Tag Black British

Entries 5 Total

1997: Giving A.R.M a helping hand

Mar 26, 15 8:39 PM

As MP’s go, Bernie Grant was about as right (morally, not politically) and honorable as they get.

A leonine politician who fought tirelessly for his constituents, and who represented people from the African diaspora with pride.

I remember hearing that his organisation, ARM (African Reparations Movement) were looking to protest to the British Museum for the return of precious artefacts and treasures that were stolen from Benin and held in their possession.

I was working as an Art Director in mainstream advertising at that time at an agency called Ammirati Puris Lintas and felt I could make a positive creative contribution to their cause.

So I contacted their offices and proposed an idea that I believed would help to provide the necessary visual dramatisation of their protest and in turn help draw attention and pr interest.

The resulting concept was an enlarged print of a classic ‘Repossession Order’, as usually sent by bailiffs, but in this case delivered by Bernie and other ARM representatives to the Director of the British Museum on 15th March 1997.

 

I know Bernie was extremely pleased with the result and as a ‘thank you’, invited me to take tea with him at the House of Commons. An invitation, I never got round to taking up and that I sincerely regret to this day.

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Salaam Malcolm: 50th Anniversary 1965-2015

Feb 21, 15 11:18 AM

1990. ‘Malcolm X Fever’ is at fever pitch.

There is a plethora of Malcolm X iconography inspired primarily through the music of legendary, afrocentric and conscious rap/hip hop groups such as, Public Enemy and the X-Clan who had just dropped their debut album, ‘To the East Blackwards’; the films and merchandising of Spike Lee through his newly opened store in Brooklyn, Spike’s Joint; and the bold, fresh and funky fashion of Cross Colours.

These were ‘X-citing’ times. But as with any popular cultural movement, it can reach its point of overload and for many people, like myself who were into Malcolm-X for more historical and political reasons, the seeming reduction of him to that of purely a fashion icon was a bridge too far.

That point of overload was to literally hit home to me, in my locale of East Sheen in south-west London, when suddenly I’d see all these white middle and upper class kids in the local high street, rocking their Malcolm X and Public Enemy t-shirts.

In hindsight, I wish I could maybe have viewed it less cynically and accepted it for what it was, which whatever the reasons, was a mainstream, multi-cultural adoption of Malcolm X, which would have been utterly inconceivable in his lifetime.

Instead, to be honest, I was more consumed with mixed feelings of cultural appropriation and a desire to push a more meaningful adoption of Malcolm X, his teachings, his politics and his philosophies.

However, these feelings inspired me to design one of my first ever t-shirt designs, which I created to recognise the 25th anniversary of Malcolm’s death in 1965.

Malcolm RIP XXV © Jon Daniel

I deliberately took a less populist approach, using his muslim name of ‘El-Hajj Malik El-Shabazz’. And a typographic rather than image-led visual treatment, using an excerpt from the eulogy read at Malcolm’s funeral by the Black actor and civil rights activist, Ossie Davis.

The design, which I initially sold on the street at the Notting Hill Carnival in 1990, and then afterwards at a few select stores around London, also proved to be a powerful creative catalyst.

It forged within me a new mindset to use design and creativity as a tool to promote the rich historical legacy of Black heroes and heroines from the African diaspora, and to take a progressive and pro-active stance to issues that affected the Black community.

As-Salaam-Alaikum.

 

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4 Corners: An Interview with Bro Ben

Oct 27, 14 5:01 PM

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.

Network:

EUROPE:

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 www.thomasdanegallery.com

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
London
Brixton
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.

THE U.S:

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

AFRICA:

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

THE CARIBBEAN:

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.

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4 Corners: An Interview with Carolyne Hill

Sep 23, 14 4:32 PM

I first encountered the work of Carolyne Hill, this month’s profiled designer, at the Black Cultural Archives, the UK’s first and foremost Black heritage institution, which was recently rebranded and relaunched this July into a £7 million refurbished historical building in the heart of Brixton. Her family and most notably her mother Dawn, who is chair of the BCA, have been staunch supporters of this organisation for many years. Carolyne, specifically has lent her considerable talents in design and branding. However, as I would later come to find out, this is but one small facet of Carolyne’s many achievements thus far. Her background as a graphic designer, previously specialising in retail and ‘destination branding’ has seen her working for many of the high streets most recognised brands. Now working as Associate Director and branding specialist for Harrison:Fraser, I have no doubt that she is carving her own place in history as one of the few women of colour to ascend to such a position. Ladies and gentlemen, please be upstanding for Carolyne Hill.

Carolyne Hill

Carolyne Hill. Graphic designer/branding specialist

What’s your background?

I’ve always seen myself as an ‘Original Londoner’ born and bred, but equally proud of both my British and Jamaican heritage. My father is English and my mother is Jamaican. My grandmother on my father’s side was very creative and was always painting; this was a big inspiration from an early age. I would say ‘when I grow up I’m going to be an artist!’

Branding for Rhythm Kitchen, designed at The Yard Creative

Branding for Rhythm Kitchen, designed at The Yard Creative

How did you get started in your field of expertise?

I have worked for a range of design consultancies in London for various clients over the last 15 years. I studied retail interior design and business management at the London College of Printing. Having graduated and finding it hard to get a job in interior design, I managed to get a graphic design job from Design Week listings. From then on I was a graphic designer doing something I’d always loved and been passionate about.

Poster for African Street Festival Street Style

Poster for African Street Festival Street Style

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

I still think the biggest challenge for me was just getting that first job. Upon graduating you come into the industry with all these hopes and dreams and then you can’t even get an interview! I worked at The Conran Shop weekends and was an office intern doing filing work during the week. It took more than a year until I got my first design internship at Elemental Studio in Loughbrough Junction, which then led to me getting my first actual full-time paid design job at Astound, working for clients such as Tesco, B&Q and 3M. Once ‘in’ I’ve worked hard at achieving my goals at every stage and those first contacts I made working at Astound have stayed with me throughout my career and have helped in finding the right kind of work with the right people. 

Identity for Kaleidoscope Cinema – a pop-up cinema run by Jewel Hardy

Identity for Kaleidoscope Cinema – a pop-up cinema run by Jewel Hardy

Who or what are your greatest inspirations?

At school I was fascinated by the Pop Art era. I was a big Andy Warhol fan as a teenager and when studying GCSEs I discovered Bridget Riley, who as well as sharing my birthday, was a great inspiration as a fellow south Londoner from Norwood where I was at school doing my best at creating my own ‘Pop Art masterpieces’ for my coursework! I was impressed with her artwork and career as a strong female artist – I loved her bright colours, geometric forms and stripes. My parents were also a big influence as they always instilled in me that I could achieve anything and supported me along the way in my decisions to study and work in design. Today I find my biggest inspirations come from those around me such as my friends and my peers. I enjoy seeing people being successful with whatever they are doing and this spurs me on to find the next challenge.

Handpainted sign for Lola's Casino

Handpainted sign for Lola’s Casino

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

At the moment I’m most proud of the Lola’s Casino identity work for The Hippodrome Casino at Harrison:Fraser, where I am associate director. Last year I took a typography course at Central Saint Martins, and to see a direct link from new learnings to a finished logo up in Leicester Square makes me very proud. I like to think that I’m proud of whatever I work on and I hope my ‘best piece’ is still to come.

Work for South African-inspired Rooibos tea brand Cape Cape Tea

Work for South African-inspired Rooibos tea brand Cape & Cape Tea

What would be your dream project?

My dream project right now would be to design and build a pop-up restaurant – mainly because I’m a foodie and really enjoy going to these ‘blink and you miss it’ installations! In 2009, I was made redundant and decided to set up my own company, sharing a design studio with Arthur Irving and his company Skylark, which was an exciting and fun experience, hard work but very rewarding. Financial pressures and great job offers have led to me moving on from my own company, but I like to think that in the future I might work for myself again! I also have the dream to be ‘more of an artist’ – still working on that one!

Who in your field do you believe deserves credit and recognition?

There are so many people who could deserve some recognition. But in my daily design job, the printers and shopfitters who produce amazing results, often with the shortest turnaround times and last-minute changes, to bring our work to life – they are amazing and deserve credit.

Flyer designs for Manifesto

Flyer designs for Manifesto

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

Love what you do, work hard and don’t give up! Alongside anything I’ve ever worked at, I’ve always had a side gig. Whether it be designing flyers for friends’ club nights, creating events or taking pictures, these things add to your personal portfolio and whether starting up or working in the corporate design world you need this output to keep your creative spark alive.

What’s next for you?

As associate director at Harrison:Fraser I’ve got big challenges everyday and enjoy being part of a team in which is fast paced. Personally I’m enjoying learning how to use my new camera and building upon the personal design work I’m doing with Kaleidoscope Cinema and Street Style.

For more information visit www.harrisonfraser.com.

Network:

EUROPE:

RE-IMAGINE: Black Women in Britain. The BCA’s inaugural exhibition delves into the remarkable history of Black women in this country and spotlights some of their inspirational lives and contributions to British society since the Roman era. Listen to a tapestry of voices and reimagine the historical accounts of an 18th-century freedom fighter, social and political activists, talented musicians, writers and a woman serving in the Royal Navy. Until 30 November 2014. FREE admission. For more info visit www.bcaheritage.org.uk

THE LONDON DESIGN FESTIVAL 2014. First staged in 2003, the London Design Festival is one of the world’s most important annual design events. The Festival programme is made up of over 300 events and exhibitions staged by hundreds of partner organisations across the design spectrum and from around the world. Design Week is proud to be a part of this event and on Saturday 13 September at 10.30-11.30am at the V&A Lecture Theatre will be hosting a special talk, ‘4 Corners: Design from the African diaspora’. Here, Design Week columnist, Jon Daniel will introduce the thinking behind the column and select work from the USA, Africa, Europe and the Caribbean. For more information visit londondesignfestival.com.

THE US:

HERE AND ELSEWHERE. A major exhibition of contemporary art from and about the Arab World, New York’s New Museum’s exhibition brings together more than 45 artists from over 15 countries, many of whom live and work internationally. Exhibition runs until 28 September at the New Museum, 235 Bowery, New York, NY 10002, USA. For more info visitwww.newmuseum.org/exhibitions/view/here-and-elsewhere

FUNKY TURNS 40: Black Character Revolution Animation Art from classic cartoons of the ’70s. This special exhibition commemorates the 40th anniversaries of 1970s Saturday Morning cartoons that featured positive Black characters for the first time in television history. The exhibition includes original production pieces and drawings used to produce these cartoons. Also included are images from the animated opening to Soul Train and two of the few Black cast/Black-focused animated features that have been produced since the 1970s: BeBe’s Kids (1992) and Our Friend Martin (1999). Now on the second leg of a national tour showing until 20 October 2014 at DuSable Museum of African American History. For more info visit the DuSable Museum website for details.

AFRICA:

TriContinental Human Rights Film Festival 2014. Every year since its inception in 2002, the TriContinental Human Rights Film Festival has screened powerful films from South Africa and across the globe, exploring some of the most urgent local and global issues of our time.With a passion to support the fight for human rights and democracy through media, the TCFF offers stories from the bleeding edge of current social and political waves – stories that are not only relevant to our time, but skillfully told through beautiful cinema.TCFF is the only festival primarily dedicated to issues of Social, Political and Human Rights on the African continent. Taking place in Johannesburg, Capetown and Pretoria, 13-29 September 2014. For more information and submission details visit www.3continentsfestival.co.za

THE CARIBBEAN:

INTERNATIONAL REGGAE POSTER CONTEST 2014 Call for Entries is now open until until November,1st, 2014. The best posters will be selected by a jury of design professionals and will be published in a catalogue/book and exhibited around the world. The objective is to continue to build awareness for Reggae music and to celebrate the global achievements of Reggae and its impact on the world. The term Reggae encompasses all the popular Jamaican musical genres; Ska, Rocksteady, Roots Reggae, Dub, Dancehall and the unique Jamaican Soundsystem. They are looking for your talent and vision and we are very excited to see what designers can come up with in their original poster designs that will capture the energy and vibe of Reggae Music. The contest is open to all graphic designers and artists internationally. Artists/Designers are allowed to submit any number of original poster Entries. Posters should not have been published in internet, social
medias etc. For more information visit www.reggaepostercontest.com 

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.

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4 Corners: An Interview with Everton Wright

Oct 29, 13 9:11 PM

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 www.evewright.com And of course I’m designing all the print for the exhibition.Walking Drawing with horses

Walking Drawing with horses

Network:

THE U.S:

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 www.momaps1.org

THE CARIBBEAN:

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.

EUROPE:

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 http://www.stephenfriedman.com/exhibitions

AFRICA:

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 http://fondationdonwahi.org/index.html

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.

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