The Kult Team
03
Kult Mag May 2010
Director: Ralph Peskett ralph@kultmag.co.uk Graphic Designer: Susudio Design susudio@kultmag.co.uk Editor: Orlando Bowie orlando@kultmag.co.uk Music Editor: Huw Bradbury huw@kultmag.co.uk Advertising: ads@kultmag.co.uk Further Assistance from: Sophie Harrison, Fat C, Sam Greenup, Rory Powis & Paul Jenkins
Contents
Ben The Illustrator Adam Haynes Bambino Monkey Paul Shih NIKE78 Pimp My Pumps D*Face Arsek & Erase Fatima Music Reviews
Kult Mag May 2010
Ben The Illustrator...
Ben O’Brien is a commercial illustrator/designer based in Cornwall, UK. Ben works alongside his wife, Fi, who manages their Wish You Were Here brand, producing and selling fine art prints and homeware products. When did you first discover that you wanted to be a designer, and did you come from an arty background? I don’t really come from an arty family, but drawing was all I ever really did as a kid - drawing, daydreaming and being outside. My folks were very supportive of me, which helped a lot. I guess I grew up with creativity around me though. My mum was an antiques dealer, so we always had all this awesome vintage stuff hanging about - old bakelite cameras and radios, vintage magazines, clothing… And both my folks were really into music, so that was always influencing me. I knew I wanted to get into some kind of art or design career, but it took me a while to figure out what. I admired a lot of graphic designers in the late 80s and early 90s - loved graffiti, loved music, and more so music videos. When I left school in 1995 I went to art college in London, and at the time animation and music videos were booming - Shynola, Spike Jonze, Michel Gondry. So I followed their influence and studied animation, then went on to direct and animate music videos myself. From this I joined a small design/animation studio as creative director. It was a blast, I learnt so much and got to work on so many different things. But I never felt perfectly settled - I was always looking out for the next thing, something to move on to. All this time I’d been doing my own illustration jobs on the side. Then one day I realised THAT was where my passion was. So I completely moved away from
Kult Mag May 2010
animation and became Ben the Illustrator. That was 2005, I think!?! Since then I got married, and have been lucky enough to work alongside my wife, Fi. I can go beyond straight forward solo illustration commissions now as we have our own homewares brand, Wish You Were Here. We design wallpapers, fabrics and art prints, and we also work on commissioned design and illustration projects. I now feel completely settled. Can you explain your working process to us? It’d depend on the project, but generally I get a brief from the client via my agent, Agency Rush. Then the first thing is always for Fi and I to thrash about some ideas, then sometimes just sit on it for a day or two, let things evolve in our heads. We’ve got a little dog and most of our best ideas come when we’re out walking him. Then I’ll spend some time drawing, just pencil and paper, translating our ideas into reality. Often the client will be shown these original drawings of ideas to see what direction we’re going. Then once we have concepts and ideas all set in concrete, I’ll take the drawings into Adobe Illustrator and artwork them up in colour. I use a Wacom tablet - couldn’t work without it. There’ll always be some amendments to make towards the end. Fi and I will often come back together again as we’re finishing to get a split opinion on it all - see what else could be going on, check all the colours work together. And then we’re done! How do you find life as a full time illustrator, was it easy to get there? I love it, really do. But to be honest it wasn’t easy - you have to be your own marketing department, accountant, time-keeper... I’m blessed to have a good agent, and I’m lucky to be doing what I’m doing; but I didn’t always have an agent, and it takes a lot of hard-work to be this lucky! What is a typical day in the life of Ben? Well, since we had a baby three months ago, it’s a little different to how it was, but generally the working day starts for me after I’ve walked the dog, Doze - which in a way is part of my working day. It’s a quiet half hour when I can gather my thoughts, plan my day, and think about what needs doing. It’s a good start to the day. Fi’s not working in the studio full-time right now since she’s being a mum to little Woody,
so I’ll say hi to them after walking the dog, and then go get settled in the studio. Firstly I always go through my emails, reply to urgent things, put less urgent things off till later, say hello to the world on Twitter… And once my inbox is all tidy, I’ll get on with whatever job is at hand. I usually do the best drawing - on paper - at the end of the day or in the evenings. So the best days are the ones when I have to get on with something new in Illustrator. I break for lunch, but I usually find that a long lunch can really affect the afternoon, so I don’t stop for long. First thing after lunch is usually catching up on those emails I put off in the morning. Then back to illustrating for the bulk of the afternoon - and the evening when things are busy. I’ll often check in with my agent at some point, always a pleasure. They take care of dealing with new clients, negotiating fees, invoicing, contracts, and so on, so it’s good to
always be up-to-date with where everything is at. At the end of the day I’ll usually have one last blitz through emails and a bit of a tidy up, then I’m done and it’s back to the family. Probably two thirds of every day is illustrating, and for that I am happy to be doing this in life. What would be your top tips for anyone who is trying to launch a career as an illustrator? You have to be confident - confident that you can succeed, confident that you have pure talent, confident that people will want to pay you to do work for them. You also need to be a pleasure to work with - trusty, focused, and an enjoyable person to contact. But I think the one thing that really makes a difference is being exciting. You have to be excited about the prospect of illustrating for a career, you have to create work that excites you and excites others peers, potential clients etc. People have to be excited about working with you, and you have to be excited about working with them. Be exciting.
“People have to be excited about working with you, and you have to be excited about working with them. Be exciting.”
What do you enjoy most about your job? Just the fact that I make pictures for a living - it’s my boyhood dream. I love playing with colour, playing with shapes. I always like to push myself to create something fresher than the last project. I especially love working with advertising clients. I love the teamwork - everyone has a role, and together you all create something big. What’s your favourite meal? Ahhhhhhh, now that’s a tricky one… I have two: Macaroni cheese and roast chicken. A few years ago on my birthday Fi cooked me a macaroni cheese with roast chicken on the side! If I had to choose one... I think I’d say roast chicken. www.bentheillustrator.com
Get involved! info@kultmag.co.uk Kult Mag May 2010
The Kult Mag Team are always on the look out for young creatives. We are a friendly bunch and we promise to get back to you.
Superfly! Name: Adam Haynes Location: Bend, OR, USA Influences: (Music) James McMurtry (Artists) Evan Hecox, Katsuhiro Otomo, Frank Miller, Josh Keyes, Mike Parillo, Kevin O’Neill (Writers) Alan Moore, David James Duncan Working process: I usually work from photos I’ve taken whilst rambling, walking the dog, traveling, road-tripping, or cruising around town. I’ll compile these into pencil sketches, then ink or paint over the top. I like the photo reference for detail, but rarely trace photographs directly. I prefer the distortion I get when I transfer and compile imagery with just my brain and a pencil. Equipment used: Canon Rebel Xti, Scanner, Imac, pencils, crow quill pen, india ink, acrylic, Copic Multiliners. © Adam Haynes 2010 www.stickfort.com
Kult Mag May 2010
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1. Lone Pine 2. Nike 6.0 Encore Ad 3. Timber 4. Rogue Wave Detail 5. Nike 6.0 Vertigo campaign - Surf detail
Freshness! Bambino Monkey The bambino monkey was born in 1979 in a family of elegant playdough wolfes. Soon two old women taught him the ninja art of dot to dot drawing. When he was finaly able to come out to the street he befriended a monkey, a tatooed girl, a robot with a moustache, and a giant potato. From that moment on he drew nothing else... www.bambinomonkey.com
Kult Mag May 2010
Paul Shih Name: Paul Shih Location: Auckland, New Zealand Influences: (Music) Pennywise, Bad Religion, Thrice, Deftones, Anti Flag (ArtMark Ryden Working process: Paper dioramas are hand painted, cut out every element, position in a diorama, and photographed with DSLR Equipment used: Pencil, pens, Indian inks, Tamiya scissors, Canon EOS 550d www.paul-shih.com
NIKE78
The term ‘function’ has become a byword for the boring; overlooked as a
by Rachel Edwards
formality for the fit for purpose, we surround ourselves with products that are abundant in practical properties. But take 78 creatives and one cutting edge brand and offer them the challenge of going against the rational norms of one such product, and you’ve got yourself a recipe for retaliation. Introducing NIKE78, a platform upon which 78 pairs of NIKE trainers have been
distributed to 78 creatives from multidisciplined backgrounds. They’ve each been broadly briefed to challenge the function of their pair and Wieden+Kennedy London, Justus Oehler of Pentagram Berlin, eBoy and KesselsKramer Amsterdam are just a handful of names of those involved. Using sport as inspiration, it’s a unique project named after the year in which NIKE was born as the brand that we know it to be today. Created by Paul Jenkins, a Londonbased graphic designer, he acquired enough Air Max 97’s in 2008 to fill a Size? stockroom. Sat since in his hallway awaiting their transformation, Jenkins explains how he came to obtain so many sought after trainers. “When a project was being organised between NIKE and University of the Arts London, I was personally recommended to run the project and the original idea was to create something that was insightful whilst at the same time functional, not just another trainer tagging idea.” Kult Mag May 2010
Reminiscing on his own early experiences of NIKE, he admits that from a young age he was a yearly buyer of NIKE Cortez` but is nowadays found to be more an advocate of the ‘89 Air Pegasus. Regardless of style, Jenkins has remained a long term follower of NIKE’s both sporting and creative endeavours. “My admiration of NIKE’s ability to push the boundaries of sport with such insightful, creative flair is something that I have aimed to continue with NIKE78 and their rich heritage of sports culture makes them an aspirational brand to work with on every level.” As for the creatives involved, they’ve been sourced from across the globe. From designers, typographers and illustrators to screen printers, ad agencies and film makers, they all have great ideas in common. “I sourced a lot of people whilst I was working in Berlin, looking out for yet to be discovered
Taking part in this year’s London Design
talents and people from all fields of the
Festival, renowned for its nine day annual
creative industry. I didn’t want to use the
celebration of the city’s most diverse
same type of people that occurs repetitively,
design talent, it’s a fitting debut for such an
but invite unique people who have that touch
innovative London-born project. “LDF is a
of conceptual brilliance. Through a rigorous
great showcase of how good a creative city
process, I whittled it down to a final 78
London is and the team are passionate and
which was by no means easy but the result
enthusiastic people, exactly the type I love to
is participants contributing work worldwide,
collaborate with.”
located in New York, Amsterdam, Berlin, Russia, Tokyo, Australia and all over the UK.”
With promises of ‘GalvaNIKEs’, ‘Impressions in the Air’ and a ‘NIKE Cup’, participants of the project have each broadly interpreted the brief to go where no creative has gone before with them; and when functionality is this fun, who cares whether they’re fit for purpose?
Pimp My Pumps By Alex Synamatix
NIKE AIR 180 (RE-ISSUE) First released back in ’91, the Air Max 180 was a running marvel with 50% more Air than in any previous Nike Air shoe. For the first time ever, Nike had made the air unit visible from a full 180º, with the air unit visible from under the shoe as well as the sides. The Air 180 is an iconic shoe that disappeared off the sneaker scene pretty soon after it arrived ... a year to be precise. I guess people weren’t ready for it. Brought back this year in two OG colourways, the 180 has made a strong and much deserved return. As far as comfort goes, this shoe takes a lot of design direction from its Huarache predecessors, using a ‘sock’ system that attaches the tongue to the inside of the shoe. If you’ve never worn a shoe like this before, go and try on a pair of 180s - it’s like putting on a pair of gloves for your feet.
Kult Mag May 2010
NIKE LUNAR REJUVEN8 MID+: This shoe may look rather understated due to it’s minimal appearance and clean colour-way, but this is the kind of shoe that sneaker nerds drool over. Using Lunar technology on the sole, Torch material on the upper, the silhouette of an Air Footscape Woven Chukka combined with the Rejuven8 AND Nike+ technology ... Nike have gone in all guns blazing and absolutely killed it! This shoe might as well be the definition of comfort. Ready for the Summer, the Lunar Rejuven8 Mid+ is mad light thanks to all the technology chucked into it. Plus, it’s very breathable, so less sweaty feet. Paired up with a pair of chino shorts (no socks obviously), these will demand attention and praise. These kicks have been created to commemorate the World Cup, designed in association with UK artist James Jarvis as a way of repping the England team. Hence the England colour-way and custom Ye Olde English style Nike logo on the tongue. Too fresh.
ASICS GTII X HANON ‘NORTHERN LIITES’ Scottish sneaker specialists Hanon have teamed up with Asics to create this heavily themed GTII to celebrate their 20th anniversary. The Northern Lights theme runs deep into the shoe. The upper is made of dark greyscale premium suede, full grain leather and air flow mesh to represent the night sky, whilst the tiger stripes use bright colours and Scotchlite overlay to represent the ribbons of colour that the Northern Lights are famous for, as seen on the insoles. Take a closer look at the heel of the sole and you’ll notice a translucent panel that shows you the night sky. Killer! If this theme wasn’t strong enough already, Hanon have gone one bit further and referenced the ‘Northern Soul’ theme that they developed a few years ago as well. To resemble their 20 years in the game, they have created a special “Keep on burning” emblem that sits on the woven tongue tab, inspired by the imagery and slogans of the late 60’s UK musical movement ‘Northern Soul’. All in all, this shoe has one of the strongest concepts behind it that I have seen in my years as a collector. It’s also just a damn nice looking shoe! The inclusion of 3 pairs of laces is a huge look … something that more sneaker companies need to be doing on a regular.
Kult Mag May 2010
Retro Chavs What Paint Shit
Photo: Sam Greenup
d*face Kult Mag catches up with D*Face, a London based street artist whose work is as comfortable hanging in galleries and skate parks, as it is framed against the backdrop of the street. D*Face has been busy spending time opening up his own street art gallery, the Outside Institute in London, as well as working on his own creative projects and collaborations. Interview: Ella Dickenson
BACK IN THE DAY, WHERE DID YOUR INSPIRATION TO DRAW FIRST COME FROM, AND HOW DID IT GROW? I was really inspired by the books ‘Sub Way Art’ and ‘Spray Can Art’ - my mum brought me that book and it was like a match to a fuse. A few of the older kids at school were also into graffiti, and skateboarded as well, so I used to get hand down Thrasher magazines from about ‘85 onwards. It was those early Thrasher mags that really changed my life: the layout of the mag, the bands they featured, and most importantly the adverts featuring skate graphics, particularly Santa Cruz - they really poked me in the eye! It was these graphics in particular; and I later discovered the artwork of Jim Philips, Vernon Johnson and
Kult Mag May 2010
the album artwork by Winston Smith and Raymond Pettibon, which were all huge influences. I failed all my school education because of my ‘extracurricular’ activities, but managed to get myself onto a course studying animation and illustration. It was this course that connected all the things I’d been into, and showed me that a career as an artist or illustrator was a possibility for me. SKATE CULTURE IS AN INTRINSIC PART OF YOUR WORK. HOW DID YOU FIRST GET INVOLVED WITH IT, AND HOW DID YOU CONNECT IT WITH YOUR ART? My first introduction to skateboarding was my father buying me a plastic moulded board when I was about seven. I’d roll around on it, mainly seated, and
of that skate shop was a Santa Cruz Ray Meyers freestyle board. I wanted it so bad it hurt. Only last year, I finally managed to track down a NOS board. It hangs proudly on my studio wall with my collection of decks. DO THE CREATIVE IMAGES YOU’VE GOT IN YOUR HEAD ALWAYS TRANSLATE INTO REALITY AS YOU ENVISIONED THEM? Not always. In truth, I’ve always struggled with that since I was a kid. I’d get incredibly frustrated with the image I had in my head and the one I was trying to render. As I’ve grown older, and the more techniques I’ve learnt and practiced, the happier with the final visual outcome I’ve become. I’m incredibly critical of my work and I’m always striving to refine my working process in order to translate my ideas as best I can, for both my sake and the public’s!!
paddle down the garden path. Nothing more to it than that! Not until I watched ‘Back to the Future’ in ‘83 did I suddenly realise what I was missing: seeing Michel J Fox ride his wide board through town being towed by a car was the BOMB! I nagged my mum to buy me my first board for my birthday - which, after much harassment, she finally gave into!! It was my first visit to a proper skate shop, one of only a handful that existed. Walking into that shop was life changing. The boards hung on the wall, the wheels and stickers in the glass counter, the smell of UV coated screen printed graphics - mmm mmm. My parents were hard up, so could only afford a Variflex setup on a blank board, which was kind of cool as it encouraged me to paint my own graphics. So from that first board on, that was my introduction and connection. The first board I saw on the wall
Kult Mag May 2010
YOUR WORK IS CURRENTLY ENJOYING INTERNATIONAL ATTENTION. WAS THERE A PARTICULAR BREAKTHROUGH MOMENT FOR YOU? It is? Cool. Glad to hear that. I’m not sure about there being a breakthrough moment. I always seem to be hustling, and plugging away, just doing me. But I guess having a 12 page feature in Juxtapoz and a NY solo show helped wise people up to what I do. DO YOU FIND POPULARISATION OF YOUR WORK HAS MOVED YOU FURTHER AWAY FROM THE FUNDAMENTALLY RAW NATURE OF STREET ART? Quite the opposite: I always wanted more people to see my work. When you put work in the street, for the most part you pick spots that get seen and have high foot fall. The more visible it is and the more people see it, the better. I also enjoy working in the street more than anything. So as long as my vision, ideas and integrity aren’t being compromised, then there’s no reason why my work should lose its rawness - whether in the street or otherwise.
DO YOU THINK THAT STREET ART IS A BAROMETER OF CONTEMPORARY SOCIETY AND CULTURE, OR A MORE RANDOM MICROCOSM OF ARTISTS’ THOUGHT PROCESSES? Interesting question: I don’t think it can be seen as a barometer of contemporary society and culture, because if you look at it historically, it’s been part of our social dialogue for centuries, in one form or another. But I do always think of it as an art form that appears in the public domain - be that in the form of a poster, sticker, stencil or chalk drawing. When I compose a piece of work, I almost always think of how that piece will appear in the public domain. Whether it ends up being a street piece or a piece for a gallery show, I always imagine how it will look in the street, and what mediums I would use to produce it. So based upon my own thinking, I can only say that it’s a microcosm of the artist thought process. WHAT CAN WE EXPECT FROM YOU IN 2010? More of the same times ten! I’m working on a couple of projects: a few musical collaborations and a street project that’s been cooking for a few months now! I’m also working on a few show concepts, here in the UK, and also in Tokyo and LA. I’m just figuring out what, when and where. www.dface.co.uk
Kult Mag May 2010
Fatima Written by: Trol23 Photo: Theo Martindale atima has been making waves with her E.P Mind Travellin’, work with Dam Funk, and as the go to vocalist for the Eglo Records crew and the Floating Points Ensemble. I caught Fatima on the hop between chasing “unprofessional” letting agents, and she is remarkably chilled for someone who has just been flooded out of her previous flat. Sitting in the park on a warm spring evening I worry that she’ll think me “unprofessional” too as my dictaphone runs out of juice and I scrabble for pen and paper. But she’s very understanding and patiently goes slowly so I can keep up.
Kult Mag May 2010
Growing up in Stockholm in the 90’s on a diet of U.S R&B and Hip Hop Fatima, traces her love of singing live to drama class at school. “What I liked most was the improvisation stuff. It’s the same with the freestyle aspect of singing live. I love the unpredictability of it, even if sometimes it can be so shit!” There’s music in her family too with her Dad and Grandad both playing instru-
ments. But growing up with her mum is what gave her the most inspiration. “My Mum used to run this shop called ‘Boutique Afrique’, selling all sorts of African stuff but also instruments, drums, I used to go with her to Gambia and Senegal when she went to buy Djembes and stuff, you can’t go there without being surrounded by music.” What is immediately striking about Fatima is how down to earth she is. Talking about working with people is always primarily talked about in terms of friendship. She met Floating Points at Plastic People’s CDR night and they hit it off straight away and started to hang out, “Alex (Nut) and Funkineven I met at various nights around town, when Alex and Sam decided to start Eglo, I jumped on board star ship Eglo and off we went.” “I never had a specific plan, I just kept doing my thing.” It’s maybe part of what makes Eglo Records such a likeable outfit. They’re clearly a bunch of mates having fun with music, and it’s infectious. In Funkineven she seems to have found an ideal musical partner. She sings with an assured and rich, soul drenched, voice that sounds instantly classic and lends itself perfectly to Funkineven’s retro stylings. Listening to the E.P puts you in mind of so many
Kult Mag May 2010
classic funk and soul joints but it isn’t just recycled funk. Sonically it has more in common with SaRa than George Clinton. It’s a beautiful fusion of old and new sounds and styles, partly as a result of a meeting of old and new equipment, that creates a shiny new whole. As Fatima puts it “It’s soulful with a funky feeling; funk and hip hop with twisted vibes” In terms of the future, Fatima is “working on a live set” of her tunes, and “finishing off a new E.P.” The world really seems to be her oyster and when I ask her who she’d like to work with she aims high, “Timbaland, when he was doing the Missy Elliot stuff, or someone like the Neptunes.” She giggles, “you know...the big dogs!” And why not, she has the talent, and as importantly she has a lovely outlook. Closing the interview she sends her thanks “to all my friends and family in Sweden, and to all the people, worldwide, who come out and dance with me and the Eglo crew, without the support we couldn’t survive, I’m truly grateful.
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Kult Mag May 2010
b tg lo n d o n .c o m – bridging the gap –
By Fat C
Pearson Sound
Mulatu Estatqe
PLSN / WAD EP
Mulatu Steps Ahead
Pearson Sound is one of the more recent alias
Mulatu is back!! Mulatu Steps Ahead is his
of Hessle Audio label head David Kennedy
first solo studio album in over 2 decades.
aka Ramadanman. Along with the likes of
From the word go this album keeps you
Ben UFO, Pangaea and Untold, Hessle Audio
guessing. It’s clear that over the years he
are pioneering the way for the new dubstep
has picked up styles and inspiration from
sound, using house and techno as a more
around the globe. The track ‘Motherland’
direct influence. The Pearson Sound project
initially transports you to some dusty Eritrean
seems to take a more minimal approach
backstreet cafe in northern Africa before
focusing on progressive percussion patterns
fusing into a more traditional jazz sound that
that seem to be constantly pitched up and
could be found at the likes of Ronnie Scotts
down. This effect is then met by some seri-
or the Cotton Club. Again, refusing to bound
ously oldskool sounding synths somewhat
by genre or style, I Faram Gami I Faram starts
reminiscent of the late 80s acid house days
with a distinct Latin flavor, only to be layered
spent chewing someones ear off at the Haci-
with the heaviest afro beat horns you could
enda till the early hours. WAD, while staying in
ever wish to hear, all topped by what can
the same vein, gives of a completely different
only be described at Muslim prayer chanting.
atmosphere. It takes on more of a techy
Mulatu seems to defy age while continuing
samba party vibe, extremely difficult to stand
to be relevant in todays mish mash of cross
still to when dropped in a club. Pinoneering
genre music.
lebels like Hessel Audio, Blunted Robots, Hyperdub and Tectonic are sculpting the future landscape of a more interesting a sophisticated dubstep sound. Get involved!
Exhibitions
Who
WhaT
The exhibition will feature a kaleidoscopic range of artistic styles from the likes of established surrealists Allison Sommers and Yosuke Ueno, emerging realists Linnea Strid and Pakayla Rae Biehn, prolific street artist Gaia, and up and coming figurative painter/illustrators Audrey Kawasaki, Amy Sol, and Stella Im Hultberg.
A group exhibition featuring a bold selection of international artists from the burgeoning New Contemporary Art movement. Produced in collaboration with Los Angeles’ Thinkspace Gallery, and showcasing a comprehensive selection of 45 of the most exciting and talented individuals working within this movement, ‘The Next Generation’ brings the best new international talent right to the doorstep of London’s Contemporary art community.
WhErE
WhEN
London Miles Gallery Westbourne Studios 242 Acklam Road, Studio 303 W10 5JJ. U.K (44) 020 317 08618
June 12th to July 4th, 2010 Monday - Friday / 10am – 9pm Free Entry
Kult Mag May 2010
Who
WhaT
East London’s Black Rat Projects will be hosting an exhibition featuring works by artists including Jean-Michel Basquiat, Keith Haring, Shepard Fairey, Swoon, Banksy, Barry McGee, Faile and Os Gemeos. ‘Now’s the Time’ named after a Basquiat painting of the same title -and brings together the most important and influential street artists of the past four decades.
Street art is not a new phenomenon - for at least four decades artists have chosen the streets as a primary place to exhibit works. Most of these artists were initially shunned by the establishment but a select few gradually gained acceptance from a slow moving and conservative art world. Artists such as Jean-Michel Basquiat and Keith Haring were amongst the early practitioners of what has become known as ‘street art’ and it is the descendants of their work and ethos who are among the best known artists working on the streets today.
WhErE
WhEN
Thru Cargo Garden Arch 461 Kingsland Viaduct 83 Rivington Street London EC2A 3AY. Nearest tube – Liverpool St / Old St (44) 020 7613 7200
22nd April to 20th May, 2010 Tuesday to Friday / 10am – 6pm Saturday / 11am – 4pm Free Entry
Hicks, London Series 3 Champion
www.secretwars.co.uk London • Birmingham • Southampton • Brighton • Cardiff • Dresden • Malmo • Copenhagen • New York Glasgow • Dublin • Bristol • Oslo • Helsinki • Stockholm • Melbourne • Berlin • Zurich • Beijing • Tokyo • Los Angeles Kult Mag May 2010 Photo by Phiilip Gabriel www. phiga.de
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