Art & Design blog

XETH interviews Benjamin Louche of The Double R Club

Artist / designer:   Benjamin Louche
Article author:   Charlotte Bradford
Published:   Mon, 13 Jul 2015

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Copyright: Ghostdot

Winner of ‘Best Host’ at the 2014 London Cabaret Awards, Benjamin Louche is a cabaret & burlesque host and Co-producer of The Double R Club, one of the craziest nights in the capital! Louche has been magnificently seducing and serenading the UK cabaret scene since 2009 performing at legendary venues including Cafe De Paris, Leicester Square Theatre, Koko, The Lowry Theatre, Madame Jojos and Bethnal Green Working Men’s Club. This year The Double R Club returns to London Wonderground at Southbank from 4th July – 1st August.  Taking inspiration directly or indirectly from David Lynch’s air of mystery and nightmare, be sure to buy tickets and witness the magic unfold!

At what age did you start to take an interest in the field you work in?

Ooh, blimey, well I was still pre-teen when I first got on stage (an am-dram Wizard of Oz -I was a munchkin!) and have been performing in one way or another ever since, stage, films, adverts etc. but I first got into cabaret in 2009; which is a very roundabout way of saying that I would have been 38.

What are your top three favourite songs?

A definitive top three would be an impossibility, but three favourites off the top of my head, right now, at this very second, would be:

Sons of The Silent Age by David Bowie, which has such an odd, beautiful, immense and doomed romanticism about it. Many, many other Bowie songs could have made the list.

Feeling Pulled Apart by Horses by Thom Yorke, with its tense, driven repetition, stuttering percussion and strange lyrical allusions.

And Hamlet (Pow, Pow, Pow) by The Birthday Party, which lyrically is so wonderfully brutal yet rich and inventive, all accompanied with that rolling, edgy bass line and Cave’s peerless vitriol.

But having chosen I’ve just thought of three others that I should have picked, then three others and so on…

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Copyright: Ghostdot

What is your favourite London venue and why?

Again, definitive favourites are tough! I’d have to whittle it down to two:

Bethnal Green Working Men’s Club, which is real ‘spit and sawdust’ cabaret, where decades of atmosphere just seeps out of the walls, it has real, tangible character and is just the perfect venue for The Double R Club.

My second choice would be the London Wonderground Spiegeltent with it’s beautiful, circular, yawning space, its stellar lighting and staging which gives us the potential to push things so much further in all manner of directions, it’s where cabaret can truly dream of becoming theatre.

Name three creatives who have inspired you over the past 10 years?

I’m afraid I’ll have to start with the obvious: David Lynch. Having always been a fan, his sense of mood, of strangeness and mystery, of absurdity, is everything we wanted The Double R Club to be (albeit refracted through our own prism). Lynch creates worlds like no one else and his sense of darkness and surreality, not to mention the many examples of ‘artificial’ performance spaces within his films, seemed like ideal fodder for cabaret that was attempting to do something different.

My next choice would be Jo King. London’s own Godmother of burlesque, founder and principle of The London Academy of Burlesque, and the first ever British inductee in The Burlesque Hall Of Fame; it was through Jo that I came into contact with burlesque, and by extension cabaret. Jo taught my wife Rose Thorne burlesque, which brought me into that world, and so without her The Double R Club could not exist. In addition, Jo is a tireless and inspirational campaigner for inclusion and positive body image. Over thirty years in the business yet still she takes no prisoners and always leaves the stage sizzling.

My final choice has to be my wife Rose Thorne. When first we got together it was accepted that I was ‘the creative one’ and she the practical. With a background as a chef and then local government it took her a long time to even admit she was creative, and yet The Double R could not and would not be the show it is without her. Whether it’s in the vitally important (and all too often ignored) skill of planning the running order, the dynamics, the ebb and flow of a show, to the lighting design of our Wonderground outings, along with a hundred other ideas and inputs, she truly is the organ grinder to my performing monkey.

Have you got any exciting projects coming up in the near future?

Lots!The Double R Club‘s second and final Wonderground show will take place on the 1st August. We can promise dreams, dread, delights… and possibly disgust! There will be sex, there will be smoke, there will be something waiting for you in the dark… It includes some of the hands-down best cabaret performers out there, including Fancy Chance, Chrisalys, Em Brulée, Twice Shy Theatre and many, many more. We guarantee you will not see another show like it anywhere else.

I have a book out! Written under my, shall we say, ‘pen name’, The Menagerie is a dark fairy tale set around a strange circus and includes 17 beautiful illustrations by Jon Attfield. The tag-line is Ever wanted to run away with the circus? Read The Menagerie and think again. A limited edition is available with extra goodies while stocks last…

On the 13th, 14th, 15th August I’ll be re-staging my one man show Being Louche for the last time. Tickets sold out last time so get ’em while they’re hot! Taking place at The Bamboo Lounge, downstairs at the lush and lovely Fontaine’s, Dalston.

September 17th sees The Double R Club’s 6th Birthday Party at Bethnal Green Working Men’s Club!

If you weren’t involved in the creative industry what other career path would you have chosen?

Oh god I have no clue. Genuinely. I’m lucky enough / lazy enough to have only ever had one ‘proper’ job in my life; I have no skills whatsoever in anything practical. Robbed of the ability to write, perform or create I have no idea what would become of me; but whatever it was I feel certain it would include misery, a significant body count, and a lengthy prison term.

Website5 by Gh0stdot

Copyright: Ghostdot

For more details on The Double R Club and Benjamin Louche, please visit thedoublerclub.co.uk and benjaminlouche.com

XETH interviews Bee Berrie of Bee’s Bakery

Artist / designer:   Bee's Bakery
Article author:   Charlotte Bradford
Published:   Mon, 15 Jun 2015

Edible petal cake - kat hill

Copyright: Kat Hill Photography

London based Bee’s Bakery create bespoke sweet treats for every occasion. Bee Berrie left her career as a microbiologist to become a full time baker in 2012 and has never looked back! Taking a three-month sabbatical to develop her idea she chose to specialise in biscuits and has been voted  one of the Best Biscuit Bakeries in London by the Evening Standard. Clients include Topshop, Vogue, Kurt Geiger, Harrods, BBC and Sky.

Bee is also a regular contributor to www.JamieOliver.com and has appeared as a guest presenter on Youtube and FoodTube presenting collaborative recipes. Recently securing a book publishing deal with Pavilion Books Group, she is currently shooting her first recipe book alongside completing a Leiths Diploma in Food Styling.

At what age did you start to take an interest in the field you work in?

In my mid-20s, whilst working in medical communications – I’m a medical Microbiologist by training, so this is a second career for me! I started out by taking night school classes in baking and decorating cakes, then did a work experience placement at a few different cake designers and then started out on my own. Baby steps though, I was still working the day job until 2012.

Bee 2014

Copyright: Olivia Cole Photography

Do you listen to music when working? If so, what?

Absolutely! We have some brilliant playlists for the kitchen as we tend to spend long long hours in there. Often the work is quite repetitive, for example making 500 mini gingerbread houses for Harrods. I love a bit of classic hip-hop, say the Pharcyde and Missy Elliot but my long time love is indie music so everything from Ben Folds Five through to The Maccabees and The Vaccines.

Name three creatives who have inspired you over the past 10 years?

Peggy Porschen is a Chelsea cake designer and I did my first apprenticeship with her about 6 years ago. A very different area to the type of work I do now but her production unit was where I really got the bug. The Meringue Girls really inspire me in terms of being two young kick ass women carving out their own niche. Ellen Bennett from the LA based apron maker Hedley & Bennett inspires me too. She has an extremely simple but targeted business idea and is really going for it, all guns blazing and I admire that.

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Copyright: Olivia Cole Photography

Have you got any exciting projects/commissions coming up in the near future?

 I’ve just finished shooting my first recipe book which comes out early in 2016. That’s been a huge dream of mine realised and I’ve loved every single minute of it. It’s a biscuit book, so quite niche (!) and I have recipes in it from classics like a chocolate digestive to a cookie wedding cake, from our brilliant Rubiks cube cookies to home made dog biscuits. It’s a great fun, unique and beautifully shot book and I can’t WAIT to put it out there.

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Photographer: Emily Moya

Who would be your ideal client for a future project?

I would love to work in broadcast and I bake lots for the BBC press offices so perhaps one day you’ll see me on a screen. Perhaps a programme on fusion baking?!

If you weren’t working in this field what other career would you have chosen?

I’m a trained medical microbiologist, so I worked in medical communications for about 6 years before taking a “year out” to give this a try! I always loved the content of that job, so if the bakery ever becomes too hard to handle I’d go straight back to working out how to communicate scientific data to the general public! Having just finished writing my recipe book, I daydream now about writing a short story or novel. I might give that a bash one day…who knows!

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Photographer: Emily Moya

To learn the tricks of the trade, Bee teaches sell out lessons at www.thecakeandbakeshow.co.uk.  If you’d like to try one of her biscuits, please visit Harrods, Jamie Oliver’s Recipease or order them directly from beesbakery.co.uk

XETH interviews Amourous Ava

Artist / designer:   Amourous Ava
Article author:   Charlotte Bradford
Published:   Fri, 29 May 2015

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Photographer: Zandy J Photography

Amourous Ava is a neo burlesque performer from the Wild West coast of the North Island of New Zealand. Now based in Auckland Amourous Ava has performed in numerous shows throughout the country and internationally. She is a core cast member of the Rock n Roll Circus and Winner of Most Innovative, NZ Burlesque Festival Golden Garter Awards 2014.

At what age did you start to take an interest in the field you work in?

Well, I’ve had a passion for dancing around my room in my underwear for most of my life, so it was really only a matter of time before I brought my skills to the people… Though seriously, I first saw a burlesque show around ten years ago, and I first took to the stage to perform burlesque myself much more recently, in my early 30s. One of the nice things about burlesque is there is no age limit to performing. Because it’s such an all-encompassing performance form, all the random skills we develop pre-burlesque all seem to end up feeding into our individual performance styles.

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Photographer: Zandy J Photography

What are your top three favourite songs?

This changes day-to-day. At the moment I’m rehearsing my She-Creature act for the Australian Burlesque Festival, so I’m listening to Let There Be Drums by Sandy Nelson a lot. Though not burlesque related, Rake by Townes van Zandt and the album Mutiny/The Bad Seed by The Birthday Party are on high rotation. Favourite songs don’t always translate into the right energy for performing a burlesque act to, unfortunately.

What is your favourite venue to perform in and why?

The Winchester, possibly because it’s where most of the Auckland Rock n Roll Circus shows are held, and therefore the venue I perform at most often. There is nothing like a home crowd. The Winchester is in a 1930s Art Deco building that was originally constructed for the Freemasons and has an old pub vibe, which I like. The stage is low, but it means you can get down into the crowd and the proximity makes it easier to connect with the audience. Plus Jerry (the Publican) is fantastic.

Name three creatives who have inspired you over the past 10 years?

Recently I’ve been inspired by seeing Dirty Martini perform in Auckland, by videos of Little Brooklyn’s Burlesque-o-matic act, and by a whole host of local (NZ) & Australian performers too numerous to mention.

Have you got any exciting projects coming up in the near future?

Even though issue 1 only recently came out, issue 2 of my zine / burlesque trade journal Pastie Politics is in its early stages of production at the moment. It features a bunch of contributions by performers, exploring ideas surrounding feminism and burlesque. I’m hoping to have it released for the New Zealand Burlesque Festival later in the year. Also, next month I’m performing as part of the ABF Big Tease show in Sydney, which will be a fantastic show to be involved in.

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Pastie Politics Issue #1 Cover

If you weren’t involved in the creative industry what other career path would you have chosen?

My day job and other projects are also creative, so that would be a radical change of direction for me. The creative/ theoretical/idealistic aspects of science I’ve always found appealing. Maybe if I found myself in an alternate dystopian universe where all creative work was banned I would be a physicist or some other science-worker-type person. Science is rad. Climate change is real. Get immunised y’all.

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To find out more about Amourous Ava’s  shows visit www.avalamoureux.com and to purchase Issue #1 of Pastie Politics visit www.pastiepolitics.com

 

XETH interviews Sapphira

Artist / designer:   Sapphira Sapph
Article author:   Charlotte Bradford
Published:   Wed, 20 May 2015

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Copyright: Beckon Media

Sapphira is a Burlesque Artiste, singer-songwriter, label owner at Domina Records and CEO/Founder of Sapphira’s Showgirls. Born in Melbourne, Australia, she recently moved to London to live with her music producer husband, Antony Silcock aka Tonestepa. We were fortunate enough to meet her in January and are thrilled to be interviewing her for the XETH Art & Design Blog.

At what age did you start to take an interest in the field you work in?

From as young as 5 years of age I was transfixed by Rogers and Hammerstein’s musicals and the old movies starring Marilyn Monroe. I entered my first talent quest at the local shopping centre in 1994 when I was 16 and sang Peggy Lee’s rendition of ‘Fever’ winning the competition and $1,000. Burlesque collided with my world in 2004 when I relocated from Melbourne to London to pursue my songwriting career. It was in the decadent underworld of London’s burlesque scene at The Whoopee Club in Notting Hill where I witnessed the striking performance of a then relatively unknown Immodesty Blaize and I slipped her a business card backstage while she was crouched over her suitcase packing up from the show. In the early days at burlesque events, I would perform as a belly dancer and jazz singer because I was enthralled by the sensuality and daring sexuality of the burlesque artists but felt too timid to perform striptease publically. For me, burlesque has been a very personal inner-journey and rite-of-passage learning to become comfortable with my own naked form and to celebrate the power of the stage, costume and performance which has provided escapism and healing in my life. It has really been in later years, as my album and songwriting have developed that I have found a way to combine all my loves into the one artistic project.

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Copyright: artist’s own

What are your top three favourite songs?

That’s a tough question, I love so much music:

1. For Priscilla – Tonestepa

(A piano ballad written for me by my husband who is a fellow pianist & music producer)

2. You’ve Got The Love – The Source Feat. Candi Stanton

3. Gorecki – Lamb

(I walked down the isle to Gorecki by Lamb at my wedding last year.)

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Copyright: Maani Vadgama

What is your favourite London venue and why?

My favourite London venue has only recently been closed, it is Madame Jojo’s, 10 Brewer St, W1F 0SE in Soho. Madame Jojo’s was one of the original cabaret venues that had a true magic with flaming peacocks decorating its walls and butterflies embossed on its low ceiling, the dimly lit staircase transported audience and performers alike to a fantasy world. It was easy to travel back in time to the 1920s or 1950s within the alluring presence of its four walls. For me it is particularly significant because it is a venue where I performed at the London Burlesque Festival in 2007 and then later cut my teeth as a promoter producing my first show Shimmy Shake, a belly dancing & burlesque night. Working with the venue manager, Paajoe Gaskin was a highlight, he was so professional and supportive. The ethos of my burlesque dance academy, Sapphira’s Showgirl’s, has been to empower women realising their own potential and dreams. In 2013 I returned from Melbourne to Madame Jojo’s with 4 of my star students with whom I had formed the Sapphira’s Showgirls professional troupe, Kitty D’Vine, Ms Hunny Pottz and Laydee Bombay. I was glowing with pride to be on stage with such wonderful performers, we had become like a family. It was also at this event we were able to perform our full tribute show to Sir Richard Branson, he had responded to our YouTube campaign for flights from Melbourne to London and discounted our airfares with Virgin Atlantic and Virgin Australia. Our show was titled Burlesque or Bust – My Heart Belongs To Branson. For the full story on my crusade to meet Richard, visit www.myheartbelongstobranson.com

Name four creatives who have inspired you over the past 10 years?

Sir Richard Branson – Virgin Group Founder

Whilst Sir Richard is not strictly recognized as an artist, his creative entrepreneurialism and the Virgin brand which oozes with his personal flair, irreverence and charisma have been profoundly influential in my own approach to the music industry and show biz. Reading his biography Losing My Virginity has made me realize that even the most successful business people had to start somewhere and that the risk-taking gene I have inherited is not something I should shy away from. Whenever I experience self-doubt or reach a crossroads I often say to myself “What would Richard do?” I then hold my breath and dive straight in.

Julian Kynaston – Illamasqua Founder

I discovered Illamasqua, a London based cosmetics brand with outlets world-wide at a pivotal time in my artistic career and it opened my eyes to the miraculous wonders of stage make-up. I had just quit my full time job to start my burlesque dance academy and commence writing my album and it was at the time Illamasqua were breaking into the Australian market. Julian has been the driving force behind the success of Illamasqua and his own understanding of marketing brands running the Propaganda business enabled him to take the concept of producing quality stage make-up to empower people to express themselves to the world. I became a regular face at the Illamasqua counters in Melbourne, Sydney and London where my dancers, students and I would get our make-up done by exceptionally talented make-up artists for photoshoots, stage shows and TV appearances. It was this experimentation that helped me develop the stage character for my album, I call her Mystress.

Charles Billich

Charles Billich is arguably one of Australia’s finest art exports and we crossed paths at the Graham Gedde’s Figurative Art Exhibition in 2012 where I posed as Charles’ model and performed a number to open the night. His work is eclectic and has been featured in the Vatican Museum and in the palaces of Kings and Queens. While I was used to performing striptease under lights and in a fancy costume, it was extremely intimate to be sketched by Charles at this exhibition (although we were in room of 200 people). We became friends that night and now plan to work together on a special piece on my forthcoming album. The song is entitled Forbidden Fruit.

Sappho

My stage name, Sapphira, is a Greek name, derived from the ancient Greek poet, Sappho. I have been researching Sappho’s history as her salacious history of writing erotic poetry on the Isle of Lesbos has had significant parallels with the inspiration I have found emerging in my own writing. Sappho was not a historical figure I became aware of until the latter stages of my album but I felt a resonance as I read more about her.

 

Have you got any exciting projects coming up in the near future?

2015 is possibly the most exciting year in my artistic calendar ever! I have finally finished my debut album, Mistress, which combines burlesque, electronica, dark beats and a dramatic stage show. It has taken 5 years to write the album and I fell in love with my music producer, Antony Silcock aka Tonestepa, during the process. We got married last year and after 5 years of a long-distance relationship, we are now finally together in London and we are excited about releasing the album which has a range of beautiful music encompassing the genres of dubstep, drum n bass, house and a few gentle piano ballads, too. The biggest unveiling will be the Atonement music video, shot over 4 days in Victoria’s Dandenong Ranges by director Jeff Osman of Carpe Diem films and featuring co-star, Hana Vraniqi. To date, Atonement is the one creative accomplishment of which I am most proud. A huge thank you to the team including Donna Billing at Hairextrodonnaire, make-up artist Mishel Vounatsos Bratsos and photography, Pam Morris.

If you weren’t involved in the creative industry what other career path would you have chosen.

Essentially I have had two careers for long time. One has been in the business media and corporate arena where I have worked in advertising sales for all the market leaders including MySpace.com, Future Publishing, JCDecaux & CBS Interactive. This has enabled me to learn about the global entertainment industry, luxury brand strategy for companies like Rolex and Chanel plus large-scale sponsorship deals. Within my own company I have networked with Virgin Active, Virgin Atlantic, Agent Provocateur and cult London make-up brand, Illamasqua. My knowledge of marketing has helped me identify companies that mirror the ethos of my dance academy and record label. These two businesses, both that started as part-time hobbies, have now become fully established. Sapphira’s Showgirls and Domina Records are expanding from Australia to the UK and I am grateful I have great teams in both locations. Finally, I believe in volunteering and I run a Music Program at St Mungos in London, a support organization for homeless people as well as volunteer with More To Life, a non-profit organization that helps people with simple personal development courses. In many ways, creative ideas stream into all the things I am involved with as that is purely in my nature and the filter through which I see the world.

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Copyright: Lisa Law Photography

 

To find out about Sapphira’s upcoming classes and shows visit www.sapphirasshowgirls.com and www.sapphiramusic.com.

 

Michael Chance on launch of Mercer Chance art gallery, London

Artist / designer:   Michael Chance
Article author:   Ricky Thakrar
Published:   Thu, 16 Oct 2014

Lapetus Transition Zone - Monotype, 76x54cm

Michael, you explore far-away worlds in much of your artwork. Is this primarily fantasy or is there a more scientific interest in the extra-terrestrial?

It’s science fiction, certainly, but not sci-fi. Depicting a foreign environment allows more freedom to play with the image outside conventional notions of landscape. The fact that many of them could appear to be earthly environments is testament to the variety of our earth… or perhaps it’s rather the sign of an earth-bound imagination.

Titan North Polar SAR map - monotype, chine colle, quill pen, 50x36cm

Your most distinctive work mixes soft media such as charcoal and graphite with structure in the form of graphs, technical annotation, architectural studies and cartography… what has influenced this combination?

In an artwork I try to express the totality of my interest in a certain place, which begins with a powerful aesthetic feeling, but may include conceptual information displayable only in graphical form or text. I try to never use graphs or data purely for effect, they are always rooted in real figures or have particular fixed meanings within my own narrative. I want everything to be readable at close range, whilst resolving to a more simple tonal impression from a distance.

I studied Peter Greenaway’s films at university and love how his use of layered image, geometry and text allows for an expansion in the possibilities of cinematic representation. The arrangement of and interplay between each element is deeply thoughtful yet also absurd, self-parodying.

St Paul's Distortion - Charcoal, graphite, 110x124cm

Whilst you studied at The Prince’s Drawing School, London, and much of your work is rooted in its disciplines, you also have a more romantic streak, producing Turner-esque landscapes in oil.  How do you relate to both?

The Drawing School is often misconceived as a reactionary return to old-fashioned academic values. In fact my experience on The Drawing Year opened me up to draw with much more freedom and really made me question all my assumptions about what constituted good drawing. After the course I felt able to meaningfully connect and combine my printmaking, drawing and painting practices in a fluid continuum.

Turner is a huge influence. He was a maverick, talented and sensitive as he was head-strong, he had the perfect balance between schooling and rebellion. He shows landscape as if witnessing a series of phase transitions; liquid, gas, earth and plasma intermixing, each struggling free from its conventional confines, interchangeable, unified in chaotic change.

Tintern - Oil on board, 152x122cm

Your new gallery, opening in Hoxton on 24th October 2014, will function as an open studio allowing members of the public to watch the artistic process in action. How do you think this will affect the work that you produce?

Well, thankfully I can close the curtain so I don’t have to be peered at all the time, especially when I’m doing unintentionally ‘arty’ chin-scratching poses! But it does mean that people will be able to come into our studio on certain days and see a variety of work, finished and in progress, and see it in the context of its making, which can be much more interesting that an impersonal blank gallery wall.

We both paint and draw outdoors a lot too, so we’re not going to be stuck in a fishbowl. I don’t think that being visible will affect my work in style or approach, I think I have some fairly unshakeable interests and principles to work by at the moment.

As well as yourself and co-founder Rachel Mercer using the space as a studio, you intend to exhibit the work of others.  How will your exhibitions compare to what’s on offer elsewhere in London?

We  want to exhibit work that is built upon a foundation of observation, contemplation and practised use of the artist’s medium, without imposing any restraints for the sake of commercial appeal.

I suppose I see a widening gulf between two extremes: private commercial ‘artefact’ or ‘investment’ art, and publicly-funded ‘experience’ or ‘engagement’ art. Both exist in an institutional context and are subject to certain restrictions and pressures, both are essentially outward looking and driven by novelty.  Representational art is criticised as ‘not enough’, ‘boring’, ‘conservative’; whilst conceptual art is equally bad-mouthed as ‘charlatanism’, ‘pretentious’, ‘inaccessible’.

This situation is ill-fitting for the artist who looks inward, making art not for the market, but to satisfy her interests, sensitively filtering her experiences and observations, searching for meaning that is deeply personal, yet universally resonant. I would describe this as a poetic approach.

Many blockbuster installation pieces make much of their anti-capitalist credentials by claiming that they are transitory; information, not product. However, they are consumed without much true contemplation; they are middle-class cosmopolitan fun fairs which do not last long in the memory, beyond the Monday morning cultural brag session. Further, they are often materially expensive and ecologically wasteful.

I used to feel completely anti-product, anti-selling-work, but I’ve come to realise that if you create something unique, soulful, made from humble materials, that will outlast you many times over and continue to provide pleasure and provoke thought throughout its lifetime at an un-inflated price – that is a true gift.

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