The Art Issue by Show Media Ltd

The Art Issue / March 2013

g r ay s o n p e r ry In an exclusive interview, Britain’s best loved contemporary artist talks about tapestries, television and a Taj Mahal in Essex –Plus–

Art in offices, at the Tate, in the shops and on the streets of Victoria

Grayson favour In anticipation of Grayson Perry’s tapestry ‘The Annunciation of the Virgin Deal’ going on display in Victoria, the artist talks exclusively about his love of textiles, his obsession with taste and his new project to build a Taj Mahal for Essex interview jacky klein

You’re probably best known in the art world for your pots and ceramic works, but it was a tapestry that really brought your work to wider attention. Why did you decide to turn to this medium? It happened around 2009, when I was planning a new, large-scale work for the Victoria Miro Gallery. The result was ‘The Walthamstowe Tapestry’. It’s what I call my first ‘celebrity artefact’. Fifteen metres across, it shows the journey of life seen through shopping. It had an amazing response from the press and public. For the first time I had people recognising my work, rather than just associating me with dressing up or pottery in general. I remember cycling down the Farringdon Road one day, dressed up as Claire [Perry’s female alter ego, as whom he collected the 2003 Turner Prize], and this woman poked her head out of a passing car and shouted, ‘Loved your tapestry!’ ‘At last,’ I thought, ‘someone knows one of my works rather than just my persona!’

What’s the specific appeal of this medium for you? I’ve always loved textiles of all sorts – quilts, samplers etc. I’d had ambitions to make larger work too but didn’t want to produce something that would take forever or be vastly expensive to make. Tapestry seemed great in that respect – it’s relatively cheap and, with modern technologies, it can be made quickly, without having to exploit vast amounts of hand labour. I think tapestry’s now having a moment in contemporary art. It’s an attractive medium, not least for collectors who find it easy to install pieces like these. Talking openly about collectors is not part of the usual conversations about art, but I’m happy to think about my audience. How did the idea for your most recent set of tapestries, The Vanity of Small Differences, come about? I was making a series of programmes for Channel 4 about taste, and we decided

A bove Grayson Per r y’s f irst tex t ile wor k , ‘ T he Walt h am stowe Tape st r y’ R ig ht T he Vanit y of Sm all Dif ference s ser ie s of t ape st r ie s Opposite Per r y wor king in anot her favour ite medium , ceramic s

u p d at e Welcome to the Victoria newspaper, your regular update on the transformation of Victoria. A vibrant district is emerging that’s fast becoming one of London’s most desirable to live and work in. The latest addition to the ranks of New Victorians is Jamie Oliver, who will be opening a restaurant beneath the new residences at Kings Gate on Victoria Street. In the meantime, look out for new hoardings with some familiar faces, as work starts there and on The Zig Zag building next door – both are due for completion in 2015. Nearby, have a look at the windows of 62 Buckingham Gate, which form a 42m-long exhibition space, showcasing new artworks. And continuing the art theme, although Land Securities’ SW1 gallery has closed for the time being, its commitment to the arts has been temporarily transferred to the St James Theatre. Sign up to the Victoria newsletter at createvictoria.com for the latest news and events

that I’d make some artworks to go with the television series. The timetable of TV is such that they wanted the artworks immediately – yesterday! – so I had to come up with something I could make in the tight timeframe. Putting together an exhibition of pottery is very labourintensive, as I make everything by hand. I also wanted to produce something large because I knew the work would get a lot of attention: I didn’t want objects that people would need to squint at or crowd around. And tapestries bring with them all sorts of class resonances that fitted perfectly with the subject matter of the TV series, as well as making reference to historic works such as the tapestries of the story of Abraham at Hampton Court. Those were commissioned by Henry VIII as a means to show off his wealth and status, and apparently cost as much as a battleship!

practice FAT (Fashion Architecture Taste). The house, like a lot of my work, is very much about place – in this case Essex, where I grew up. I decided to create a building based on a myth. My fictitious character is a woman named Julie, and I’m basing the iconongraphy of the building around her life. She’s a woman, born in Canvey Island in 1953, who becomes a secretary straight after school and gets married to a supervisor in the local oil refinery. He turns out to be a philanderer, like so many men, and she becomes a single mother. Then, in her forties, she decides to go to university, where she meets her second husband and goes on to have a more affluent, middleclass life. The building will be her Taj Mahal, becoming a memorial to her. Her

story isn’t particularly special, but it’s one I hope a lot of people will identify with. The house should be completed next year. You’ve made work in many media over the years – not just ceramics and tapestry, but also drawings, prints, cast iron – and presumably the building will push your interest in materials even further. Is there any medium you’re still curious to work with? As it happens, I quite fancy working in lead. There’s something mythical about it. I’ve also always loved cloisonné enamel [enamel shaped by metal compartments], and that would be an interesting challenge. My next show will feature work in a wide variety of media, but I can’t say more just yet. I like to surprise people.

A render ing of V ictor ia Circle

victoria circle: a new stage for public art Once the creation of Victoria Circle

The updated, expanded edition of

– the comprehensive upgrade of the

Jacky Klein’s book Grayson Perr y

island site opposite the station –

( Thames & Hudson, £24.95) is

is complete, not only will it contain

available now. ‘The Annunciation of

a fabulous mix of retail, residential

the Virgin Deal’ will be on display at

and office space but it will serve

62 Buckingham Gate from May. The

as an exciting destination for art-

touring exhibition of The Vanity of

lovers too. Developers Land Securities

Small Differences begins in June;

have made an innovative proposal

ar tscouncil.org.uk

to provide a rotating art exhibition as the centrepiece of the site. ‘We hope it will work a lot like the fourth plinth in Trafalgar Square,’ says Victoria Fairhall, development director at Land Securities London, referring to a scheme run since 1999 that has seen temporary artworks displayed on a vacant plinth beside Nelson’s Column. Land Securities’ proposal for Victoria Circle is that it would commission leading contemporary

How do you feel that some sets have been split up to be shown individually – such as the one that will go on display at 62 Buckingham Gate in May (see the newspaper’s centre spread)? It’s fine, because visually I made them as standalone works. My priority is always first and foremost to make an artwork that looks good, so it was important to me that each one individually has its own strengths. If you like one image, you can take it away and it will quite happily survive away from the others. It was recently announced that you’ve been given the green light on an architectural project to design a holiday rental house on the North Essex coast. Can you give us any hints about what it will be like, and when it might open for its first visitors? This is a project I’m working on with Living Architecture and the architectural

artists to create a piece of work for the space that would then be on open display for up to six months. Fairhall stresses that the plan remains subject to approval by Westminster City Council but believes that, if it does go ahead, the scheme will offer artists a unique opportunity. ‘We’d like to commission artists to create the pieces that they’d never have been able to afford to do otherwise, and to help them fulfil their dreams,’ Fairhall says. At the end of the six-month period, the work would revert to the artist and the ‘rolling exhibition’ would continue with art by someone else. This new approach to public art will give passers by another reason to visit Victoria Circle rather than just rushing past to catch the 18.42.

the art issue

One set of the tapestries is touring the UK this summer, beginning in Sunderland, where you filmed some of your programmes. Was it important to you that they would be seen widely by the public? I suppose I did see them as a sort of public artwork. In many ways, this was the first time I’ve really embraced that idea fully. I made six editions of the tapestry cycle and I was keen that somewhere there would be a complete group that could be seen by the public. So my gallerist and I gifted a set to the Arts Council collection, which tours artworks around Britain. The works are co-owned by the British Council, which tours exhibitions abroad, so they can go globally too – perhaps as ambassadors of British society!

"I wanted to produce something large because I knew the work would get a lot of attention"

Making an entrance The unveiling of Grayson Perry’s ‘Annunciation’ tapestry at 62 Buckingham Gate reveals the latest dramatic artwork to grace the reception of a Victoria office building. So what are the benefits of being greeted by art as you arrive at work? w o r d s c at h e r i n e m o y e

There was a time when the most eyecatching decoration to be found in the the majority of office reception areas would be a cheese plant no one noticed unless they inadvertently bumped into it. But that was a time when the office buildings themselves could be somewhat drab. Many of today’s new office buildings, however, are as much sculpture as architecture, so the visual impact of their entrances is paramount. Developments in Victoria are prime examples. ‘The new era of office buildings was the inspiration and the chance to properly incorporate art into receptions,’ says Victoria Fairhall, development director at Land Securities, adding that the advent of stirring, light-filled, super-high entrances ‘created open spaces that were well suited to works of art.’ The company recently acquired Grayson Perry’s ‘Annunciation’ tapestry (previous page) as a completed work, but

Top Rob & Nick C ar ter’s ‘ Water fall ’ is a prominent feature at 80 V ictor ia St reet R ig ht ‘C anopy’ by Conrad Sh awcros s, at 123 V ictor ia St reet A bove r ig ht T he recept ion of 123 V ictor ia St reet , wit h a paint ing by Noemie G oudal

that is not the method by which artworks are normally selected. ‘We always start from the point of view of the reception area and then we choose the artist who we think will best create a piece to work within that space,’ says Fairhall. ‘It’s a collaborative process : we’ll normally fund an initial project and then they’ll come back to us and show us their ideas. But, by the time we’ve selected an artist, we normally have absolute faith they’ll produce something that we’ll like.’ To select artists, Fairhall works closely with Patrick Burrows, director of Art Source, which acts as a link between artists and developers. Together they draw up a long-list of around 12 artists, which is then narrowed to a shortlist of four or so. ‘We really like to have an artist who has an active programme, who has an exhibition coming up in six months’ time or who might crop up later on at the Saatchi Gallery – something that adds another dimension,’ she explains.

The Grayson Perry tapestry, which will be on display in the reception of 62 Buckingham Gate, together with a work by Stuart Haygarth, joins a diverse range of art in Land Securities’ properties – mostly by British contemporary artists. These include Rob and Nick Carter (80 Victoria Street), Richard Galpin and Boo Ritson (Portland House), and Conrad Shawcross at 123 Victoria Street. As for the style and controversy of some modern art, Fairhall maintains the aim is to challenge without offending, to have something that stirs a conversation – but not because people hate it. ‘On the other hand, if you put something safe there, then people will say it’s boring and you haven’t tried hard enough. It’s a really fine line with selecting a bit of artwork,’ Burrows explains. As Land Securities leases over one million square foot of office space in the Victoria area and will make a lot more available within the next few years, there are also potential tenants to consider. ‘Our aim is to appeal to everyone, whether they are from the financial, fashion, or media and marketing sectors,’ says Fairhall. Burrows adds, ‘The tenant is always in the back of one’s mind but would not drive our decision.’ The art currently on display and planned for further reception areas is mostly visible not only to an elite few entering a building but to passers-by on the pavement. Take ‘Canopy’, by Conrad Shawcross, at 123 Victoria Street: an aluminium and steel kinetic sculpture inspired by the artist’s experience of sitting under a tree observing sunlight passing through the layers of leaves to the ground

V i c to r i a’ s V i s ua l G e m s

A r t i st a nd w r i t e r N at h a l i e H a m b r o ta k e s u s o n a t o u r o f h e r f a v o u r i t e a r c h i t e c t u r e a nd p u b l i c a r t i n t h e a r e a

can be beneficial, as it still provides the opportunity to give your mind some respite and a chance to think in new ways. ‘People are mostly rushing around from meeting to meeting; and rarely are they given permission to just stop and stare,’ Mann explains. ‘Art on the walls can give people that permission.’ A striking example of a large corporation reaping inspirational as well as financial benefits from its investment in contemporary art is the insurance giant Hiscox. Mostly thanks to the passion of its proprietor, Robert Hiscox, its offices throughout the UK are festooned with artworks by such starry names as Lucian Freud, Gilbert & George, Banksy and Damien Hirst. Whitney Hintz, the curator of the Hiscox collection, reckons that some of their more controversial works can be a dynamic addition to the working environment. She cites two of artist Richard Billingham’s brutally frank photographs of his parents Ray and Liz, which, to coin a phrase, ‘some viewers may find disturbing’. ‘We hang our more controversial works in our top-floor meeting rooms and those photographs were very problematic for a lot of people. Some have even complained they put them off their food,’ says Hintz. ‘But, for that very reason, we kept them there.’ Bold rather than decorative art is the best possible icebreaker, according to Hintz. ‘It’s so off the topic of whatever meeting you’re there for,’ she says. ‘Far from eliciting an awkward silence, it gets everyone talking and releases different parts of their personalities. The photographs are an interesting diversion topic for people before they get around to talking about business.’ For office buildings’ receptions, less unsettling, but equally bold contemporary art can look astounding in another way. And unlike that Seventies cheese plant, it doesn’t even need to be watered.

the art issue

below. Pedestrians are invited to admire the installation through the building’s glass frontage. The same is true of Rob and Nick Carter’s ‘Waterfall’, a sculpture of 141 brightly coloured neon tubes in the entrance of 80 Victoria Street, which makes a big impact when you enter, but captures the attention from outside, too. Land Securities’ new and proposed expansive reception areas may form a suitably fitting backdrop to large and ambitious contemporary artworks, but, as far as Fairhall is concerned, it is still more about the building than the art. ‘Our thought process is that it adds value to the building and therefore our portfolio,’ she explains. ‘It is not about the kudos. We love the idea of supporting the arts because it fits very well with what we do, especially the creative-design side of our buildings. But we are not worried about having an amazing collection of art pieces. It’s what it brings to the buildings that adds value to us.’ As it leases its commercial space, Land Securities’ artistic contribution ends beyond reception. It is up to tenants to decide how to adorn their premises with art that matches their professional image and perhaps lifts the spirits – and thus the working performance – of their employees. According to Sandi Mann, lecturer in psychology at the University of Central Lancashire, and an authority on the pitfalls of office life – especially boredom – they would be wise to do so. ‘Art can break the monotony and lead to creative thinking,’ she says. ‘Most of the time at work is spent thinking cognitively and in terms of solutions. Looking at art gives you the chance to use your mind in a different way; to think outside the box and engage other elements of the brain, such as emotion.’ Although most companies rely on their employees’ creativity, precious little time is allowed for it today, comments Mann. Provided it is not truly offensive, she believes even art you dislike

Jacob Epstein’s sculpture ‘ Nig ht’ on t he Ar t D eco m a ster piece 55 Broadway

Victoria Street bears two historical beacons of architecture. At the north end, stands the neo-Byzantine Westminster Cathedral, whose campanile (bell tower) was the tallest in London when it was completed in 1910. Inside, each chapel has its own artist – the idea was for succeeding generations to add works of art to the cathedral – and there are wonderful Stations of the Cross designed by artist and typographer Eric Gill. At the south end, is the huge Westminster Abbey – and facing Victoria is the architectural highlight: the Great West Door. It’s like a history of architecture – there has been input from Hawksmoor in the 18th century, George Gilbert Scott in the 19th, and Sir Edwin Lutyens designed a new entrance hall for it in the 20th century (although this was never built). Between the two great churches stands one of my favourite buildings, the often overlooked Art Deco gem at 55 Broadway, its Portland-stone facade adorned with sensuous allegorical sculptures by the then avant-garde artists Henry Moore, Jacob Epstein and (again) Eric Gill. I am thrilled that, it seems, the beacon has been passed on to Land Securities to inject public art in the area. Conrad Shawcross’s piece ‘Canopy’ [left] at the newly renovated Modernist building at 123 Victoria Street is testament to that. What appeals to me personally about his work resides in his reference beyond the visual, to ideas of philosophy and science, exploiting their allegory to communication – for me, a perfect metaphor to define the future of Victoria. Follow Nath alie Hambro’s Ar t D iar y at h ambro-ar t .com

pop art ? shop art Whether you prefer Op Art geometry or the glamour of Art Deco, Victoria’s stores have your favourite artistic movement covered for the wardrobe and home w o r d s ta m s i n c r i m m e n s

‘ War ren’ by Noemie G oudal

Art Awards: SUPPORT for emerging talent Noemie Goudal, Mike Tuck, Nicky Carvel, Andreas Blank, Nika Neelova, Frank Ammerlaan. What do these emerging artists have in common, you may ask? Well, they

New Minimalism

Deco Delights

Contemporary art

Shorts, £35

Biba clutch, £189

‘Untitled’ by Dan Rees

Topshop, Cardinal Place

House of Fraser, Victoria Street

Phillips auctioneers, Howick Place

Inspired by the clean lines and futuristic ethos of the Bauhaus movement, Topshop’s Arthaus collection for spring/ summer is all sleek lines and geometric shapes. Strut your cultured stuff with these printed shorts and strappy block heels and use colour sparingly to really nail the new minimalism.

If you’re styling your spring look on Daisy Buchanan in homage to Baz Luhrman’s screen adaptation of The Great Gatsby, look no further than House of Fraser for Twenties Art Deco- inspired Biba handbags in gorgeous berry snakeskin or peachy suede to give your style a glamorous vintage edge.

Founded in 1796, Phillips has long been the place to go for those in the market to buy at auction the art of the era. In recent times, it has become the go-to destination for collectors of the avantgarde, who travel from around the world to bid on pieces by the likes of Andy Warhol, Roy Lichtenstein and Jeff Koons.

are all previous winners of the Land Securities Studio Award. With rents on the rise, one of the biggest problems facing recently graduated art students is studio space. So, each year, the Land Securities Studio Award provides three of them with a rent-free studio for 12 months, plus a £5,000 bursary and a public exhibition of their work. ‘Land Securities wanted to do more than just acquire artworks’, says art advisor Patrick Burrows. ‘Studio space was becoming harder and harder to find, so I suggested how helpful it would be to support graduates in this respect.’ The benefit of such support is clear, allowing artists the freedom to concentrate on their work at a vital stage in their budding career. ‘To have this time to be their own person, without worrying about overheads and costs and studio space, means they can flourish,’ explains Burrows. One such student is Frank

Dreaming of Art Nouveau

Make-up Goes Pop!

Geometric Mod

Ammerlaan, who won the prize last

Adriana beaded cushion, £35 Monsoon, Cardinal Place

Nars eyeshadow palette, £39.50

Shirt, £29.99

year. ‘As a graduating art student,

Space NK, Cardinal Place

Zara, Cardinal Place

Be inspired by Antoni Gaudí’s Park Güell and transform your home into an Art Nouveau paradise with bed linen from Monsoon. Team striking linens in vibrant shades of grape, raspberry and vermillion with embroidered paisleymotif cushions and a Tiffany lamp.

Add a pop of early Sixties style to your make-up bag with Nars’ limited-edition collection of eyeshadow palettes. Each features on its case a variation on Andy Warhol’s iconic self-portrait, evoking the pop artist’s super-cool, image-rich, character-laden spirit.

The geometric prints of the Op Art movement perfectly complement the bold shapes of the mod look, which has been colourfully updated here for the stylish contemporary man. Pair this sharp shirt with slim tailored trousers for a hip, ultra-modern look.

the biggest worry is getting a good, affordable studio,’ he explains. ‘The Land Securities Studio Award is one of the most-wanted! I’ve got a big exhibition in the Netherlands at the moment, and I’m working on a show in New York. I really don’t think I’d have been able to pull either of these off without a studio.’

LUKE SCHUBERTH

Architect Luke Schuberth is the Managing Director of Aukett Fitzroy Robinson, and oversaw the regeneration of 123 Victoria Street

At Land Securities, we believe a place is defined by its people. Together we are creating a vibrant new destination for Londoners to enjoy, people from across the world to visit and somewhere that businesses and individuals are proud to call home To watch interviews with the creative people in our list of eminent ‘New Victorians’, visit our website

the art issue

“What I like about Victoria is its vibrancy and architectural variety: it provides a context that will allow great design to flourish in the future. The fusion of different spaces and people is creating one compelling destination.”

the big picture

g r ays o n p e r ry â&#x20AC;&#x2DC;The Annunciation Of The Virgin Dealâ&#x20AC;&#x2122;

The artist explains the inspiration for his series of six tapestries, The Vanity of Small Differences

leaning against the Aga. It’s a sort of still-life of their home, so there’s a cafetière, Penguin mugs, recycling boxes, a Cath Kidston bag, a pebble bowl and organic vegetables. The title of the series, The Vanity of Small Differences, comes from Sigmund Freud, who talked about the “narcissism of small differences”. He noticed how everyone tends to get very defensive around ideas of their own identity, and the people we get most offended by are those who are very similar to us. Taste is the principal battleground for differentiation, so I wanted to play with that idea.’

the art issue

P h otog r a p h y g u y s t e p h e n s

‘The story of my tapestries focuses on Tim Rakewell, inspired by Tom Rakewell from Hogarth’s A Rake’s Progress. Tim makes his way up the ladder of class mobility from the working classes through to the upper ranks of the nouveaux riches, before meeting a tragic end. This is the fourth work in the series, and is going to be shown by Land Securities at its huge new office building at 62 Buckingham Gate in May. Tim has just sold off his computer company to Virgin for £270m. He and his wife are now firmly in the upper middle classes – she’s busy tweeting on her iPhone,

Lady Lucy French on the st james theatre’s spring programmE

O ur columnist on t he C ar rara st airc a se

With the impetus provided by a change of season, our creative juices have been bubbling away at the St James Theatre. We recently rechristened our brasserie Carrara – a name inspired by the sweeping, sculptural staircase by Mark Humphrey,

tat e b r i ta i n a r t i c o n s , N o . 3

Snow Storm Steam-Boat off a Harbour’s Mouth

crafted in Carrara marble. We’re sure you’ll love the menu – organic and British, with an Italian twist. We’ve just launched our Sunday Silver Screen afternoons – a classic film shown in the comfort of the theatre, with a lazy brunch before or a leisurely lunch afterwards. And we’re currently showcasing the Frank Worth Collection – photos of

by JMW Turner

Hollywood icons Elizabeth Taylor,

First exhibited in 1842; now on permanent display

Marilyn Monroe, Grace Kelly, Alfred Hitchcock et al. I love to amble along the corridors soaking up the glamour.

W o r ds Am y R a p h a e l

The St James studio, meanwhile, has an electrifying programme of

One of the most famous, albeit almost certainly fictional, stories about JMW Turner was inspired by ‘Snow Storm – Steam-Boat off a Harbour’s Mouth’. It is rumoured that, to better appreciate man’s insignificance in the face of the weather and the ocean, the artist asked to be lashed to the mast of the vessel as it sailed into the eye of a storm in Harwich. Unlikely as such extreme devotion to the craft might be, Turner was undoubtedly fascinated by the power of nature. Probably the greatest landscape artist of the 19th century, he was a pioneer in the study of light, colour and atmosphere. His paintings explored historical, literary, mythological and biblical themes, while later works depicted dramatic sky- and seascapes. ‘Snow Storm’ illustrates perfectly Turner’s expertise in capturing swirling,

stormy skies and ships being tossed on fierce seas. The distant white glow above the steam-boat is one of his trademarks, borrowed from the 17th-century painter Claude Lorrain. Born into a working-class family in London in 1775 and accepted into the prestigious Royal Academy Schools while still in his teens, Turner worked in a period when it was de rigueur to show respect to the old masters by sourcing them in your work. During lulls in the Napoleonic Wars, he was able to travel to Europe and admire their paintings at first hand, visiting France and Switzerland for the first time in 1802, at the age of 27. When peace eventually came in 1815, he was able to roam more extensively, and took an extensive trip to Italy in 1819. Although he was criticised in his lifetime for his use of colour and for the

sheer energy of his compositions, Turner anticipated the French Impressionists, such as Monet, by challenging traditional representation and edging towards more abstract art. His work attracted several powerful admirers, such as the hugely influential critic John Ruskin. In 1843, in the first of five volumes of his tome Modern Painters, Ruskin defended Turner, claiming that ‘Snow Storm – Steam-Boat off a Harbour’s Mouth’ is one of the very grandest statements of sea motion, mist and light that has ever been put on canvas.’ Turner died in Chelsea in 1851 and is buried in St Paul’s Cathedral. His last words are said to have been, ‘The sun is God.’ While he may never have been tied to the mast of that storm-tossed steam-boat, he was indisputably always ahead of his time.

music, cabaret and comedy this season. A brilliant Wednesday-night fixture is The Political Party with Matt Forde – an evening combining stand-up and an interview with a politician – thus far, Nigel Farage and George Galloway. If that isn’t provocative enough for you, be sure not to miss The Thrill

of Love , a new play about Ruth Ellis, the last woman to be hanged in Britain, which opens this month – evidence, if you needed it, that the arts really do push the boundaries, and all in the cultural hub that is SW1.

stjamestheatre.co.uk WIN! Go to createvictoria.com for your chance to win tickets to a show at the St James Theatre and a night at the brand new InterContinental Hotel in Victoria

Art in the heart of the capital Four years ago, two young men decided to take advantage of the pop-up phenomenon and showed works in an empty commercial space. Now their Victoria gallery, Edel Assanti, is at the centre of a new art district words Amy R aphael photography trent mcminn

C o u rt e sy Ed el Ass a nt i Ga l l ery, Lo nd o n

the art issue

A bove r ig ht: Ch ar lie Fellowes (left) and Jeremy Epstein of Edel A s s ant i B elow: Unt itled sculpture, 20 13, in C ar rara m ar ble, by Alex Hoda

In 2009, Charlie Fellowes and Jeremy Epstein talked their way into Westminster City Council offices. The recession was, as Fellowes says, ‘biting hard’ and buildings were lying dormant for weeks or months at a time. Why not allow the two young men, who had worked at Hamiltons and Gagosian galleries respectively, to open a pop-up gallery in an empty space? The council liked the idea and eventually a six-storey office building in the heart of Victoria became available. In February 2010, the Edel Assanti Project Space opened at 276 Vauxhall Bridge Road. It was a vast space for Fellowes and Epstein, who are now 29 and 27 respectively. ‘We weren’t yet 30 and there we were in Victoria with six floors of gallery space,’ says Epstein, still clearly a little baffled at their ingenuity and luck. ‘Victoria is perfect for us because it’s still a blank canvas. Yet you’re only a 10-minute taxi journey from Mayfair.’ Galleries in Mayfair tend to be slightly corporate, while the self-consciously cool galleries in Bethnal Green have largely moved west to Fitzrovia, forced out of the East End by rising rents and the recession. Victoria, by turn, is unique. It has a steadily growing reputation as a new centre for art and a prime location. ‘It’s down the road from Tate Britain,’ says Epstein. ‘We’re a little bit on the edge of things while remaining easily accessible.’ Edel Assanti is now in the next-door building, in a more intimate space over two floors. Both owners favour concept-driven work that has something to say. They also admire technical accomplishment. One of the artists they represent, Gordon Cheung, certainly fulfils all their criteria. He also

has his studio in the gallery. ‘The way we work with artists is far from conventional,’ explains Fellowes, laughing. ‘Gordon was part of a group show we put on two-and-ahalf years ago and it just so happened that, as the show was finishing, his studio in Mile End was being pulled down. We casually asked if he’d like to take some space at Edel Assanti and he jumped at the chance.’ Cheung graduated from the Royal College of Art in 2001 and, since then, has been forging an international reputation with his vivid and unsettling images of utopian and dystopian worlds. Fellowes and Epstein are looking for a balance of established artists such as Cheung and comparitively recent art-school graduates such as Noemie Goudal, a recipient of a Land Securities Studio Award who graduated from the Royal College in 2010. Goudal’s photographs – of buildings semi-submerged in water, of a jungle of plants growing unexpectedly in the doorway of an anonymous white building – are striking and gently provocative. ‘Noemie is definitely one of the stars of the

gallery,’ says Fellowes. ‘She has grown with us. We started as a pop-up gallery; now we’re a far more professional enterprise.’ Ask the gallery owners – who named the space after Fellowes’ Maltese greatuncle and Epstein’s Polish grandmother – how the recession has hit them and both laugh. ‘We started out in the most hopeless moment of it, so we don’t know anything different,’ says Epstein. They add, rather encouragingly, that ‘things feel as though they are picking up’. Prices range from around £700 to £20,000 and, as such, aren’t accessible only to the Charles Saatchis of this world. ‘Owning art is a relatively new idea for young professionals, but I think people have realised that it’s a great way to enjoy your money.’ The pair can’t now imagine being based anywhere but Victoria. ‘We are so pleased we went to see Westminster City Council back in 2009,’ says Fellowes. ‘We were cheeky, but it paid off.’ Edel Assanti, 272–274 Vauxhall Bridge Road, Victoria; edelassanti.com

Work / Life i n t e r v i e ws c h a r l i e t e a s d a l e

Andrew Coney

Nat h a l i e Ha m b r o

G e n e r a l M a n a g e r, I n t e r C o n t i n e n t a l H o t e l

Ar t consultant for Phillips auctioneers

How long have you worked here? I’ve been here in Victoria for nearly two years – I joined InterContinental when this was a building site and now we’re weloming guests to the new hotel. It was a great opportunity to be involved in the group’s first London opening in 40 years. How did you select art for the hotel? We wanted the art to reflect the area, so we approached well-known political cartoonists and also looked at up-andcoming artists. In the foyer is a piece called ‘The House Always Wins’, an interpretation of the House of Commons by two guys from Brighton called Evil Robot who use action figures – it’s a lot of fun. My favourite is the 3D image of St James’s Park by Peter Millard. It uses lenticular technology, so, wherever you are in the room, things in the image shift and change. As you walk past it, the flowers wink at you and lights in Buckingham Palace go on and off. It’s a little Alice In Wonderland, but it’s the eccentricity I really like. What do you like about working here in Victoria? There’s a great mixture here: There’s the heritage, the iconic buildings and the whole political element, and then, on

the other side, you have this emerging regeneration of Victoria, which for us is very important; there’s real space for a hotel like this all of a sudden. Where would you go to unwind after a long shift at the hotel? If I’m not going to drink here in our great Blue Boar bar, then I’ll go to one of the pubs nearby – there’s an incredible pub culture in Victoria. What I find really encouraging is that, from all landladies and landlords, there’s a real belief in hospitality and a traditional approach to inn-keeping which is fantastic and why they’re so popular. Any hidden gems in the area? I’ve just discovered the St James Theatre. It’s only recently opened, just like us. As well as putting on great productions, they’ve taken it beyond just being a theatre: they do jazz in the evenings and there’s a whole café culture. How would you spend your perfect day off in Victoria? I’d just go off the beaten track a little bit. There are so many incredible little side streets and quirky shops hidden away. There’s a real village feel here. ichotelsgroup.com

lo r enzo ag i u s

l i v i n g i n v i c to r i a

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How long have you lived in Victoria? I’ve lived here nearly all my life, since I moved to London aged 18. I’ve lived in various places, but always stayed in the area. I like the fact that it’s so central – the boundaries are wonderful: Chelsea, Belgravia, Pimlico, Westminster… and because I’m always on the move, it’s ideal. How did you first get into design? I’ve been involved with creative work all my life. I started in interior design, then joined Vogue as a contributing editor, followed by Elle Decoration, and then I started to do my own styling. I designed handbags, which were sold at a concession at Harvey Nichols [some are now in the V&A’s permanent collection], and worked with a series of different couture houses, creating jewellery using chain mail. For the past six years, I’ve worked in the art world. My parents were always involved with art, so even as a child my life ran parallel to it. What is your role at Phillips? What makes Phillips so special is that it’s the only auction house that deals exclusively in the contemporary and specialises in photography, art and design. I work as a consultant, finding collectors who want to sell their entire collections,

and mediating between them and the auction house. Last year, I collaborated with Intelligence Squared and organised a debate here at Phillips about photography and paint. It was so interesting and a great way to raise the profile of the space we have here, as well as getting people to interact with one another over interesting subjects. As an artist yourself, do you find inspiration in Victoria? Yes, I do. The area is so multicultural and there’s a great dynamic – my work is inspired by that. I love the way Victoria is evolving. It was overdue but finally, in all aspects, Victoria will be returned to its original glory. It’s going to be a new focus in the city. How do you like to spend your weekends in Victoria? I like to cycle around the area and through St James’s Park. And I go to the farmer’s market, where I visit the cheesemonger and fishmonger – it’s wonderful. I also like the wonderful concerts at St John Smith’s Square, known as ‘Queen Anne’s Footstool’, where the acoustics are outstanding. Follow Nathalie Hambro’s Art Diary at hambro-art.com

victoria quiz

the knowledge

T e s t y o u r l o c a l s avv y – a n d i f y o u n e e d s o m e c l u e s , y o u ’ l l f i n d t h e m o n t h e w e b s i t e at c r e at e v i c t o r i a . c o m W o r ds c h r i s m a d i g a n i l l u st r a t i o n t o b y t r i u m p h

4. The St James Theatre in Victoria is the first new theatre to be built in London since 1982. Before it, which was the last purpose-built theatre to open? A. The Barbican B. The Young Vic C. The Almeida

8. Highwayman Dick Turpin used to plan his heists in a pub on Broadway. What was it called? A. The Black Horse B. The Mask & Musket C. The Flask & Flintlock 9. Eric Gill, who designed the Stations of the Cross in Westminster Cathedral, is better known for what everyday piece of design? A. The Tube map B. The typeface used on Penguin books etc C. The NHS logo

6. Wolfgang Amadeus Mozart lived in Ebury Street, Victoria, when he wrote his first symphony. How old was he? A. 18 B. 14 C. 8 3. Bond author Ian Fleming moved into a flat in Victoria Square in 1953, the year his first novel was published. What was the book’s title? A. Dr No B. Chitty-Chitty-Bang-Bang C. Casino Royale

7. What was previously on the site of the Tate Britain art gallery? A. The home of the Dean of Westminster Abbey B. London’s main customs house C. A prison

12. Part of the Cardinal Place development stands on Stag Place, named after a business that used to take up much of the Victoria area. What sort of establishment was Stag? A. A cigarette factory B. A brick factory C. A brewery

ANSWERS

10. What was the first programme shown on Channel 4, – which is based on Horseferry Road – on its launch night in 1982? A. Channel 4 News B. Brookside C. Countdown

1. Daniel Craig 2. Neo-Byzantine 3. Casino Royale 4. The Barbican 5. Mulberry bushes – unfortunately they bought the wrong kind of mulberry 6. 8 7. A prison: Millbank Penitentiary was used to hold convicts before they were transported to Australia 8. The Black Horse 9. Eric Gill was a typographer who designed the popular Gill Sans font 10. Countdown 11. 1918 12. A brewery – it was demolished in 1959 and its name transferred to a brewery in Mortlake

2. The striking red and white striped architecture of Westminster Cathedral on Victoria St is typical of what style of architecture? A. Pre-Raphaelite B. Gothic Revival C. Neo-Byzantine

the art issue

1. In the film Layer Cake , which actor is accessory to a brutal tea-related crime, in a scene filmed at the Regency Café on Regency Street? A. Daniel Craig B. Daniel Day-Lewis C. Daniel Radcliffe

5. The site now occupied by Buckingham Palace was previously used by James I to grow what plants to feed silkworms? A. Mulberry bushes B. Sunflowers C. Rhododendrons

11. Emmeline Pankhurst and the suffragettes held the first of their Women’s Parliaments in Caxton Hall in 1907. In what year did women (at least, those over the age of 30) win the right to vote? A. 1911 B. 1918 C. 1921