Natalia Zagórska-Thomas wearing Julia Schrader. Photo © Jens Schaumann.
DS: Well, we managed to negotiate our way out of 2016 only to find 2017 looming before us like a rogue ice shelf. Yet although the festive season was full of foreboding there were occasional moments of optimism amidst the gloom; one of the most enjoyable events in my pre-Christmas calendar was the private view of Call of the Wild at Studio Ex Purgamento in Camden.
Antlers © Julia Schrader.
Visitors to the gallery are often wrong-footed by the address; it is located in a second-floor extension in a private home, a flat that belongs to artist and conservator Natalia Zagórska-Thomas and her husband Simon. If there was ever an enterprise that demonstrated devotion to an ideal of what art can and should be, Studio Ex Purgamento is it.
Going into the Thing Seriously; or These Influences Have Been Exerted for Good. © Natalia Zagórska-Thomas (alternative titles provided for the artist by Diane Williams).
Profit, apart from a tiny percentage above a certain price to try to recover some costs, goes to artists directly. Some years we sell a lot; others, not at all. I want to show established names alongside lesser known artists whose work interests me, and to mix visual art forms with text, design, performance, architecture, design, music and science. I show many Polish artists to promote their profile and contribution to the culture of the city.
As to the current show, Natalia describes it thus: This is not a tidy show. This is not a tidy subject. What I wanted is what I think I always want: a contemporary version of the cabinet of curiosities, a camera obscura, an idiosyncratic collection of specimens picked up along the way. It feels like life: messy, chaotic, undisciplined, joyous, violent and confusing.
Pale Blue Hexapod © Danuta Sołowiej.
Somehow, Natalia has managed to fit work by 25 artists into her small gallery; these include sculptures by Almuth Tebbenhof, Danuta Sołowiej, and Andrzej Maria Borkowski, wearable art by Julia Schrader, photographs by Jens Schaumann, Marzena Pogorzały (whose images of massive Antarctic ice sheets are elegant visual tokens of the strangled metaphor I opened with) and your own correspondent. The show also features an extraordinary ‘biological’ installation by Heather Barnett, and poems by such luminaries (and friends of The London Column) as Roisin Tierney, Christopher Reid and Katy Evans Bush.
Ice 3. © Marzena Pogorzaly.
© Andrzej Maria Borkowski.
You hardly need me to tell you that the London art scene is full of bullshit, any more than you need me to tell you that 2017 could be a rough year. We will need all the optimism we can get our hands on; and any blows against philistinism or the dead weight of cultural conformity are as welcome as they are necessary. As Katy Evans-Bush writes in Call of the Wild‘s exhibition catalogue: ‘At the time of going to print no one knows what’s going to happen next. Old ways of being uncivilised are being exhumed and new ones invented. The one thing we do know is that we will need to call on all our most civilised impulses – as well as our deepest, wildest aardvark’. Or, to put it another way, if you think the world is going to end tomorrow, plant a tree today. (Who said that? Answers on a postcard to …)
Ruan Minor, Cornwall, 1978. © David Secombe.
Gallery photos by Natalia.
Call of the Wild runs at Studio Ex Purgamento until 15 January; open weekends from 11 am — 6 pm. To visit during the week, call for an appointment. (132D Camden Street, London NW1 0HY; 07799 495549; firstname.lastname@example.org. http://www.studioexpurgamento.com.)
Moon, a deer in Sheffield. © Tom Broadbent courtesy of the Laura Noble Gallery.
From Wikipedia entry Furry fandom:
The furry fandom is a subculture interested in fictional anthropomorphic animal characters with human personalities and characteristics. Examples of anthropomorphic attributes include exhibiting human intelligence and facial expressions, the ability to speak, walk on two legs, and wear clothes. Furry fandom is also used to refer to the community of people who gather on the Internet and at furry conventions.
Sticks the fox and Terry, Wimbledon. © Tom Broadbent courtesy of the Laura Noble Gallery.
D.S.: Tom Broadbent has been photographing members of the ‘furry’ community for the past seven years, following a chance meeting with a six-foot wolf called Smirnoff. Tom speaks warmly about the furries and their acceptance of him is fully evidenced by the photographs. Furries inhabit a world of elaborate fantasy, albeit one with a curiously quotidian aspect. They might be in revolt from the mundane but they find release in performing ordinary tasks in the personas of their animalistic alter-egos (or fursonas).
I suppose you could call it a form of living theatre, or lifestyle as theatre. As Tom says, ‘There’s no one reason why people identify as furry; and in terms of ‘costume play’ (or cosplay) most of them create their own characters, drawing on a wide range of Fantasy and Sci-Fi influences, from classic Disney cartoons to Star Wars’.
Marshall, a border collie, Woking. © Tom Broadbent courtesy of the Laura Noble Gallery.
In Tom’s photographs, we often see his furry subjects in their domestic settings. The ‘at home’ scenes are as sweet as one could wish: a rabbit tending his garden in east London, a Glam Rock border collie playing his Les Paul in his bedroom on a 1960s estate in Woking, and so on. These images speak of tidy, ordered lives which just happen to incorporate a bit of dressing up. And although the fetish undertow is always present to some degree (bit of a touchy subject for the furry community) that isn’t the top note here: Tom’s furry friends are endearingly wholesome.
Edward Fuzzypaws shares a moment with labradoodle Teddy, Richmond. © Tom Broadbent courtesy of the Laura Noble Gallery.
Furries are an international phenomenon, but there is a quintessential Englishness about the activity as presented in Tom’s photos. These characters might be bit players in an unproduced film by Alan Bennett or Victoria Wood. But what makes Broadbent’s pictures more than just another showcase for native eccentrics are the moments where the photographer accompanies his subjects through the looking glass into the realm of private myth. That’s when the child-like delight in costume gives way to something wilder.
Bhavvels Bunny, Barking. © Tom Broadbent courtesy of the Laura Noble Gallery.
A nod to Lewis Carroll isn’t inappropriate, given that the furry domain shares some of the dreamy charm, transformative power and moral complexity that he represents. That seems obvious enough. But the image of the stag invokes the iconography of the pre-civilized mind and a time when woods were feared and venerated. This stag is a forest god; one that might be worshipped as part of the sacred, time-honoured rituals of Summerisle.
Fangorn, a Jedi tiger, in his living room, Swansea. © Tom Broadbent courtesy of the Laura Noble Gallery.
As for the Jedi tiger, he inhabits a different galaxy to the one you or I live in. He’s about to climb into his own Swansea-moored spaceship and leave for somewhere very far away. Nothing cosy about him. And I am afraid that stag will come to stalk me in my dreams.
DS: About a thousand years ago (1991) I spent a few months working with a BBC film crew – it really was film – making a documentary to mark the Queen’s 40th year on the throne. The camera/sound team of Philip Bonham-Carter and the late Peter Edwards, and the director Edward Mirzoeff (a sometime contributor to this blog) – had formidable reputations. I did not have a formidable reputation. I was hired in haste, the production already rolling, to take ‘stills’ and not get in anyone’s way. Naturally, I got in everyone’s way – most often in the viewfinder of Philip’s Arriflex – but somehow managed to avoid being fired.
My chief recollection of the project is fear: fear of getting in Philip’s shot, fear of missing my shot (the sound-proof camera housing I had to use denied easy access to the camera), fear of under-exposure in huge rooms lit by dim lamps, fear of saying the wrong thing … I even discovered a new kind of fear: that my Moss Bros penguin suit was about to collapse in front of royalty. At Windsor Castle photographing a state banquet I suddenly felt the elastic in my waistband give out; my trousers began heading south just as Lech Walesa was greeting the Queen Mother. The nightmares still recur.
I finally overcame my fears and managed to complete the project, salvaging some dignity in the process. Looking back, these images are souvenirs of a time that has become so distant. Who would have thought that 1991 would seem like such an innocent time?
Anyway, this blog post constitutes The London Column’s 90th birthday greeting to Her Majesty. Please be upstanding, and cue music:
All photos © David Secombe.
© David O’Shaughnessy.
My old friend David O’Shaughnessy has an exhibition currently on show at Stour Space, Hackney Wick (part of Photomonth, the east London photography festival). David’s show is called Zoo Logical, and is a study of the habitats of zoo animals in New York, Dublin and, as showcased here, London.
© David O’Shaughnessy.
The key word is habitat: the animals themselves are absent. The viewer is confronted with a series of disconcertingly empty rooms reminiscent of deserted stage sets: which is, of course, the point. The animals are expected to perform for our benefit, and their man-made surroundings either mimic their natural environment or display them as specimens in an alien setting. (As beautiful as Berthold Lubetkin’s penguin pool is, the birds themselves hated it.)
© David Shaugnessy
Walking round the exhibition last weekend, it struck me that David has selected the perfect location for his show. For those unfamiliar with the locality, Hackney Wick is a kind of giant guinea pig cage for hipsters. A stone’s throw from the Olympic Park to the south, and within sight of the looming bulk of Westfield shopping mall, the area offers an environment as fitted to the needs of well-heeled young urbanites as any zoologically engineered habitat. All the key elements are in place: retro-fitted brown field decrepitude, bars and cultural spaces sprouting from light industrial units, towpaths to cycle on, and a sprinkling of riverside new-builds. Anyway, this post is written in haste as Dave’s show ends on Monday: so allow me to suggest that you treat yourselves to a visit to Hackney Wick this weekend. Enjoy the exhibition, drink a craft beer or two and look at the men with funny hair.
A London street artist writes:
I remember living in Hackney Wick around six years ago, just as it was being transformed from a barren industrial area into a ‘funky’ neighbourhood full of vegan coffee shops and ‘warehouse raves’ that had guest lists and cocktails, interspersed with re-purposed plant hire buildings that had been turned into artists’ studio spaces.
I had been a graffiti writer for about four or five years before moving there, and at that point in time I was spending a lot of time utilising the easy access to train tracks from Hackney Wick station to go painting at night. The thing was, Hackney Wick was full of ‘street artists’, yet I never saw any of them on my nightly overground rail missions. The reason for this was that they were mostly drinking chai tea in their studios, plastering canvases with stencilled pop-culture icons or images connoting cunning political/social commentary… But it was still ‘street art’. All the courtyards of the shared warehouse living spaces were covered in pieces, yet the streets surrounding them were bare.
This was the crest of the wave of socially acceptable, tongue-in-cheek street art. It was naughty, but only when it was allowed to be. It was rarely painted illegally, and rarely in places where lots of people could see it; inside the living room of a sandal-clad nut-loaf artisan, or on a peaceful stretch of canal. While the original breed of London graffiti writers tried to paint busy train lines and rooftops, these ‘street artists’ prefer to hit up Tumblr, Flickr and Twitter with photos of their work. ‘Getting up’ has been integral to graffiti culture since the beginning – it is the pure manifestation of the territorial roots of the art form, except now the art form is becoming gentrified, intellectualised and critiqued by Guardian columnists, and ‘getting up’ has turned into social media marketing. While all this is happening, grass-roots graffiti writers are still being locked up with criminal damage charges, sitting in police cells around the corner from a perspex-enclosed stencil that may or may not have been painted by Banksy.
Two street artists, Boe and Irony, recently painted a four story chihuahua on the side of a tower block. They suggest in an interview to have pulled this off without alerting anyone as to their activity. I mean, granted, the piece is nice. It’s a definite improvement over the old, plain brick wall, However, as someone who has spent their fair share of time crawling around on rooftops and side streets with buckets of paint, I don’t buy it. All credit to them if they actually managed to walk around the streets with their faces covered from the cameras, holding a fuck off ladder and the 20+ cans of spray paint they would have needed, set up shop on a residential building for 4+ hours and paint an entire face of said building without anyone even knowing they were there. That would be fucking impressive. There are writers who have been painting in this city for decades, who know all the dark secrets of how to get into train yards undetected and have hit up at least one rooftop in every borough in the city, who wouldn’t attempt a stunt like that.
Street art has always had its own lines of communication. Taggers, know each other by tag and reputation and possibly on the tracks. It’s territorial. Now, the territory is worldwide. The territory is in the bank. The artists get cash, the local authorities who pay them get kudos, and global gentrification accelerates week by week. ‘Street art’ is becoming just another kind of civic prettification – even the Southbank Centre has commissioned some to make itself appear more relevant. Individual neighbourhoods may get brightened up, but the work is mainly for the portfolio and the commercial opportunity.
The big street animals are unobjectionable. Even the Daily Mail likes them. People didn’t want Hackney Council to paint over the rabbit in Hackney Road a few years back – it’s inoffensive and it got a reprieve (and no-one likes Hackney Council). But now you get big animals wherever business is moving in on an ‘up and coming’ area. I see a giant bird or squirrel or fox and all I see is money.
… for The London Column.
Playground, Rotherhithe. © David Secombe 2003.
Giant Edible Caterpillars Seized at Gatwick*
Customs officers at Gatwick Airport got more than they bargained for when they searched the luggage of a passenger arriving from Nigeria: inside his suitcase they found more than ninety kilograms of giant caterpillars swarming inside a bubble wrap cocoon.
The man told the customs officials that they were for his personal consumption during his stay in Britain. However, the caterpillars are a popular delicacy across Africa and, as such, represent a valuable trading commodity. Customs official Bridget Fumes commented: ‘We get a lot of people trying to smuggle animals into the country – last month we had someone wearing a lizard as a hat and a man with a pair of monkeys down his trousers, but to my knowledge this is the first time we have had giant caterpillars.’
Stavros Wilt, an insect expert at the Natural History Museum, commented: ‘These are likely to be mopane worms, the larvae of emperor moths, which are commonly eaten in Africa. A favoured method of consumption is to pinch the caterpillar at the tail to rupture its innards, followed by a sharp flick to liberate the guts via the burst carapace. The resulting matter may be fried until crisp with onion, tomatoes and chillis. Alternatively, they may be dried and eaten raw as a crunchy snack.’
‘This was an unusual seizure but the vigilance of our officers prevented this consignment of rogue insects from entering the UK, and possibly posing a risk to the health and wellbeing of the populace,’ proclaimed Ms Fumes. ‘I would warn travellers not to attempt to bring any products of animal origin into the UK without a permit, as they may not have been inspected to appropriate standards and may contain diseases. These caterpillars are not something I expect to see in the Gatwick staff canteen any time soon!’
An increasing number of British outlets offer mopane worms for ‘own consumption only’. The online retailer Planet Nosh sells 40g bags for £16.99, saying that the insects are a tasty and nutritious alternative to traditional meat products, and describes them as ‘the ultimate barbecue novelty’. Experts estimate that the caterpillars seized at Gatwick had a street value of £40,000.
The caterpillars are being cared for at an animal rescue shelter in Kent.
* NB: A mostly, if not entirely, genuine news item: a mash-up of reports from International Business Times, The Independent, lepidoptera.pro, etc. The second in an occasional series. See also: The Supermarket Spider (http://wp.me/p1twhU-33W)
© Bill Pearson 1982/85
Late August ’87 by Stephen Watts:
Thunder on the Greenland Dock.
A few kids. Wet sand. Fishing.
All of us feel the vatic lack.
Girders. Cranes. New roads.
Bright sciatic colours. Cans.
Concrete. Cables. Coiled wire.
Flesh still curt to our bone.
Autumn thunder on the Greenland
Dock. Suddenly – houses rearing up.
That pall of human indifference.
Heart of the heart ripped out.
Yellow air. Pipes of cloud.
A sky that’s been lifted from Bihar.
Houses with archways of walled wood.
Our lives. A crushed heat of air.
Cranes. Wet sand. Girders.
The kids laugh. And then scatter.
Dear body. The poor in their lack.
The rich in their whorl of languor.
© Stephen Watts
Bill Pearson writes:
I moved to New Cross Gate over the Easter weekend, 1981. My only previous experience of living in the big city had been a few years at Kingston upon Thames, very different in all respects to inner city south-east London. Exploring the new area I discovered empty, desolate docks and rundown industrial areas that reminded me of my homeland in the North of England. It was the early days of Thatcherism, before the Falklands War, before the inner city riots, and before the Miners’ Strike, when Thatcher was still the most unpopular Prime Minister there had ever been.
© Bill Pearson 1982/85
My local Desolation Row was Surrey Docks – re-generated as Surrey Quays – but on walking and cycling trips I discovered the run down warehouses of Shad Thames (which still smelled of the spices they had once stored), Limehouse Basin, Wapping and the Isle of Dogs, which looked like a war zone. I remember rummaging around a warehouse in Wapping one day and hearing a roaring noise on the floor below. I rushed along to see what it was and discovered that the place had been set on fire by some local kids.
© Bill Pearson 1982/85
The absent other in all of these photographs was Mr. Charles Fox. A Battersea Dogs Home graduate, selected for his fetching smile, his hairy ears and his endearing determination to escape from the Home by digging through the concrete floor. His name was chosen because nobody in our shared house was prepared to have the utility bills under their names, so Charlie the dog ended up taking responsibility for everything. He never seemed to mind. At the Post Office I would occasionally be asked, “are you Mr Fox?” – and when people from the utilities phoned up wanting to speak to Mr Fox and we would invariably say “He’s unable to speak at the moment”.
© Bill Pearson 1982/85
Charlie and myself covered a lot of miles on our walks. Sometimes I would carry my Canon AE1 and sometimes I would take my Bolex movie camera and sometimes I wouldn’t take either because I couldn’t afford any film. On these urban forays, I often encountered a fellow rambler who turned out to be another newcomer to south-east London, a political exile from Soweto who had wound up living on the Pepys Estate in Deptford. Not that I knew this at the time: I only learned the identity of Chief Dawethi a quarter-century later, when Chief and I found ourselves sharing an office. Sharing our reminiscences of living in south-east London in the early 1980s, we discovered that we were the ghosts on each other’s travels. I mentioned that I took a lot of photographs back then, and it was Chief’s suggestion that people might be interested in those images, as the area had since changed beyond recognition. Chief’s insight encouraged me to dig out the negatives and study them with fresh eyes.
© Bill Pearson 1982/85
Looking at them now, they appear as remnants of a lost world. ‘There is nothing more recent than the distant past’. It seemed unthinkable in the early 1980s that the purlieus of east London could ever become desirable, let alone exclusive. Yet the areas seen in these pictures is today the playground of those who profited from the sale of England; those inhabitants of the soulless apartments that are ruining the London skyline. Even Chief’s old stamping ground, the Pepys Estate, is home to Aragon Tower, one of the most up-scale of all gentrification projects, a block of high-rise council flats sold off and transformed into luxury riverside dwellings for the few that can afford them.
© Bill Pearson 1982/85
What of Mr Charles Fox? He moved away to York with one of my housemates. We reasoned that he would have a much better life there than on the mean streets of south-east London. I saw him a few times after he moved and he seemed far happier in the North.
Text © Bill Pearson 2013.
© Bill Pearson 1982/85
Heart Of The City by Stephen Watts:
Grey sky. Fifteen cranes swing
between the road and the river.
A darkened ribcage of girders is
Fleshed out with granite slivers.
Slow bursts of cars stream past
and lead rises up to our rooftops.
It eats the aortas of our babies.
Wee kids who spiral at hopscotch.
We have savage material hearts.
Mine hangs just under my shoulder.
There are reds, yellows and ochres
if I think of colour in some order.
It hangs and pumps at my ribcage
as if a blue bag were slung there.
Full with wet fish & blae-berries.
Words – jump off my tongue here.
It is good to dream as dreaming
makes lucid our human potential …
The spiral of blood in our bodies.
Just where it pumps by my nipple.
Sunflowers. Asters. Fuchsia.
Whatever their colours they seem
held by tight and straitened stalks.
The sun will crash from its beam.
Too close to the savaged heart.
We live in the heart of this city.
Cranes that swing out on the dark
measure our hearts without pity.
© Stephen Watts.