On Sorrow: Teresa Margolles’ Glass Memorial

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When you look at this walkway, what do you see? White walls? A cement floor? Is it a cement floor? What are we looking at? Is there something there, or do we have to use our imagination and just acknowledge that it is art, because someone has told you so. For example, moi.

For starters, it is a piece of art that can be found in Liverpool (England) called On Sorrow by Teresa Margolles. And what you are looking at is not a cement floor. Rather it is a floor comprised of glass chards (ground down) that were taken out of Mexico City and re-laid to make a walkway.

But why these glass chards? Well folks, these pieces of glass that have been put together were from windshields of cars that were shot at in Mexico City. The artist, Margolles, collected the glass not only from windshields of cars that were in a range of fire – whether the people in the car were innocent or not, but from other crime scenes as well.

Thus, this walkway, this space, that looks barren at first glance, has a story to tell. And yet, there are no indications, no signs anywhere, telling you the title of the work, artist, and even where it came from.

This makes this installation effectively a forgotten artwork not only by lack of indication in signage, but also because of its remote location/location as an alley way/walkway/path (where stories have been told that at times it is covered in graffiti and at other times it is a haven for drug deals to go down). Thus, a fascination arises as the viewer learns more and more about the work.

Perhaps one can only experience the death and destruction of the lives that were taken by recognising the ground that they are walking on is from crime scenes. While it sounds rather gloomy, we all need to recognise that everything is made for a reason. Everything happens for a reason – horrific or not. And what we must do is embrace and learn from our experiences to move on and change the past.

Find it in your he(ART) to tell a story, make a difference, and embrace the life you were given.

XX, DP

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It’s ARTISTA: The Interview

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There is no doubt that from this website you can tell that since moving to London, I have become inspired by the work I see on a daily basis – not in museums, but rather on the STREETS. This artist, Kayleigh Doughty aka Artista (@ItsARTISTA) captured my eye from the first time I saw one of her works in the flesh. And after several months of following her work on Instagram and seeing it around London, I decided I would go for it and ask to do an interview (hey, it never hurts to try) ! GO FOR IT!

Read the Questions below followed by her FABULOUS answers:

1.     I have seen your work all over London and I would just like to say THANK YOU for brightening up the grey skies with your colourful additions to the streets of London. What inspires you to make your murals bright and colourful – is it just your personality in general, is it another artist, or is colour your means of reaching out to people? The use of colour in my work defiantly reflects my personality, bright colours are something i’ve always used right from the start and when painting I literally love watching all the colour hit the walls.

2.     Your work often has ice cream cones in it (yum) and turtles – what do these symbols mean to you? The cute symbols in my work often refer to experiences or people that exist in my personal life, other than that a lot of my work is based on things that are inviting, like Ice-creams and cake.

3.     How did you get started? Did you have a background in the arts or just decided one day you wanted to bring your talents to the community? I  was a creative child, winning art competitions since the age of four. Art was always something I enjoyed and the only thing people ever really said I was good at so I ran with it

4.     Are you solely based in London or do you travel around Europe and the States? Where is your favourite place to work? Im based in London, I have traveled a little bit around Europe and did spend alot of time in the states, but I was just getting a feel for those places and do intend on going back to push my work further.

5.     Which piece if your favourite work? Where is it and what is it of? I don’t really have a favorite piece of artwork, Im producing work and coming up with new ideas all the time, if I choose a favourite I feel like I’ve settled and I don’t ever want to settle I wanna keep it fresh. (FYI I too found it incredibly hard to pick a favourite – when I first asked ARTISTA this question, she asked me to choose my favourite one – so I sent it to her… and then I sent her two more – I couldn’t decide they are just so FUN, ENERGETIC, FULL OF LIFE, FRESH… you get the picture)

6.     If you could collaborate with any other artist who would it be and why? Over the last few months I have been collaborating with all types of artists, all of which have been so much fun! The one person ive always wanted to work with was Keith Haring. I was lucky to have been recognised by The Keith Haring foundation in 2009 via The Tate Modern, but one of my future goals is to do something bigger with them. Keith to me was and still is a absolute legend, he didn’t just paint brightly coloured pieces, his motives and how he connected with people was so empowering.

7.     Where can we purchase the clothes with your work I see on your instagram?! What a great way to reach a broader audience I may add! A range of my artwork can be purchased on garments via my website store @ www.kayleighdoughty.co.uk –> YOU MUST CHECK IT OUT, MAY I SAY!! (picture of AWESOME denim jacket below – how much cooler can it get?!)

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Well Kayleigh, THANK YOU SO MUCH for taking your time not only to answer the questions, but for giving us a unique insight into your work! Can’t wait to see what you have in stock for us in the future!

XX, DP (@DPAYT / @CultureHeARTs)

CBS 60 Minutes: A Serious Go At ART – BANTER/RUBBISH

Dear 60 Minutes Man (RIP) – but you need(ed) to go to a museum. You have enjoyed liberties of creative freedom. You had freedom to say what you want on air, artists have liberties, sometimes even SPONSORED by the GOVERNMENT – to create a piece of work in a PUBLIC space – whether you like it or not. You’ve had your 15 minutes of fame – rather 60 minutes… Why not let others enjoy theirs?

P.S. Being a prick does not make you stand out in the art world, it just makes you sound unintelligible and uneducated. How did you get that job at 60 Minutes? CBS please! This is banter. And rubbish. I’m sorry to hear you passed but let this help educate the public.

XX, DP (follow me on TWITTER @DPAYT and Follow @CultureHeARTs)

P.S. YOU DON’T HAVE TO LIKE EVERYTHING, AND NOT EVERYONE WILL LIKE YOU – BUT WHY BOTHER PUTTING OTHER PEOPLE DOWN? YOU JUST GAVE THEM AIRTIME AS YOU TRASHED THEM. I’D SAY ANY PUBLICITY IS GREAT PUBLICITY. TAKE THAT – AND GO TO A MUSEUM.

Francis Bacon’s Muse – Isabel Rawsthrone

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You may think something is wrong with this person’s face… but it is Francis Bacon’s way of creating a portrait – which can be found in the TATE (Modern). It is a portrait of Isabel Rawsthrone. Bacon and Rawsthrone were close friends and after Rawsthorne’s death in 1992 Bacon admitted they had an AFFAIR (even though he was gay – apparently – who knows, who cares, but tres scandalous). In a statement to Paris Match confessed, “You know I also made love to Isabel Rawsthrone, a very beautiful woman who was Derain’s model and Georges Bataille’s girlfriend.” As such, unlike any of his other female sitters of which could only be counted on one hand, Rawsthorne became his MUSE.

Bacon had no FORMAL training. Bacon’s earlier portraits were created by means of having his subject present. His portraits beginning in the 1960s were developed based off of photographs and focused in on facial features. Bacon only painted those who he knew intimately – Lucian FREUD, George Dyer, Henrietta Moreas, Muriel Belcher, and Isabel Rawsthrone to name a few.

While his brilliant portraits evolved from photographs taken by John Deakin, the final result was one that which could be described as phenomenological – the idea that his paintings go beyond the physical attributes of the exterior and exemplify inner truths.

Bacon’s portraits could further be understood as influenced from Surrealism and Abstraction, where a duality exists within each painting: between thought and form, life and death. Nevertheless, Bacon captures Rawsthrone’s physicality such as her arched brows, high forehead, and accentuated cheek bones; however, he has done so in an intriguing way that navigates the cusp of abstraction and figuration in relinquishing the human form through his distorted yet incredibly powerful techniques of portrayal. Bacon elaborates in his discussion with Sylvester, “What I want to do is distort the thing far beyond the appearance, but in the distortion to bring it back to a recording of the appearance.”

The artist’s ENERGETIC brush strokes are contrasted with smudged contours and blurred boundaries as if he is trying to reveal an open form that is trapped within its own subsistence. Bacon removes screens and veils to uncover truths about existence through fusing the notions of paint and the idea against a stark background, which brings the portrait to appear to have a floating appearance. The artist’s work of his dear friends in the 1960s exhibit and suggest a psychological rendering.

Check out this work at our FAVOURITE museum in London – Tate Modern. Embrace those around you. Find your muse. Go with the flow.

XX, DP

Bridge – Creature of Habit: The Interview

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So here we are on this lovely Saturday, the 20th of April. And boy do I have a GREAT read for you. We once praised our FAB friend LP for her great taste in music, bringing us the FRESH video from Bridge entitled “Do Ya Right” (Above) and now she has once again pulled through to set up this interview. So shout out to LP for being totally AMAZE, and shout out to Bridge (and his team) for taking the time to answer ze questions.

Here are the 6 questions we asked him, followed by his responses! Enjoyyy kids. Get INSPIRED.

1. How did you get started, at what age did you know you wanted to be in the music industry? I got really passionate with my music around 15 or 16. My friends and I would freestyle as a joke and eventually I realized that I was good at it. By the time I was 18, I would tell my parents that I was going to school but instead I would drive my car to a parking lot and write to instrumentals. Once I finished writing a song I would record it into my Photo Booth on my computer.

2. Who are your musical influences? What are your top 3 go to songs? My musical influences come from all over. I would say that I get inspired by not just music but by all art in general including fashion, production and writing. Hedi Slimane really inspires me, he’s the creative director for Saint Laurent. He’s currently doing a collaboration with Daft Punk and anytime you combine fashion and music on that scale I can respect it. I have a deep appreciation for writing. Most of my musical influences actually come from singing ballads. I would say that my 3 “go to” songs change all the time. Recently i would have to say that I listen to James Blake – Retrograde, Frank Ocean – Pink Matter and when I need that hip-hop influence I constantly go back to the Chronic 2001 album.

3. How would you describe your sound and style… We think it’s fresh yet powerful not only in terms of your sound but your lyrics as well. I think my sound and style is all based on the vibe I’m in. I tend to gravitate towards very ambient beats. I can always vibe to a mellow record. Lyrically I tend to freestyle my melodies first and input lyrics to compliment the sound. Usually I don’t have a direction until I am midway through the song.

4. What is Creature of Habit all about? I see there is a Part 1, what can we expect in the following parts… COH PART 1 is all about the process and steps that it took me to become Bridge and to develop this brand FINGERS CROSSED. Constantly doing the same routine over and over again until it’s implemented into my brain. Whether it’s waking up at the same time everyday or following the same routine for writing records. I literally am a creature of habit when it comes to music. Part 2 and Part 3 will be all about the GROWTH of Bridge as an artist. There will differently be a bigger sound in Part 2. You might even hear me singing a little bit more. Singing is still something I work on every day.

5. How do you feel to be compared to Drake? I would take it as a MAJOR compliment, but I could see where one would not want that association to stand out on his own – what are your thoughts? People will compare anyone to anything that is already out. I don’t mind it though, Drake is one of the best in the game so I take it as a compliment. I look forward to people realizing that I have my own sound and style – unlike anything that’s out right now.

6. When are you coming to the UK? We need to be “Done Right.” I will be in the UK as soon as the UK wants me. It’s always been a dream of mine to be there. I’ve only heard great things about it. I’ve actually never been to Europe before so I can’t wait until all those dreams become reality.

Well Bridge,THANK YOU for your time. Totally rad. Totally fresh. Totally dope.

And in traditional CultureHe(ARTS) fashion we shall end on this note: follow your dreams, and listen to your He(ART) – in this case, He(ART)beat. 

XX, DP

p.s. don’t forget to follow BRIDGE @xxbridge, LP @leanneperice, and yours truly @cultureheARTs / @dpayt

Please Do Not Enter: “A Contemporary Piece of Art”

This man may be spot on in the Contemporary Art world when we come across installations of art where we are just baffled by what we are seeing. Contemporary Art can be anything. But this man, Ken Tanaka really draws a crowd and makes a point to validate a garbage can and cardboard being an art installation in the Smithsonian – which in actuality what we are seeing is the process of the exhibition that was there prior being taken down. See for yourself. If anything, it is a very good laugh.

Is it Art? He He(ART)s it! Do you?

XX, DP

The Foreigners Stand Still: Seb Patane @ Fondazione Giuliani

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Fondazione Giuliani is pleased to present The Foreigners Stand Still, Seb Patane’s first SOLO show at our favourite not-for-profit foundation in the marvellous city of Roma, from 20th April to 19th July.

The exhibition is based on an idea of UNCONVENTIONAL performance and aims to convey a sense of ORGANISED CHAOS, playing on a balance between visual rhythms and subtly incongruent sounds. Photographs, video and sound pieces are like components of a theatre set, composed in order to suggest an environment suspended between reality and fiction where sounds and images operate at the subconscious level. Patane creates alternative spaces of action and fruition, reflecting on abstraction rather than representation to deconstruct, reassemble and trigger new productions of meaning.

Formally austere, the installations only appear to contain a clearly defined message, while creating flexible and dynamic environments in which reminiscences of architectural structures are combined with symbols of violence and collective rebellion. Photographs and prints of marked historical and political connotations are selected through an instinctive, subjective approach. What attracts the artist is not so much the content of these testimonials of the past – collective gatherings, rituals and propaganda messages – but rather their aesthetic function, at one time a tool to convey a precise message, that today cues for new visualisations.

The artist gives his own point of view, but the potential of the image continues to be called into play to develop from spectator to spectator. The sound element acts as a rhythmic particle of the visual structure, which increases the internal contrast while simultaneously constructing a type of mantra.

For The Foreigners Stand Still, Patane has underscored a core belief of the artist: that truths are never fixed and always changing.

While there will be NEW/REWORKED versions of previous works present, there will also be NEW NEW works, that have yet to be seen… that is until you go to ROMA and check it out (for more details on where the institution is located click on the link above).

XX, DP