Creative Of The Month – December 2009
Damien Hirst
The first time I saw the works of Damien Hirst I was stunned. 'Inspired' was not the word I would use but it definitely left a deep impression on me. It was the Sensation show at The Royal Academy of Art in 1997. There were plenty of 'shocking' pieces including Chris Ofili's wall hangings laced with cow dung and cuttings from porno magazines. But for me, the most shocking of all was anything that had Damien Hirst's name by it. A cow dissected into vertical strips that you could walk in between and see the beast's insides close up. A pig cut in half, with each half moving back and forth so you could see the animal's insides and outside at the same time. A cow head being feasted on by flies who then instinctively flew up into the bright light that killed them instantly. I wasn't sure exactly what he was trying to say with these seemingly horrific installations, but it was enough to put me off eating meat for the next three weeks.
Was it questioning society's widespread acceptance of eating beef and pork (meat) by allowing us to see what meat actually looks like before it ends up with chips and salad on a plate in front of us? The beauty of art is that it means what it means to you. It either has an 'effect' on you or it doesn't. The nature of this effect depends on your nature, what's going on inside you, the viewer.
Since then I've come to see familiar themes in Hirst's works. Nearly always morbid, dealing with death and the uncertainty and vulnerability of life, seeming to ask 'What is the point of it all?'. Hirst's 'installations, sculpture, painting and drawing – has sought to challenge the boundaries between art, science and popular culture' (
Whitecube.com). Hirst himself challenges the boundaries between the artist and the successful businessman, or 'marketing magician' (Adrian Searle, Guardian). Estimated to be worth £200m, Hirst's midas touch means that anything he puts his name to can potentially be sold for tens, or hundreds of thousands of pounds (even if he didn't actually put the piece together with his own hands but employed others to do so). Such apparent focus on money and business has sparked a lot of criticism from the art world. The argument being that 'brand names' and high price tags are demeaning the true value of art, turning art into a 'commodity' to be sold to the highest bidder, betraying its roots as a purely creative form of expression.
I've heard this argument before in the world of popular music, especially in Hip Hop, where the likes of P Diddy and Jay Z have similarly come under attack for turning art into a materialistic circus, lining their pockets in the process. But why shouldn't an artist be paid well for their hard work? Why is it ok for bankers and footballers to earn incredible amounts of money while creatives suffer and struggle throughout their miserable lives, unacknowledged until years after they have left this world? Case in point, Vincent Van Gogh, and to some extent Tupac Shakur.
I like Damien Hirst because he makes art accessible to the rest of us who are not from middle class and upper class backgrounds. Those of us who never 'studied' art, those who aren't familiar with the elite academic language used which keeps us on the outside of art – as if it is not for us. 'Anyone can be a Rembrandt', says Hirst. He doesn't believe in genius. 'It's about freedom and guts. It's about looking. It can be learned. That's the great thing about art. Anybody can do it if you just believe. With practice, you can make great paintings.' (Guardian).
Born into a working class family in Leeds Hirst now lives in London with his wife and children. A student of Goldsmiths he is one of the new generation of British artists (Britart), alongside other controversial brand named media darlings such as Tracy Emin, Sarah Lucas and Marcus Harvey. Known as the bad boy of art by some, Hirst is the most controversial of all. 'It wasn't simply the pickled cows and sharks; it was the swagger, the swearing, the rock n' roll attitude' (Adrian Searle). Once, Hirst got into trouble for putting a chicken bone behind his foreskin and exposing himself at a posh hotel event. Not exactly the kind of thing I would do but I do appreciate the sentiment. As if he was literally 'taking the piss' out of the seriousness of the art establishment, or perhaps making a statement about his power to make anything 'art'.
Such bad behaviour has made Hirst a lot of enemies (including the lady who sued him over the chicken bone incident), but funnily enough seems to increase his credibility as a bit of an eccentric, the artist doing his own thing, breaking the rules. These were Damien Hirst's turbulent years of drink and drugs, again, the artist as rock star.
Now sober and off the drink and drugs Hirst has come back to the more traditional art form of painting. Still doing things his way, still morbid with signifiers of the inevitable death that awaits us. Still shocking and memorable in their own way, his recent paintings at The White Cube, and The Wallace Collection have received damning criticism across the art world.
Being one who has to see for myself, I felt the familiar immediate shock sensation, followed by the delayed sense of inspiration that came a few days later. Skulls next to ashtrays and lemons, crows as bad omens splattered with blood against blue skies. Make of it what you will, but despite the bad reviews critics just can't help paying close attention to Damien Hirst, fuelling his fire, keeping him in the top spot even if this was not their initial intention.
In an interview on TV I saw a while back Hirst was asked about one of his unusual installations, 'Why is this art?', to which he replied 'Because I'm an artist, and I made it, so it's art.' I love it! Forget the long words and pretentious arty farty jargon, just say what you mean. The Jay Z of the British art world?
See for yourself:
'No Love Lost, Blue Paintings' is showing at The Wallace Collection, London W1 until 24thJanuary 2010. 'Nothing Matters' is showing at The White Cube, London N1 and Mason's Yard SW1 until 30th January 2010. Free Entry for all.
For more info on Damien Hirst:
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Creative Of The Month - November 2009
Lizzie Emeh
I love true stories about local heroes. People who overcome great obstacles in their lives to achieve life long dreams and ambitions. They inspire the rest of us to believe we can do it too. They can energize hundreds, if not thousands of others to continue following their dream. They remind us that it is worth all the time and energy put into their craft, that it will reward us in the long run if only we don't give up, if only we keep the faith.
Lizzie Emeh, is one such local hero. She always stood out from the crowd when I worked as an usher at The Beautiful Octopus Club events put on by Heart and Soul - an arts organisation supporting people with learning difficulties - at The Albany in Deptford South London. Her passionate soulful voice - like one of the old-skool divas - combined with her confidence on stage and natural charisma, seemed to spell the word 'Star' from early on for Lizzie. So it wasn't really a surprise to see a news item on ITV's London Tonight recently about Lizzie Emeh, the first recording artist with a learning disability to be signed and release an album to the general public.
This, plus an article in the Guardian newspaper, brought mainstream media attention to Lizzie, and to Heart and Soul, who do so much to support and inspire people with learning difficulties. People who are likely to suffer more than their fair share of discrimination and prejudice. People who, like Lizzie, may not read and write, and may get laughed at and called insulting names on the bus.
Regular Beautiful Octopus Club events gave Lizzie the platform to let her innate talent shine and be noticed. The regularity of the events allowed her the time and space to really hone in on her skill and develop her craft. The Beautiful Octopus Club is empowering, as it also encourages participants to get involved and help to plan, organise and deliver the events. So that far from feeling patronised or force-fed, people with learning difficulties can really take ownership of the night as something by, and for them.
However, Lizzie's road to success started even earlier than this. Born with a mild learning disability, doctors said she wouldn't walk or talk. She was able to do both by four years old. Lizzie gives meaning to the phrase 'Start as you mean to follow' as she continues to break expectations, break down barriers and break records too, by releasing an album and recently performing at the Royal Festival Hall. From Strength to Strength, Achievment to Achievment, Knowing she Can, even when she's told that she Can't. Keep defying the odds and silencing the pessimists, Lizzie Emeh you are an inspiration to us all.
Despite her now very busy schedule as a recording artist, Lizzie was kind and humble enough to make time for a quick interview with JB SPARKS arts.
1) First of all Congratulations to you, for releasing your album LOUD AND PROUD, and for being the first ever learning disabled solo musician to release an album to the general public! That is quite an achievement, for any musician to reach. It must feel great to be an inspiration to so many others who would like to follow in your footsteps. I can imagine your journey must have been difficult at times, coming up against many barriers such as people's prejudice and ignorance. What more do you think can be done to support and promote artists with disabilities?
I think to succeed, you need a really good back up team who will offer you lots of advice and support. Heart n Soul have been fantastic in doing this, they’ve just let me focus on my music, while they’ve been helping with everything else.
I also think more funding from the government to help artists with learning disabilities get their music out there would be great too.
2) When did you first realise you wanted to be a singer?
From 7 years old, I just loved singing! My Grandmum used to be a jazz and blues singer and she really encouraged me.
And what, and who, would you say your main influences are?
Well my Grandmother would be one and the other main influence is Stevie Wonder, I think he’s amazing. I love his music and the way he’s been able to overcome his disability to achieve so much.
3) What were the High points and Low points of recording your album LOUD AND PROUD?
There were lots of high points! I loved going to the studio and seeing the music come alive. It was also great working with all the different musicians – it was amazing. I had no low points – I loved it all!
4) As a Creative, aside from recording and performing music, can you see yourself extending your creativity to any projects outside of music in the future?
Possibly acting – I had a part in Celebrity Shotgun http://www.heartnsoul.co.uk/art_shotgun.html, Heart n Soul’s first feature film, but really music is my passion and my life.
5) If you had unlimited funding and time to carry out any project of your choice, what would it be?
To get as many people with learning disabilities that I could find into a music studio to record an album. That way they could have a voice, like I do now.
Lizzie’s album Loud and Proud is out now.
Available to buy from iTunes, Heart n Soul 020 8694 1632 or Amazon (from 11th December)
For more details:
www.myspace.com/lizzieemeh
www.heartnsoul.co.uk
-link to Lizzie's myspace
http://www.myspace.com/lizzieemeh
-link to You-tube video HARD LOVE
http://www.youtube.com/watch?v=1TF1alWUhW4
-link to Heart and Soul (Beautiful Octopus Club) website.
http://www.heartnsoul.co.uk/BOC3.html
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JB SPARKS arts
Creative of the Month
Every month a different Creative / Artist is selected to receive acknowledgement and recognition for their talent, hard work and energy they’ve put into their art/craft, by way of the prestigious ‘JB SPARKS arts Creative of The Month’ Award.
The Creative is assessed by such assets as their;
-Talent
-Drive
-Achievement
-Originality / Uniqueness
-‘Buzz’ about them in scene / among their following
-Amount of Time, Work, Energy invested in their craft
We at JB SPARKS arts feel it is only right to acknowledge Creatives for their efforts, especially in this present age where creative people feel increasingly pressured to put aside their creativity (which isn’t always economically rewarding at first) and ‘go get a regular job’ and pay the bills, etc..
JBSPARKSarts 2009
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ARCHIVE
Creative Of The Month - October 2009
BASHY
Voice Of The Streets, ....Stratford.... Circus, Jan 2008. My name on the flyer as one of 3 hosts for the night, alongside Darwood, and Bushkin (Heartless Crew). Bashy, the Big name and the face on the front of the flyer. A lot of Big names from the ....UK.... 'urban music' scene graced the stage including Ghetts, Chipmunk, Young Nate and NY, but the headline act, the crowd puller was the controversial young star Bashy. But why the controversy? Because the video for his song 'Black Boys' was actually banned for being racist in 2007 by OFCOM, the independent regulator and competition authority for the UK communications industries. Deemed 'racist' because it focused on the successes only of black boys. But what’s wrong with focusing on what’s right?
What’s the other side of the argument? That black boys get a bad press, not just in urban music but in general. That a black boy is too often the media poster child for the latest crime epidemic. That with black, the emphasis in mainstream news is too often on the negative, never enough on the positive - the achievements, the strength of mind and spirit required to overcome such adversity, the determined struggle against the odds. 'Black Boys' is a song that needed to be made, played, heard and recognised. Black boys need to be acknowledged for their successes, not just our perceived flaws and problems. In a sense this is a song that shouldn't have to have been made. The very need for its existence shows us the inherent racism here in the ....UK...., the need to readdress the balance, paint a truer fairer picture of society, of reality.
My first impressions of Bashy arriving backstage were of a confident young man, determined, steely-eyed with fire in the iris. No doubts, capable, aware of the high expectations of him and more than ready to meet them. As a host it was easy to get a response from the audience, just mentioning the name 'Bashy' was enough to send shockwaves through the venue, the crowd loud, electric, and hungry, anticipating more... But it wasn't a line from one of my poems they heard (that'd be nice) that made them react like that, it was the name of the headline act. Girls screaming hysterically and trying to jump on stage like the days of Elvis! This new to me, seeing a ....UK.... rapper getting treated like a superstar. Intriguing. All the UK Rap shows I've been to over the years, and I aint never ever seen anything like that!
....UK.... Hip Hop VS Grime? Increasingly it seems that Grime is UK Hip Hop. The voice of the people, voice of the streets, local focus, global outlook. Something that does actually feel like it's ours, not just our version of an American song, but truly ours. Fast forward to 2009 with Bashy's current release 'Catch me if you can', still at the top of his game, no doubt one of the leaders in ....UK.... urban music. Respected for sticking his neck out and boldly saying something that all of us were thinking.
This album for me does not disappoint, but confirms his place as a true pioneer. Just when I was starting to feel disillusioned with UK Hip Hop/Grime/Rap I needed to hear something to re-inspire my faith in what we are capable of. I needed to hear this album. The feel of a Hip Hop album VS a Grime album, at times meeting halfway, creating unique soundscapes, with spoken word like delivery, articulate and fierce when necessary. Soul music, dance music, sometimes even the blues. Power music that you understand and feel. With passion, positivity, clarity of vision and delivery that seem too advanced for someone of only 23 years. Bashy, for me is the best all round spitter I'm hearing from the ....UK.... right now. Catch me if you can? He has, caught me as a fan.
Visit bashy's Myspace
www.bashy.com
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