Interview with Mercury Prize nominated Sunderland band Field Music’s David Brewis.

I’m absolutely BUZZING with this interview – as someone who was once a bit of an indie kid, back in the day (before that I had an emo phase, before that a goth phase, before that a chav phase….); think Stonelove at Digital and Bulletproof at The Academy, obsessed with boys in skinny jeans and big hair, going to gigs every week, firmly in love with the North East music scene and listening constantly to bands like Mercury Prize nominated Sunderland band Field Music. I think about that period of my life, with such nostalgia!

I LOVE Sunderland band Field Music. Listening to them makes me think of a time in my life, that I was really super happy and was having a lot of fun! It is great to see how they’ve gone from strength to strength, continuing to release music, such a valuable asset to the music scene and I just love their twitter account.

Field Music – photography credit: Andy Martin

I’ve had the absolute pleasure of working with Field Music a bit recently. I’ve been supporting Paint The Town In Sound, Sunderland Culture’s online exhibition exploring the timeless relationship between art and music and the direct links forged between musicians and artists. The exhibition is curated in collaboration with Field Music, takes their own collaborations as a starting point to explore wider themes. The artworks in Paint the Town in Sound, are drawn from the Arts Council Collection and offer a fascinating insight into the musical heritage of our region providing a route to examine our own cultural identity and its relationship to class, politics and place. You can visit the exhibition here and experience the virtual walk through here.

Paint The Town In Sound exhibition

Like the little hustler that I am, I took the opportunity of working with and connecting with Field Music and nabbed a weee Culture Vulture interview with Field Music member David Brewis. They’ve got a new album coming out and a tour in the works….we chat live music in a pod COVID world, their new album, Paint the Town in Sound, art and other musicians to check out….

Well hello David, let’s do this, let’s start with an intro!

I’m David Brewis. My brother Peter and I have been making records as Field Music since 2004 from our own studio in Sunderland. I’ve also made a much of records on my own as School of Language.

How would you describe your music to someone who hasn’t listened to it?

I tend to avoid doing that but essentially, it’s weird pop music which doesn’t sound much like contemporary pop music but also doesn’t sound much like the pop music of any other era either.

Field Music – Photography credit: Chris Owens

Tell my fellow Culture Vultures about your journey into music? Why music?

The idea of playing music took hold of us when we were 10/11 and that was it. Mostly we were just pinching things from our parents’ record collection – Led Zeppelin, Free, Fleetwood Mac. We started playing covers in pubs in 1994 which was a great way to really learn. And we were “peer educators” helping to run the music workshops for Dave Murray’s youth project at the Bunker in Sunderland around the same time. It was there that we met Barry Hyde (later of The Futureheads), who was clearly really talented but also, because of his dad, had a knowledge of music beyond what we knew, – Captain Beefheart, The Velvet Underground, Wire, John Coltrane. It became a kind of trade – we showed Barry how to be in a band and he showed us how to listen to music! If anything, we became even more obsessive about music then and even more determined to make something unique.

We had applied for the very first round of National Lottery arts funding in 1997 to help set up a short-term community recording studio and after that, it felt essential to have our own studio space. That – and the fact that we could never really explain to anyone what we were trying to do – is how we ended up self-producing music right from the very beginning.

Field Music. Photography Credit: Andy Martin

You’re releasing a new album soon….tell us more! What was it inspired by?

The next Field Music album is called Flat White Moon and it’s due out in April. A lot of it was inspired by our mam passing away in 2018. I think we both felt we needed to write about it and about her and our memories of her; but we weren’t really ready until now. Our last album, Making A New World, which came out last year turned out to be a good way to use the creative parts of our brain without getting stuck in the mental fug we were in when we wrote it, because that was all based on stories and research related to the first world war. We didn’t have to deal with ourselves and I don’t think we could have at that time. The new record isn’t overly gloomy though – we were keen to make music, which was freeing and fun to play, after a couple of albums which were quite tricky to play live.

Field Music new album

And you’re touring later in the year…..are you excited to be on the road playing to actual people in real life?

Excited and anxious, but I think that’s how the audience will feel as well. Whenever live music starts happening again, I think it’s going to be a very emotional, cathartic experience all round.

Absolutely agree – speaking of live music, can you tell us about your favourite gig or festival you’ve ever played?

We played a lot of festivals in 2016 and quite a few of them were not a lot of fun. Winning over ambling crowds of people drinking Pimms is not really our forte – our music is too knotty and our sense of humour is too dry to work in that situation. But then the last festival of that summer was in the big tent at Green Man Festival. I’m not sure what I was expecting but we came out and the tent was packed and the atmosphere was really special. It was wonderful.

I truly hope so. On the plus side, the people who run and book small independent venues are some of the most resourceful, creative and bloody-minded people I know. They will find a way to make things work. But small-scale live music has never been a money-spinner so if there are restrictions on gatherings for another whole year or more, it’ll be extremely difficult for small venues to survive. As with everything else, we’re dependent on how the health crisis is handled first and after that on how businesses are supported. Also, because the whole industry is basically run by freelancers, who’ve been among the least-well-supported financially through all this, there’s an awful chance we’ll have lost thousands of skilled people who’ve been forced to find work in other sectors.

Field Music. Photography credit: Andy Martin

What do you think of the music scene in Sunderland/North East? And any suggestions of folx to check out/ones to watch?

Honestly, I find it difficult to keep up. And I’m now old enough where I don’t feel guilty about it! It has been pleasing to see how active Independent have been in putting on shows that aren’t just lads in bands (though Roxy Girls are an outstanding band made up of lads). It has been interesting and exciting to do a little bit of studio work with Sunderland Young Musicians Project, who seem to have a whole production line of talented, outrageously-young songwriters, some of whom are already getting out there in a serious way like Faye Fantarrow and some of whom, like Ami McGuinness, Lottie Willis and Eve Cole, are just a step or two away from that too. There’s greatness to be mined if young people have the opportunity and the support.

Field Music. Photography credit: Chris Owens

Absolutely agree! Tell us about Paint the Town In Sound online exhibition?

When Jonathan from Sunderland Museum first got in touch with us to act as guest curators, the brief was pretty open. We knew that the majority of the works in the exhibition had to come from the Arts Council Collection but that was about it! So, we started poring through ACC catalogues and decided to use the exhibition as a way to look at how music, art and identity feed into each other and that ended up touching on fandom, pop iconography, sleeve art and punk as a community movement. We were very fortunate, to have Jonathan guiding us through the process and being so accommodating to our ideas.

Field Music. Photography credit: Andy Martin

Why should folx check out the exhibition and what can they expect?

The hope is that if you go to the exhibition you’ll see some reflection of yourself in there. We all use pop culture as a way to self-identify and while we can’t represent EVERY pop tribe, we hope it’ll show a bit of how that self-identification happens and why it’s so interesting and important. I’m over the moon that we have some great work from NE-based artists – the likes of Narbi Price, Laura Lancaster and Graeme Hopper in there – alongside Peter Blake and Anthea Hamilton. I think people will find the items from the Bunker archive really interesting – handwritten letters, posters and newsletters from the first flourish of punk organising in Sunderland. And I personally really enjoyed putting together the display of NE-linked record sleeves and researching the artists and designers who created them – it’s like an alternative history of music and design. And it took AGES.

Field Music. Photography credit: Andy Martin

What I love about the exhibition is that it really showcases how music and art can blend together and create something quite magical….. how has art affected your music? What type of art are you into?

One of the things that became really apparent in compiling the sleeve art display is that the styles of art and design used always say something about the artist, even if it’s the artist deliberately trying to steer you away from a particular interpretation of their music. So with us, the art we tend to like and tend to use is a lot like our music – we want it to be comprehensible without a lot of explanation but we want it to hold details and references which you’ll hopefully discover the more time you spend with it. We often want it to have an element of humour or self-deprecation. We like things which cast a bit of wry eye at luxury and commerce and we like to subvert symbolism. I also like things where it feels like the artist is struggling a bit to communicate something just out of reach. And conversely, with both visual art and music, I tend to glaze over a bit if it feels like making it or conceiving it was too easy.

Field Music new album

One of the things, I love about being The Culture Vulture, is that I have the privilege of going behind the scenes and getting my mits on things before everyone else (which is mad because it’s just Horts from Gateshead!) – you had that experience a bit seeing the Arts Council Collection stuff? What was that like?

Sadly, because everything was done under some level of covid restrictions we didn’t get to see anything for real before the installation. We were entirely dependent on the ACC catalogues. Which did mean, for instance, that we didn’t release quite how risqué Anthea Hamilton’s Leg Chair was until it was in situ!

What else are you working on? Anything else you want to share?

In between the frustrations of homeschooling, we’re having to spend a lot of time thinking about how we promote a record when we can’t go out and play; it’s difficult to rehearse and we can’t go anywhere. I never thought I’d be the kind of person who used the phrase “visual content” but here we are. We’ve also been working on songs for a commission for next year which has involved some fascinating historical research. More on that soon!

Very exciting! Thank you so much David!

Field Music. Photography credit: Chris Owens

Keep an eye out on Field Music social media for the album drop on 23rd April.

To view Paint The Town In Sound visit HERE.

To experience the virtual walk through of Paint The Town In Sound visit HERE.

And finally, keep an eye out for Paint The Town In Sound Podcast series, as it will be launching soon!

Coming soon – Field Music PtTiS Podcast series

Interview with artist Josie Brookes – bringing a lot of joy and colour into the world one glorious illustration at a time.

As we move closer to the end of 2020 and the start of 2021, I thought i’d round out the year, with an artist interview with a creative that has brought me a lot of joy and colour across 2020, an artist that has been responsible for spreading a lot of joy into folx lives across a year like no other and worked on some joy filled creative projects.

Josie Brookes’ work is just pure joy! I first met Josie Brookes in my role at Gateshead Council on the Culture Team. Josie’s illustrations are the sort that just make you smile – full of colour, personality and something rather comforting with a hint of nostalgia. She makes the type of work, that you brings light into a room and if you hung it on your wall, you couldn’t ever imagine feeling sad in that room ever again.

Artist Josie Brookes

She’s is a freelance Illustrator, animator and art facilitator based in Newcastle upon Tyne, North East England. Her illustration work showcases illustration in its broadest context – illustration can be so much more than drawing, especially when you throw collage and bold patterns into the mix.

I’ve wanted to interview Josie for Vulture, for years – but seeing her resilience across 2020, the wonderful creative and community projects she’s been involved in and contributed to – well it spurred me on to make it happen!

You can check out Josie’s work to purchase HERE and read about her projects HERE.

Josie Brookes

So over to you Josie….

Well hello, can you introduce yourself for my fellow Culture Vultures?

Hello! I’m Josie, a North East Creative, an Illustrator/visual maker and creative facilitator living in my home city of Newcastle upon Tyne.

Tell me a bit about your journey into the creative industries – where did it all begin?

When I returned home from doing my BA in Graphic Design at Brighton University, I worked part-time at The Newcastle Arts Centre and then a-n – The Artists Information Company, whilst building up my work as a freelance Illustrator and facilitator, working on commissions and projects, largely with a community focus, around the region. In the earlier days, I also ran a business called ‘Prod’ with my husband Tom Madge selling patterned screen-printed belts and jewellery, but eventually my illustration and project work sort of took over and I was lucky enough to be able to invest in my freelance practice full time.

Thinking back, my first paid job as an illustrator was doing the horoscope Illustrations for The Crack magazine (after a stint of work experience whilst at Uni). I’ve always found the North East to be a very supportive place to work in, with a great sense of camaraderie in the creative community here.

Josie Brookes – Moonface

You are the true definition of a multi-disciplinary artist – illustrator, animator, collage, maker – but most well-known (IMO) for your illustration, how did you develop your illustration style?

I think my illustration style has evolved with me. At the core, my work focuses on character and colour. Most of the time I represent things from my own perspective rather than in a realistic way. I like to experiment with processes. The way it’s made – be it using pen, collage, print or digital techniques – can vary, and overlap, but always has those common themes.

Josie Brookes – Kindness

We were reunited on Art Crush (without ever meeting or talking – very 2020 of us!) working on the project! I was thrilled to see your name and the illustrations are of the “art personalities” are just perfect! Can you tell me in your words what Art Crush is?

Art Crush is a fun app designed to explore the Arts Council Collection (the UK’s most widely seen collection of modern and contemporary art, with more than 8,000 works by over 2,000 artists), in a less conventional way, and to learn a little bit about your artistic persuasions! Developed using a similar interface to apps such as Tinder, Art Crush enables folks to quickly and easily swipe through artworks to discover what art they like, create their own collection and discover their ‘art personality’.

Josie Brookes – Art Crush illustrations (App created by BLOOM)

What was your involvement in Art Crush and how did you come up with the concept of the visuals?

Sunderland Culture approached me to come up with the visuals for the Art Crush Art personalities, because they were looking for someone who they thought could have fun experimenting with these slightly abstract concepts and I had recently done an online talk about my work and showed some Horoscope illustrations I had made, which they likened the challenge to.

I got a description of each of the art personalities and started working up ideas and draft characters to feedback on. It was a lovely working process with them and luckily, there wasn’t much tweaking to do. My concept was that each character was ‘encased’ by their personality, around their head, with patterns, colour choices and little details providing an extra nod to their traits.

Josie Brookes – The Dreamer – Art Crush

Why should people download Art Crush and have a go?

It’s such a fun app and a great concept. It’s like Tinder but for Art. So, if you’ve been married as long as I have, you might never have used something like this (Tinder – the dating app) before! You swipe right and get to see lots of art from the Arts Council Collection, then once you have 15 matches you get to discover your Art Personality.

Now time for the big question – what was your Arts Personality?

Mine was Truth Seeker. I was secretly hoping for Boundary Breaker, but there you go! Although, you can do it as many times as you like, and it may change depending on your mood. I’ve done it a few times now and keep getting Truth Seeker, so feel like that’s my destiny!

Now onto a project I’ve watched from a far and loved……can you tell us about Monkfish Productions’ A Little Bit of Good in the World project? What is it? How’d you get involved?

I saw the project call out on the Tyne and Wear Cultural Freelancers facebook feed and immediately loved the concept of the idea. After such a prolonged period of turmoil for everyone in the creative industry (and everyone in general) a project which focused on bringing a little bit of good in world was headily appealing. I went through the interview process and thankfully was asked to be involved. The project is about exploring ‘how lots of small creative bits of good can be connected to facilitate something bigger’. Monkfish have been working with Projects4Change so it has included workshops with their young people and I have gotten to work with fellow artist Melanie Kyles, who has been making a beautiful embroidery piece for the project too.

Josie Brookes – A Little Bit of Good in The World

Can you share a project highlight so far? How can folx get involved with the remainder of the project?

There’s so many! Getting to do some ‘in real life’ workshops with the Projects4Change youth group, my first and only ones, since March. Also the online ‘Drink and Draw’ evening we had on Zoom, and getting to produce some self-initiated artwork… so basically the whole lot!

There are a series of online creative activities on the Monkfish Productions’ blog that I helped to create with Amy Lord; it would be great for people to get involved with those.

You sell lots of cards, prints and are available for commissions..where do you seek inspiration for that work? Do you create work with the intention of selling it, or do you have fun making/illustrating something and then think.oh I might add a print of that to my shop? How can folx purchase from you?

I’m more in the having fun then thinking oh that would make a nice print camp. At the start of Lockdown, in a moment of organisation (panic) I got a lot of prints made up and set up my online shop properly. There’s nothing like a pandemic to get you to do those things you’re always meaning to but normally never get round to. People can shop for my prints/originals and greetings cards on my online shop.

Josie Brookes

You did the illustration for Culture Vulture favourite, stand-up comedian Kate Fox and their tour Where There’s Muck, There’s Bras”, a show celebrating Northern women and their contributions, commissioned for Great Exhibition of the North 2018. I just loved the show branding can you tell me about your involvement in the project and what you thought of the show? What was it like being a lush creative woman, working on a project about celebrating and championing women!?

Thank you. I love Kate and it is always a pleasure to create work for her. We worked on a project together around 6 years ago with Helix Arts and YHNE and have stayed in touch since. The branding for her ‘WTMTB’ show, and then tour, was a dream. I learned so much from drawing up all the Strong Northern women that feature in the show. It was really emotional watching the show and realising just how much these women and their achievements have been written out of or glossed over in history. I feel privileged to have been a tiny part of the process of highlighting their Awesomeness. It was also empowering to work on a on an all-Northern all-woman led project. I am very proud of where I come from, so always appreciate opportunities to champion people from the North.

Josie Brookes – Where There’s Muck There’s Bras

Can you tell me a bit about your involvement with the band Warm Digits?

Myself and my husband Tom, were asked to make the lead single video ‘View from Nowhere’ for Warm Digits new album (released in February this year) and we decided to make it using stop motion animation. We visited Emma pollock the guest vocalist on the track up in Glasgow to record her performance. It was an intense and massively fun project to do together, and we are really happy with the result. Unfortunately, Lockdown 1 put the launch gig at The Cluny, Newcastle on hold, but it’s something to look forward to in 2021.

Josie Brookes – Warm Digits

And your link with Newcastle based Chalk; an organization that creates cultural, immersive experiences for the whole family?

I’m honoured to be an associate artist for Chalk. I really appreciate, all the hard work they do to provide fun and interesting family-focused events in the region (which I have enjoyed as a parent with my kids), so I was thrilled when they first asked me if I would be involved with their events. I have live animated through two of their gigs, for bands Archipelago and Stealing Sheep, and also run children’s animation workshop. I also recently did an online Chalk workshop as part of the Summer Streets Festival exploring ‘What does Music look like?’ and I really look forward to being involved in more exciting events in the near future. Chalk are always coming up with something different.

Josie Brookes – Live animating Stealing Sheep

You were the artist and residence at Northern Festival of Illustrationwhat was that like? Tell me about your residency?

This was such a great experience for me as an Illustrator; there aren’t that many Illustration specific residency opportunities out there and The Pop Up studio residency was a fantastic way to break from my usual routine of projects and invest some time in pure self-initiated experimenting. I had the chance to connect with the creative scene in Teesside through the Northern School of Art and Empty Shop. I met new people and had the chance to share the space with fellow resident artist Laura Fitton. I ran group workshops, put on a fun Drink and Draw and enjoyed the chance to explore the Teesside area more.

Josie Brookes – The Pop Up Studio Residency

Whats your 2020 highlight been?

I’d have to say my creative highlight this year would be releasing the Warm Digits music video. It was such a nice way to combine these different facets of my practice in one – using print, collage, mark making and animation, all together. It was also a happy time getting to collaborate with my husband Tom.

Josie Brookes – Warm Digits

Can you share something new youre working on/coming up?

I am currently working on a collection of new print and collage-based work inspired by the Warm Digit’s project, that was going to be exhibited at Northern Print in September this year; it has had to be postponed until next year. I’m also working with Monkfish on one of their other great projects ‘Going the Social Distance’ which is based online and working with young people around creativity and well-being.

I’m also really excited to start working on Claire Newton’s (Creatively Conscious) new project ‘Creativity Island’ with her and writer Danielle Slade. It is all about connection, creativity and well-being in motherhood, which are subjects that I am very passionate about!

Josie Brookes – Squidgy Heart

Any artists/creative folx that are inspiring you right now, that you suggest I should check out?

I have been really enjoying Instagram. It feels like a great platform for spotting people that you I love the work of. I’d recommend checking out the feeds of Lisa Congdon, Jayde Perkin, Elisoa Henderson-Figueroa, Peopleiveloved, thejoyeclectic, Sarah Bagshaw designs, moragmyerscough, local illustrator pal Laura Sheldon and my friends at Flea Circus who always give me shopping urges and helping me to ‘shop small’ as much as possible.

How can folx keep in touch with you?

Instagram, Facebook or send me a message on my website www.josiebrookes.com

Josie Brookes – Chalk – Stealing Sheep

Well thank you Josie – wonderful to catch up with an artist that has smashed 2020 out the park whilst bringing joy to so many folx too. Please check out Josie’s online shop, keep an eye out for her future projects into 2021 and check out those Instagram suggestions – they are goodies!

All my love Culture Vultures – more interviews on the way!

Interview with visual textile artist Anya Paintsil – we chat representation (or lack of), punch-needle and questioning “fine art”.

Today I’m interviewing another Insta artist find….this one really stopped me in my tracks! Anya Paintsil is a brilliant artist find – I stumbled across her work through The Social Distance Art Project (seriously folx – that is the gift that just keeps on digitally giving – check it out!) and instantly fell in love. It is like nothing that I’ve personally seen recently and the tied in themes of race, feminism and personal expression, just feel so timely.

Example of Anya’s textile work

Anya Paintsil – me and jack

Anya Painsil is a recent art graduate from Manchester Met, making her way into the arts work and I just know she’s going to have a bright future. Anya’s pieces use methods of rug hooking, embroidery and afro hairstyling to create textile pieces that seek to elevate art and craft practices that have been historically devalued because of their associations with marginalised groups. Anya’s work frequently focuses on the significance of race and identity outside of urban areas, feminism, autobiographical story-telling and fantasy.

I reached out to Anya this Summer for a Culture Vulture interview for many reasons; firstly, her art work is beaut, I love the style and it interested me! It is the type of work, that even though, I stumbled on her work during mindlessly scrolling, I couldn’t stop thinking about it and book marked it. Secondly, she is using a textile medium that arguably is not something that many artists use – it’s quite a traditional medium, but this feels like such a fresh way of using it. I like folx who are doing something quite different and Anya’s work, is just that, very Anya!

So it is my privilege to share our little interview and please check out Anya’s work and show her lots of her support, she is MEGA!

Artist Anya Paintsil leaning against a shop window.

Anya Paintsil

So hi Anya! Can you introduce yourself for my fellow Culture Vultures?

My name is Anya Paintsil; I’m a Welsh-Ghanaian artist living in Manchester.

How would describe your practice?

I’d describe myself as a textile or fibre artist; I work with various rug hooking methods to create wall-based textile pieces.

Example of Anya’s textile work

Anya Paintsil Mair at Cylch Meithrin

Can you share with us, your journey into the arts?

I never really knew what I wanted to do with my life; from being a small child creative practice has always been something of a compulsion for me and I would spend hours every day drawing and painting. I didn’t enjoy studying art at school or school at all really, and dropped out of sixth form college and worked, travelled and moved around a lot.

When I was 23 I decided I wanted to work towards a career in graphic design or illustration so I went on a portfolio course in Glasgow, where I was living at the time – I got into MMU (Manchester Met) to study illustration and animation but similarly with my school experiences I didn’t really enjoy working to briefs or not being able to make work entirely in the way I envisioned so I swapped to study fine art after my first year. I just finished my BA and began working with my gallery earlier this year.

Example of Anya’s textile work

Anya Paintsil – Your Mum Eats Like a Camel

Can you tell us about some of the themes you explore in your work?

My work is largely autobiographical – I explore personal relationships, trauma, and memory, as well as exploring race and identity.

What would you like audiences to take away from your work?

I like to create objects that have a sort of presence.

My work does largely deal with race and identity from my own mixed race African/Welsh perspective – a perspective I have rarely seen represented. I like to explore complex elements of depicting black women and black bodies and hair.

My main aims in my practice are to make viewers consider what can and can’t be included in the category of fine art as well as which makers can be considered “artists”. I do this through my utilisation of craft practices that have historically been relegated to the decorative or dismissed from the high art canon due to associations with utility. I work with afro hairstyling techniques and materials as a way of honouring my heritage as a black woman, and a way to bring wider attention to the significance of hairstyling and hair in itself for women of the African diaspora.

As well as wanting to work with materials I am skilled at manipulating, I want to showcase these skills I learnt outside of an arts education context to in some way convey that literally anything that requires skill and creativity can be elevated to an object that can exist within a gallery setting; this is a way of challenging ideas that real art can only be made by certain people under certain circumstances.

Example of Anya’s work

Anya Paintsil – thirty six inch in six thirteen

Talk us through the process of making one of your textile pieces? How long does it take?

Usually between a week or a month.

I draw or paint nearly every day, in a semi-automatic fashion, I usually pick back through old drawings to come up with ideas for my textiles – I then usually do a more “resolved feeling” version of the initial drawing and then just try to translate into textile form, the design usually changes over the course of making the piece – I always work free hand on to the hessian.

You often use punch needle as a process in your work, why?

It is such a cathartic process.

Labour and the evidence of labour are quite central to my practice. I really appreciate and enjoy how easily I can manipulate my tools in punch needling; I find working by hand gives me far more freedom and allows me to make quick decisions while I work.

Example of Anya’s textile work

Anya Paintsil – Self Portrait

Can you share with us a highlight of your career so far?

I suppose, in itself, I’m still proper delighted and quite shocked that making work has actually become a career. Being discovered by my gallerist, Ed Cross, on Instagram was wild and unexpected but has been completely life changing. Ed Cross Fine Art is a gallery in London, that works with emerging and established artists across and beyond the African diaspora.

But I’d have to say my highlight so far was learning, that I had been selected to show work at the London instalment of the 1-54 Contemporary African Art Fair at Somerset House in 8 – 10 October.

How have you been spending lock down?

Grieving with my family. In April my Grandma died from COVID. I come from a tight knit family, my Grandma was our matriarch and the centre of our world. Losing her and being unable to be with her or say goodbye due to the circumstances of the pandemic has been so painful and devastating to us all.

My mum was going through cancer treatment when the pandemic began, and I myself am clinically vulnerable so this whole situation has been a total nightmare and the hardest time of my life.

I’m so sorry to hear that and sending you so much virtual love! Do you sell any of your work? Take commissions?

My work is sold through my gallerist, Ed Cross Fine Art. I take selected commissions.

Example of Anya’s textile work

Anya Paintsl – ni yn unig

What are you working on right now? Any projects?

I’m finishing up a couple of new pieces to show at the 1-54 in October, and a couple of other things that are soon to be announced – keep an eye on my social media for more!

Can you share with us a few artists that are inspiring you right now or suggestions of artists I need to check out?

You should check out….

Cas Namoda – a painter and performance artist born in Mozambique, exploring the intricacies of social dynamics and mixed cultural and racial identity in her work. She captures scenes of everyday life, from mundane moments to life-changing events and paints a vibrant and nuanced portrait of post-colonial Mozambique within an increasingly globalised world.

Tiffanie Delune – a visual artist and painter, born in Paris, inspired by the cut outs of Matisse and African textiles; she works with acrylic, oil, pastels, charcoal, graphite, pencils, papers, fabrics, wool, nets, women’s tights, shells and leaves, on stretched large canvas, rolls of canvas and smaller pieces of paper. Her work combines a brilliant command of design and colour with a fearless commitment to exploring her personal history and celebrating sexuality, monogamy, femininity, motherhood, rebirth, agency and freedom. 

Adebunmi Gbadebo – a visual artist, from New Jersey, who creates sculptures, paintings, prints, and paper using human hair sourced from people of the African diaspora. Rejecting traditional art materials, Gbadebo sees hair as a means to centre her people and their histories as central to the narratives in her work.

You’re at the beginning of your creative career which is exciting – whilst the creative and cultural industries are thinking about reopening, evolving and rebuilding – what change would you personally like to see in our sector?

I would like to see

  1. more women,
  2. more people of colour,
  3. more “normal” people,
  4. more accessible language.

Well high five to that – I’d like to see less gatekeeping! This has been a wonderful interview – how can folx stay connected with you?

My Instagram is @anyapaintsil and you can find my work for sale on artsy right HERE.  

You can see my work IN PERSON on October the 10th at the 1-54 Contemporary African Art Fair at Somerset House – you can get your tickets from HERE.

Example of Anya’s textile work

Anya Paintsil – feeling powerful with my red nails

What a great interview and thank you for introducing me to three new artists Anya – every artist, I interview, engage with or hang with, I ask them to suggest three-five artists on Insta or in general that I need to check out and let me tell you, it’s been SO bliddy amazing to jump outside of my comfort bubble – I’ve discovered SO many new artists. Brilliant for my curious brain, not so brilliant for my to-do list! (hehe!)

Please check out Anya’s work and please consider buying from artists and creatives this Autumn (going into festive season!) Artists need your support more than ever, so put yerrrr monies where you mouth is! Even if it’s just a card or small print!

Until next time Culture Vultures!

Interview with Liv Hunt – artist, activist, proud freelancer & puppet master!

Liv Hunt – Culture Vulture Artist Interview

Image credit – Equal Arts – Creative workshop with Equal Arts’  – Read more about their work via: www.equalarts.org.uk

One of the biggest blessings of 2020, is that whilst the year hasn’t played out as anticipated (understatement alert!), I’ve had the privilege of working on lots of brilliant and unexpected projects. One such project was #Gateshead10x10 – as someone born and bred in Gateshead, it’s always exciting to work on something in my own community, on home turf and especially a project like this, that really has such brilliant aspirations.

Creative community project 10 x 10 Creative Gateshead launched in August to connect and inspire Gateshead people during the pandemic, through activities devised by Gateshead artists. 10 x 10 Creative Gateshead involved the creation of two booklets, one for adults and one for young people and families; each with 10 creative activities created for the people of Gateshead. The activities include a wide range of art forms from mindful writing, to puppet making, to origami, to Gateshead celebrating creative prompts and can be used indoors or outdoors, alone or as a group.

Gateshead based community organisation Dingy Butterflies has been heading up the project and across August, hundreds of activity booklets were distributed across the Gateshead community. Each booklet features 10 activities created by Gateshead artists, developed in collaboration with 10 Gateshead community and creative organisations. These physical packs are targeted at people who have limited or no access to the internet; Gateshead has a high proportion of residents without internet access and low levels of digital literacy.

In addition to the hundreds of physical packs being distributed across the community, there are digital versions of both 10 x 10 Creative Gateshead booklets available for ANYONE download now from www.dingybutterflies.org/10×10-creative-gateshead/ – follow the link to check out the booklets and have a go at something creative. All materials for the activities are inexpensive and easy to find in shops or you will find them around the home.

10 x 10 Creative Gateshead has also provided paid work for 15 Gateshead artists/freelancers during a challenging time for the cultural sector, in which paid freelance work has been decimated (how lush is that!?) It has been such a beaut project to work on and meeting so many artists (some I knew and others I didn’t) was ace! So al a Culture Vulture – I thought I’d reach out to one of the #Gateshead10x10 artists for a Culture Vulture interview to find out more. So for this interview, I went after a goodie and an artist, I’ve wanted to interview for a LONG TIME!

So step right up – Liv Hunt – artist, theatre maker, puppeteer, lovely human and freelance champion……let’s GO!

Liv Hunt – photo credit : Michelle Bayley

Well helloooooooooo – for my Culture Vultures, can you tell me who you are, what you doyou’re your practice?

Hello, I’m Liv Hunt.

I’m a theatre-maker, facilitator and activist working in participatory arts. My practice is centred around telling, sharing and imagining stories and to do that I use different mediums such as music, puppetry and sensory theatre. I began my career delivering theatre projects in care homes, schools and community centres working with people from varied backgrounds and abilities in partnership with Equal Arts charity for older people. I then began developing my practice with arts organisations, delivering on freelance contracts to produce theatre. 

I am also the community engagement coordinator for Alphabetti Theatre where I designed and coordinated participatory projects Walter (2018) in collaboration with The Discovery Museum and Write Something Junior (2019) in collaboration with 6 primary schools across the North East. My role is to ensure that everyone has access to the theatre and to develop Alphabetti’s networks within the community. My approach is quite hands-on. I get out and talk to people and, in the process, have formed strong relationships with organisations, groups & individuals.

In 2019, I formed Woven Nest Theatre with Poppy Crawshaw. Our aim is to create theatrical experiences with, for and by older and neuro-diverse audiences. Our first company project was to create a piece of multi-sensory theatre for people with advanced dementia who are bed-bound. I am driven by arts for social change and champion for inclusivity and accessibility in theatre.

Tell us about your journey into creative industries?

I wasn’t initially going to be in the creative industries. I liked drama at school but I wasn’t really sure what I would do with it. When you’re at school you’re not taught all the jobs that are in the arts. So, I thought studying drama would make me an actor, a director or a teacher. I had no idea about participatory arts or how the arts work with communities and the possible jobs tied in with that. A friend told me about a drama course at Northumbria University called Applied Theatre – I had no idea what applied theatre was but when I started looking into it, it grabbed my attention. I knew I wanted to learn more about it, so, I enrolled. Towards the end of the course I became interested in working with older people with dementia, which framed the first 3 years of my career in the creative industries.

Image credit – Equal Arts – Creative workshop with Equal Arts’  – Read more about their work via: www.equalarts.org.uk

Tell me more about your experience in theatre and puppetry?

My experience with theatre and puppetry is through a participatory arts perspective, the work is centred around the communities and people I work with. In my early career I was developing theatre in care homes, community centres and schools. In 2017, I was commissioned to work on a project with St Marks Care Home and Battle Hill Primary to develop a piece of theatre, celebrating the Gateshead born Dodd Sisters who founded The Little Theatre, Gateshead. The project was to produce a retelling of The Pitman’s Pay written by Ruth Dodds, to be performed at The Little Theatre.

I have been a drama worker for Live Youth Theatre for the past 4 years where I have directed youth theatre shows with young people aged 13 – 25. In 2019, I started working with Unfolding Theatre to develop a Christmas show with Edberts House over 12-weeks. The Edberts Express was then performed at St Mary’s Church. I am an associate drama worker with Open Clasp Theatre Company where I have delivered drama workshops exploring issues related to women.

I’m currently developing a theatrical film with my company, Woven Nest Theatre. The film is called Mariana’s Song and is about a woman who is in love with the sea. We are just in the pilot phase of this project. It has been created for older people with advanced dementia who are bed-bound and incorporates sensory stimulation, lighting and sound.

Prior to lockdown we were developing a touring puppetry show specific for care homes. We were developing a tea trolley theatre complete with tea-pot puppets, original music and sensory surprises. We were commissioned by Sunderland Culture to develop the piece with a Sunderland care home but sadly due to COVID it was postponed. When we get the chance and it’s safe to do so, we’ll be dusting off our teapots again!

Wow….what an accomplished portfolio! Puppetry is something that absolutely fascinates me….can you tell me a little more about your puppetry experience?

I’ve always really loved watching puppets and puppetry shows. I became interested in using puppetry within my own practice after I did a course at Northern Stage with Tom Walton. He taught us how to make really simple puppets using materials found at home. I loved the way you could make a puppet out of an old newspaper and some masking tape. I was doing a lot of work in care homes with older people at that time and decided to try it out in there. We built a simple newspaper puppet as a group which they really enjoyed (it involves a lot of repetitive actions such as crunching and rolling the newspaper.) I then brought the puppet to life and moved it around in the space.

I was amazed at the reaction that this had. The older people were calling for the puppet to come towards them and when I came over with it they would smile, laugh, stoke and talk to the puppet as if it was a living breathing thing. I don’t think they really saw the puppet as though it was real, but they were able to take it for what it was in that moment and connect with the emotion that the puppet was portraying. So, if I was portraying sadness, they would comfort it and if I was portraying happiness they would laugh and smile with the puppet. That’s what I love about puppetry –they can portray emotions in a really pure form.

What is the puppet scene like in the North East?

The puppetry scene is good and growing in the North East. We are really lucky to have a growing number of puppetry companies in the region and of course Moving Parts – Newcastle Puppetry Festival which was held at Alphabetti Theatre last year. The festival showcases fantastic puppetry from companies all over the world so what you see there is really diverse. I love going and just soaking up all the different kinds of puppets. Moving Parts have also brought lots of training opportunities to the region which has meant that more artists, such as myself, are starting to use puppetry as part of their practice. So, what we’re starting to see is a ripple effect of more freelancers starting to use puppetry in performance and also participatory arts which stems from these training opportunities.

Tell me about a recent project you’ve worked on?

Last year, I co-founded my company, Woven Nest Theatre with Poppy Crawshaw. We are a company that produces theatrical experiences for neuro-diverse audiences, specifically older people with advanced dementia. We were just about to start our first company project, with a care home in Sunderland when Covid-19 started so everything had to be cancelled and put on pause. The project was to develop a theatre show in collaboration with the elderly residents there at their bedsides using elements of puppetry, lighting and sound.

In June, we were funded by Northumbria University to do a research project, looking at ways in which we can provide a theatrical sensory experience, digitally. It has been great – we have had space to collect our thoughts, plan and start filming snippets of our story. The entire experience has been really eye opening. I would never have dreamed of doing a digital project but now I genuinely believe using digital media is better suited to the project than the original idea on pause.

I think this time is really interesting for artists, we’re having to adapt our work in a really interesting way. We are not able to work like we used to, but by having this new barrier, it’s starting to unleash new artistic possibilities which is producing some really exciting work.

Can you tell me about a recent theatre production you’ve contributed to?

I was commissioned by Alphabetti Theatre and Fulfilling Lives charity for people who experience homelessness, substance misuse, ill mental health and offending. I worked with a group of experts by experience and their support workers over a 2-month period to develop a piece which would later be performed at the Fulfilling Lives Annual Forum. The piece was centred around commemorating the lives of the experts by experience who had passed away in the previous year, which had been particularly high and so the group was experiencing a high level of trauma. We developed a series of short pieces, taking inspiration from creative writing, spoken work and contemporary performance, which we then crafted into a script. The piece was performed to a backdrop of an outline of a human which was gradually filled in as the piece unfolded. The aim was to show that people who had died weren’t just numbers on a page but people with complex and rich lives that deserved to be celebrated. The group performed the piece themselves and then we took part in a Q&A with the forum.

Image credit – Equal Arts – Creative workshop with Equal Arts’  – Read more about their work via: www.equalarts.org.uk

Can you tell me about your experience as a freelancer so far?

Generally, I love being a freelancer. I love how versatile and surprising the work is and all the lush people you work with along the way. I like the thrill of starting new projects and don’t get me wrong writing funding applications is a nightmare but when you finally get funding it’s like you’ve won the lottery. That being said, I definitely find it stressful sometimes. It’s a lot, constantly. And the idea of job security sounds dreamy.

What has your lockdown experience been like?

During the lockdown I found it really hard at first. All the jobs I was working on/about to work on got cancelled and you watch everything you’ve built topple down in front of you. As freelancers we’re so use dto keeping the cogs turning, day in day out, so to have everything come to a really sharp stop with no sight of starting again was really jarring. After I got over the initial shock, I decided to use the time to take a well-earned break to recharge, plan, reflect and read. I used the first half of lockdown to basically check back in with myself after years of going full steam ahead. I started doing art just for the sake of it, which I hadn’t actually done in a really long time. Then for the second half of lockdown I started to turn the cogs again, but I definitely felt the benefit of giving myself time to breath. It’s made me think that every freelancer needs a 1 month paid recharge holiday (if only!) I started picking up more freelance work and volunteer positions. One of those was being on the Freelance Task Force.

Image credit – Equal Arts – Creative workshop with Equal Arts’  – Read more about their work via: www.equalarts.org.uk

Ohh tell us more about The Freelance Taskforce?

The Freelance Taskforce was an initiative started by Fuel Theatre. There are over 150 freelancers from across the UK on the taskforce. And I was really lucky to have Karen Traynor and Sian Armstrong on there repping the North East with me. We formed the NE Freelance Taskforce – we have a twitter page where we post regular information out and we going to be announcing some exciting updates soon so check us out!

If you could change one thing about being freelance, what would it be?

I’m a big fan of the initiatives that pay freelancers just to be freelancers. This isn’t centred on a product or a particular project you have to work on. You can use this money however way you want obviously within reason. I think that’s a brilliant idea and would solve a lot of problems. We spend so much time looking and searching and frantically running from job to job we don’t allow ourselves time to stop and think, reflect and check in with ourselves. I think if there were more initiatives that paid freelancers to do that, more people would.

PREACH – love the sound of that! So, tell me about your role/work on #Gateshead10x10?

I was commissioned by Dingy Butterflies to create two activity packs, one for families and one for adults. The idea was that the activity packs were for people who are having to spend time indoors due to self-isolating but were unable to access online activities. The pandemic has really shown the digital divide. For some, the arts have become more accessible. Suddenly, you can watch brilliant theatre for an affordable price and in the comfort of your own home. Fab! But, for those who do not have access to a computer or internet it has been tricky to find stuff to keep the kids and themselves entertained. This project aimed to provide the community in Bensham, Gateshead with activity packs complete with instructions and materials. I was one of 11 brilliant artists who worked on the project. The artists were diverse in art form; creative writers, visual artists, illustrators, bee conservationists and theatre-makers. It was my first time making an activity pack or a booklet and I absolutely loved it!

Each #Gateshead10x10 artist was partnered up with a Best of Bensham Collaborative member organisation – which organisation were you partnered with and how did you work together?

I was partnered up with The Comfrey Project in Gateshead, a charity delivering a programme of activities in gardening, languages and arts for refugees and asylum seekers. As you come in you get a glimpse of the beautiful gardens they have there where they grow their own fruit, vegetables and flowers for the bees. I always feel 100% calmer after a visit to The Comfrey Project.

I started volunteering there around June time, and straight away I felt really at home. Over the summer I have been delivering some socially distanced activities with families visiting the centre. When we met to discuss the Dingy Butterflies project we talked through the needs of the group and ideas around activities. One of the main things that I needed to think about was how to make this accessible for people who have English as a second language. I went away and began developing the ideas and playing around with puppetry techniques that relied on easy-access materials and simple but effective steps. The packs have gone out now and I’ll be keeping up to date with how they get on. Hopefully at the end when they have created some puppetry magic we are going to have a sharing of what everyone has made.

Can you tell us about the #Gateshead10x10 two activities you developed?

For the family pack, I have done a how-to-guide on making a shadow puppet theatre out of an old cardboard box. This is really easy to make, uses materials found round the house and is good entertainment for the entire family! Once you have made and decorated your shadow puppet theatre you can then start developing your story. When I trialled this activity out on my niece we used her favourite story-book for inspiration but you can use your imagination to come up with a story as well. Once you have your story and the characters in your story you can start making your shadow puppets using black card and kebab sticks. Finally, all you need to do is put a lamp in the right position, turn the lights off and begin your theatre show.

The pack designed for adults shows them how to make tin foil puppets. This is a little bit trickier but the result is a defined puppet which looks great and has good movement. Tin foil is a brilliant material to use as you can get really good definition on the faces. One you have sculpted the tin foil into the right shape you then layer on baking paper with glue. The result makes the puppets almost look like there made out of wood. I then encourage them to start exploring with their puppets and record a short story using their puppets as the main character.

Creativity is a huge part of #Gateshead10x10 – Why is creativity important to you? How do you think it can help others?

Creativity is one of the brilliant things that makes us human. I think it plays a huge role in how we process ourselves and the world around us. I rely heavily on creativity to get me through and I think without creativity life would be really really really boring. I see it as something that we all have inside us, some people may use it more than others, but it’s still there.

When I work in communities a lot of people tell me that they are not creative, and that the arts isn’t for them. But with a little unpicking we realise that they lead very creative lives, so somewhere along the line there has been a disconnect between the creativity in people’s everyday lives and creativity as a concept. I think we have got confused in thinking creativity is only for some people and not for others. Labelling some as creative and others academic and so on. I think that’s a huge mistake as it’s robbing people of the opportunity to express their inner creativity.

What are you working on right now?

I have just been commissioned by Helix Arts & Gateshead Arts Team to run a pilot project with unpaid carers. This project has been a long time in the making, so I am absolutely buzzing to finally get it off the ground! I’m going to be working with them over 8 – 10 weeks to develop a piece of forum theatre which will then be showcased to a closed audience. That’s all I can give away at the minute but I’ll be sharing out more info soon.

Do you have any advice for future freelancers AND/OR folks wanting to enter into creative industries?

Ahh there’s tonnes…. Here are just 5

1.            Find your tribe, the people who have your back and are going to support you. We are really lucky in the North East there seems to be a really good ‘ladder-down’ mentality.

2.            Being a freelancer is hard graft, make sure you give yourself time to rest so you don’t burn out.

3.            If you can, continue to find training opportunities. I believe we should never stop learning. Whilst working as a freelancer I have continued to train in performance, puppetry, movement, voice, playwrighting. Some have directly benefited my career and others have been good for me creatively.

4.            It’s ok to ask about pay, please please do, and make sure you know your own value. I did a lot of work for free at the beginning which is fine to some extent. Sometimes I still do bits for free. My general rule is that if I feel like I’m getting experience out of it that I ever wise wouldn’t have then it’s ok. But know what your limits are – these are just mine.

5.            Shy bairns get nowt. This saying has helped me in so many ways. If you want to work with someone, send them an email. People are generally nice and want to help you. 

Great advice….you’re a gem! Anything else you want to tell us about?

I’m setting up a network for participatory artists – #ParticipatoryArtsSocial. It’s a space to come together and share, reflect, listen, learn, rant and support one another. We meet fortnightly and if you want to join the mailing list please email me on oliviahunt11@outlook.com. I put regular updates via my twitter @LivHunt_11

Well thanks Liv! See – I told you it was a goodie of an interview! Very excited about Liv’s upcoming projects and happenings!

If you get a chance – please check out #Gateshead10x10 activity booklets and why not have a go at the activities! I’ve love to see how you get on and see your creativity!

Interview with artist Raphael Dada – we chat talent, doodles, the importance of language & entering into the creative industry as a black artist….

I’ve been super excited about this Culture Vulture artist interview for ages – another Instagram find through The Social Distance Art Project – artist Raphael Dada- @artbyadrafa on Instagram. I discovered Raphael’s work before George Floyd’s murder and the social justice and civil rights movement that followed and continues to the present (keep it going!). Raphael’s work explores the ‘black experience’, racial identity and his experience as a Nigerian-British diaspora artist growing up in the UK……

I loved Raphael’s work before, but now…well it’s like looking at it with a whole new lense and important reflective provocations exist in each piece of work. So please go and check it out.

This is a beaut interview – one of my faves for a while.

BLACK DADA 1

Raphael Dada

Hiyer, Raphael – for my fellow Culture Vultures and readers – can you tell me who you are and how would you describe your varied practice?

My name is Raphael Dada and I am a 20-year-old Nigerian- British, multidisciplinary artist. Over the years my practice has taken many forms, ranging from videography, screen print, spoken word, installations and many more. But the one consistent motif about my practice is that through my various means of expression, what I try to do is tell stories about the black cultural experience that mainstream media or the education system will not tell you.

Most of my work is based around my own personal experiences growing up as a young black British artist in the UK. Even though a lot of my work is very personal, there are numerous entrance points, so the viewer can relate and empathise, as I do appropriate and reference aspects of black popular culture frequently in my work.

pictue 6

Artist Raphael Dada

I really love you work – beautiful, interesting and very important. Tell me about your journey into the creative industries?

My journey into the creative industry was a weird one because when I was growing up, I never expected to enter the creative industry or make money off my art and collaborations with other artists. When I was young, I just knew I liked drawing and I liked colours, and when GCSEs came I was like: “Yeah, why not? It will be funny and it is one of the only subjects I actually like,” and I basically had the same reasoning when it came to A-Levels.

Then it came to applying to university and I almost didn’t choose art because there were so many different variations of the course, depending on where you wanted to go. I eventually decided on Fine Art at Leeds Arts, and even at Uni I wanted to get into the fashion industry, so I started my own clothing line in first year. As I started creating art work on subjects that I felt more passionate about, as well as working and networking with more artists, I decided the creative industry is where I belong. My clothing line is still active, and we have some new clothes dropping soon, but the creative industry will always have my heART.

20170113_110031

Raphael Dada

You’ve just finished Leeds University  – How was your experience studying at Leeds?

I can’t even lie and say my experience in Leeds was amazing, because if I’m being honest, it was tough most of the time. Having to adjust from living in such a diverse and multicultural town, then becoming the only black boy on the largest course at the university; it was very difficult. I experienced microaggressions on the daily and was racially abused a few times. Even got stopped by the receptionists a couple times because they didn’t believe I attended the Uni. It was tough.

But I didn’t let any of that get me down, I was able to channel all that anger and put it into my art, making art that was charged with emotion and passion. It worked for me almost like a coping mechanism, and it is because of this that my art is so important and personal to me. However, it wasn’t all bad; the Uni has really good facilities, allowing me to push my practice and continually experiment with new mediums. In my time at Leeds, I was able to meet some amazing people and like-minded creatives, and form relationships I can see myself having for life.

FD9E818D-251B-4C7C-AA54-163F66B36D14

Raphael Dada

Thinking about the positives, do you have a favourite moment during your study you’d like to share?

My favourite moment in Leeds without a doubt would have to be our ACS ‘2020’ Exhibition in February of this year. As president of our university’s African Caribbean Society, I was given the opportunity to oversee the running of an exhibition which included the work over 30 different artists- all from various different cultural backgrounds. This was a big deal, as our Uni is a white dominated institution, so to be able to see the work of so many different ethnic artists on display was a beautiful occasion. We also got the chance to collaborate with the Student Union, and the event was even sponsored by a local brewery. While the show was on we had over 1000 members of the general public come view it, and it was just such a great experience that gave so many artists the coverage they deserve, something that they wouldn’t normally get in the conventional gallery setting.

2D3E6A03-4C99-4AF3-BFFC-668F3DB0B49D

Raphael Dada

That is truly brilliant – well done. How did it feel passing your course during lock down and not having a final year exhibition?

It was weird completing my degree during lockdown, because just like the rest of the world I never expected it. It took me and most third years nationwide by shock because our final module was a curation module, and you can’t really curate a show when the whole country is on lockdown.

The final degree show is what we were working towards for three years, and to have it all scrapped and turned into a digital submission was really strange and hard to get my head around. In protest I almost wasn’t going to submit, because I thought the whole idea was stupid, but looking back I am glad I did, and that the degree is over. Ideally, I would have wanted a degree show, but there are just some things you just do not have any control over, and hopefully we will have the opportunity to exhibit again soon.

IMG_20180319_154624_907-2

Raphael Dada

Absolutely and I hope I get to see it! (Invite me!) You work across a lot of mediums – do you think you’ll hone in and settle into one or two – or (like me) do you refuse to be pinned down?

I don’t actually know because sometimes I go through phases when I will only use pen, or only use pencil, or only screen print. I think the medium that I use always depends on my mood, or which the one I believe will best get the job done and convey my message the most effectively. I like having options.

b1

Raphael Dada

I’m a huge fan of your Dada Doodles –how do you select your subjects?

Ahh thank you! Dada Doodles is just a little thing I have had going for a while, they are just quick sketches I do in between major projects, or when I have taken a break from art for a bit, something light to get me back into drawing. They’re called Dada Doodles because when I was at Uni my friends used to say I was paying “9 grand to go doodle,” so I actually started doodling. But more times my subjects are kind of random and just things I like, ranging from music, TV shows and cartoons, or sometimes I can just see something and be like, “that looks like it would be fun to draw”, so I just draw it.

4D270C18-DA1A-4FB9-8707-A87C0396045E

Raphael Dada

Africa and African culture features in some of your work – can you talk about the personal link and why it’s important to you?

African culture, more specifically Nigerian culture is something that will always feature in my work. I was born in Nigeria and moved here when I was 5, so to me I always have to pay homage to my roots; it’s the country that made me, and it plays such a big role in my identity. And I feel like this is something that every black person should do, they should make a conscious effort to get in touch with their cultural heritage and roots. In the words of Burna Boy’s mum “Every black person should please remember that you were Africans before you were anything else”.

IMG_8497

Raphael Dada

Your practice and work is hooked into black cultural experience and identity…..what has your experience as a black artist been so far?

As mentioned earlier, entering into the creative industry as a black artist at first, was not easy at all. I was faced with numerous obstacles, and it was just hard getting started, because as a black artist, as much as we try and deny it, due to institutional bias, we will always be two steps behind our white counterparts, so we have to continuously prove ourselves by working twice as hard just to get noticed.

And I think I got to understand this quite early as my sixth form was quite white dominated in comparison to my secondary school, so once I understood how the game worked, I was able to use that to my advantage. In a way I kind of like the challenge as well; it is what keeps me going, because I know if I do eventually make it big, it would be a well-earned W for the culture.

Raphael Dada

In your about me section on your website you say “I also explore how language has been used both historically and in contemporary society in relation to the black experience and culturally the impact this has not just on me as a black British artist, but on my generation as a whole.” – can you talk me a little bit through that and what you mean?

As well as art, English Literature has always been one of my passions growing up, and till this day. I have always been fascinated by words and the use of language, and the power we give words when used in certain context. On their own words hold no weight nor power, but it is how we use them that determine their effect. For example when we see the word “blacks” it is not a racist word, the New Zealand rugby team are referred to as the All Blacks, simply due to the fact their kit is all black, but if we are to flip it and change the situation, let say a white lady says something like “all blacks are murderers”, then the word becomes racist, because it has been charged with animosity towards a racial group and its being used derogatorily to generalise and stereotype black people .

And this is something I find so interesting, especially when exploring racial matters, and how language has evolved over the year due to factors such as education, colloquialism and migration. No word is inherently offensive, it all depends on context. Even the word nigger (or nigga, however you want to spell it), it comes from the Amharic word Negus, which refers to Ethiopian royalty or emperor. But when colonialists come to Africa they didn’t like the idea of black royalty and excellence, so they took a word which was used to glorify black people to dehumanise a whole race, and due to centuries of subjugation and racism, the true meaning of the word has been lost. And I just find it crazy how a word that was twisted to subjugate a whole race, still holds so much weight and power over us today.

20170113_110017-2

Raphael Dada

Can you tell me about one of your recent projects?

Since I finished Uni I have not really taken on any large projects, I have just been chilling to be honest- it just been a lot of small commissions here and there, nothing big. But as mentioned earlier, I have been working on some new items for my clothing line, which are set to drop middle of July, fingers crossed.

Same for me…I keep reminding myself that it’s ok to not start a new project right now as….well…there’s a global pandemic and all! I know you take commissions – what type of commissions do you tend to take? How do people engage you for a commission?

All my commissions are all different if I am being honest, I have never received any two similar commissions; they are all personal and catered to the individual. And the thing is about being disciplined in most mediums, I don’t limit myself in the type of commissions I take in, if you can describe it, more times I will be able to draw it. I take most of my commissions through Instagram, if someone wants anything they can just drop me a DM (@artbyadrafa on Instagram), or through my phone number, which is on my website.

Their Country

Raphael Dada

You often collaborate with other creatives and artists – how do you choose who you collaborate with or how do you connect with collaborators? Can you tell me about some of your recent collaborations?

I can’t give you a straight-forward answer to that because all my collaborations have all come around so differently; sometimes people approach me, or I could be scrolling through Instagram and see someone’s work I like and be like “Yeahhhh I wanna work with you, your work is dope.” Or I could have an idea or project in mind that I want to execute, but the work load is just too much, or  physically don’t have the ability to do it, so I create a meticulous plan for the project, and what I want to do, then message people who I believe could be best fitted in helping me actualise this idea.

For example, before lockdown, a project I was working on was a photography series called ‘Black Baroque’, where I was recreating Baroque paintings but replacing the white aristocrats in the paintings with black models. But even before I started I knew this was going to be a big task at hand, because I would need help with photography, set design, costume and much more, all which are alien to me, so I pitched the idea with a couple of my friends who studied fashion photography and they were all aboard and agreed to work with me.

Raphael Dada 3

Raphael Dada

Can you share with me three black artists that I MUST check out immediately and why?

If we are talking black artists, I am going to have to plug the work of some of my friends because these guys talented for real. They are all black creatives I met in Leeds and have had the honour of working with at some point.

Instagram: @artizham

Zhama Jumbo is all round talented guy- name it he can do it. Animation, illustration, graphics; anything, that’s my guy. He has such a distinct art style that no matter what he does or what medium he takes on, you will always be able to tell it was him, and I have had the pleasure of working with him a couple times. We have a collab we are working on soon, so make sure you follow his page so you don’t miss the drop.

art1

Instagram: @artizham

Instagram: @KapturedbyBennyK

Benny is a freelance photographer and stylist based in Leeds and Derby. She has worked and collaborated with clothing brands, make-up artists and social media influencers, she has a lot of experience under her belt with a rapidly growing following on Instagram. She has also just started a styling page as well @Stylehauss, so please follow that as well.

art2

Instagram: @KapturedbyBennyK

Instagram: @Gullygolden

A Leeds and Bristol based documentarian. Out of everyone I would say I have worked with Gully the most- she has such a distinct way of capturing life and moments, nothing like I have ever seen before, and what makes her so different in comparison to other documentarians I know, I have only ever seen her shoot in 35mm, and she has an aesthetic I don’t think anyone else could imitate if they tried.

art3

Instagram: @Gullygolden

Three amazing creatives right there to follow and each very different. Back to your work…can you tell about something you’ve got planned for 2020? A future project?

I had a few events and exhibitions that I was meant to be debuting some prints at, but because of corona, I don’t know when these will be happening. For the mean time, I am just chilling with no major projects on its way, mainly focusing on my clothing for a bit (make sure you give us a follow, Instagram @rddesigns99

Anything else you’d like to tell me about?

I think I have gone on for ages, so I don’t really have anything left to say but I will leave on this note: Black Lives STILL Matter. This is a movement not a moment, and we will keep going until we put an end to centuries of institutional bias and racism, not just in the UK but globally.

WHITE DADA

Absolutely agreed and thank you Raphael Dada and for being so honest!

You can catch Raphael over on his website, his art/personal Insta and his clothing Insta.

Please check out his work. He’s going to be massive – I just know it!

And as Raphael reminds us – we (and I say that in relation to white people as a whole – myself included) need to keep doing the anti-racist work needed, challenging and questioning everything especially as the world begins to reopen and spin again – it must not go back to “normal”.

All my love The Culture Vulture. xxx

 

Interview with queer feminist artist Louise Brown a.k.a. goodstrangevibes; smashing the patriarchy, learning to love your body & running a lush creative business.

I’ve always had a love hate/relationship with my mind, body and soul. I’ve loved being different and seeing the world from my own perspective – but I never really liked myself, not deep down. I grew up during an era of glossy mags that distinctly lacked any diversity, lack of representation in the media, a push towards conforming and the era of the waif (you might argue it’s like that now – but honestly, it was even worse!). I didn’t value myself, I am and always will be my worst critic, I didn’t look after my body….in fact I’ve lived at 10000miles an hour distinctly doing the reverse to self-care. I’ve proudly burnt the candle at both ends, I’ve fought world war three in my head for decades and my mental health rollercoaster is a consistent part of my life.

As a teen, there was no social media – my social sphere was who I engaged with in the immediacy. No online movements, no creative projects focusing on body positivity, mental health issues were not discussed (I didn’t even know what the word anorexia meant – despite having it for years), artists creating social work could not reach me – it was a different landscape to now. My only sense of understanding about mental health and body positivity was through poetry and reading – reading about mental illness, feeling like your body belonged to someone else and wanting the world to stop for a moment and feeling a sense of “gosh – I hear ya!”

In my 30s – I gradually sought out nourishment for my mind, body and soul; I even started to like myself (a bit). I’ve spoken about this before – but a place, I most often seek out content nourishment is via Instagram – a wonderful platform that has democratised (to an extent) art and enabled artists to reach audiences without institutional gatekeepers that often create more barriers than they enable (that’s another conversation entirely!). I spend hours stumbling upon artists and online communities that are creating not just amazing work, running amazing projects, leading positivity movements for thousands or millions of people, people living their purpose, proud of their differences, being the different they want to see in the world and championing diversity.

Body Appreciation

goodstrangevibes – Louise Brown

It makes me smile. And this is why creatives really matter – all the time – especially NOW. These creatives instigating these online movements are creating meaningful work to enrich lives, empower others, add colour, connect, increase representation, create community, reduce isolation (real and perceived) and to reach out with open arms – to the likes of a teenage me who would have massively benefitted. Social media audiences respond in their millions – with their interest and engagement. This is why these movements have such a great following – they are SO needed and tapping into something; they are also often the first defence during a mental health dip. I know they are with me – Instagram is my quickie version of picking up a self-help book.

So if the movements are needed, the movements are hugely popular due to their positive enabling, the creative visualisations and representations the creatives make are connecting and speaking with people in a way that other things aren’t able to do, then the creatives behind the movements and making the creative visuals must therefore be super important too. You can see where I’m going with this….

I’m spending time on this intro to reiterate how important art can be in relation to well-being and how important artists are in these movements. We are walking blindly into a mental health crisis. We have less mental health resources available than ever before. Our system is not pre-emptively set up. The impact of artists creating an online safe space community, increasing representation, positivity movements and feed into improved well-being is repeatedly understated…… I believe art and artists could play a much bigger role if they were supported and funded appropriately. I believe this is just one of many reasons that we need to reconsider investment in the arts and its wider impact. I’m always blown away with the thought- if THIS is the impact of arts and artists without anywhere near the levels of appropriate funding, imagine if we actually funded and invested into them…..

Giving No Fucks

goodstrangevibes – Louise Brown

An Instagram account that nourishes me and many others, I discovered a year or so ago was Louise Brown’s @goodstrangevibes – Louise was one of the first local NE accounts that I saw pop up during the beginning of the I Weigh movement. Her work focuses on body positivity, increasing diverse representation and is always a rainbow of colour – she is doing a lot of the above, with authenticity putting her own personal experience at the core; Louise’s account consequently is one that I often revisit on my doom days.

Louise a proud feminist, instrumental (imo) to the local movement claiming back the word “feminist” positively and in her early 20s. She gives me such a bubble of hope in my tummy – if I have folks like Louise coming up behind me pushing forward the next generation of creatives, then it makes me sleep better at night. The world is not shot to shit with wonderful younger folks like Louise in it. And she’s an account that I refer many young people, I work with to look at, especially if they are struggling in some way with themselves.

Louise’s work was censored by Newcastle University Library (not the University as a whole) for depicting naked women/bodies and the fear of it being sexual and offensive. That caught my attention and immediately made me shout BORE OFF when I read it in the Chronicle and how far we still need to go with womxn’s bodies. As Vulture, I proudly got behind the campaign to make the point that a boob or naked body illustration in day light is not a threat to society. (“A boob is not a threat to society” – could be my new 2020 tag line!)

No matter what you ate yesterday, you deserve to eat today

goodstrangevibes – Louise Brown

She recently attended my recent event (Pre-COVID and the project is unfortunately on hold at the moment) – Newcastle Herstory – Womxn’s Rights as an unfinished fight! Nearly 100 people attended the event to discuss Newcastle feminist histories and womxn’s rights past, present and to plot/reflect on the next chapter. Louise was such a lush addition to the event and I decided there and then, I wanted to interview her so you could find out about her, understand the positive impact her work is having and I’m dead excited to see her creative journey unfold – I’m here for it and along for the ride to support as Vulture.

So here you go – here is Louise Brown.

So hello, for my Culture Vultures – please introduce yourself!

Hello! I’m Lou; a queer feminist artist and final year student at Newcastle uni studying Politics, Psychology and Sociology. I set up and run goodstrangevibes; a small arts business which aims to promote body positivity and mental health awareness through my illustrations.

SMFM9243

goodstrangevibes – Louise Brown

Tell me about your journey into the creative industries so far…..how long have you been an artist? When did you start drawing/illustrating/writing?

Hmmm, there’s a big difference from when I started producing art to when I felt entitled to call myself an artist. I think only since introducing goodstrangevibes have I started to say I am an artist, I’m not sure why – thinking back I could have said it earlier… my grandpa wrote this about me when I was just five years old ‘she is the most unusual creature who wants to be ‘Somethink’ rather than ‘Nothink’ but as she keeps disappearing under the table to draw pictures we can’t really say …’. So I guess I’ve always been an arty human but only self-identified as an artist as of the last couple of years.

That’s is the best answer to that question, I’ve ever had…. I used to spend a lot of time under a table as a mini in a creative haze – only I was writing. So tell us about your work– it covers a wider breadth of themes – what inspires it?

I do illustrations of nude humans with the aim of promoting body positivity and mental health awareness. I often use captions and text in my artwork to help convey the messages further. I aim to draw all sorts of bodies so that people can see my work and find an illustration that looks a bit like them in some shape or form.

My experience of low body image led me to create these illustrations. I had been in recovery (from an Eating Disorder) for a while and was being supported by professionals but I still was in the habit of staring at my body in the mirror each night and picking out parts I wanted to change. I knew that I wouldn’t be able to break this habit completely, so instead I decided to draw my reflection in the mirror as a sort of distraction from the negative thoughts as I was now focusing on drawing.

I drew my body every evening during the time I would have spent critiquing it. In appreciating the artwork I produced, I began to see my body as art and worthy of appreciation. From that, I started drawing a diversity of different bodies and posting them on my art Instagram (@goodstrangevibes). I received positive feedback from people who said I helped them feel better about their bodies and this really inspired me to keep creating and posting my work. Goodstrangevibes has really helped with my own mental health and provided me with a lot more self-confidence and happiness.

Other artists have also definitely inspired my practice such as Polly Nor, Alice Skinner, Frances Cannon, Pink_Bits… the list goes on!

Thinking about life

goodstrangevibes – Louise Brown

Well you’ve helped mine too ❤ – not just in appreciating my own body but the diversity of the human body in general. Your drawing style is pretty distinctive,  I can recognise a “Louise Brown” anywhere – how did that develop over time?

I think once I let go and stopped trying to create a ‘good’ proportional drawing, I began to see myself drawing my playful long-limbed flexible humans. I love drawing without the pressure of things being ‘perfect’, very much in the same way I began to embrace my body and stopped striving to affirm society’s conception of a ‘perfect’ body. It’s very freeing to just draw and accept what appears on the page. I very rarely use pencils or rubbers.

I have to ask this question…..how is/has COVID-19 effecting your work, life and practice?

Emotionally it’s been tough, but I am coming to terms with it all as best I can. For one I moved back in with my parents in London and had to leave Newcastle. I am incredibly sad about leaving, but I am very excited to come back up as soon as I can, I feel very at home in Newcastle. At first, I struggled with motivation which has been hard, but I’m taking my time and being kind to myself which definitely helps things!

It’s hard feeling unhelpful sitting at home when so many people are really suffering. I’ve been trying to use my art to hopefully comfort people who are struggling with their mental health and recently contributed to a free downloadable self-care colouring book which will be released soon.

We Will Get Through This Together

goodstrangevibes – Louise Brown

Ohh keep me in the loop about the colouring book as will be all over that! So you’re a feminist artist; what does being a feminist mean to you in the present day? Why is being a feminist important to you?

Being a feminist to me means believing in gender equality and actively calling out injustices, trying to change the status quo and fight the patriarchy! I feel very strongly about it because of all the inequalities that are still prevalent worldwide that need to be acknowledged, confronted and overthrown.

A feminist concern that I feel equipped to influence the fight against is body image issues. Having experienced an eating disorder when I was younger, I feel strongly about the importance of promoting positive body image in girls and young womxn. Body image is a feminist issue since body image concerns affect womxn disproportionately to men. This is not surprising considering the pervasiveness of the patriarchal idea that womxn should be judged by their bodies, and men by their minds. It angers me so much all the time and energy that is taken from womxn due to the pressures to conform to a single conception of beauty which is unattainable for the majority of womxn to attain anyway! It’s a capitalist patriarchal trap!

Jump

goodstrangevibes – Louise Brown

You depict REAL bodies in such a positive way – I personally find it, even as a 34yrs old woman, extremely inspiring. What do you want people who view your work who are struggling with their bodies, to take away from it?

Thank you, that’s super lovely to hear! To those struggling with their bodies who view my work, the aim would be to help them spark a shift in their mind, perhaps that it doesn’t have to be that you need to change your body to be worthy or that it is possible to accept how you look and not let that hold you back. Or I’d want them to see a body like theirs being presented in a positive light in my work, and I would hope that could comfort someone going through a tough time with their relationship to their body.

I’m so much happier now I have stopped battling with my relationship with food and I hope people can maybe take hope in the fact that it is possible to rekindle your relationship with yourself. Although I am also very conscious that this is much easier for a naturally slim white woman like myself to do this, as I do not experience fatphobia or other kinds of discrimination from society because of the way I look.

img030 (2)

goodstrangevibes – Louise Brown

You identify as queer – how much does your queer experience influence your work?

I think being queer, and openly so, makes me feel more capable of covering whatever I want in my art – like a sort of byproduct of being open with who I am means I feel more comfortable also then being open with my art. If that makes sense!

I personally don’t think there are enough lesbian icons/visibility in mainstream society – what do you think?

I completely agree with this. I feel I grew up and am still growing up with a lack of representation of LGBTQ+ people in general. There’s still so much I feel like I’m slowly discovering bit by bit. Much of the lesbian visibility in mainstream society seems so fetishised and aimed at a male audience.

Any advice for folks struggling with their identity or sexuality during this period?

I’m not sure I qualify for giving advice, but I guess to be kind to yourself, take your time to listen to what feels right in your head and body. It’s okay if you’re not sure instantly or if you are discovering or coming out later on in your life. I can imagine for folks quarantined with people who are unaccepting of LGBTQ+ it must be really hard. Maybe try to find online LGBTQ+ groups so you can still express your identity somewhere and feel free to directly message me on Instagram if I can offer a listening ear (though I can’t promise I’ll say the right thing, but I’ll listen!).

Surfer Babe Colours

goodstrangevibes – Louise Brown

How can folks buy or engage with your work?

You can follow my page on Facebook and Instagram @goodstrangevibes where I post my art, or have a cheeky browse at my website www.goodstrangevibes.com where I have an about the artist page, some of my writing, example commissions (email me if you’re interested goodstrangevibes@gmail.com) etc. I also have my online shop on my website which is currently in ‘pre-orders’ as I can’t access a post office – but people can order anything and it will be reserved for them until I can post! I’m planning on releasing vouchers too that can be given as presents to be spent on the online shop or saved until I’m at markets again.

Solidarity

goodstrangevibes – Louise Brown

What would be success for Louise this year?

Ooh tricky question. It’s very hard to say in this confusing climate what’s going to be possible! I’d like to give my all to goodstrangevibes once my degree is done post June and see what happens. I’m applying for a foundership programme at Newcastle uni next year which would be amazing business-wise as it provides loads of support, but it’s highly competitive, so unlikely. But in general, success would be to get my art in more places and hopefully make viewer’s feel comforted or better about their bodies or minds because of it. I’d like to paint large scale on walls in people’s homes as a new part of commissions I could offer. An exhibition would be super exciting …

In non-business terms, success would be to feel more free, to skinny dip lots, surf, pole dance, do the things that make me happy with people I love. Travelling could bag me some happiness with meeting strangers from around the world and sharing experiences and discovering, but perhaps that will have to wait for a while now!

img001

goodstrangevibes – Louise Brown

I’ve reflected a lot about the question I just asked you – my wants for this year are more personal than professional. I certainly want to travel and adventure. Do you have any projects that you’d like to share and talk about?

I’ve just launched a new project ‘revolutionising sex education’ where I am illustrating people’s sexual experiences and including three words they felt during and three words they felt after in an attempt to portray the diversity of sexual experiences possible and the different emotions that comes with that. How sex can be fun, romantic, boring, scary, exciting, awkward, embarrassing, confusing, upsetting, silly and many many more things!

I want to represent a diversity of sexual experiences, especially LGBTQ+ and others that aren’t explored in mainstream media and sex education at schools. I define ‘sex’ as  e.g. masturbation/foreplay/intercourse – basically anything that one considers part of their sex life. If

anyone is interested in submitting a story entry – email goodstrangevibes@gmail.com or direct message me to show your interest and I will tell you what the next steps are! I’m hoping to display all the illustrations in a book, zine or online resource – I’m not sure exactly what yet. It would be super cool to get a publisher in the future and make it into a proper book!!

I’ve also been investing in environmental business practices and have now launched my upcycled screen printed eco top range on my website if anyone wants to grab one! They are one-off tops that I bought from charity shops in an attempt to combat fast fashion. My designs were screen printed on with the help of Newcastle based Nick Christie at Incubate Printmaking.

Free From Confines

goodstrangevibes – Louise Brown

I want to be involved in all Louise’s projects and ideas, especially the sexual experiences one; society’s view and treatments toward a womxn who enjoys sex needs a lot of work. such an exciting human to watch creatively flourish! Check out Louise’s website and @goodstrangevibes insta for a dose of creative LUSHNESS.

 

That’s all for now Culture Vultures. xx

Interview with Sunderland artist Kathryn Robertson – making waves, rebels & lock down.

I am so proud at how the artistic and creative community has been coming together and rallying at this unprecedented time of….well it’s nothing short of a Black Mirror episode of crazy that I keep thinking I might pinch myself and wake up from at some point. I am more determined than ever to use my platform and voice to help and support artists – I want to show you the talent that exists in the world, how bright and beautiful creative humans are and the amazing things many artists are doing even when the chips are down….

Kathryn Robertson –  is one of those artists doing lush amazing things. I wanted to interview her long before this COVID-19 thing kicked off – but having a little bit more down time has provided me with the ability to get through my “must interview” wish list and start reaching out to folks. And what a better place to start than Sunderland muralist, illustrator, graphic designer and all round gloriously talented Kathryn! #ganonlass

Kathryn Robertson

Head over to @kr.illustrates on Insta to get a flavour of Kathryn’s work – it’s so lush and if you’re familiar with Sunderland, you’ll see lots of lush sites and re-imaginings of things you might recognise. Kathryn has also collaborated remotely with @martintype (Insta) on a screen print to raise funds for North East food banks during their time of arguably greatest need. Head over to HERE to see it and purchase – it’s Pay What You Decide.

I had the pleasure of recently, remotely catching up with Kathryn and here is our interview…. It’s lush one!

C0685192-8C78-41F4-B82F-1025D60FE212

Kathryn Robertson

Hiyer, so tell my Culture Vultures who you are?

I’m Kathryn Robertson, 25, some kind of artist from Sunderland.

Standard Vulture question – what was your journey into the creative industries?

It was a bit of a winding road, apologies in advance for the long answer. I went from: Apprenticeship in Design & Print when I was 18 then unemployed then worked in bars/cafes then an apprentice chef (for a very short but painful while) then realising I was a bit awful at all of these jobs.

Ben Wall (HI BEN), gave me some work in designing event posters for Independent (Music Venue & Nightclub in Sunderland), I worked behind the bar at the time, but I basically ended up quitting the bar to design the posters and other things instead. I registered as self-employed, went to uni in 2016 to do Graphic Design at 21, carried on with illustration/graphics on the side, did a bit of hustling/selling my own printed products/couple of art fairs here and there.

I structured my final project at Uni around public artwork and illustration, and since then I’ve worked on commissions and public artworks with University of Sunderland, Sunderland Libraries, The Council, Pop Recs, Holmeside Coffee, Vaux and many others! I’ve been lucky to have been supported, and to have worked with some great orgs like Sunderland Culture and The Enterprise Place along the way.

Kathryn Robertson

I love your illustration – when did you fall in love with drawing?

I liked it when I was little because my sister is an artist, and she would give me drawing lessons and take me to The Baltic, and out to see street art when she lived in Manchester. I used to draw/try to emulate things like the typography off food and drink labels quite a lot. I properly fell in love with it when I was around 17, when people started to ask me to draw things for actual purposes, like gig posters, and stuff for fanzines etc.

IMG_2963

Kathryn Robertson

You do SO.MUCH; tell me about your practice?

This is something I’m not very eloquent at. I usually look to others to describe my work back to me (lol). I’d describe my practice as: Graphic Design, illustration, and painted murals, sometimes/mostly heavily influenced by my surroundings in the North East.

How you finding “lock down” as an artist/creative? Any advice to creatives struggling right now working from home?

I’ve never been the *best* at working from home, but it is something I got used to when I was freelancing as a graphic designer, so I’m mentally prepared for it. I’m easing myself into it at the moment and feeling very lucky that I have the option to do so. I’m doing organisational things that I’ve been putting off for ages, stuff like backing up my work up 7 million times, organising folders and filing receipts. I find that “getting dressed” in the morning is a canny good start though.

 

Kathryn Robertson

SAME – terrible working at home; a dynamic learning situation! You’ve got quite a recognisable style in terms of design work – how did that develop?

Thanks! I guess just a lot of practicing makes for the natural development of your own style really. Everyone has a unique style, so the more you work, the more you iron it out and make it your own. We’re all just an accumulation of our other influences as well though, innit.

You were awarded University of Sunderland 2019 Design Student Award, how did that come about? How did it feel to win?

I did a mixture of sort of hands-on things as part of my final Graphic Design Project at University. It included an illustrated surfboard which is on display in The Beam, an entry in Vaux’s beer label design competition, and a mural of Sunderland in The Priestman Building, along with some other things. The award was for Creativity & Individuality – probably just because of the weird mixture of not-very-graphic-designy things I decided to do (lol).

IMG_2105

Kathryn Robertson

Thoroughly deserved! You create fantastic murals – tell me about the mural connected to Holmeside Coffee in Sunderland and the process behind creating it?

Joe from Holmeside got in touch as they wanted something to jazz up the doorway of their take-out shop when it first opened. We struck up a deal of a doorway mural in exchange for me selling my merch in the shop. That was sort of the first ‘mural’ I did really, (other than a terrible one I did in Independent in 2014).

It’s a mash up of Sunderland buildings in HC doorway, and it was kind of made up as I went along, and drawn in paint pens, it was snowing at the time, so I went delirious with the cold. When people ask if the made-up-buildings are certain places I’m like “yep, that’s exactly what it’s meant to be, definitely didn’t make it up”.

IMG_3040

Kathryn Robertson

HAHA! How does it feel having your murals pop-up all over Sunderland bringing it to life? Do you ever lurk and watch folks looking at it to get a sense of what they think?

It’s great 🙂 I like having my work so visible, but I’m very shy, so when I see people looking at stuff it’s nice to just wander past in the knowledge that they don’t know that I made it (if that makes any sense) (creepy). I like hiding (figuratively) behind the artwork I guess, that’s probably why I’m an artist in the first place, to let the drawings do the talking for me. I’m bad at talking.

IMG_3261

Kathryn Robertson

I’m QUEEN lurker/introvert/socially awkward and shy – I hear you! As a social media professional I LOVE your personality on Insta and that you’ve got the breadth of your practice (including yourself!) on there; loved the @teatowelontour Insta channel – how did it feel finding out about that? (Reminds me of the Innocent smoothie stapler going across the world!)

Yeah it’s great to see Helen (@lifeouels) travel with the Sunderland Tea Towel, just a really canny idea to take a bit of home with her around the world, love seeing the updates 🙂

IMG_3543

Kathryn Robertson

In addition to tea towels – you sell some of your work and your available for commissions (loved the design for Lamp Light Festival graphics!) – where can people buy stuff from you and get in touch?

Thanks!! My online shop is partially down for the time-being while I figure the whole ‘freelancing whilst social distancing’ thing out, but I’ve got something out now with another artist pal (Andy Martin) at the moment, a print – you can get it HERE.  Other than that it’s: @kr.illustrates (insta), @krillustrates (FB) and krillustrates@gmail.com for work enquires!

I feel like you’re really making waves and your mark on the Sunderland creative scene – what do you think of the creative scene in Sunderland? Any Sunderland peer creatives you admire that I should check out?

I love the creative scene in Sunderland. Here are some names/instagrams of Visual artist pals based in Sunderland (I think) : @heatherchambersart, @chris_cummings_art, @saragibbesonillustration, @mar9ntype, @mariegardinerphoto, @sue.loughlin, @maverickartjo, @cwnutsandseeds, @charliepasquali , @faostyles.

There’s so many more but my brain is not working. Need coffee.

IMG_3170

Kathryn Robertson

Speaking of making waves….tell me about the “City by the Sea” exhibition and your piece in it?

There was an open call for artists based in Sunderland to design a surfboard to part of this exhibition in The Beam (that building on the Vaux site). I proposed a very Sunderland themed design of past and present buildings. I was picked as one of the artists to be commissioned.

They delivered this 6ft surfboard to me and I drew on it in paint pens, they lacquered it, and now it’s upstairs in The Beam, alongside some other local artists versions, and they got some schools to do a few as well. Canny!

Can you tell me about Rebel Women Sunderland – what the project is and how you got involved?

Laura Brewis (Sunderland Culture) is the mastermind behind The Rebel Women of Sunderland project, and I believe it was inspired by a book called Goodnight Stories for Rebel Girls, as well as her daughter. It’s a project to shine a light on notable women from Sunderland, and to tell their stories in an engaging way. We created illustrations and stories for each of the selected women. I was commissioned to do the illustrating, alongside writer Jessica Andrews who wrote their wonderful stories.

b25lY21zOjVjY2I3MDAwLTdmMjUtNDI4NS1hZDNjLWU0NTM4MTc1ZDMwMjpkOGE5NzY3MC01MzVjLTRhOWEtOGYxYS1jYTk0Y2RiYmU3ZTc=

Kathryn Robertson

How were the notable women selected?

Sunderland Culture put a post out for people to nominate women or give suggestions of notable women, or women that have shone in their field, or gone somewhat unsung, I believe they got a huge list of suggestions, and had to condense it down (which will have been very difficult!)

Why are projects like Rebel Women important in 2020?

It’s important to tell the stories of all of these women, and I think it’s particularly nice to be able to show and tell them in this way, there’s been a lot of RW themed events where people can get involved, the exhibition has been around a couple of different venues in the city – and I’m sure the stories will have inspired some young people to think “I can be that too”. As Laura quoted at one of the past Rebel Women events, “you can’t be what you can’t see.”!

I love that – Brewis is such a lush human! And rebel lass in her own right! Tell me about the new recent additions to Rebel Women Sunderland for this year’s International Women Day?

The newest editions are Nadine Shah, Florence Collard + The Shipyard Girls, Ellen Bell, and Aly Dixon.

88241832_2518030131802226_7536778778177961984_o

Kathryn Robertson

What’s next for Rebel Women Sunderland as a project? Where can we see the pieces in the future?

It will expand in the future hopefully, there’s still plenty of lasses to feature! Laura wants to make a book, which I’m so down for. I’m not sure where the pieces/stories will be available to see next, maybe we should make it into some kind of virtual exhibition though (!!?)

I am so here for that – so tell me about a few illustrators or muralists you admire and suggest I check out?

Sheffield-based artist Jo Peel @jo_peel (obsessed with her), James Gulliver Hancock, @gemmacorrell @vicleelondon @mul_draws, @pandafunkteam, @sophie_roach, @mr_aryz @ashwillerton

What’s next for you? What projects do you have in the pipeline?

As with everyone, I’m a little uncertain for the next however many months, as public work is off, art fairs either postponed or cancelled, but I’m hoping to have plenty of new illustrations by the end of this, and if I’m dreaming about the future, then I’d love to have my first exhibition of my own work somewhere one day – if it was something people wanted to see.

I’d love to carry on with public artworks too. Also I have this (maybe slightly ambitious) dream of doing a stop-motion animated mural, inspired greatly by Jo Peel, check this out HERE

Love what you do and thanks for the great questions!

AFE5DEA9-9A8E-4C50-BCD3-0FCCA126D335 2

Kathryn Robertson

That love is right back at you and I am so excited for what you do next! You are a glorious human!  Check Kathryn’s work out…

That’s all for now Culture Vultures! I’ve got a great list of blog posts coming!

An interview with artist Slutmouth – an Instagram discovery with meaning, heart and soul.

Instagram Is a great place to discover new artists and it’s one of my first places to start when looking for new creative lushness. It’s given a place for creatives – their feed is their digital gallery and portfolio to the world, alongside an insight to themselves and their practice. I think Instagram increases democracy in artistic opportunities and audiences – there is more potential for folks to see their work, enjoy it in their own time and there doesn’t seem to be the same barriers for folks as there is in an art gallery.

I spend HOURS on Instagram looking at artists and creatives’ feeds on social – an introvert haven. Discovering new artists on Insta is almost as much of an addiction as my diet coke habit. Bettie/Slut mouth (love.that.name) is an Instagram super star creative, I’ve followed for some time – not only love their work, but also their ethos, integrity, passion for being real and bold in their work and they are one of my favourite (probably arguably my favourite – but I struggle with making final choices about favourites so ….) feminist and gender equality promoting artists. Their work crosses different mediums and like me – it’s kind of hard to describe what they do!

I’ve had Bettie on my list for a Culture Vulture blog for over a year – so I’m buzzed it’s actually happening and I got to interview this brilliant creative human. We need more Betties in the world. Part of my Culture Vulture adventure so far – it’s taught me as much about what and who I want to be personally, as it has professionally. Artists like Bettie create art that means something, says something to world and is an extension of who they are in a meaningful unapologetic way. Artists like Bettie, remind me, to be bold, be honest and to use my platform (and privilege) to say something to the world. Over to you Bettie….

81559829_10159141399649018_1209518723912695808_n

Hiyer, who are you?

I’m Bettie aka Slutmouth a surface designer and proud cat mom based in the North East more specifically, Hartlepool.

Tell me about your journey into the creative sector?

I was always very creative as a child, my mum nurtured this being a community artist herself. At age 14, I started to attend the National Saturday Art Club at which, was then, CCAD at Green Lane. We had the opportunity to exhibit our work in the Somerset House four times which is extremely cool at that age!

Whilst attending the Saturday club, I had the chance to use specialist art facilities which inspired me study Design crafts at the college and pursue a career in the Arts. During my time at the college, I really developed my love for freehand embroidery and created a bizarre and whimsical installation piece created as a homage to George Méliès and the Smashing Pumpkins.

The following year I started the Textile and Surface design course at the Northern School of Art where I really dived into Screen printing in the first year. It was in second year when watching John Waters ‘Pink Flamingos’ and The Cockettes documentary that I really began to home in on the ‘Slutmouth’ aesthetic and vibe. For the project of ‘Off Beat’ I was hugely inspired by Leigh Bowery and the Club Kids of New York and I feel that’s where I really started to explore my own identity, and what it meant to me within my work. This is when the penny really dropped and I felt I had a solid direction.

How would you describe your arts’ practice?

I would describe it as an extremely personal process with it originally being me exploring my identity, the taboos and negativity I was holding against my body and sexuality and breaking through those barriers by using my art to do so. I’ve always been a very colourful person even when in my emo phase and so this reflects within the colour palettes of my work. It is amalgamated stylised chaos, thought process.

Taking influence from music, art, fashion, film and feeling. I feel that I use my work as my platform to voice how I feel, think or would like to say. It’s very important to break down the barriers and stand for what you believe in if you have the ability to do so.

on her own

How did you come up with the name Slutmouth?

For years I went by my name Bettie Hope; that name on my artwork never really sat right with me – I loved the idea of having an alter ego where I can really express myself and not feel so attached to it, if I needed to walk away and start again I could.

It took days and days to figure out what I wanted to be called. Slutmouth was the first idea that popped into my head, I was really into listening to Girlpool at the time, but I kept talking myself out of it. In the end I felt so strongly about the name I said Fuck it and drew my logo up right then. The reason the name Slutmouth

resonated with me so much is because of the struggle I faced as a young woman in a world of people who are just rude, inappropriate and feel they can slut shame womxn, so in reality it was me taking ownership of that and hopefully turning it into something positive. It’s still a funny process when trading at events and people see my brand name; some people are often shocked shuffle away very quickly, others adore the name and I can only think that it’s because they also resonate with it.

Well I adore it – Your art really has playfulness, passion & purpose behind it – it’s art that means & says something to me – but the tongue & cheekness also makes me smile…..where do you get your inspiration from for your work?

My first real inspiration for the ‘Off Beat’ project was my late friend Gary Pearson. I met him when I was in second year of University and he was in first year, he bounced into our room wearing this wonderful leather gimp mask; I was so excited and we instantly became friends. We chatted about so much; sex, relationships, music and it made me realise I wanted to be as open and make my work more personal to myself.

I started this process back in secondary school when I made a giant ragdoll that was supposed to be me. I think it’s very important to constantly looks inwards and challenge yourself to as authentic as possible.  Gary was such a fabulous leather daddy creature who introduced me to Tom of Finland. I’m honoured to have known him during that period of time; he really helped me begin to understand myself.

Equality

In your pieces, you explore feminism, identity, sexuality, queerness, empowerment, sex, bodies, being human…. Can you tell me about that?

I think the themes I explore are things that I have difficulty within the sense that I struggle to understand them within myself, and they then become things I can deal with. I also use my work as a platform for others and try to voice my thoughts through my work. Like I mentioned earlier I feel it’s very important to challenge the ‘norm’ and stand up for what you believe in, also to speak up for those who can’t find their own voice, you might become the thing that inspires them to do so.

I’m working on several feminist projects at the moment – and supporting several too. What do you think it means to be a feminist in 2020? What does it mean to you?

I think feminism is different for everyone; for me it’s about equality for all womxn and providing a safe space for us all to live and grow in whilst supporting each other to do the same. I love to explore feminist themes within my work to outline the struggles womxn still deal with today. The world can be a tough and nasty place and in recent years it seems as though we are taking huge steps backward in the western world, there are a lot of topics that can be covered within feminism, it can be quite overwhelming sometimes when thinking of social issues not just for womxn but for all sentient beings as I would like to help wherever I can, but sometimes you have to leave that fight for others; you can only do your best and so much but even then, that can make a huge difference.

81684243_2660226844097780_932746568887435264_n

Tell me about your involvement with Sassify Zine Issue #7? What is Sassify for those who don’t know?

Sassify Zine is a platform to local and international LGBTQ+ artists and they aim to be advocates for meaningful change and education about the queer community. It is a not-for-profit Queer culture print magazine giving you all the best queer art and sassiness. In the Queer Heroes #7  issue the work I have featured is a digital illustration  named ‘Femme and Fierce’ and the ‘Luxury Period’ piece that was also exhibited at The Art of Being Queer exhibition, at the exhibition it was framed in ornate golden frame, but for the magazine its styled and photographed to look like a sanitary towel that is almost functional. If anyone is interested in seeing what I have featured then you can pre order the zine on http://www.sassifyzine.com

I was a lurker on your Insta for some time before I stumbled on to your work at The Art of Being Queer exhibition last year, which was absolutely the highlight of Middlesbrough Art Weekender – how did you get featured and what was the experience like of being featured?

Pineapple black was and still is an absolute Hub of creativity; my friend Gav Paughan who is a fantastic textiler, creates gorgeous gold work masks and wearables, was working in the studio space that he won and he was working on a new project something along those lines, another very busy artist.. anyway he got talking to Josh the guy that runs The Art of Being Queer blog and got himself in the exhibition and name dropped me – Josh contacted me and I submitted imagery of my work to be exhibited.

It was an amazing experience, I had lots of fun and it was unreal to be surrounded by the sheer amount of amazing artists I couldn’t quite believe the level of quality I was witnessing. The opening night was fantastic and the exhibition really stepped up the mark for the Middlesbrough Art scene, I’m very much looking forward to keeping an eye on where The Art of being Queer travels to next. In the mean time you can head over to the blog and keep up to date with more established and emerging queer artists.

Hanley_LuxuryCycle

Of course, I fell in love with your “Period Products Are A Necessity Not A Luxury” embellished sanitary pad exhibited….Can you tell me about the piece and the process of making it?

Wow thank you – this piece was created to highlight just one of many issues within period poverty. I started to create the piece just as embroidered typography, then during the process I had a brain wave whilst embroidering into the bleached calico to create a sanitary pad shape. I wasn’t sure if I was taking it too far at this point it was around 1am and I may have been delirious, but it was obviously the best kind of delirious.

I went on the search for a sanitary pad to get the shape accurate and began to incorporate the shape into my design, I then started to think how I could stuff it and make it 3D, from that point the typography read “Period Products Are A Necessity Not A Luxury” .

Another brain wave later; I decided to make it look like it had been used, which I would have preferred to have known at the start, but It was very organic the way this piece established itself in my brain. Once the watercolour had dried, I then began to embellish with a pearl trim and golden chain to make it seem unwearable and luxury. I had so much fun creating this piece I felt like I went back to my roots when doing so.

filth

You make some products like tea towels & pom poms – I’m surprised I’ve got this long into the questions before asking about the pom poms….LOVE pom poms (also a tea towel….very underrated in my experience) – tell me about your products?

My products are all handmade or hand finished; for example the T-shirts, I buy are organic cotton but I would then screen print the designs or hand embroider onto them. Any designs digitally printed are my own, but I source the digitally printing in the UK and then make up the product myself on the sewing machine. It’s just putting my artwork on different surfaces, I would eventually like to create garments alongside accessories, and play around with wallpaper again. I like to keep myself very busy if I’m not exhibiting my work, I’m trading sellable stock at fairs and on my website. I have just always loved to make sellable things since being around 16 years old and studying design crafts, at this age I also started to organise my own craft events.

jesus is a drag queen

Tell me about fuzzy bosom? What is it? When the next “thing”?

Fuzzy Bosom is a side company I have set up with my lovely friend Adele Catchpole. We studied at Uni together and became very close; whilst at Uni I was the President of the SU and Adele was my VP – we started to put on events for other students there such as zine fairs and designer maker fairs.

We both have our own freelance businesses but we saw that Hartlepool was lacking in this field; we also wanted to offer bespoke artist workshops for the community along with a platform for local artists. It is also a lot of work to organise an event on your own, so we decided to join forces and share the load and thus the Fuzzy team was formed. We have lots of amazing ideas, and more events to plan, but we are both moving homes at the moment; so we have put it on the back burner for a few weeks before we get back to it. We have recently ran a weaving workshop and screen-printing workshop during the Stand Together event in Hartlepool.

What’s the art scene like over in Hartlepool? I want to make a day trip of going there – where should I be visiting? What should I be seeing?

The art scene is pretty strong; the place is heaving with creativity at the Bis Centre on Whitby street, in the Northern School of Art, Hartlepool Art club and The Art Gallery. The main art scenes are music events that have community arts projects involved I find, which is why we set Fuzzy Bosom up.

I am also admin to the NE: Creatives group on Facebook which was formed to give local artists access to specialist opportunities. You should certainly check out my students, they are superbly talented, I am the National Saturday Art Club tutor, based in the Centre of Excellence in Creative Arts, the students are aged 14-16, the group bridges the gap between school and college and really gives the students the opportunity to develop specialist art skills that can develop into a career.

We have recently been creating a GIANT pom pom which I am super excited about and I’m sure you will be too, so I will send you photos when our hard work is complete. We have also been working on self-portraits and hand embroideries. You need to check out our Instagram to see the raw talent these emerging artists have its @northernartsatclub.

65145843_2121571571302108_3614446199148380160_o

This week is International Women’s Week…. Any womxn artists that I should be checking out/aware of/inspire you?

I am surrounded by so many amazing femxle artists that are local so I will name drop a few! Just Harry Designs, Cat Call, Adele Catchpole, Jade Lenehan, Kirsty Jade Designs, Betty and the Lovecats, Mandas Cat, Make it Reign Studio, Hun North East, Molly Arnold, Lucy Alice Winter, Hairy Yetti, Laura Moon, Wild Lamb and Megabethpaints–  Just to name some off the top of my head, some serious talent!!

Well that was a total feast for me to discover….What awaits you in 2020? Any projects you can give me flavour of?

The first project that awaits me is finishing unpacking in my new studio. Then at some point this I will be creating some new pieces that will be exhibited at the ‘Wild Slut’ Wild Lamb and Slutmouth Collaboration exhibition date TBC.

I will also be trading my wares the following day at Base Camp which is host to GRL 2020 an event packed with live music, street food and a feminist market. Sunday the 15th of March I am going to be chatting with Chantal from Sister Shack on Pride Radio. I’m not really sure what the rest of the year entails, but I know it’s going to be an exciting one, I can feel it. Check out my Instagram @slutmouthdesign and website http://www.slutmouth.co.uk to stay up to date in the world of Slutmouth.

that toxic masulinity

Well thank you….if I wasn’t in love with Bettie before – I sure am after this interview. And what a perfect week to share this interview, than on International Women’s Day WEEK!

And that’s all for now Culture Vultures.

Interview with street artist & graphic designer Mul – “if people hate what you do, do it more”

If I have one piece of advice for you Culture Vultures for 2020, it’s put down your phone, get outside more and be a tourist in your own city. Northern cities are FULL of beautiful street art – work by amazing regional, National and International street artists are waiting for you to discover. Actually the North East is well known for its street art and I discovered recently, big name street artists actually visit here, seek out mural spaces and create their own mark on a NE city or town.
And if like me, you spend way too much time with your head down in your social media feed, you’re actually missing out on this lush art to discover, different styles AND the urban landscape is ever changing with new murals.
54435446_10216204097028013_3821123255247306752_n
Alex Mulholland mural in Ouseburn (near Tyne Bar)
Over the summer, I worked on a project exploring Ouseburn Valley and all the street art there – I visit the Ouseburn all the time, but largely in a passive auto pilot manner, as I’m looking at my phone and scrolling my feed. Over the Summer, I decided to put down my phone and suddenly, paths that I’d walked MANY times before sprung to life with pieces of work and street art, suddenly popping out; they’d been there YEARS but i’d never seen them before. I discovered SO many new artists.
One of those Ouseburn street artists is local artist Alex Mulholland a.k.a. ‘ Mul’! I’ve been a fan of Alex over the last few years – his bright murals brighten up my day when I’m walking around Ouseburn and Heaton and his Insta is just lush – he regularly posts new work. He’s got such a beaut style; Alex is graphic designer, street artist and he makes prints of his work too. He also takes commissions.
42367843_10215012893928680_4924120953358647296_n
Alex Mulholland – Mul
I first properly discovered Mul when i found out he was going to be spraying a design on the side of Thought Foundation caravan in their yarden! I wish children’s play areas were as cool as that when I was a mini….no rusty nails with a broken swing and instead street art, colour and lush space to play.
Recently, reached out to Mul for an interview to find out about his practice, what inspires him and to connect with him as an artist massively on the rise, getting commissions Nationally.
So over to you Mul….
Hi Mul, for my fellow Culture Vultures, tell me who are you and what’s your practice?
I’m Alex Mulholland or ‘Mul’ and I’m an artist and freelance  graphic designer from Newcastle.
p12
Alex Mulholland/Mul’s work
Tell me your journey into the creative arts?
I probably started my journey when I was about 12 years old, that was when I discovered graffiti. Since then I have completed my degree in graphic design at Northumbria University and I started working for myself.
p19
Alex Mulholland/Mul’s work
Your pieces are so lush and bold – where do you get the inspiration from for your pieces?
I guess inspiration comes from everywhere; I never seem to find it when I’m looking though. It always suddenly pops up out of nowhere; like a van driving past with something on the side of it. Apart from those random occurrences, music can also be very influential for me alongside travelling to new places and seeing art on the streets.
71669671_10217484386034438_1810772733278027776_n
Alex Mulholland/Mul’s work
You designed and sprayed Thought Foundation in Gateshead caravan, how did that commission come about?  I know what is used to look like before, you’ve done an amazing job!  
Thought Foundation was an interesting one. I’d never painted a caravan before but always wanted too after seeing ones Sickboy had done. I wanted to make the piece as colourful and crazy as possible and it was actually just made up there and then.
p16
Alex Mulholland/Mul’s work
Tell us a bit about your big piece in the Ouseburn (near Tyne Bar in Newcastle)? What was the inspiration? 
That wall as really fun; I prefer painting bigger as there’s more space for creativity. I didn’t go into painting that wall with a sketch, I wanted to freestyle it and make it up as I went along.
I always have the most fun when I do that, as I’m not beating myself up if something doesn’t look how it does on the sketch.
54435446_10216204097028013_3821123255247306752_n
Alex Mulholland/Mul’s work
You have a very distinctive style, I think you can always tell your work from a mile off – how did it develop?
The current  ‘style’ has only been developing since January 2019. I hit a bit of a turning point with the art I produce and stopped what I had been doing for the previous four years. I think that if I hadn’t done that and made that decision, I’d still be stuck in the rut of doing the same thing over and over again.
p15
Alex Mulholland/Mul’s work
And where is the fun in that!? Do you like the mystic surrounding street artists? Often the pieces and style is recognised – but the person remains unknown….
I do understand it yes; I do think it’s more of a legal thing rather than the artist necessarily wanting to remain unknown (but not in all cases). The art I produce now I happily put my name to because it’s me and not an alias if that makes sense.
p9
Alex Mulholland/Mul’s work
As someone who champions and celebrates the North and loves street art – I’m thrilled people are seeing it as the exciting art form it is. There is a real buzz around street art and murals at the moment in the region – do you feel that too?
I’m glad this is becoming more accepted and celebrated up North. Places like Bristol and areas of London have been like this for a long time and I always love going to paint in places like that as it’s almost received with open arms.
Also having travelled and painted all through Europe you get a sense of how accepted it is in other places. Most cities now have designated areas for it and people travel from all over to paint and see the pieces.
p18
Alex Mulholland/Mul’s work
One thing I’ve always wondered is that outdoor art pieces have to survive the elements, but I do love it when it ages with it’s environment – do you enjoy the creative challenge making outdoor art?
Yeah! I mean my generation is lucky where that is concerned; we get the best paint for the cheapest price, delivered to your door and most of it will stand the test of time.
p6
Alex Mulholland/Mul’s work
Do you take commissions? How would people get in touch if they wanted you to create a piece for them?
I do take commissions; the last ten months have really been great for that, lots of people are seeing my work and getting in touch for a whole range of fun projects.
You can contact me through my website http://www.mul-draws.com  or drop me and email at: alexmulholland@mul-draws.com
Alternatively I’m also on Instagram and Facebook @Mul_draws
Alex Mulholland/Mul’s work
Tell us about other street artists that inspire you?
I guess my biggest inspiration would be Keith Haring; he really pioneered street art in New York back in the 70’s and 80’s. His style is fun and bouncy which I guess is how I strive my work to be.
From the UK, artists like Stik, and D-face. I couldn’t leave Shepard Fairey out either, as he was probably my first exposure to street art way back in 2006 when he and other artists did the ‘Spank the Monkey’ exhibition at the Baltic.
Some of my favourite street pieces in Newcastle are still standing from that exhibition- The Obey paste-up mural on Falmouth road in Heaton and numerous Space invaders dotted around Newcastle and Gateshead. I think that they were the first pieces I saw and have definitely stuck in my mind ever since.
p8
Alex Mulholland/Mul’s work
Do you have a fave piece that you’ve created? If i had a gun to your head and you had to pick one?
Yeah one springs to mind but it was under another alias so I can’t reveal.
Alex Mulholland/Mul’s work
Why do you think street artists are typically male identifying? There are some fantastic female identifying street artists too – but they seem in the minority.
Street art stems from graffiti, which is well known for being egotistical. I would love to see more females doing it especially up North. I can only name maybe one or two that do it up here which is a shame really.
p14
Alex Mulholland/Mul’s work
Any advice for future creatives and street artists?
If people hate what you do, do it more.
p10
Alex Mulholland/Mul’s work
Highlight of 2019 so far?
I had a great client that I’ve designed some hockey sticks for and a clothing line that will hopefully be going to the Olympics in Tokyo next year. I also got to produce a mural for them in Shoreditch, which was amazing.
p1
Alex Mulholland/Mul’s work
Final question….what’s next for Mul in 2020 – anything you can share?
I am working on a few projects for 2020 at the moment that I can’t talk about at the moment but you can expect lots of big walls and collaborations. So make sure you follow @mul_draws on Instagram to stay up to date with that.

p3

Alex Mulholland/Mul’s work
Thank you Mul; that is ace and I’ve got some amazing street artists to check out from your recommendations and if you’d like to discover more street artists, put your phone away and get exploring your city, you’ll discover loads of street art. A good place to start is the Ouseburn; you’ll see Mul’s piece there too – tell me what you think of it!? AND why not, swing by Thought Foundation and check out their Mul designed caravan; they also have a lush cafe, shop, exhibition on and events programme too.
p4
Alex Mulholland/Mul’s work
Until next time Culture Vultures……

Artist interview with Naomi Edmondson – life survival techniques, mental health and positive vibes through guerilla street art!

Those of you who follow me on social media on my Culture Vulture Facebook will know I’m on a bit of a mental health mission (check out my Mental Health event in September!). It’s something that I’m extremely passionate about and as someone who has had significant mental health issues through-out their life, I’m determined to be an advocate, champion that there is life during and post mental health issues, celebrate creative expression as an outlet AND just taking some time out to look after number one (YOU!) every so often.

Mental Health is a topic that has been explored and tackled in many of my recent projects…. And is something that I am (alongside lots of artists) are using as a stimulus within current and future creative projects. I want to be part of the positive change and also to smash the perception of exactly WHAT mental health is and WHO “suffers” from it.

I recently worked on a brilliant festival called Make & Mend Festival; this festival focuses on and celebrates the power of craft, colour and creativity. It doesn’t just imply that being creative and engaging in creative happenings might be good for mind, body and soul – it all out, uses this as its core value to attendees. And being there on the day, doing their live social media, meant that I was able to enjoy the atmosphere and absorb the festival vibe and it just filled my soul with joy. You could literally feel people’s passion, happiness and creativity over flowing through-out the festival site. Perfect and more events like this please!

66293096_485928912212440_2952927532262883328_n

Make & Mend Festival 2019 – photo: Clare Bowes

As part of Make & Mend Festival, I had the opportunity to engage with lots of artists, makers, artisans, creatives, motivational speakers, wellbeing practitioners and everything in between. Lots of them I knew already, some only through my constant social media stalking and fan girling so it was a pleasure to meet and chat in “real life” and there were lots of new folks to meet….. it blows my mind how much talent and lushness there is in the North East and that with the greatest will in the world, you just can’t know about them all. But events like that festival are all about creative discovery and I get a real buzz from that.

An artist/creative that I’ve fan girled for some time is Naomi Edmondson. Those who know me, know I’m in love with street art – I love bold, creative designs in urban areas. I’m of the mind-set that it’s an art form that I’d like to see more of and it’s an expression of “reclaiming” space and communicating with the rest of the world. Good street art stops you in your tracks and often makes you smile. Naomi’s work makes me smile and champions positive affirmations (not in the cheesy way – I can’t DEAL with a cheesy motivational quote), but actual real shit….. stuff that sometimes our brains just need to see as a pick me up, a metaphorical and colourful high five and a reminder that when things are crap, you’ve still absolutely got this.

IMG_7496

Naomi Edmondson in front of one of her murals.

So of course, I was delighted when I found out, that Naomi had been commissioned to produce some pieces of work to display across Make & Mend Festival grounds to be enjoyed. In fact, I think I did a little scream and said “THE Naomi Edmondson!?” …. I love it when fate just brings things together. So of course, when the opportunity arose to interview a Make & Mend artist as Culture Vulture, I was ALLLLL over Naomi like the creepy fangirl I can be…. “hi hi hi, I love you, I follow you on Instagram and I think you’re brilliant!”.

Love Them Tell Them

Before I launch into my interview with Naomi, I suggest checking out her work to get a sense of it all. It’s mint. Naomi has turned the Instagram and advertising negativity on its head… instead of a social media feed with things that will make you feel inadequate or an advert in the street, that will remind you of all the things you should be doing to be a good adult….her work, is the antithesis of this – it’s like shit hot, positivity street art that shares some basic survival techniques in life.

So you get the sense that I LOVE her work, love the positive mental health theme running through out it and I want to shout loud and proud about Naomi to you all……. We need more of it in our lives and when I have an office, I want Naomi’s work within in.

So over to Naomi…

Sometimes+I+feel-lo

Hi Naomi, absolute pleasure to talk to you and thank you for taking time out of your busy schedule to chat….so tell my readers who you are?

I’m Naomi Edmondson and I’m an artist with a street art project called Survival Techniques; it aims to promote hope and optimism and bring a little light to people having a dark day.

4 years ago, after a period of feeling very low, I wrote a list to remind me what to do when I was feeling bad: things that always made me feel a bit better. They were always super simple things like ‘Talk to someone, anyone, about anything’ which came from me chatting to the guy in my local shop for a few minutes. I realised that I would leave the shop feeling much more a part of the world again.

I Am Enough profile

After finding that friends found similar ‘Survival Techniques’ worked for them, I began to think about ways of sharing the list, and after seeing a local street artist at work in East London, decided that the street would be the best, most democratic place to share them.

The first wall I painted was “Hide Less Chat More” – words from the friend I’d first shared my list of Survival Techniques with. There are now many paintings spread across the UK and Japan.

Hide+Less+Chat+More+v2+shadow+paper

How did it all start….tell me about your journey into the creative world?

In my early twenties I was a professional freestyle skier, but after a string of season ending injuries, I decided to move back to the UK. I had a quarter-life crisis and eventually decided to study a 1 year Art & Design foundation course in London. I’d always enjoyed Art at school, but hadn’t really considered it for work. I completely loved my first course and went on to study BA Graphic & Media Design. I started working as a graphic designer for a book publisher and have been working on a freelance, part-time basis for that same publisher up until very recently, as I simultaneously worked on building the Survival Techniques project.

Be Genuine Be Yourself long

You have a signature style….I love the bold typography choices…can you tell me the inspiration of your style?

I’ve always loved typography, and the reason I studied for my degree at London College of Communication was because they had a huge letterpress studio, full of drawers and drawers of letters. In particular I like dynamic, bold typography. It took me a while to get to the Survival Techniques style as I wanted to find that balance between colourful and eye-catching, whilst also putting the message first and foremost.

Capture3

How do you come up with the phrases for your Survival Techniques work?

When I first started the project I asked my friends and family to send me their Survival Techniques in any form. I then created phrases from what they told me, or edited down their words into the size and tone that I wanted. I am always collecting phrases; whenever I hold an exhibition there is a submissions box that people can post their Survival Techniques into, and I have always had a form on my website for the same thing.

Talk_to_someone_shadow_paper

So for those who follow you on Insta, like this creepy fan girl right here, know you’ve been in Japan super recently with your work – so me about it?

This past year I’ve been out to Japan several times and have had 2 solo exhibitions in Tokyo. The first exhibition was in summer 2018 at UltraSuperNew Gallery during an intense heatwave. I gave a talk about my work and in partnership with the gallery we hosted a charity auction of 3 pieces of work in aid of the West Japan disaster that happened whilst I was there. The exhibition led onto a commission for the gallery to paint the shutter at the entrance to the building, and it also led onto my work moving across Tokyo in autumn for another solo exhibition to Park Gallery. I also collaborated with Park Gallery to run workshops for a group of adults and children, and I painted the front of the gallery in Spring 2019; I painted Open Your Doors, which are words that a 14-year old boy posted into the submissions box at my first exhibition at UltraSuperNew.

It feels incredible to be able to make work there, and be involved in the culture in a way I would never have expected and I feel so grateful for the experience and opportunities.

Daijobu

People can buy your work….we all need more of your Survival Techniques in our life. Where do you tend to sell your work – where can people get them from?

Initially for print sales it was purely through my own online shop, which I still have and sell through, but I also now sell via galleries and dedicated print shops, in particular Atom Gallery and PrintClubLondon.

Paintings tend to sell via exhibitions and occasionally Instagram.

66524057_485927458879252_1976062655584010240_n

Make & Mend Festival 2019 – photo: Clare Bowes

How do you get approached for commissions?

Often commissions will come after I talk about Survival Techniques at an event; I think it’s the best way for people to understand the journey and reasoning of the project. Otherwise, having my work out on the street means that lots of people see it and then recognise other paintings. I think there is something immediately engaging about seeing work physically. To see work online or in print is always interesting and inspiring, but if people see my work in real life, out on the street somewhere, I think it is even easier to engage with.

Now Is Your Time

I find your work bold and yet quietly reflective – the colours enable the message to permeate whilst it triggers reflective thoughts about why i don’t necessarily feel that way in that moment and ignites a self determination to strive to feel that way. Was that intention?

Thank you and yes. I always try to find a balance between the colours being bright and hopeful, whilst also not shouting or being too commanding. I don’t have a scientific approach other than I always use a limited colour palette. I just work on it until it feels right, and like the colours together have the same feeling as what I want to say.

It+Can_t+Rain+Forever+-+same+size

What do you want people to feel and think when they see your work?

I hope that the messages will be gentle reminders of things you can do, or ways to look at a situation when you’re feeling low. It could be something you can do that same day or moment, or something that perhaps sticks on your mind and that you can call upon at a later date. I also hope that the messages will make people realise that everyone is struggling at different times and that they aren’t alone.

Face+The+Sun+shadow+paper

Again through my stalking, I’ve discovered you were part of the World Book Day Teen campaign….how that that happen and how did you get involved?

I gave a talk about my work at an event in South-East London, where I have a lot of paintings. The ladies that run the studio that head up all of the design for World Book Day were there, started following my work, and a year later they got in touch to see if I’d be interested in collaborating. Reading has always been very important to me and I think World Book Day is such a brilliant event and charity, so it was a very easy decision to say yes.

Be+Imperfect+shadow+paper

Some of your pieces have a distinctively positive feminist vibe – what does being a feminist mean to? Would you class yourself as a feminist?

I would definitely class myself as a feminist because I want to be treated equally to men. The inner levels of ourselves that the patriarchy reaches can be terrifying to discover sometimes. I think there can be no shortage of voices that give strength to women.

Naomi-Edmondson-Unbreakable-Kimmy-Schmidt-800x1120

Last year, you placed pieces “I am Here” – “I am a Woman” around London….. what did you want to achieve from that project?

I wanted to celebrate International Women’s Day in a way that felt relevant to my work and how I feel. I took those two paintings to locations around London that were or are key to women’s history and rights, for example meeting places for the suffragettes. I wrote the words I Am A Women and I Am Here as a way of unapologetically celebrating and claiming the place of those women, and of my own space in the city today.

You painted several commissions for Make & Mend Festival this year – I had the privilege of seeing them on site during the festival and they were just perfect additions. For those who didn’t attend, can you tell them a bit about your commissions.

I’ve created 5 paintings on wooden boards that were spread around the festival site. The words are Survival Techniques that relate directly to the ethos and vibe of Make & Mend.

66227077_485929202212411_4363493786970488832_n

Make & Mend Festival 2019 – photo: Clare Bowes

How did you come to get involved in this year’s festival?

Rachel, one of the organisers of the festival, got in touch about a collaboration and working together. I could immediately see so much common ground in what we were both doing and it was the perfect event for me to get involved with.

66465087_485924258879572_4407584946273648640_n

Make & Mend Festival 2019 – photo: Clare Bowes

Make & Mend Festival is all about giving yourself space to be creative and investing into your mental health through the power of craft and well-being focused activities – that seems to blend and connect well with your ethos at Survival Techniques. Why do you think creative opportunities and events are important for positive mental health?

I think we all need to be creative in one way or another. Finding that way is difficult nowadays as a lot of people don’t have that opportunity in their jobs. To be making things seems to be so important to what it means to be human. I run workshops where people can create their own Survival Techniques artwork and every time people are amazed at how relaxing it is to sit down and be creating something. One friend helping me to paint a mural and she said she nearly reached nirvana.

To go to an event that is focused on creativity is such a wonderful and important thing that you can do for yourself, and the benefits last way beyond the event itself.

66581859_485929115545753_4329732960317079552_n

Make & Mend Festival 2019 – photo: Clare Bowes

How does your practice and painting these positive affirmations influence your own mental health?

Painting each phrase onto a wall cements it into my mind and means it really stays with me. I still sometimes forget things, and when I think a little more in a situation and remember a certain painting I’ve done, for example ‘You Can Rest’; it helps me to stop dodging doing the good thing for myself, and just do it.

The actual physical act of painting is so calming and I feel lucky to be able to do it often.

YOU_CAN_REST_2

I’m an avid champion of the Northern Arts scene and I ask all artists from the South this question : Do you think there is a difference between the North & South Art scene?

I’m sorry to say I don’t know much about the North Art scene. I live in London, and up until recently all of my work has been based there, growing on the exposure and contacts I have in my local area until eventually I’m now creating work all across the city. I was so delighted to make work that was going to be outside of London as this is something I’ve always wanted to do.

66390573_485926605546004_8279509310921244672_n

Make & Mend Festival 2019 – photo: Clare Bowes

Do you come up North much?

Not as much as I’d like to. I really want to see the Keith Haring exhibition at Tate Liverpool, so hope to make a trip there soon. I spent New Year in the Lake District which was even more beautiful than I’d imagined. My brother and his family live in Scotland so I will visit them a couple of times a year, but I don’t currently have many other connections in the north at the moment.

Hide Less Chat More 2 long

Well Naomi my dear, the North East is calling out for you to properly visit and if you need a tour guide….this gal is the one to ask!

Naomi’s work really is fantastic and I suggest that you follow her on Insta for some colour and positivity in your life!

ST_banner_red