editors’ lette In the Art World seasons come and go in twos rather than fours. Little consideration is given to what comes in between summer and winter, the transitional periods of autumn and spring. For the March issue, VNTD will explore the concept of transition. On Page 40 Dan Jamieson and Katrin Rhys showcase their photography documenting the rise of London’s Olympic stadium and the subsequent redevelopment of some of the city’s darkest corners. This regeneration of London’s east end and the Olympic development is one of many marks the labour government may leave in their wake. As a politics student, Alex Pashley is as qualified as any to comment on the apprehension surrounding the upcoming election. How the political leaders present themselves has never been more vital in winning the vote. See Page 48.
in a story that has of late been dark and mysterious. On a similar note VNTD is pleased to announce that it has officially moved into film thanks to co-operation from COW, Nottingham’s favourite Vintage emporium and the Arts Organisation on Station Street. The shoot was an enormous success and we hope you will share our appreciation for all the hard work that has gone into this shoot. See the film here: www.vntdmagazine.co.uk Finally, as always VNTD Magazine welcomes all applicants for contribution. Please see the Contributors tab at the bottom of the website or feel free to email us at VNTDmagazine@gmail.com
Parallel to this change in East London a burgeoning music and arts scene continues to thrive. Alice Wagstaffe explores this change and in doing so reveals some of the capital’s evolving music trends. (see grazing the mainstream on Page 39) Colour is something we felt was necessary when trying to create an issue that attempts to pull us from the doom and gloom of winter and into a new and hopeful future. The Colour of Commerce on Page 4 is a continuation of our ambiguous character seen in the last issue. Whilst keeping the same clothing in our shots the injection of colour and vibrancy in the setting provides a more upbeat and fun chapter
film at vntdmagazine.co.uk
issue 02 march 2010
er 4. the colour of commerce
16. a single man
18. behind the scenes 39. grazing the mainstream by alice wagstaffe
40. olympic heights by dan jamieson and katrin rhys
48. electing the sartorial by alex pashley 50. fashion future now
52. changing landscapes 66. dan jamieson
the colour of commerce Regeneration is urban transition. The backstreet vendors of Nottingham’s Lady Bay district desperately seek to survive the corporate competition by shamelessly promoting their second-hand products on the warehouse walls. Although, their vintage advertisements peel off the brickwork, they provide a colourful injection into what otherwise would be a commercial ghost town.
a single m Aptly released just prior to London Fashion Week and the film awards season, A Single Man has been internationally acclaimed, hurling Tom Ford back into the limelight. It tells the story of George Falconer (Colin Firth) whose life of academia and security is overturned when his long-term partner Jim (Matthew Goode) is tragically killed in a car accident. The film reveals what Falconer has decided to be his final day, believing a life without Jim is not worth living. Colin Firth plays the single man beautifully. His winning performance recently secured him Best
Actor at the 2010 Bafta Award Ceremony. Carey Mulligan’s award for Best Actress and Vanessa Redgrave’s Academy Fellowship Award, meant it was a proud day for British acting talent. Firth’s success seemed rather appropriate at the London awards, as A Single Man has a very English feel. Despite his American origins, Tom Ford has always had a quintessentially British appeal. His sophistication redesigned the fashion world into one of elegance and beauty we see today and this glaze of luxury shines throughout his film.
popular 1960’s Christopher Isherwood novel of the same name. Isherwood’s characteristics can been identified throughout the picture: a strong focus on homosexuality, intellectualism and personal experiences of the psychological fear existing in 1960’s America. Like most of Isherwood’s novels the story is heavily autobiographical. Recalling personal events provides the story with a stronger sense of legitimacy which is conveyed throughout the film. Performances by Colin Firth and Nicholas Hoult (who plays confused student Kenny), amplify this cinematic charm to create a film that holds its own A Single Man was adapted from the from titles to credits.
man The film’s obvious homoerotic themes provide a greater integrity to the picture. We often encounter a films where the hero and heroine end up happily embracing in the closing scene. We expect the heterosexual romance to positively conclude. Firth’s performance can therefore be further appraised, as it could be argued a gay relationship is harder to depict - especially when Firth is renowned for his interest in Bridget. Ironically, in a film that is somewhat disinterested in women and had the potential to not be sexualised whatsoever, Julianne Moore’s character is drawn to the stability of Falconer and we see a less than mutual dependence in
their friendship.
A Single Man is fashion designer, Tom Ford’s directorial debut. His transition from fashion to film suggests a desire to challenge his acute visual perceptions and to offer an alternative medium in which to explore
alienate the audience. It was difficult to identify with a world of Performances by the likes of Firth, such impeccability. Moore and Hoult. Direction and visuals from design genius Tom Cinema is about escapism. LookFord. Story by the great 20th Cen- ing out from a widescreen wintury thinker Christopher Isher- dow into a fictional environment wood. A beautiful soundtrack by of pleasure. A Single Man is stunAbel Korzeniowski. What could ning. In short, the film is a work go wrong? Well, the film often of art, but be prepared to admire seemed too highly polished. Beau- its beauty rather than its content. tiful to look at, beautiful to listen to, beautiful to experience. It is an A Single Man is in cinemas nationOscar-winning perfume advertise- wide. ment. In a strange way, the film was too clean to support a story of such emotional depth. Yes, the acting was faultless, but the film’s visual perfection seemed to
behind the scenes a photographic diary of this month’s film
T
his month’s short film revolves around relationships. The stress and strain of normal fort is often the cause of shifts in attraction conflicts. Filmed in Nottingham’s Art Orga film aims to show the subtle changes in one co ingly perfect relationship caused by close c prior engagements and a hectic lifestyle. By vintage clothes from COW, the shabby chi
transition in lity and comand a rise in anisation, the ouple’s seemconfinement, y combining ic filming lo-
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from left to right 01. Lame print biker dress with oversized pockets and men’s boots 02. Vintage Levi’s denim jacket with oversized check shirt, grey distressed vintage Levi’s straight cut jeans and brown leather brogues 03. Blood orange chiffon blouse, belt model’s own, vintage denim pencil skirt, red leather “granny pumps” 04. Men’s Vintage Levi’s denim jacket paired with Lame print biker dress and men’s boots 05. Men’s Chunky knit peacock pattern oversized jumper, denim pencil skirt as before with boots as before 06. Yellow Vintage Ralph Lauren Polo, Check mini-scarf, denim Jacket, jeans and brogues all as before 07. Vintage Striped, double breasted wrap dress with boots as before 08. Jumper, jeans and brogues all as before 09. Nude chiffon vintage wrap dress paired, boots as before
Clothes all courtesy of COW Vintage, Nottingham
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or costume, androgyny and the ability to exchange clothing between the two charcters was vital in exploring the intimacy between them. Geek-chic glasses were purposefully paired with cutsy chiffon dresses and biker boots. Oversized knits, jackets and shirts combined with skinny jeans or pencil skirts made for a very bohemian silhouette. The glasses are identical and genderless which indicate their eternal compatibility.
click here to see the film at
www.vntdmagazine.co.u
uk
cation and music from alternative band the xx, the bohemian theme existing throughout the film provides an insight into the couple’s life while allowing for a colourful aesthetic and intriguing visuals.
stills gallery For this issue, VNTD created a film embracing the theme of transition. The following pages showcase a preview. The film is available at www.vntdmagazine.co.uk. Enjoy.
grazing the mainstream London’s underground music evolution is investigated by Alice Wagstaffe
F
rom West London’s quiet leafy suburbs to the lively streets of the East End, its over-capacity bars spilling music and revelers out onto the pavement, the very walls of London reveal the secrets of the city’s music scene history. Layer upon layer of fly posters peeling off the brickwork tell the stories of fads past and trends forgotten, the flimsy paper bills a chronological catalogue of cultural identity. Currently adorning the walls is the striking white-on-black “X” logo of South London’s downbeat electro heroes The xx. It hides adverts for bands that represented London’s short-lived “dark-wave” scene like S.C.U.M and Ipso Facto, and, further buried under pasted layers, maybe you would find the bright neon colours associated with “nu-rave”, promoting bands like The Klaxons and Hadouken. Deeper still could be posters for the bands responsible for East London’s drug-addled-indie heyday –notably The Libertines and their waster buddies.
Music fads get a bad rap. They’re cool until they the graze the mainstream Music fads get a bad rap. They’re cool until they the graze the mainstream, at which point London’s fashion conscious drop them faster than a Stella McCartney campaign dumps a model with a coke problem. This short life span makes music scenes look fickle and elitist; alienating to those on the outside. But little is said about the importance of these cultural waves. As a music scene comes to an end, it threatens to take its associ
ated bands, brands and icons with it. This is simply a process of natural selection where only the strong survive. Remember indie punk foursome Dustin’s Bar Mitzvah? Of course you don’t, because they were piss-poor in the first place and only briefly popular in 2005 because of the influential music scene that was propping them up. Once that movement was washed away as quickly as it was started, they were inevitable casualties and the last I heard, they were… actually I haven’t heard anything at all. When the time came to sink or swim, they went down with the ship; a fate only avoided by possessing a rare talent, bloody-minded creativity and knack of reinventing yourself. In early 2006, a little known band called Fear of Flying were rarely found playing after 9pm, opening for the acts that then dominated the scene, the likes of Larrikin Love, Jack Peñate and the Mystery Jets. When the ridiculously-coined “Thamesbeat” scene started to peter out, Fear of Flying vanished along their comrades, the venues that once hosted their indie-pop perfection now filled with the sounds of the Next Big Thing. But, unlike Dustin’s Bar Shitzvah (see what I did there?), Fear of Flying reemerged a little while later, with a new name, a new look and, most importantly, an exciting new sound. White Lies, as they are now known, are one of the biggest bands in the UK. Maybe if it wasn’t for London’s ever-changing scene constantly re-evolving, flitting between cocoon, butterfly, and back to cocoon again, bands like White Lies would never have felt that pressure to re-invent their wheel. Music scenes will forever come and go, but originality and creativity will never be off-trend.
olympic heights The East End of London has, for many years now, had a less than savoury reputation. Often associated with gang culture, poverty and bad 1960’s architecture the East End first saw a glimpse of a brighter future when the towering blocks of canary wharf began to seemingly rise out of the ground in the early 1990’s. However, London’s successful bid for the 2012 olympics has ignited a different kind of regeneration in a district of the city that, until now, has been relatively untouched by any sort of glitz and glam. Here Dan Jamieson and Katrin Rhys, armed with cameras and creative minds, give us a peek into the change as it happens.
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electing the sartorial Alex Pashley takes a look into the world of political frontage and the use of fashion and style as a potential vehicle for swaying the vote
M
ay 3rd 1997. With Downing Street a sea of union jacks a fresh-faced Tony Blair strides into office, basking in the nation’s euphoria of Rule Britannia. Following a historic landslide victory the day before his talismanic charm ends eighteen years of cathartic Conservative government defined by hard faced Thatcherism. He is a conduit for political change embodying the optimism and zeitgeist of a county hung on his ‘unity and promise for the future’. Fast forward to 2010 and we find ourselves a modern day
equivalent, albeit operating under different party colours. Battling a besieged Labour party and its beleaguered leader is David Cameron, all wide-eyed Tory zeal and Etonian effrontery in his bid for the popular vote, declaring ‘we can’t go on like this’. With the general election just around the corner and the battles lines firmly drawn, May’s political high noon is set to dominate the popular consciousness once more, manifesting in live USstyle television debates and ubiquitous sloganeering plastered
on billboards across the country. After three labour terms, the razzmatazz of the original Blair project renewed under Brown’s stewardship has long faded. Today’s political climate is much more hostile, pervaded by a grand loss of faith in the system following the expenses debacle, uncertainty in Afghanistan and the jobless queue ceasing to recede anytime soon. Change is in the water at Westminster. Although thirteen years separate Blair and Cameron’s past and potential arrivals into power, the parallels between these two architects of their own revolutions are more apparent than immediately noticed. Blair’s entrance into the dramatis personae of politics, displacing the exhausted Major with verve and pomp should provide some portent for Brown come May with his own nemesis enacting a comparable polished sheen. It appears in the glacial worlds of men’s style the youthful complexion or sharp attire of a politician is as conducive to electoral success as policy.
Cameron, with his £1,185 tailored suit from Saville Row Cameron, with his kitchen-sink, family-man openness recently invested in a handsomely priced £1,185 tailored suit for his party conference from bespoke tailors in Saville Row. His rejuvenating appeal often opting for the open-collared shirt, sleeves-rolled up combination in parliament instantly triumphs over the sober, re-
served persona of Gordon Brown from a style perspective. What some will attribute akin to being a ‘wolf in sheep’s clothing’, this almost forced move to strive to appear trustworthy unsettles the voter en masse. The Labour electoral campaign is more than happy to disparagingly liken Cameron to that of a suited salesman. Despite such reservations, some founded and misguided, there are those that will flock to support such an image and with the election fought at large amongst Middle England the Cameron factor could hold sway. But we’ve seen all this before, haven’t we? Blair, consummate political showman equipped with flawless
teeth and shirts white as chalk long exploited the facade to instil virtues of total honesty into those listening; sounding a voice that purveyed innocence itself. Frequenting a blood red tie, white shirt and blue suit to assert dominance if the situation required it so, he would utilise the nuances of language in his speeches, playing on emotion with emphatic-near-empty rhetoric to achieve his intended effect. This was seen in his rise up the ranks of the Labour party to fight Major and a relied on facet in his political style when in office. In this vein Cameron and Blair are men hinged on image. Presented and projected by their respective slick electoral machines, they are fit for purpose with suave two piece suits and sold to the electorate as brands. This is at odds with Gordon Brown. An earnest Scot with a face wreaked by the fault lines of office, Brown conservatively sports the colour red of the Labour heartland amongst other pastel colours in the form of a tie, complimented by a less than ordinary grey suit. Though often labelled dour and often deserved of such a tag, he relies less on self image with cult of personality having no place in today’s Labour’s policies. Embracing abstract, impersonalised themes in their campaigning Brown fails to enjoy the icon or celebrity status previously relished by Blair and other political operators alike. His gloom can be self-fulfilling; the air of a wounded, bull marred by low party and voter confidence can further undermine party success. The poised, groomed aesthetic of Cameron in his recent party poster with its beseeching eyes engaging with the viewer may be
laughable, but it is now the lingua franca of politics. Not confined to the British model, a leader’s appearance has been a fundamental part of American presidential elections with Obama recently using a clean-cut, groomed exterior to reinforce honesty and sincerity. The hard currency of policies on their own will no longer suffice in a country dominated by the print media with an ability to overwhelmingly influence electoral outcomes. We may see a swing in the political fabric come May, but a more subtle shift in applying the sartorial to the political is under way.
fashion future now a look at an exhibition passed but a future that is brightened by the blaze of raw talent The fashion and textiles department of the Victoria & Albert Museum (V&A) is perhaps one of London’s greatest vintage archives. However, in recent months a pop-up exhibition, the Royal College of Art’s (RCA) Fashion Future Now, attempted to tackle the question of “What is Next?” and in doing so revealled some of tomorrow’s brightest fashion stars. The RCA is a school that, unique in concept, attempts to foster design talent in a way that encourages students to experiment, to play and to find their identity, and the 27 MA students presented here are no exception to this. The good news is that although rigidly innovative most of their designs are very weareable, something one might not expect to see in a graduate show. But then again this is no ordinary showcase of emerging Talent, this is the crème de la crème of fashion now, and fashion future. The instant hit of the show was Timothy Lee. Lee’s work epitomizes understated chic. His designs are speciously simplistic but on closer inspection a rather more complex concept is revealed. Clean cut and in muted pastel tones, his work for the FFN exhibit incorporated neoprene, a material derived from rubber, which he uses to achieve subtle layering showing an impressive attention to detail. “I created my own artwork which involved slotting and layering forms. With this background I then developed a collection that explored the contrast of structure and fluidity in garments”. Inspiration came from the decontructivist architect, Zaha Hadid, his technique came from, in his own words “Using fabric techniques of bonding and embossing, the garments have decorative elements that
are clean and modern�. His fabric choices were suitably modern mainly worsted wools and jersey embossed with neoprene in a pure colour palette enforcing his yearning for modernity. Aside from being a title for one of the exhibits main sections, detail and attention to it was equally present in the work of Nina Hjorth. Unlike Lee her work embraces colour and print derived from her research into dutch artists Piet Mondrian and Georges Vantongerloo. Her shoes were equally if not more impressive. The obsessively clean lines that effortlessly cut the boundaries between areas of Colour and the sharp point of the toes were most memorable and defiantly stylish despite the unconventional shape. The real star of the show was Jarah Stoop. “This collection is inspired by urban life, celebrating the chaos and excitement one experiences in a big city� says stoop. The grasp of the mundane things one passes by in the urban environment is certainly present and in a world of the rapidly expanding metropolis this link is ever more relevant. His collection of luggage uses brightly coloured tape-like stripes and shapes more commonly associated with industrial machinery but the practical outlook is expressed stylishly in a series of charming details that conform to the formula of any loved piece of luggage. The MA students shown here all had there mantra to voice however the overriding theme here was that for the fashion designers of the future, embracing technology whilst maintaining more traditional methods is a vital component in any sort of future success.
changing landscapes:
a photographic exhibition of a journe From wartime novels to modern day classics, the railway has alway inspired. Heading South from Nottingham to London, the track passes through suburbia into the industrial wilderness of the Capital. Travelling North into Scotland, the train gleams in the sun, battles through the snow and speeds along the coast. Looking out the rubber framed window, the passengers witness the transitory scenes and watch the flickering film of landscape montages.
ey from london to edinburgh
dan jamieson Art is undergoing a transition. People are less interested in the abstract realms of the Saatchi era and now want more bang for their buck. Painting is back. London based Fine Artist, Dan Jamieson is new to the scene, but his original ideas and characteristic style suggest he’s set for big things. London’s contemporary artscene is vast. Maybe too crowded. To the cynics, Art has become too abstracted; a form long lost to the pretentious youth. To the more liberal, the artistic surplus provides a world of exploration and discovery. Art is a broad term; its numerous subcategories and genres provide limitless liberty both on and off the canvas. However, ‘Painting’ has always held a certain superiority in the creative world. By being restricted by a two-dimensional canvas, the niche has always held a level of conservatism. In some respects, the limited possibilities actually provoke a greater degree of talent and force the artist into new realms of originality.
portraiture and abstract application. Jamieson plays with ambiguity: whimsical in aesthetic but poignant in content. He often becomes consumed by a particular focus or theme and portrays these using his idiosyncratic techniques to produce work that is both original and appealing. To commit to a career as an artistic suggests either raw talent or utter naivety. Fortunately, Dan’s outlook indicates the former, “ I relished art classes at school. Studying it in more academic sense at A-level and though my Foundation course and degree cemented my desire to become a fully fledged artist – it was something I thoroughly enjoyed: why not pursue it further?”.
College of Arts, London in 2009, and now faces uncharted territory as a professional artist. He understands the pressures that now face him and applies himself both artistically and academically. He realises the importance of individuality and aesthetic expression but also recognises the need for a level head and a broader understanding of public interaction and accessibility. His latest ventures harbour both those qualities. Each time Jamieson embarks on a new project he manages to combine his maverick touch with mass appeal. Dan’s latest work focuses on pop culture; identifying celebrity reverence over the past two decades.
Dan Jamieson is a Fine Artist. His work “My recent work was based on childlies somewhere between conservative Jamieson graduated from Camberwell hood memories of bad films and TV
shows – I drew a 52 strong concoction of mediocre celebrities from Robin Williams, James Belushi and Steve Martin who plays the dad in Father of the Bride. Naturally, my favourite icon, Tom Selleck sat at the top of this celebrity pyramid. Even Rick Moranis (playing the father from Honey I Blew Up the Kid), and Uncle Buck made the list. They were all created in pen and I guess are more illustrational, bringing together my love of repetitive mark making and one stroke lines. They were all framed thanks to IKEA. Thanks IKEA.”
“I generally get one idea in my head – which will become my latest obsession. I then have to exhaust all possibilities with the subject and paint it to death.” In Dan’s first year at degree level, Selleck’s celebrity status as an icon of 1980’s prime time TV, attracted the artist to the theme of contemporary iconolatry.
“Everyone has a favourite celebrity – one that they admire for whatever reason. The cult of celebrity is a gripping thing - you cannot escape the notion of celebrity. Our modern day society is celebrity Tom Selleck was surprisingly important obsessed and it is hard not to get sucked in Dan’s artistic development. The artist in.” journeys through periods of concentrated thematic interest which errs on the The artist delved further into Selleck’s side of obsession. aesthetic and soon found his new obses-
sion: facial hair. “I had been drawing an intricate portrait of Tom Selleck that I wove into my elective work and chose the moustache as a grounding point. Selleck was a guy I always liked ever since watching Three Men and a Baby as a kid and watching reruns of Magnum Pi on channel 5. I did a mammoth amount of research in to the history of the tash and learned about the Handlebar Moustache Club, whose monthly meetings were based in London. I arranged a meeting with their Vice President and went along (with my pitiful 4 week mo) to meet those who could were attending October’s session. I found a whole host of interesting characters, young, old, international: one guy had come all the way from Texas for
his first meeting.”
iconic quality to them and people who saw them thought they could recognise The moustache as a focal point may some of the faces as cultural icons, when remind some of comical novelty art. in fact they were just an assortment of But Jamieson’s talent shines through to friends, people who they had never met transform those preconceptions into ap- before.” praisal. As Jamieson alludes to, a moustache is a membership card. It symbolis- What separates this collection from that es allegiance to an undisclosed paternity novelty label is Jamieson’s painterly techof men from all walks of life, brought to- niques. His almost carefree approach, gether by their quest for masculinity and use of drips and primitive mark maksophistication. His moustache portraits ing draws a comparison between himself are an impressive arrangement - a collec- and Francis Bacon. However, despite tion of 21 large scale paintings showing similar methods, the outcome is vastly individuals sporting an variety of mous- different. Jamieson’s work suggests both tache styles. meticulousness and nonchalance. “I looked at fake moustaches and asked an array of friends, family members, friends of friends to don their own fake tashes so I could paint large portraits of them – again in a series. It was interesting to see what kind of moustaches people picked. Some made large moustachioed objects for their upper lips, others simply drew something with pen, from handlebars to Hitler-esque ones – even the odd genuine fake moustache. Because they were big, they had an
“I still like to draw things out accurately, but I tend to be more vicious and direct with how I paint, letting the materials run, splash, pile on top of each other – I love running my hands over a piece and feeling all the lumps and bumps of congealed paint on top of what was a flat surface. I got pretty lazy and only occasionally mix paints now – instead I select my colour range from household paints and get a whole range of tones to apply straight to the canvas. I find the
process of painting the most enjoyable. Just picking up a brush, drowning it in paint and caking a piece of paper or canvas with that paint is such a wonderful process. My favourite tool is a brush that lost its hairs and I guess now is just a stick. All this gloss paint dried on it so it’s become all smooth at one point, so I can layer paint on that scratch it away and push it back. If I get impatient with cleaning brushes, I will use hands and toilet paper.” Following a lengthy affair with moustaches, Jamieson felt it was time to move on. For his final degree year, the artist selected a subject that summarised his interests in celebrity, past generations and contemporary themes: Kim Jong Il. “I read this report back in September 2008 that some recent photos of the Dear Leader could well be faked. This prompted a plethora of research into Kim Jong Il and his tyrannical leadership of North Korea. There were some reports that he might have even died years ago, and a series of body doubles had replaced him. I read up on a few
books, watched countless documentaries and wanted to portray the many faces of Kim Jong Il in a series of portraits. His funny face was delightfully intriguing; neck jowls, liver spots, his Hollywood sunglasses and geek-chic eyewear. This lead to the larger 10 ft x 8ft works on a multitude of billboard posters, whose slogans I adapted to relate to Kim Jong Il.”
tive use dripped paint suggests demise and desolation; a subtle reference to the Leader’s age, authority and beliefs. Using giant canvases and adapted advertisements, the artist layers the Communist leader onto symbols of Capitalism to create work that allows aesthetic impact and intellectual interpretation. Kim Jong Il’s efforts to maintain his public image parallel the less harmful efforts of Western celebrity vying for media attenTo date, Jamieson’s work on Kim Jong tion. Jamieson’s work indicates his unIl is his most successful. He has pro- derstanding of the rising celebrity culduced multiple portraits of the North ture and successfully utilises Kim Jong Il Korean leader adopting his domineering as a tool for celebrity satire. pose seen adorning Korean Communist propaganda. Jamieson’s use of carefree Dan’s potential has not gone unnoticed. painterly application seems somewhat In 2008, he was one of five ‘up and comironic when depicting a leader whose ef- ing’ UK artists that was short-listed in forts to prove his perfection rival those a promotional collaboration between of Tom Ford. Furthermore, the effec- Dulux and The Guardian. Despite only
graduating last year, he has showcased his work at the Platform One Gallery and more recently at South London’s GX Gallery. He is currently working towards his next big project investigating portly Puerto Rican Pedro Morales, cranes and the late singer Robert Palmer. In the meantime, his proximity to the Olympic village developments in London have fuelled his photographic creations (page 40). Jamieson shows great promise. The success of his previous work at such a youthful age indicate the best is yet to come. His ability to combine cult themes, originality and his wild aspirations suggest Dan Jamieson is definitely one to watch.
Copyright 2010. VNTD Magazine