Category Film

4 Corners: An Interview with Lewis Williams

As we approach the close of the US Black History Month celebrations,
am extremely proud to celebrate our 2nd anniversary as a regular monthly column with you.

This month we pay tribute to both occasions with a profile interview with the Chief Creative Officer of one America’s oldest Black advertising agencies and one of the largest multi-cultural marketing firms in the world.

Founded in 1971 by Tom Burrell and then Partner, Emmett McBain, with the principle of forging an authentic and respectful relationship with the African American consumer; tapping into how the Black Aesthetic could also appeal to the general market consumer; and recognizing that there were inherent cultural differences that drove patterns of consumption, provided the launchpad for all Burrell’s communications. Principles, most succinctly phrased at the time by its founder Tom Burrell who stated, “Black people are not dark-skinned white people.”

Now, as part of the Publicis Groupe with over 100 employees, the company’s is steered by two dynamic women of colour, Fay Ferguson and McGhee Williams Osse. And it’s creative legacy remains resolutely intact and as relevant as ever (as its current Black = Human campaign in the wake of #BlackLivesMatter will testify) under the watchful creative direction of Lewis Williams, whose work and life story I have the great pleasure of introducing you to today.


Lewis Williams, Executive Vice President / Chief Creative Officer, Burrell Communications

What’s your background?

I’m a southern boy to the core. Born and raised in Macon, Georgia, the home of such musical greats like Little Richard, Otis Redding, Lena Horne and the Allman Brothers Band.

As a kid I always loved to draw and got a lot of encouragement from my community and schools. My first dream was to become an architect, but quickly abandoned that idea for math was not my favorite subject. So I concentrated on the fine art side of things. I had no idea there was an industry called advertising.

How did you get started in your field of expertise?

I graduated from Kent State University with a BFA degree in Graphic Design. Since most design shops were small without many positions open my break came when hired by a San Diego, CA ad agency as a production designer. Which later turned into an art director’s role and my ad career was born.

You can see more at by website and my profile on LinkedIn.

<p><a href=”″>Late Nite Final</a> from <a href=”″>lewforhire</a&gt; on <a href=””>Vimeo</a&gt;.</p>

What challenges did you face/overcome in getting into the industry and achieving your ambitions?

There’s a few. The first was being born black. The second access and just lacking or knowing anyone or anything about it. This was amplified even more since I am a minority. African Americans were hardly represented in any roles in agencies especially in the creative department. So there was this need to go hard 24/7.

But with a strong work ethic, mentors, faith I’ve made a pretty good go

at it so far. But make no mistake the challenges are still there and always will be.

<p><a href=”″>ToyotaAvalonOnlyTheName3.m4v</a&gt; from <a href=”″>lewforhire</a&gt; on <a href=””>Vimeo</a&gt;.</p>

Who and/or What are your greatest inspirations and influences?

Being black and proud has always been my inspiration. But the primary foundation will always be my parents. My father, a welder helper and my mom a domestic worker. They gave me great values and support that gave me the ability to believe in myself.

One winter day my father once came home, cold and dirty from a hard days work. He looked at me and said…”Son, do good in school so you can get a job working inside.” I never forgot that.

What is your best piece of work or project you are most proud of?

We’ll hopefully I haven’t done it yet. But a pro-bono work I did for the Underground Railroad Freedom Center in Cincinnati, Ohio some years ago rises to the top. Its mission is to abolish modern day slavery and oppression around the world.

Underground Railroad

What would be your dream job or project?

My dream project would be to open an ad school/agency for kids who lack access through the “normal” channels and kick butt.

Please name some people in your field that you believe deserve credit or recognition, and why.

I have to start at the beginning; my parents and family; my church family; my grade and high school teachers. Upward Bound. Bob Kwait was my first boss to see I had a knack for doing ads. Tom Burrell, gave me a shot when others wouldn’t.

Cheryl Berman who gave me the break into the big time at Leo Burnett and mentored me throughout my career there.

What’s your best piece of advice for those wanting to follow in your footsteps?

Love what you do. Work hard. Find mentors and listen to them. And never let up. Never.

What’s next for you?

I don’t know. I just know I’m not done.

For more information visit: and




V&A ART & EXISTENCE | Lecture Series:

The Seamstress, Designer and the Model explore the role of the seamstress in black cultural life in the Caribbean, the results of emigration and displacement, and compare patterns of production in the Caribbean and Britain. Thursday 5 March 2015 14:30 – 16:00 in The Clore Study Room. For more information click here

The Rise and Development of Black Print Culture uses the work of Joel Augustus Rogers (1880- 1966) as a case study, examine the role of the journalist, political activist, artist, and publisher in countering racist stereotypes, by creating a black led perspective on print media, collected on people from the African Diaspora within books, newspapers, hand bills and pamphlets. Thursday 12 March 2015 14:30 – 16:00 in The Clore Study Room. For more information click here

Calypso and the Black British Experience. The lyrics of Calypso were highly political as they were contentious, and dealt with a variety of topics such as poor housing; gaining Independence and the Commonwealth; African, Caribbean and British affairs; the wars and economic status. Consider the changes that have occurred since these decades, and revisit “London is the Place for Me” through Alexander’s “Windrush” song, that contrasts with Kitchener’s rather rose tinted view of Britain in 1948. Talk led by Alexander D. Great, Musician and Educator. Thursday 19 March 2015 14:30 – 16:00 in The Clore Study Room. For more information click here


The New Waves! Institute was established in 2011 and has since gathered 200 dance artists, teachers, and scholars in the Caribbean. Each year, participants, staff and a renowned faculty of international artists form a supportive and inspiring community that has created a unique space for dialogue, networking, experimentation and collaboration. The program has been made possible through a major partnership with and held at the University of Trinidad & Tobago / Academy for Performing Arts, within the National Academy for Performing Arts in Port of Spain in 2011, 2012, and 2013. In 2014, the New Waves! Institute was held in Jacmel & Port au Prince, Haiti. New Waves! returns to UTT/APA for its 5th Anniversary, from 22 July to 1 August 2015. Applications due from April 3rd click here for details



TITUS KAPHAR: THE JEROME PROJECT is composed of small-scale works that engage with contemporary social issues, particularly the criminal justice system. In 2011, Kaphar began searching for his father’s prison records. When he visited a website containing photographs of people who have recently been arrested, he found dozens of men who shared his father’s first name, Jerome, and last name. The artist was influenced by the writings of Michelle Alexander and William Julius Wilson on the prison-industrial complex and the use of policing and imprisonment by the US government as a means to address economic, social and political problems. The panels are based on police portraits of the men named Jerome that Kaphar found online, which represent only a portion of each man’s identity yet are preserved in the public record. Although each work depicts an individual, this series represents a community of people, particularly African American men, who are overrepresented in the prison population. Runs until 8 March 2015 at the Studio Museum of Harlem



DESIGN INDABA has become a respected institution on the global creative landscape, based on the foundation of our annual Festival that has attracted and showcased the world’s brightest talent since 1995. The annual Design Indaba Festival in Cape Town now also includes the highly popular Design Indaba ExpoFilmFestMusic Circuit, multiple Simulcast versions of the Conference in cities around South Africa, and other special events. Go to our Festival page for the latest programme or download our Festival App for updates. Festival runs until 1 March 2015.

If you have any forthcoming events that you would like to be considered for inclusion in this column, please do not hesitate to contact me by email at info at jon-daniel dot com.


4 Corners: An Interview with Gabrielle Smith

Happy New Year! Or “Nu-Year”, as is often said between people across the African diaspora.

For those of you who may not be familiar with this terminology and referencing of the “Nu”, it has found its way into the cultural vernacular primarily through Afrocentric movements in the 80s and 90s and draws its inspiration from the ancient African civilizations such as the Nubian kingdoms, which were located in northern Sudan and southern Egypt.

Certainly, our profiled designer for this month is extremely fluent in the language and culture of the African diaspora. Her website, is a highly regarded digital arts and cultural platform that is an invaluable resource to many people out there, including this very column.

And professionally, working for ITV, one of the world’s leading news and multimedia broadcasters, she has excelled in her chosen field of motion graphics and new media  (or is that nu-media?). Let’s read all about it from this talented young woman herself. Over to you Gabrielle Smith.Gabrielle Smith

Gabrielle Smith, motion graphics designer/founder Thenublk

What’s your background?

I was born in West London to Grenadian parents. They did as much as they could to expose to me to art and culture from a young age. I also attended a Montessori school which focuses on allowing a child to learn through play and discovery – something I feel also had an impact on my interest in exploring the creative world.  For the past six years I’ve been working as a motion graphic designer for ITV News, one of the world’s leading news and multimedia broadcasters. I’m responsible for creating the on-screen graphics broadcasted duringboth the 6:30pm bulletin and the award-winning flagship News At Ten programme. I’m also the founder of Thenublk, a digital arts and culture platform which celebrates the work of creatives from Africa and the diaspora. In recent years we’ve expanded into the offline space and have produced a number of events including film screenings, talks, and exhibitions both in the UK and abroad. 


How did you get started in your field of expertise?

I studied Graphic Design: New Media at the University of Creative Arts, a course which had only recently been introduced. The degree programme allowed me to explore the mediums of illustration, print design, 3D and photography. It wasn’t until two years after graduating from UCA that I joined ITV News as a trainee. Broadcast news is incredibly fast-paced and the majority of the work gets completed on the day so that took some getting used to. While there’s a set structure to a daily news programme, anything can happen, which at times can call for graphics to be created in a short turnaround time – it can get pretty manic! It’s always funny hearing different people’s reactions when I tell them what I do and actually speaks to how seamlessly a news programme looks when you watch it at home. I started Thenublk as it was important for me to create a space where the creative efforts of people from my generation could be seen. It also serves as a space for people to connect and discuss new ways in which we’re able to make the connection between our identity as creatives and children of African and Caribbean heritage, something which I know has been a challenge especially as choosing a role as a creative is seen as a big risk by parents from those backgrounds. 


What challenges did you face in getting into the industry and achieving your ambitions? 

One of the challenges I faced and I know many recent graduates face is that even though you’re applying for entry-level positions, you’re constantly told you don’t have enough experience. It can become frustrating but it’s something you initially have to go through when starting out. It definitely helps in building the tough skin you’ll need when you do eventually start working in the industry.

More than XY

Who are your greatest inspirations and influences? 

The people who’ve I had the opportunity to connect with through Thenublkare a constant inspiration to me. I’ve had the chance to not just be able to feature the work of some of my favourite established creatives, but also follow the progression of a number of emerging creatives who’ve gone on to do great things. Outside of this, the works of the following visual storytellers are an inspiration to me: production and lighting designer Leroy Bennett. Pop artist Nicholas Krushenick. Filmmakers: Wes Anderson, Melina Matsoukas, Ollan Collardy, and Terrence Nance. Photographers: Rog Walker and Agelica Dass. Illustrators: Le Quartier Général, Coralie Bickford-Smith and Brianna McCarthy. 

Liberated People

What is your best piece of work or the project you are most proud of?

I’m a huge Spike Lee fan, so being able to put on a 25th anniversary celebration in London for Do The Right Thing was definitely a proud moment. The film has so many striking visual elements, so having the opportunity to replicate that visually and create an experience which took people back to that time was really fun for me to work on. In 2012 I worked on a project called More Than XY: A visual tribute to Black fathers and positive male role models. It was a collaborative project with forFATHERS and our aim was to tell an alternative narrative about the relationships black men have with their children which often focuses on how many are absent. We held the exhibition opening on Father’s Day and displayed the work of a number of artists as well as having invited guests and a message wall where people were able to share their thoughts on the project. It was, and still is, one of the projects I’m most proud of because we executed it exactly how we’d originally imagined and the impact it had on those who saw it was extremely positive. 


What would be your dream job or project?

I’d love to work on a project looking at the connection between folklore and traditional customs between the Caribbean and Africa. There seems to be so much that could be represented in a visually exciting way that could make for an interesting project. 


Please name some people in your field that you believe deserve credit or recognition, and why.

Having seen the way, in which an increasing number of creatives from Africa are redefining the image of the continent through their work has been incredibly refreshing, especially in light of the clichéd images we’re constantly shown. In the same way I believe that Caribbean creatives who have been and still are producing work which widens the parameters of what “Caribbean art” looks like deserve more recognition. I definitely think with platforms such as the Jamaica Biennale, Trinidad & Tobago Film Festival as well as online platforms such as ARC Magazine and Fresh Milk Barbados – creativity from the Caribbean is being showcased on a global scale.

Viv and Clair

What’s your best piece of advice for those wanting to follow in your footsteps?

1. Be prepared to take an unconventional route to get to your destination. You’ll come across situations in your journey as a creative that, on first look, seem as though they bear no correlation to what your dream job looks like – but it all adds to your experience as an aspiring creative.

2. Whether it’s a sketchbook, phone or a Post-it note, document what inspires you.

3. Create your own projects. If you’re just starting out you’ll need to have something to show to potential clients/employers. There are many more platforms around to help you display your work than before so use them to your advantage.


What’s next for you?

I’m looking forward to working on some exciting creative projects in my personal work and also building on what Thenublkhas become thus far. We celebrated our sixth anniversary in October so I’m looking forward to producing more experiences and connecting with amazing creative talent.

For more information visit and



VIRGINIA CHIHOTA: A THORN IN MY FLESH Until 7 February 2015. Tiwani Contemporary presents Virginia Chihota’s first solo exhibition in Europe, A Thorn in my FleshChihota represented Zimbabwe at the 55th Venice Biennale in 2013 and was awarded the Prix Canson in the same year, which recognises an international emerging artist working with paper. For more information visit the Tiwani Contemporary Art website


BEQUIA MOUNT GAY MUSIC FEST 2015 is a yearly event happening in January on the small Grenadine island of Bequia, part of the island state of St. Vincent & the Grenadines. Caribbean and international musicians join the stage for a four-day event on the “Big Little Island” in the Caribbean. Highlights of the event include a one-night-only show of the world-famous Mustique Blues Festival on Friday Night @ De Reef, led by Dana Gillespie and the London Blues Band; a multi-genre Saturday Night Show @ De Reef with local and regional artistes; and a laid back Saturday Afternoon Jazz’ N’ Blues Jam by the beach @ Bequia Beach Hotel in Friendship. Festival runs from 22 – 25 January 2015. For more information visit the festival website.


CHRIS OFILI: NIGHT & DAY. The New Museum presents the first major solo museum exhibition in the United States of the work of artist Chris Ofili. Occupying the Museum’s three main galleries, “Chris Ofili: Night and Day” spans the artist’s influential career, encompassing his paintings, drawings, and sculptures. Over the past two decades, Ofili’s practice has become identified with vibrant and meticulously executed artworks that meld figuration, abstraction, and decoration. The artist’s diverse oeuvre has taken imagery and inspiration from such disparate, history-spanning sources as the Bible, hip-hop music, Zimbabwean cave paintings, Blaxploitation films, and the works of William Blake. As the title of the exhibition suggests, Ofili’s practice has undergone constant changes, moving from boldly expressive to deeply introspective across an experimental and prodigious body of work. The exhibition features over thirty of Ofili’s major paintings, a vast quantity of drawings, and a selection of sculptures from over the course of his career. Runs until 25 January at The New Museum.


THE ZIMBABWE ANNUAL EXHIBITION 2014 is an annual celebration of the National Gallery of Zimbabwe’s pursuit of the excellence of visual arts of Zimbabwe and the encouragement of artistic talents inherent in the people of Zimbabwe. The National Annual exhibition was founded by 1958 and contributed indirectly to the creation of the Zimbabwean Sculpture movement in the 1960s. It survived until 1973 growing in stature and number of submissions with each year. When the Zimbabwe Heritage was launched in 1986 to coincide with the non-aligned movement meeting in September 1986, it was to celebrate the pinnacles of Zimbabwean achievements in the visual arts taking off where the National Annual exhibition had left off. The mandate was to collect contemporary masterpieces of Zimbabwean artwork, which reflect the enthusiasm, history, identity and soul of the people. Exhibition runs  until 20 January. For more info visit the NGZ website.

If you have any forthcoming events that you would like to be considered for inclusion in this column, please do not hesitate to contact me by email at info at jon-daniel dot com.

4 Corners: An Interview with Gareth Jenkins

This month we find ourselves back in the Caribbean on the region’s fifth largest island, Trinidad or “The Rainbow Island” as it sometimes known due to its wide range of ethnicity, religion and culture. I’m proud to say that I have close family living here, most notably the relations of Karl Hudson-Phillips ORTT, QC, who was one of the island’s most celebrated figures, serving as a Queen’s Counsel, former Attorney-General and Judge of the International Criminal Court in a career spanning over 55 years. Our profiled designer, although still relatively young, is carving out an extremely distinguished career already, which has seen him, his business partners and their company, Abovegroup establish an enviable reputation for creative excellence, innovation and entrepreneurship in the business of branding, design and communications. A beacon for the emerging creativity that is coming out of the Caribbean, it is my absolute pleasure to be able to shine a light today on Gareth Jenkins.

Gareth Jenkins

Gareth Jenkins, designer and managing partner Abovegroup

What’s your background?

I am an Anglo-Trinidadian with a quintessentially Welsh name. My mother was born in Trinidad & Tobago, my father in England – both coming from diverse backgrounds themselves. They met at university in Wales before moving back to Trinidad – I think they thought it would be a bit more welcoming to mixed race children than the UK was in the 70s and 80s! So I spent most of my childhood in Trinidad, though I don’t particularly identify with any one culture or place to be honest – I feel like I belong everywhere and nowhere at the same time. Education-wise, I was a science and maths student at school in Trinidad (I was academically inclined, and as such wasn’t allowed to do subjects like art or design, which were considered the domain of those who weren’t going to amount to much) and then went on to study politics in the UK.  That was followed by a decade of living and working in London, mainly in the financial sector, until one day I woke up.


How did you get started in your field of expertise?

I was working at JP Morgan at the time (1998) and was fairly settled into a self-satisfied, vacuous kind of existence. One lunch break, I decided to take a rest from the usual fare, walked across the bridge and randomly into the Hayward Gallery. Japanese artist Tatsuo Miyajima happened to be exhibiting at the time. I stood there, absolutely transfixed. Here were these familiar, functional objects – alarm clock-type red LCDs, attached to small motorised cars, zooming around the floor. It was enchanting. Now this may seem pedestrian to someone with a background in the arts, but to me at the time it was explosive – the notion that an object so utterly mundane could be transformed into something so beautiful, so layered, by adding nothing more than an idea. After that nothing ever looked quite the same. Within a month I had quit my job and moved first to Los Angeles and then to Barbados where I began to experiment with graphic design. A good friend convinced me to move back to London where I began working in magazines in the late ’90s, before finally returning to Trinidad and starting my own design studio in 2001. In 2006 I joined forces with photographer Alex Smailes as the practice became more and more focused on what was now my core area of interest: the world of identity.


What challenges did you face in getting into the industry and achieving your ambitions?

Trinidad is blessed with a bounty of natural resources, which makes it quite wealthy by Caribbean standards. It’s a very entrepreneurial environment – at times it seems like everyone is on some hustle or another! It’s also one of those rare places where if you have an idea, and you know how to execute it, you’ve got a better chance of succeeding than not. That makes it a very creative place, certainly in what people do, but perhaps less so in the way they go about doing it. So we have some brilliant examples of creatives who have done well globally – writers, designers, musicians, artists, architects, film-makers and so on; but no real structure or systems in place which allow these successes to be built upon. It’s exciting, chaotic, and ultimately frustrating. It feels as if each generation has to start from scratch, tearing down the half-finished edifices of the previous one, only to eventually get bogged down in the Technicolor mess themselves. As you might imagine, our consultancy isn’t really a part of that culture. Our main challenge was, and still remains, educating clients. Often I first have to sell the importance of design, then the idea of branding and identity, before finally getting around to suggesting that working with me might be a good idea. When I first moved back, there weren’t many people around who were interested in design as a stand-alone profession, other than how it could be used in advertising. That’s not to say that there aren’t good designers in Trinidad & Tobago – far from it. You see, we have this carnival that is amazing – and all absorbing. It’s the tree that hides the forest. So it felt like most of the really talented people were being sucked either into advertising booze, or designing costumes in which to drink said booze. Unfortunately with it came a pallor of mediocrity. This created a paradox – if you knew what you were doing it was easy enough to get started and win new work, but once the business grew beyond a particular point, it was impossible to find anyone to hire. We couldn’t pay what the advertising agencies were offering.  And the agencies, flush on decades of huge accounts and sharing clients among the old boys’ network, weren’t letting us in. We turned to our culture instead.  We created this beautiful studio in a warehouse in East Port of Spain within what was then CCA, an international artists’ residency programme. Within a few months we had doubled in size, and then again a year later. I started a series of talks called Show & Tell (of course!) – as a way to get our team exposed to new ideas. When 100 people turned up to the first one I figured we were on to something. We would pack up our studio, deck out the warehouse, invite a mix of seemingly unrelated speakers, give them 15 minutes each, and then throw a huge afterparty.  Watching diverse audiences interact – young artists mixing – and getting on with – beekeepers , cocoa farmers and curious onlookers was really special. We blended local and international – people like photographer Martin Parr and DJ Diplo gave talks along with a growing crew of talented locals, including Keshav “Jus Now” Singh (musician), Laura Ferriera (photographer), Robert Young (fashion designer) and Wendel McShine (artist).  It was fun, fulfilling and ultimately successful in carving out our own space. I think the greatest challenge was our two-and-a-half year partnership with the regional Ogilvy office, from 2011-2013 (Abovegroup Ogilvy). Their challenge was creativity and culture; ours was access to the big multinational clients and steady cashflow (branding is a fickle beast, especially in the Caribbean). So we merged – a design studio with an advertising agency. People said it couldn’t be done, but why not? At first we were so enthusiastic – anything was possible, and indeed it was. But slowly but surely people returned to their old ways. I learnt the hard way that saying that you want change is easy (who doesn’t like new! shiny!); but actually changing the way people see themselves and their business proved impossible. Until then, I don’t think I had ever truly failed at something. Our best people began to drift away, disenchanted. Eventually we too had to give up – we picked up our stuff and walked out, taking our company and reputation with us. We are back on track now and I think our greatest challenge at the moment is staying small. The pressure to grow is always there, but for now, our plan is to keep focused on working with only a few clients at a time, trying to make things that make a difference.


Who and/or what are your greatest inspirations and influences?

I’m largely self-taught, so knowledge of the greats came late in life to me. From a distance – Otl Aicher, Piet Mondrian, Michael Bierut, Peter Zumthor. I’ve always been inspired by the blend of strategy and design that Wolff Olins have mastered. Or the peculiar model of Pentagram. Closer to home, Jamaican magazine First was brilliant; locally Steve Ouditt, Eddie Bowen and Illya Furlong-Walker brought their own brand of genius to the generation before me. Architect Mark Raymond was a great guide and mentor at the beginning. Last but not least my business partners Alex Smailes and Marlon Darbeau and my family have been an endless source of ideas and strength. 


What is your best piece of work or the project you are most proud of?

I don’t think there’s any one project, but I’m proud of a few for different reasons. Rebranding Atlantic LNG (the biggest company in the region by revenue) was a real milestone in that it was the first time that a local agency was selected to work on something of that scale. Convincing a sceptical board – the heads of BP Trinidad and Tobago, British Gas and so on – that our solution was the right one – was the hardest, and most satisfying part for me. The Trinidad & Tobago Film Festival was a big success, done quickly, and has so far stood the test of time. Beacon Insurance was interesting in that in working with them on their branding, we began to unearth other aspects of their business that needed to change as well. It stalled the project for ages, but in the end something really meaningful emerged. To be honest though, I think the thing that I’m most proud of is how successful the people who have passed through Abovegroup have become. I’m not trying to steal the credit for that – they were well on their way before we met – but it’s rewarding to think that, in some way, we have helped shape the way they see the world by providing a kind of sanctuary for people with big ideas.

Film Festival

What would be your dream job or project?

I’ve been thinking about this a lot, and it’s to set up a Department of Design in Trinidad & Tobago, working across ministries to bring clarity in communications to what government does and how it goes about doing it. That would include all aspects of internal and external interfaces, workflows and digital; to things like signage, passports, currency and so on. Pie in the sky, right? Maybe not. You see I have this belief that us up-and-coming nations don’t need to wait until we have “arrived” to begin to focus on expressing ourselves clearly. We don’t need the GDP of Norway to appreciate how much better a beautifully designed passport is, or an easy interface to renewing a drivers’ permit. We don’t need a long history of type design to benefit from a unified system of road signage or an intuitive website. We can appreciate what we have without dampening our ambitions – our significant places and monuments aren’t properly identified, their stories buried or misunderstood. It’s no wonder that they are routinely torn down or paved over. I think sophistication in design doesn’t have to be merely an indicator of a nation’s success; it can be a driver towards that success as well. It works for emerging products, brands and corporations – why not nations?

Film fest

Who in your field do you think deserves credit or recognition?

Ossie Glean Chase is an absolute gem of a man who has had a phenomenal career. He’s a fantastic designer, artist, architect and social thinker. He’s quite well known in certain circles, but barely known in Trinidad, certainly among the younger design community. I have been lucky to meet with him on a few occasions and I always leave feeling that I’ve been speaking with someone much younger than me (he’s in his 80s).

Show Tell

What’s your best piece of advice for those wanting to follow in your footsteps?

The other day the head of one of our associate companies remarked that the problem with us was that we were dreamers, and that Trinidad didn’t like dreamers. If you hear that, you know that you are on the right track. Emerging nations need dreamers. Our problems can’t be solely solved by parroting what has happened in Singapore or in Switzerland. We need to have the self-belief to find appropriate solutions ourselves. As designers we have a responsibility to participate in this development. Design is not a natural priority – we have to push ourselves to the front, and insist that our way of thinking should be included in the process.


What’s next for you?

We recently launched HOME, the region’s first multi-purpose co-working space, in partnership with fashion designer Anya Ayoung-Chee in this beautiful house in Port of Spain. We’re looking to begin replicating this model in other regional cities later on in 2015. I’ve got a personal photography project that I’ve just started, recording the massive cultural shift that Trinidad and Tobago has seen by retaking a series of photographs my father took of beautiful colonial-era buildings in the 1980s. On top of that I’m shifting my centre of gravity back towards the UK at the end of 2015 to be closer to my family and explore new avenues. It’s an exciting time…

For more information visit 



THE V&A PRESENTS ART AND EXISTENCE: AFRICAN AND ASIAN DIASPORA EXPLORED. An informal series of talks led by external practitioners and specialists in their field, who through art, design, media and technology, unpack the cultural and social landscape, exploring race and representation, often provocative, sometime challenging assumptions and perceptions of Africans and Asians and their Diaspora. All six talks are free, booking essential. The first two talks in January are as follows:

Recent Developments in Contemporary Art in Barbados Thursday 8 January, 14.00 – 15.30pm. By Dr Allison Thompson, Lecturer in Art History at Barbados Community College 

4 CORNERS: Designers from the African Diaspora (Africa, Caribbean, Europe & USA) Thursday 22 January, 14.30 – 16.00pm Jon Daniel, Independent Creative Director 

For booking information visit the V&A website


TVE (TRANSOCEANIC VISUAL EXCHANGE) is making an open call in search of recent artists’ films and videos to be included in an exchange between Fresh Milk (Barbados), RM, (Auckland) and VAN Lagos (Nigeria). Submitted works must have been completed in the last five years and must be made by artists practicing in the Caribbean, Africa or Polynesia. Subission deadline 16 February 2015. For more information visit the Arc magazinewebsite


BEYOND THE SUPERSQUARE explores the indelible influence of Latin American and Caribbean Modernist architecture on contemporary art. The exhibition features more than 30 artists and more than 60 artworks, including photography, video, sculpture, installation, and drawing, that respond to major Modernist architectural projects constructed in Latin America and the Caribbean from the 1920s through the 1960s. Runs until 11 January 2015 at The Bronx Museum of the Arts, 1040 Grand Concourse, Bronx, New York 10456 T: 718-681-6000. For more information visit the Bronx Museum website. 


UNCERTAIN TERMS is a group exhibition showcasing the work of 14 artists from across four continents. The exhibition brings together a group of artists who engage with changing dynamics, either in response to formal issues of materiality within their practice, or as a reaction to broader socio-political themes. In all cases the work is a reaction to dominant hegemonic structures. Whether it be through the direct questioning of western depictions of history, colonialism –and its attendant capitalist enterprises, as in the work of artist Frowhawk Two Feathers, or as in Nico Krijno’s work: which destabilizes the primacy of certain modes of production and the objects through which they manifest. Runs until 24 January 2015. For more information visit the What If The World website

If you have any forthcoming events that you would like to be considered for inclusion in this column, please do not hesitate to contact me by email at info at jon-daniel dot com.

4 Corners: An Interview with Bro Ben

As October and another British Black History Month draws to a close, it gives me cause to reflect on the years since its inception in 1987. Culturally and technologically the changes in our society in that time have been immense. However, politically we seem to be going backwards rather than forwards as our basic freedoms and human rights come under constant attack and outrageous acts of prejudice, racism and violence become increasingly flagrant and frequent. Back then in the ’80s, our profiled creative for this month was making his mark as a graffiti artist and rapper as part of London’s burgeoning hip-hop scene. Creative roots which fed and nurtured him into one of the most talented, diverse and respected artists and designers of his generation. His integrity to his craft and commitment to his community, especially in encouraging young people, is awe-inspiring. As is his vast body of work encompassing art, design, illustration, photography, film, sculpture and music. But let’s be clear, this is no “Jack of all trades”. His work in each and every discipline he turns his heart and his hand to, is accomplished and features many landmark projects, which continue to influence to this day. So without further ado, let’s pass the mic to Mr Benjamin Wachenje aka Bro Ben.

Bro BenSource: Azita Firoozyar

Benjamin Wachenje aka Bro Ben. Artist, designer and filmmaker

What’s your background?

I grew up in Harlow on the outskirts of London. Being born in the mid-70s meant that I was just about old enough to be considered a first-generation hip-hop child. From the first time I set eyes on Malcolm McLaren’s Buffalo Girls video as a young boy I became submerged in hip-hop cultural expression. Although I enjoyed all of the various disciplines of the emerging hip-hop movement I found the spray can art element particularly fascinating and exciting to do. Spray cans only represent a medium but the art form is essentially typography fused with figurative and landscape painting on unconventional canvases. As a result of this early introduction into the combined arts I have continually resisted the notion that you have to specialise in one discipline. During the mid-90s I was fortunate enough to have been the first generation to be offered the opportunity to study for a ‘joint’ honours degree at The University of The Arts’ Camberwell site. So I chose to simultaneously study Fine Art and Graphic Design, where I furthered my understanding of layout, composition, photography, typography, painting and printmaking.

Breakin'+Convention+designBreakin’ Convention design

How did you get started in your field of expertise?

Prior to studying for a degree I had already satisfied many illustration and design briefs in the late-80s and early-90s. Before having computer access I had learned how to cut and paste using Pritt Stick and a scalpel, delete and tidy work with Typex and do laborious-hand rendered typography with Gouache paint or Letraset transfers. With regards to my illustration style, prior to owning a computer I would collage sheets of coloured paper together to make Illustrations. I got my first Mac in 1997 after volunteering at Alarm magazine. As a reward for my hard work and sleepless nights meeting press deadlines the publisher kindly gifted me an Apple Macintosh Performer 5600 Power PC. I quickly developed a technique to create my collaged paper illustrations in Photoshop. I had my first illustration published in VOX magazine in 1997 and this was followed by regular appearances in Echoes Music Weekly and Touch Magazine. In 1999 my illustration helped to enrich the branding of the DarkerThanBlue digital platform. After two years at DarkerThanBlue I returned to Touch Magazine as art director and also worked as art editor for THE FLY magazine.

Darker+than+Blue+designsDarkerThanBlue designs

 What challenges did you face in getting into the industry and achieving your ambitions?

I had hundreds of rejected job applications after leaving university. While being unemployed I would occupy myself with imaginary briefs. I started to take the job application process less seriously and began to take risks with my covering letters which accompanied my CVs. On several occasions I just wrote raps/poems and I was surprised to find that this strategy appealed to some of the recruiting art directors who found this interesting and funny. As a result I became a frequent freelance designer at both Emap and IPC publishing houses. I also underestimated the power of referral. At least 50 per cent of my early work leads came from one friend, Russell Moorcroft. He was comfortable in putting me forward for a number of jobs because I had been at college with his wife Linda, who was able to give a confident character reference about my work ethic. But now the greatest challenge I face is to work as hard towards my own goals as I have in the past towards the visions and goals of my paymasters.

Breaker+illustrationBreaker illustration

Who and/or What are your greatest inspirations and influences?

Most definitely hip-hop culture has been a great inspiration and has interfaced me with enriching experiences. But professionally my early mentor Everton Wrightshifted my paradigm as to what is possible. I had never come across a black man with dreadlocks who drove a nice car and owned a consultancy and design studio (Creative Hands) in the heart of the City. The walls of the studio were adorned with examples of high-profile work that overlooked the minimalist furniture, wooden floorboards and first generation G3s and iMacs that were dotted all over the loft-styled workspace. What’s more he had staff and was able to pay me. It was a mind-stretcher to say the least. I had never met a black man in Britain who had carved out a living for himself like that and being of black British descent this really resonated with me. Aside from that type of up close and personal inspiration I also take a holistic approach to the arts as a whole, so I might do a painting inspired by the music of Donald Byrd. I might do drawing inspired by Spike Lee’s films. I might make a short film inspired by a poem I have written. I might design a palette for a corporate brand based on a Monet pastel drawing. I also find inspiration in failure, depression and tragedy. I know that I am at my happiest when I am productive. I know that if I am not productive I will be depressed. I know that if I don’t find a lesson in a tragedy then the sorrow may envelop me. I know that if I don’t analyse my failures I will be destined to repeat them, so I stay positive and draw inspiration from life’s beauties and hardships.

FourFourTwo+cover+illustrationFourFourTwo cover illustration

What is your best piece of work or the project you are most proud of?

I am not a proud person. Sometimes I like my work momentarily on completion but as time passes I can only see how it could have been better. I get very uncomfortable when people praise my work.

PaintingPainting work

What would be your dream job or project?

My dream job would be to direct and produce a feature length film. As an artist without boundaries what better medium exists than film, to harmonise the spectrum of artistic disciplines? Within film you can fuse, literature, poetry, music, sound design, dramatics, theatre, dance, sculpture, photography, typography and graphics… I think the great filmmakers of this period will be remembered and revered in the same way we idolise the renaissance painters of the 15th and 16th Century.

Design+for+Jonzi-DDesign for Jonzi-D

Please name some people in your field that you believe deserve credit or recognition.

As previously mentioned Everton Wright. Steve McQueen. His work asks questions in a subtle way. Also he feeds into the growing audience that want to see an unconventional artistic approach to film making. Kjell Ekhorn and Jon Forss (Non-Format). They don’t follow design trends and they have enough confidence in their vision to establish trends. Graham Rounthwaite. Editorial illustrations were seemingly becoming stagnant before he re-energised the discipline with his fresh fashion-led stylised characters that he placed in familiar urban contexts. Taki 183 and PHASE 2. Fathers of graffiti who were some of the first Street artists to break the cycle of incestuous, elitist art and bring it back to the everyday people. Blek Le Rat. The relatively unknown Parisian stencil artist, whose work inspired and pre-dates Banksy. Following a period of abstract impressionism art was losing its ability to communicate with the masses and could no longer effectively critique power or voice decent. With the emergence of Culture Jamming and Street Art once again artists like Blek Le Rat were able to comment on the social and political climate in a dissident and subversive visual language.

Touch+magazine+coverTouch magazine cover

What’s your best piece of advice for those wanting to follow in your footsteps?

Don’t follow in my footsteps – create your own pathway. If you try to get to where I am you will be disappointed when you arrive. Never limit your goals to what someone else has achieved, look beyond, focus on personal excellence. Try to be excellent at what is in front of you right now and then move on when the time is right.

Sleeve+art+for+TySleeve art for Ty

What’s next for you?

A workout. I have been sitting in front of my computer all day. Not good. You have to paint up close but then view from a distance to find out if your strokes are making sense. When I work out I can reflect on my creative goals from a distance. But for sure I will continue to illustrate, art direct and make space in my schedule to make films.



STEVE MCQUEEN ‘ASHES’ is the Thomas Dane Gallery’s third solo exhibition of the acclaimed British artist and filmmaker’s works. For this exhibition, McQueen will present two new works. The first, entitled Ashes, 2014, is installed as an immersive projection with sound.  It was shot on Super8 film with a haunting verbal soundtrack, recently recorded in Grenada. Much of the footage dates from 2002 and was taken by the legendary cinematographer, Robbie Muller. The deceptively simple film was commissioned by Espace Louis Vuitton, Tokyo and shown there earlier this year. At No. 11, we will be showing an entirely sculptural installation ‘Broken Column’, which acts as a pendant to ‘Ashes’. Gallery hours: Tuesday to Friday 10am-6pm, Saturday 12pm-6pm.  Admission Free. Tel: +44 (0)20 7925 2505. Nearest Tube: Green Park or Piccadilly Circus. For more information visit

HOW GREAT THOU ART – 50 YEARS OF AFRICAN CARIBBEAN FUNERALS IN LONDON by photographer Charlie Phillips presents a sensitive photographic documentary of the social and emotional traditions that surround death in London’s African Caribbean community. Runs from 7 November – 5 December at Photofusion 17A Electric Lane
SW9 8LA. Visit the website for more information

KERRY JAMES MARSHALL ‘LOOK SEE’ – an exhibition of new paintings oncurrent with the traveling exhibition Kerry James Marshall: Painting and Other Stuff, currently on view at the Fundació Antoni Tàpies in Barcelona and the Museo Nacional Centro de Arte Reina Sofía in Madrid. Runs until 22 November at David Zwirner Gallery, 24 Grafton Street London W1S 4EZ. Visitthe website for more information.


A THEATRE OF COLOR: COSTUME DESIGN FOR THE BLACK THEATRE BY MYRNA COLLEY-LEE consists of more than 100 original costume designs, and over 80 production photographs, including full scale production images from several productions portraying the black experience from before World War II through the Pulitzer Prize-winning works of August Wilson. Exhibition runs until 4 January 2015 at Charles H. Wright Museum of African History.Visit the museum’s website for more information


TEMPORARY BUT PERMANENT: PROJECTS The act of being present, and following the construction of a permanent work of art within a public space, is for Hobbs/Neustetter a complex and political condition where one is literally exposed to myriad forces and opinions. A temporary action on the other hand– while no less complex or political, unfolds with a different sense of time in relation to development and production, and often displays more social dexterity regarding audience and site. The works presented inTemporary but Permanent, through their exploration of xenophobia, forced migration and urban degeneration, stand as a particular instances of these symbolic translations. Developed in countries as varied as Martinique, Norway and Mali, Hobbs/Neustetter employed photography, video, mapping and participatory processes in order to present and record such interventions and ultimately effect radical changes in society. Accompanying this selection of works is Hobbs/Neustetter’s post performance video installation of their Tate Modern Commission for the December 2013 Sud Trienniel in Douala, Cameroon.Visit the Museum of African Design for more information


LAST SUNDAYS @ NATIONAL GALLERY of Jamaica features special exhibitions from 11.00am to 4.00pm, with free admission for all free tours and gallery-based children’s activities. There are often special films or special performances and the gift and coffee shops are also open. Contributions to the donation box are welcomed. For more information call 876.922.1561, or visit the website

If you have any forthcoming events that you would like to be considered for inclusion in this column, please do not hesitate to contact me by email at info at jon-daniel dot com.

Nine Fine Design Pioneers

This month, in recognition of the US celebration of Black History Month, Four Corners breaks from convention to profile not one person, but nine people. Taking a moment to reflect on some of the historical achievements of African-American creative pioneers. The short biographies presented can in no way do justice to these esteemed people, but instead are designed to stimulate your natural curiosity to look further into the contribution made by these extraordinary men and women. Although all of the people featured here are no longer with us, they each made an indelible mark on the cultural and creative landscape and blazed a trail for others to follow. #Respect.Stamp featuring Madam CJ WalkerStamp featuring Madam CJ Walker

Sarah Breedlove, aka Madam CJ Walker, cosmetics designer, marketer and entrepreneur (1867-1919)

Way, way before Oprah, there was Sarah Breedlove, or Madam CJ Walker as she is more commonly known. The first child in her family born free from slavery just after the Emancipation Proclamation was signed, this incredible woman made her fortune designing, developing and marketing a highly successful range of beauty and haircare products for black women via the business she founded, Madam CJ Walker Manufacturing Company. Regarded as the first US female self-made millionaire, Walker proved herself to be a great philanthropist, using her wealth to support many black organisations such as the NAACP plus a number of schools, orphanages, individuals, and retirement homes. Her achievements have been celebrated by many prominent institutions, most notably, The National Women’s Hall of Fame and on a postage stamp as part of the USPS Black Heritage USA series. For more information visit, Sing a New Song (1934), by Charles DawsonSource: University of Illinois  O, Sing a New Song (1934), by Charles Dawson

Charles Dawson, illustrator and designer (1889-1981)

As one of Chicago’s leading black artists and designers in the 1920s and ’30s, Charles Clarence Dawson made his name creating illustrated advertisments for beauty products and many of the major black businessmen and entrepreneurs of the day, including the pioneering black filmmaker, Oscar Micheaux. Born in Brunswick, Georgia to hard-working parents, and a student of Booker T. Washington’s famed Tuskegee Institute, he more than paid his dues working a variety of odd jobs to pay the tuition to become the first African American admitted to the Arts Students League in New York. He later went on to attend the Art Institute of Chicago, was a founding member of Chicago’s first Black Arts collective (the Arts & Letters Society) and an integral part of the New Negro Movement in the visual arts or more commonly referred to as the ‘Harlem Renaissance’. For more information visit Bondage (1944) by Aaron Douglas, at the Corcoran Gallery of Art, WashingtonSource: Sarah Stierch  Into Bondage (1944) by Aaron Douglas, at the Corcoran Gallery of Art, Washington

Aaron Douglas, illustrator and designer (1889-1975)

Another leading figure and architect of the Harlem Renaissance, Aaron Douglas’ bold geometric and angular illustrations alongside the philosopher, Alain Locke’s insightful prose, featured prominently in the landmark 1925 publication, The New Negro. His work enabled the formation of a new visual language that embraced a distinct African heritage. It was a style that found its way onto many a publication cover and would later become known as ‘Afro-Cubism’. His work also translated beautifully into designs for wall murals, the best example of which is calledAspects of Negro Life’ created in 1934 for the 135th Street branch of the New York Public Library, or as it is now called, The Schomburg Center for Research in Black Culture. For more information visit Theme Building at Los Angeles International Airport (1961), Paul Williams was consulted on the designSource: brew books The Theme Building at Los Angeles International Airport (1961), Paul Revere Williams was consulted on the design

Paul Revere Williams, architect (1894-1980)

At the height of his career, Paul Revere Williams was popularly described as the ‘architect to the Stars’. This is an incredible accolade and achievement, not least for someone who was orphaned at a very young age, but also as a African American growing up through times of some of the most overt racism imaginable. In spite of all this, and encouraged by a foster mother who nurtured his education and artistic talent, he let his work ethic and perfectionist nature speak for itself. Earning academic awards, winning competition prizes and the respect of  both colleagues and clients along the way, he founded his own architectural practice in 1922 and became the first African American member of the American Institute of Architects in 1923. For almost 40 years, his home designs were commissioned by the Hollywood elite of celebrities, movie stars and powerful and wealthy Californian individuals. For more information visit American Unity Mural (1939), created by Diego Rivera with Thelma Johnson-StreatSource: Joaquin Marinez Rosado Pan American Unity Mural (1939), created by Diego Rivera with Thelma Johnson-Streat

Thelma Johnson-Streat, painter, illustrator, muralist and textile designer(1911-1959)

Against all the odds, this exceptional African American ‘Renaissance-woman’, gained recognition from an early age through her Art. A passion, which she expressed through many different channels and subsequently gained recognition for all of them. Whether working with celebrated Mexican muralist, Diego Rivera; becoming the First African-American woman to have her work exhibited in the Museum of Modern Art, New York; as a teacher and activist promoting cultural diversity through art; or performing a dance recital for the King and Queen at Buckingham Palace in the 1950’s; it was all done with her customary grace, style and sophistication. For more information Proclamation stamp (1963), by Georg OldenEmancipation Proclamation stamp (1963), by Georg Olden

Georg Olden, designer and art director (1929-1975)

A man very much after my own heart, Georg Olden produced outstanding commercial work for some of America’s biggest corporations. As CBS’s Head of on-air promotions, in the early days of television, he pioneered the field of broadcast graphics, supervising the identities of programs such as I Love Lucy, Lassie and Gunsmoke, under the wing of leading art director, William Golden. If that wasn’t enough, he turned his attention to advertising, winning shelfloads awards and mentions in Graphis and Art Directors Club annuals continuously. In fact, the Clio Awards statuette of which he won several, was designed by him in 1962. He was the first black American to achieve an executive position in major corporation and also went on to become the first African American to design a postage stamp; a broken chain commemorating the 100th anniversary of the Emancipation Proclamation. Not bad going for the grandson of slave. For more information visit Magoo. The Mr Magoo animated series was directed by Frank BraxtonSource: Kevin Dooley Mr Magoo. The Mr Magoo animated series was directed by Frank Braxton

Frank Braxton, animator (1929-1969)

Let’s paint the scene. America. The 1950s. And Jim Crow laws of racial segregation are still in place. How the hell does a black animator get his foot in the door as an animator at Warner Bros Animation? Well, the story goes that animator Benny Washam walked into the office of his production manager Johnny Burton and said, ‘I hear Warner Bros. has a racist policy and refuses to hire blacks.’ A furious Burton wheeled around in his office chair and shouted, ‘Whoever said that is a liar! It’s not true.’ ‘Well then,’ said Washam, ‘There’s a young black animator outside who’s looking for a job. Guess he’s come to the right place.’ That man was, of course, Frank Braxton, who went on to become part of the team at the legendary Chuck Jones unit at Warners. Many of Jones’ amazing cartoons of the 1950’s would contain substantial contributions from Braxton. He also served as a director for The Bullwinkle Show, Mr. Magoo, Charlie Brown TV specials and early Cap’n Crunch  commercials. For more information visit Embassy in Tokyo (1976), designed by Norma Merrick SklarekSource: jarsyl US Embassy in Tokyo (1976), designed by
Norma Merrick Sklarek

Norma Merrick Sklarek, architect (1928-2012)

As a first generation African-American, born in Harlem to Trinidadian parents, Norma Merrick Sklarek would go on to accomplish many more ‘firsts’, building an unparalleled career as a pioneering women architect. She became the first African-American director of architecture at Gruen and Associates in Los Angeles in 1966. Sklarek became the first black woman to be elected Fellow of the American Institute of Architects in 1980. In 1985, she became the first African-American female architect to form her own architectural firm: Siegel, Sklarek, Diamond, which was the largest woman-owned and mostly woman-staffed architectural firm in the United States. For more information Channel F (1976), designed by Jerry LawsonSource: Mulad Fairchild Channel F (1976), designed by Jerry Lawson

Jerry Lawson, video games designer (1940-2011)

His name may not be as synonymous with the gaming industry as PlayStation and Nintendo, but Jerry Lawson’s innovative technological design and engineering work helped pave the way for them to follow. For Jerry made history when he created the first ever cartridge-based video game console, The Fairchild Channel F. Hailing from humble beginnings in a housing project in Jamaica, New York, his passion and talent for technology was to take him far, becoming Head of the Fairfield Channel F project where he and his team designed many of its prototyped components. Always looking to push the systems capabilities beyond just cartridge gaming, they put together a daring initiative called TV Pow, which was the first, and only video game played via broadcast television. For more information



Acasa 16th Triennial Symposium On African Art at the Brooklyn Museum will consider the full range of topics related to the arts of Africa and the African Diaspora currently being addressed by ACASA members, from considerations of the archaeological and archival contexts of historical African art to examinations of emerging artistic practices on and off the continent. Like the accomplished Lega elder who once used a three-headed sakimatwemtwe figure, ACASA members look to the future and the past, simultaneously. For more info visit


Bermuda International Film Festival (BIFF) 2014. Since its inaugural Festival in 1997, BIFF has remained steadfast in its mission statement: to advance the love of independent film in a community welcoming to filmmakers and filmgoers and to encourage and inspire young Bermudians to capture their very special narrative through the lens of a camera. This year’s festival runs from 21-27 March.  For more information visit


Still Fighting Ignorance & Intellectual Perfidy: Video Art From Africa presents a selection of African video art that stands beyond the clichés that remain associated with the dark continent and the postcolonial image. It seeks to bring viewers closer to idiosyncratic readings of African video art and its thematic concerns, which are largely ignored. Runs 13-30 March at BEN URI Gallery & Museum, London, United Kingdom. For info

“Haute Africa” – At Photofestival Knokke-Heist 2014. From March up to June 2014, Knokke-Heist will once again focus on contemporary photography. The highlight of the festival is the outdoor exhibition, entitled “Haute Africa”, in which international leading artists and photographers such as Martin Parr, Wangechi Mutu, Zanele Muholi, Viviane Sassen, Yinka Shonibare and many others offer an alternative perspective on the contemporary African continent.For more info visit


‘Du Bois in Our Time’ Final presentations of works by Ghanaian and UK artists, Bernard Akoi-Jackson, Adwoa Amoah, Ato Annan, Yaganoma Baatuolkuu, Serge Clottey, Kelvin Haizel, Kwesi Ohene-Ayeh , Mawuli Toffah, and Mary Evans. Mullti-media and site specific works will be presented in the Du Bois Museum and Mausoleum after several months of reflecting on the legacy of civil rights leader and Pan-Africanist, W.E.B. Du Bois, in our present era.
Opening events will include a discussion, talk with artists and scholars, poetry and workshops over the 2 days. The entire programme of ‘Du Bois in our time’ Accra was sponsored by the Art Mentor Foundation Lucerne. For more info visit

If you have any forthcoming events that you would like to be considered for inclusion in this column, please do not hesitate to contact me by email at info at jon-daniel dot com.

4 Corners: An Interview with Everton Wright

In October, we in the UK celebrate Black History Month. The tradition started 26 years ago and provides a small, but well established window of opportunity to focus on the achievements of primarily African and African-Caribbean people in the UK. Befitting this historical date in the calendar, I wanted to take the opportunity to pay tribute to someone who I feel has made a significant contribution to the art and design landscape.

Everton Wright is one of a handful of designers of African-Caribbean origin who has successfully run and sold his own mainstream London design consultancy. He created highly influential, impactful and celebrated work, particularly in the fields of music and popular culture, that remains relevant and respected to this day. Wright is a man, who, through his thirst for the new, continues to evolve his art, which defies age or categorisation.Everton Wright

Everton Wright: Creative entrepreneur and artist

What’s your background?

I am a British artist, with parentage from Jamaica. My works is a conscious ‘mash-up’ of drawing and sculpture, combined with digital film and live installations. The work explores the intricate connections between the body and our experience of the modern environment, and this is communicated through bold interactive art, also using urban and rural landscapes as my canvas. I studied graphic design at Middlesex University, received a first class degree, and continued on to train as an artist in mixed media painting at Central St Martin’s College of Art, where I did my foundation. I also trained in film and video production at Four Corners London. As an award-winning creative director, with a professional background in commercial graphic design, I founded consultancy Creative Hands, which was responsible for creating some of most iconic and memorable music brands and imagery of the late eighties. The company ran for 17 years and was sold in 2004. Over the last nine years, art has become my focus, with the creation of Evewright Studio. I have participated in several group and solo exhibitions with my Walking Drawings project. In 2012 one of my ‘Walking Drawings’ installation prints was exhibited at the Royal Academy of Art.Jamiroquai illustration

Jamiroquai illustration

How did you get started?

I started as a junior designer at a company called Design Solutions based in Soho in 1988. The best thing I learnt there was how to be logical with my thought processes when solving design problems. I had creative energy in abundance back then and being in such an environment helped me focus and taught me a lot about the process of how design and creativity was bought and sold. The industry was still very young and graphic design was beginning to be taken seriously by all type of businesses. You could say there was the beginning of bit of a design boom.Work for Talawa Theatre Company

Work for Talawa Theatre Company

What challenges did you face in getting into the industry?

There were not many black designers, let alone companies owned by black designers, when I started out. The industry is still very light in that regard today. So when I set up Creative Hands, it was quite a challenge getting started and growing the company. Overcoming some clients’ perceptions was another barrier we had to deal with. When clients saw the quality of work we produced they would call us in but when I arrived in the offices we had to first overcome the negative stereotype as black men. On more than one occasion a receptionist would mistake me for the courier picking up and delivering a package. I always maintain a high creative output and would always go the extra mile for my clients. The saying that you are as good as your last job ran true for us. We were based in the now-famous Hoxton Square area, but when we were there, only designers like Malcolm Garrett or Neville Brody were our neighbours. Hoxton was a place where not many people wanted to be but it suited me because it had an edge, which is still there today. I believe the Hoxton Hotel is where one of our old offices used to be. The challenge was to develop an impressive and diverse client roster, from music and arts to corporate. I was happy to say that I was able achieve that and eventually sold the company, successfully exiting, which for any business, especially design, wasn’t an easy thing to achieve.Work by Everton Wright

Work by Everton Wright

Who are your greatest inspirations?

Not quite everything, but there’s a lot! Muhammad Ali and George Foreman’a ‘Rumble in the Jungle’Jean-Michel Basquiat, Chris Ofili’s ‘Dung paintings’,  Melvin Van Peebles’ Blaxploitation movies, the Lucian Freud painting of the Queen, Neville Brody’s ‘The Face’ magazine design, Bob Marley’s ‘No woman no cry’, Francis Bacon’s screaming paintings, Damian Hirst’s Shark in a Tank, British landscapes –  especially the Scottish Highlands, Studio One Reggae, Peter Saville’s New Order Record sleeves, Usain Bolt’s 9.58sec 100 metre world record, Steve McQueen’s film Hunger, Turner nominee Lynette Yiadom-Boakye, invisible Black People, my son and granddaughter. My influences are wide ranging I could go on and on. Art, art history, photography, film, sculpture, performance, typography, paintings, all types of music and sound. Drawings have been the foundation my creative practice and I am rarely seen without a sketchbook. Having a good foundation at St Martin’s really helped formulate the way I look at the world. When I started my degree one of my tutors gave me a book on Milton Glaser.  I just loved the way he was able to work between art and graphics, which gave me a much-needed doorway into how I approached graphic design. When I started to work professionally I have always incorporated the same ideologies, which mean you use whatever appropriate medium to solve a client solution. So even now my art studio works on a wide range of projects. I incorporate everything from film with sculpture and digital installation using coding, to creating public interaction projects with drawing and performance, to traditional design and print. It’s just creative expression to me, the medium I use is irrelevant.Red green experiments

Red green experiments

What is the project you are most proud of?

I find my current Walking Drawing films and project very special. I never try to look back at my designs; however seeing the Jamiroquai campaigns I produced still gives me a buzz. We designed the band’s first two albums in the ’90s and the branding became quiet iconic, it got our name out there. I recently moved house and found all the original artworks produced by hand with the mark up instruction attached, complete with a series of huge flyposters. The ‘Spliff Man’ poster for ‘Space Cowboy’ is still my favourite, even though I don’t smoke. That whole project got us noticed. It is much harder now for young designers with the scaling down of the music industry and marketing budgets. There are fewer places out there where talented young creative can get their work seen.Campaign for Jamiroquai

Campaign for Jamiroquai

What would be your dream job?

I’m lucky. I’m currently doing my dream job playing with sand and film cameras. Making art is the most interesting and engaging thing for me at the moment. I have always been a person who has enjoy the exploration of ideas and with the merging together of media in all forms it’s the most exciting time to be a creative – and especially an artist. Clients are also more open minded as to new ways to reach audiences with the exponential growth of new media. With Evewright Studio I am building a dynamic art practice and I am now working on a new series of Walking Drawings from Africa across the diaspora. It’s a challenge but I suppose that’s my dream project at the moment and I always go for that dream.Walking Drawing

Walking Drawing

Please name some people in your field that you believe deserve credit or recognition.

Graphic designers: Henry Obasi At PPaint; best animator: Osbert Parker (Bafta-nominated several times); illustrator: Benjamin Wachenje; advertising: Tre­vor Robin­son OBE at Quiet Storm; photographer: Franklyn Rodgers. Don’t get me going on artists or you’ll run out of space!Work by Everton Wright

Work for Darker than Blue

What’s your best piece of advice for those wanting to follow in your footsteps?

Go for anything with technology, especially mobile – ‘there’s gold in them there hills’. Do what you set out to do. Then go do something else. Keep moving and keep innovating and don’t be afraid to be being creative. Clients expect designers to be a little crazy, that’s what they pay you for.Jamiroquai icon

Jamiroquai icon

What’s next for you?

I am a full-time visual artist working in a variety of media from sculpture to film and have been developing a series of installations call Walking Drawings, which I hope to exhibit next year. A Walking Drawing is a large-scale drawing undertaken by Evewright with a combination of freehand and mechanical tools on a vast landscape (canvas) of at least a quarter of a mile in the early hours of the morning. The drawing then becomes pathways and people of different ages, genders and cultures all dressed in black or colours are led on to it and invited to walk its lines in various formats and patterns. The public are invited to walk these lines to engage with, and experience a drawing in a new way to become participants in the creation of the artwork rather than an observer. This unique and evocative art installation consists of three films shot on Redcam, a series of 12 large scale prints and a floor installation sculpted with ten inch in height figures out of waste metal. For more information  and to see the film trailers go to: www.evewrightstudio.comand And of course I’m designing all the print for the exhibition.Walking Drawing with horses

Walking Drawing with horses



Now Dig This! Art and Black Los Angeles 1960–1980 chronicles the vital legacy of the African American arts community in Los Angeles, examining a pioneering group of black artists whose work and connections with other artists of varied ethnic backgrounds helped shape the creative output of Southern California. The exhibition presents approximately 140 works by 32 artists active during this historical period, exploring the rising strength of the black community in Los Angeles as well as the increasing political, social, and economic power of African Americans across the nation. Until 11 November at MoMA PS1. 22-25 Jackson Avenue, Long Island City, NY
Hours: Thurs–Mon, Noon–6:00 PM. For more information visit


Stir It Up Film & Music Festival. A showcase of some of the best work coming from film and music industry professionals from African, Caribbean and Pacific countries, the festival offers performances, screenings and workshops. Additionally there are conferences on film and music, as well as other topics relating to Caribbean culture and world music. November 1, 2013 @ 8:00 am – November 30, 2013 Rose Hall, Montego Bay, Jamaica.


Kehinde Wiley: ‘The World Stage’: Jamaica is the internationally recognised, African-American artist’s first ever solo exhibition. The exhibition features Jamaican men and women assuming poses taken from 17th and 18th Century British portraiture, the first one in the ‘World Stage’ series to feature portraits of women. The show runs until 16 November at the Stephen Friedman Gallery, 25-28 Old Burlington Street, London W1S 3AN. For more information visit


Afropolitain, a solo exhibition of images by Ananias Léki Dago presents works from three specific series that were developed over a six year period : Shebeen, Mabati and Bamako Crosses. While travel, or rather the discovery gained along the way, is essential to the work of Dago, Afropolitain is a visual notebook of encounters that have fed his numerous journeys. Documented in black and white, in these intimate experiences we see through the usage of acute details of the everyday, how Dago articulates his questions on the urban environment. Until Nov. 24  Fondation Charles Donwahi pour l’Art Contemporain  06 BP 228 Abidjan 06 Boulevard Latrille, face Eglise Saint Jacques Abidjan II Plateaux, Ivory Coast.  For more info visit

If you have any forthcoming events that you would like to be considered for inclusion in this column, please do not hesitate to contact me by email at info at jon-daniel dot com.

4 Corners: An Interview with Saki Mafundikwa

This month we take a trip to ‘The Motherland’, Africa. A continent, that certainly earns its status as the cradle of civilization due to the fact that most scientific research points to this as being the place of where Man first originated.
Historically, evidence of African art and design can be found within almost all cultures and societies across the world. From the tribal, geometric and abstract forms that inspired the paintings of Picasso and the roots of Modernism to the ancient Adinkra symbolism that is reflected in many European decorative design elements and fabrics.
For those of you unfamiliar with Adinkra symbols, they are a comprehensive lexicon of visual icons created by the Akan people of Ghana and Gyaman people of Cote d’Ivoire in West Africa and devised to communicate proverbs.
They are just one of the many African writing systems that were highlighted by the distinguished Zimbabwean graphic designer, Saki Mafundikwa in his landmark and definitive book on the subject, Afrikan Alphabets.
And as this month celebrates the anniversary of Zimbabwe’s Independence, I can think of no more fitting designer to introduce to you today.Saki Mafundikwa

Source: Aahn Sang Soo

Saki Mafundikwa, founder and director of the Zimbabwe Institute of Vigital Arts (ZIVA).

What’s your background?

I’m Founder and director of the Zimbabwe Institute of Vigital Arts (ZIVA), a graphic design and new media training college in Harare. I was educated in the USA, with a BA in Telecommunications and Fine Arts from Indiana University and an MFA in Graphic Design from Yale University. I returned home in 1998 to found ZIVA after working in New York City as a graphic designer, art director and design instructor. My book, Afrikan Alphabets: the Story of Writing in Africa was published in 2004. My first film, Shungu: The Resilience of a People – a feature-length documentary – had its world premiere at 2009’s International Documentary Film Festival Amsterdam (IDFA). It won the prestigious Ousmane Sembene Award at Zanzibar International Film Festival and Best Documentary at Kenya International Film Festival, both in 2010.

How did you get started in design?

I was a talented child and was always drawing, which led my father (a school teacher) to buy me a drawing book, crayons and water colours. I grew up in colonial Rhodesia and for Afrikan kids, art was not offered as a subject in the curriculum. So I taught myself drawing through observation. I looked everywhere: nature and everyday life. I drew my father’s charts for his history, geography and science lessons and discovered that I enjoyed lettering the most. It was only after my arrival in the States in 1980 that I discovered graphic design! I talked my way into the department without a portfolio. I never looked back.Identity for the Black Documentary Collective

Identity for the Black Documentary Collective

What challenges did you face in getting into the industry and achieving your ambitions?

After grad school, I moved to New York and worked for a black-owned ad agency. They had hired me my last summer of grad school so I never went through the process of hunting for a job. I learned a lot on that job but after a while, the work wasn’t challenging enough so when they laid me off during a slump in business, I struck out on my own, freelancing for a variety of clients. I did a lot of book design, album and cd design and anything else that came my way. The main challenge I faced in those days – at least I thought it was a challenge – was I was always typecast! I always got ‘black’ projects from mainstream clients. Soon however I realised that it wasn’t such a bad thing because of the sensitivity I gave the work. I came to the conclusion that, in a predominantly white industry, to be called upon to create work for your own people is a source of great pride. Design is not very well understood in the black community, so to be able to create work the people could relate to was quite inspiring. This way, I felt, I could help our people understand and appreciate good design. One can draw from our rich cultural heritage in a subtle way and when the audience ‘gets it’, well, there’s no better feeling!Cover design for Thomas Mapfumo's Corruption album

Cover design for Thomas Mapfumo’s Corruption album

Who are your greatest inspirations and influences?

My source of inspiration can come from anything or anywhere. Everything around me comes into play by keeping an open mind. My work has been influenced by a I draw my inspirations and influences from the great Afrikans from all forms of creativity. Bob Marley, Fela Anakulapo Kuti, Jimi Hendrix, Otis Redding, Kwame Nkurumah, Marcus Garvey, Malcom X, Cheikh Anta Diop, Franz Fanon, Patrice Lumumba, Thomas Sankara… there are many!

The ancient Afrikans of antiquity who created civilization, mathematics, science and invented the alphabet in Egypt… yes, we have a glorious past and we can – no, make that SHOULD – learn from them. They are a source of great pride and inspiration and their accomplishments and contributions must be part of every curriculum in every school from grade one.

What is the project you are most proud of?

My Afrikan Alphabets book! As you can see from the previous question, I am a researcher and historian, especially OUR story! There should be more books, especially for the young ones, and our students. We keep talking about design being Eurocentric but without resources like textbooks about and by us, how do we expect the young ones to ‘get it’? We got it through years of study and research. We must provide them with the resources.Afrikan Alphabets

Afrikan Alphabets

What would be your dream job or project?

A design textbook for Afrikan students on the continent and in the diaspora. This would be a dream come true. I have already begun work on this project.

Please name some people in your field that you believe deserve credit.

All the Afrikans who invented writing systems whether living or dead. These people rendered the commonly held belief that Afrika had no writing, (the dark continent myth) moot. The two professors at Indiana University who took a chance on me and admitted me into the graphic design department without a portfolio: Professor Tom Coleman and Professor James Reidhaar. The head of department at Yale University School of Art, Alvin Eisenman is the one who pointed me in the direction of writing in Afrika when I was applying for admission to the Masters programme there. I had some amazing teachers along the way, and the best one is Bradbury Thompson who is the most humane and caring teacher I’ve ever had.

What’s your best piece of advice for those wanting to follow in your footsteps?

Always keep an open mind, if you don’t you block some blessings that might be meant for you. As the original people, children of the sun, we have such a rich bounty of inspiration: our music, dance and art – they are all connected, there is no separation. Sankofa: learn from our rich past in order to inform our lives today and the future.Identity for the Zimbabwe Institute of Vigital Arts

Identity for the Zimbabwe Institute of  Vigital Arts

What’s next for you?

I have made the transition to film-making seamlessly and am working on my second documentary, which should be out by year’s end. I have a piece of land outside of Harare where I do organic farming, rear cattle and goats and would like to put up some greenhouses for horticulture. I see a strong connecting line between all the things I do. The design school I run in Harare, the books I write, the films I make and the organic farming – they are all connected. Each one informs the other.




Lois Mailou Jones – A Life in Vibrant Color: Born in Boston in 1905 and trained at the School of the Museum of Fine Arts, Boston, Loïs Mailou Jones began her career at a time when racial prejudices and gender discrimination were strong in American culture. This exhibition surveys the vast sweep of Jones’s seventy-five years as a painter stretching from late Post-Impressionism to a contemporary mixture of African, Caribbean, American and African-American iconography, design and thematic elements. Exhibition Hall at Schomburg Center for Research in Black Culture. From 19 April through to 29 June 2013. For further information, go toïs-mailou-jones-life-vibrant-color


International Reggae & World Music Awards (IRAWMA), established in 1982 acknowledges and honors the accomplishments and contributions of reggae and world music artists, including: songwriters, performers, promoters and musicians.

For more information call: 954-251-1643 Or visit:

Marketing Indaba The fourth annual Marketing Indaba Conference, will take place on 15 and 16 May in Cape Town. And in Johannesburg on 29 and 30 May. For more information visit


POINT is a two-day International design conference in London, which aims to celebrate “excellence in design and its influence in contemporary culture and society”. Featuring over 40 top speakers, the conference’s start-up theme is ‘authenticity’. 2-3 May at RIBA. 66 Portland Place, London W1B 1AD. For more information and speaker line-up

Alan Fletcher’s Colophon Presented by the Wynkyn de Worde Society and St Bride Foundation. This talk is based around Fletcher’s largely unknown series of books Monographica, and hopes to give some context to their creation whilst at the same time offering an overview of Fletcher’s fifty-year career. Thursday 9 May 2013 at 7.00pm In the Bridewell Hall, St Bride Foundation. Tickets: £15.00. Friends of St Bride Library: £12.50. Students: £10.00 (bring NUS card). For tickets visit

v-i Selection of All-Time Favourite Music Promos

Michael Jackson – Stranger in Moscow
Director: Nick Brandt
Date: 1996
Roni Size – Brown Paper Bag
Director: Nick Logan
Date: 1997
Jill Scott – A Long Walk
Director: Unknown
Date: 2001
Notorious B.I.G. – Hypnotize
Director: Paul Hunter & Sean ‘Puffy’ Combs
Date: 1996
Lauren Hill – Doo Wop (Do That Thing)
Director: Big TV
Date: 1998
The Roots (ft. Roy Ayers) – Proceed
Director: Unknown
Date: 1994
Grace Jones – Demolition Man
Director: Jean Paul Goude
Date: 1981
Massive Attack – Unfinished Sympathy
Director: Baillie Walsh
Date: 1991
Janet Jackson – Got Til Its Gone
Director: Mark Romanek
Date: 1997
Michael Jackson – Thriller
Director: John Carpenter
Date: 1982
Bjork – It’s Oh So Quiet
Director: Spike Jonze
Date: 1995
Nirvana – Smells Like Teen Spirit
Director: Samuel Bayer
Date: 1991
Prodigy – Firestarter
Director: Walter Stern
Date: 1996
The Pharcyde – Drop
Director: Spike Jonze
Date: 1995
Radiohead – Just
Director: Jamie Thraves
Date: 1995
Missy Elliott – Lose Control
Director: Dave Meyers / Missy Elliott
Date: 2005
Jamiroquai – Virtual Insanity
Director: Jonathan Glazer
Date: 1997

v-i Selection of All-Time Favourite Commercials

The Guardian ‘Points of View’
Date: 1986
Directed by Paul Weiland
Creative by John Webster
Agency: BMP
Levi’s ‘Drugstore’
Date: 1995
Directed by Michel Gondry
Creative by Nick Worthington & John Gorse
Agency: BBH
Levi’s ‘The Swimmer’
Date: 1995
Directed by Tarsem
Creative by Rooney Carruthers & Larry Barker
Agency: BBH
Wrangler – ‘Be more than a number’
Date: 1990s
Directed by Vaughan & Anthea
Creative by Chris Palmer & Mark Denton
Agency: TBWA
VW Passat ‘God Bless the Child’
Date: 1990
Directed by Tony Kaye
Agency: BMP DDB Needham
Greenpeace ‘Dumb Animals’
Date: 1980s
Directed by David Bailey
Agency: Yellowhammer
Citroen CX2 ‘La Beaute Sauvage’
Date: 1985
Directed by Jean Paul Goude
Agency: Euro RSCG
Apple ‘1984’
Date: 1983
Directed by Ridley Scott
Creative by Steve Hayden & Brent Thomas
Agency: Chiat / Day
Nike ‘Kick It’
Date: 1992
Directed by Tony Kaye
Creative by Chris Palmer & Mark Denton
Agency: Simons Palmer Denton Clemmow & Johnson
Ford Puma ‘Bullitt’
Date: 1990s
Directed by Paul Street
Creative by Leighton Ballet & Lee Goulding
Agency: Y&R
Polaroid ‘Resignation’
Date: 1996
Directed by Michel Gondry
Creative by Nick Worthington & John Gorse
Agency: BBH
NHS Careers ‘Smile’
Date: 2003
Directed by Malcolm Venville
Creative by Jon Daniel & Simon Impey
Agency: D’Arcy
Pot Noodle ‘Ace of Spades’
Date: 1990s
Creative by Trevor Robinson & Al Young
Agency: HHCL
Radio Rentals ‘Max Headroom’
Date: 1980s
Agency: CDP
Maxell Tapes ‘Me Ears Are Alight’
Date: 1990
Creative by Naresh Ramchandani & Dave Buonaguidi
Agency: HHCL

Post-Colonial : Stamps from the African Diaspora Animated Promo

A graphic animated promo celebrating stamps from the African diaspora.

Concept & Creative Direction: Jon Daniel.
Animation: Dave Daniels.
Original Music Composition: Nicholas Brown.
Generously supported by Stanley Gibbons.

For more information or to view the online exhibition visit:​AfricanDiasporaStamps