to get absolutely right was how the people we covered were portrayed in the magazine. It was important that the photography had a flyon-the-wall approach, a casual, candid feeling inviting the readers into their world rather than creating a barrier. We are currently in the last stages of compiling all the content for the first issue.Ensuring I stay true to my vision has made the journey particularly challenging. The fact that I can’t pay the writers and the photographers that I work with yet makes it that much harder. I constantly find myself treading a fine line between sticking to what I want and cutting corners to accommodate other people. It didn’t take long for me to realize that it was a matter of choosing my battles wisely, deciding what was worth fighting for and what was easier to let go of. I don’t have half the experience that my publishing heroes have – and its still too early in the process to be handing out advice. But if there’s one thing I’ve learnt during this premature stage of creating Odd One Out, is that you must have a strong vision of what you want to produce. It’s impossible to make every single person in the world like what you have created, so at the end of the day, it’s important that before everyone else, you are the one who is satisfied with what you’ve done.

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