Tag Exhibition

A Super Hero Identity Crisis

poster-supermanreveal

Lately, I have been thinking a lot about ‘superheroism’. Partly, because of my Afro Supa Hero exhibition currently on display at the V&A Museum of Childhood, that is centered around my personal collection of African diaspora pop cultural action figures and comics; but also because I see it as a theme that is gradually becoming more visible in society. A trend, I believe is primarily due to the phenomenal rise of gaming across all different platforms and devices. Virtual worlds offering momentary escapes from our real lives through new identities, avatars and alter egos. Sophisticated pursuits that are no longer purely the preserve of children, but also taken through to adulthood.

Although, I am not a big ‘gamer’ myself, I find this whole subject fascinating, especially when I relate it to the African-Caribbean experience in the UK and how many people of my generation; the 1960s first generation Britons, born of Caribbean parents; spent years searching for their own identity.

Even though a sense of displacement was something we shared with our ‘brothers and sisters’ in the Caribbean and the US, I believe our experience in Britain was quite unique. The patriotism, they showed for their respective countries, was a feeling that was often completely alien to me and many of my peers.

Here, we were a group of citizens who felt no more at home in the country of our birth, than we did in the homeland of our parents. In Barbados I was called a ‘Little Englander’ yet in Britain I was seen as a ‘bloody foreigner’. It was an identity crisis that took me years to come to terms with, and even to this day, I still tend to identify more with being a Londoner first and foremost, than being British.

It is experiences like these that have pushed me throughout the course of my life, starting in my early teens, to explore and embrace African Diaspora history and its legions of super heroes and heroines. It fuels my belief that uncovering the truth in ‘History’ is the great equalizer that can help address many of the negative perceptions that surround race, religion, sexuality and gender.

It also informed the approach that I took in creating my Afro Supa Star Twins™ that adorn my exhibition branding and merchandise.  From the outset, I wanted my characters to be accessible to everyone. I was deliberate in making them twins, one male and one female because of my belief in harmony and the equality of the sexes.

In terms of the Afro style, on one hand, and purely for selfish reasons, it embraces the main phase of my childhood; but on the other it was also a dynamic time of ‘Black self-pride’ and ‘Afro-consciousness’ as the formality of the 1960s civil rights and counter-culture movements, paved the way for the free form funkiness of the 1970s.

Although certain strides have been made in the depiction of black cultural heroes and heroines, one issue that still continues to linger is the assumption that a white super hero is for everyone, yet a black super hero is only for black people.  Actually, the ultimate global super hero right now should be from the Han Chinese community, if we are to take our cue from the latest global population statistics.

If we are to go by history, and embrace the scientific facts that suggest all life on the planet came out of Africa, then a super hero of African origin is an entirely fitting concept to be embraced by all.

I have no doubt, the continued portrayal of the white super hero savior of humanity is down to the historical legacy of racism and the continued white male dominated power structure within the worlds of media, television and film. Maybe once they are finally able to accept the ancient African roots of their identity, the world will be a better place for us all.

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4 Corners : An Interview with Errol Donald AKA Pride

This month, while we face the winter blues of New Year, we stay home in London and in the warm company of someone I have been blessed to call a friend for more than 30 years. Mr Errol Donald, AKA Pride. We were initially brought together in our teens through a mutual friend, because of our love for George Clinton and all things P-Funk. Followed by a shared passion for design and creativity, as time passed and we developed our own career paths as creative professionals. Throughout that time I have always admired Errol greatly. Like some designer superhero, he effortlessly glided between the worlds of graffiti and graphic design, making his mark on both sides of the track. In the ‘80s, as his alter ego ‘Pride’, he was a founder member of one of Europe’s most celebrated and respected graffiti crews, The Chrome Angelz. He custom-designed t-shirts, like his classic ‘Nike/Spike’ design, which was a total game-changer in my opinion. Then followed a period working as a designer for the classic French brand, Michelin. And in more recent times, and perhaps somewhat surprisingly for a former graffiti artist, working for the international law firm, Hogan Lovells as an executive creative director. As a creative facilitator and educator, Donald has also worked with the Letter Exchange delivering lectures and workshops in graffiti and typography both here and abroad. And he continues to work tirelessly in the community sharing his mad skills and experiences with young people. There’s a lot in a tag, and in Errol’s case its truly fitting. Pride by name, pride by nature.Errol Donald

Errol Donald AKA Pride: creative director, lettering artist, lecturer

What’s your background?

I was born and raised in West London to Jamaican parents. I was fascinated by the many ways in which the youth of my elder brother’s generation chose to express their own identities. From music, politics, right through to fashion and attitude. Culture and creativity seemed to go hand in hand. In trying to be different, I drew inspiration not just from my immediate surroundings and largely Caribbean culture, but also from anything that seemed to challenge the norm, and so I became very curious about how culture was being expressed elsewhere. I studied graphic design at Camberwell School of Art and enjoyed the multi-disciplinary environment and emphasis on traditional practice. Around the same time, Hip Hop had made its way into the UK, and I was hooked! The references to popular culture, politics, and community, confidently expressed by my peers caught me at a time when I was ready to make my own mark as a creative artist. I quickly established myself within London’s Hip Hop community as a graffiti artist with The Chrome Angelz. As a collective, we shared a passion for the visual arts and traditional arts practice and sought to find a way of honouring the original pioneers of the movement, by developing a distinctly European aesthetic. It was a completely new and exciting education for me. I took a year out from my degree studies to paint, collaborate, and experiment. We were very active across the UK and in Europe, yet retained the freedom to carry out solo projects that took us all in new and interesting directions. The autonomy gave me the ideal opportunity to freely express my own ideas across a range of creative disciplines. The Spike T-shirt was a self-initiated project. I wanted to capture the tension between cultural and corporate identity in a single image. It was part of a series and was undoubtedly the most popular! I returned to complete my degree with a lot of confidence, and dedicated my final year to academic research that examined the creative, social, and wider cultural impact of graffiti culture.Chrome Angelz poster

Chrome Angelz poster

How did you get started in your field of expertise?

After graduating, I made the most of my mixed skillset and gained a lot of industry exposure through film, TV and advertising projects. I also began to play a more meaningful role in my community, working in the arts and education, and was invited on to the board of ACAVA, an arts charity based in West London. A few months later, I joined the in-house team at Michelin – a very traditional brand with a proud lineage. Though a little challenging at first, there I was able to utilise my range of skills and experiences and made the transition to commercial branding, which to me shared a number of similarities with brand-conscious nature of graffiti and hip-hop culture. I’ve gone on to enjoy a successful career in the business sector, leading creative teams for global brands across a number of industry sectors (energy, finance, property, law). I love the intercultural enagement the most, as there’s always a part of me that’s able to facilitate a sense of shared understanding.'Nike/Spike'

‘Nike/Spike’

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

As an artist, my early efforts to take graffiti art into (then new) spaces polarised opinion amongst graffiti artists, and the general public. Both audiences were wary of the impact that graffiti would have on their respective communities as it sought ‘acceptance’ in the public realm. As a design professional, my mixed skillset opened some doors, and kept others firmly closed. The familiar dilemma of tailoring my portfolio was worsened by the fact that clients were wary the negative impact on brand and reputation brought on by association with graffiti culture.TDK press ad

TDK press ad

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

My parents and my son, Wesley. Broadcaster and author Alex Pascal was the first to paint a picture of the world outside my window by weaving together culture and creativity. Books: Photographer Charlie Phillips’ – ‘Notting Hill in the Sixties’, Watching my name go by – Norman Mailer and Jon Naar, Getting Up – Craig Castleman, and many more! Not surprisingly, I’m drawn to maverick creativity. My tastes are quite varied and include everything from Thelonious Monk to P-Funk, Alvin Ailey to David Mamet and Ricky Jay. I also admire the wit of Patrick Caulfield and the works of designers Ron Arad, Philippe Starck and Terence Conran. It goes without saying that graffiti and hip-hop culture have provided many amazing moments. I was year into my degree and came across an article on the visionary artist and performer  Rammellzee. His unique theories on lettering and language left me mesmerised.Ties for Michelin

Ties for Michelin

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

My first exhibition at the Arnolfini gallery in Bristol means a great deal as it was my first gallery experience, and I think it one of the first shows in the UK dedicated to graffiti art. I’ve been lucky to work on a number of projects that I am passionate about. From my first press illustration for TDK, to branding Brixton’s Rough and Ready basketball tournament. I love type and lettering, and recently became a member of Letter Exchange, where I gave a lecture on the aesthetics of graffiti art to a mixed audience of lettering professionals, friends, and family members, most of whom had no idea of my ‘creative past’! In commercial terms, I’m very proud to have led the rebranding programme for  international law firm Hogan Lovells. I had already completed a number of similar projects for other companies, but the scale of the project, spanning different teams and countries made the project rewarding.Work in Bristol's Arnolfini Gallery

Work in Bristol’s Arnolfini Gallery

What would be your dream job or project?

Through my company Mindspray, I want to expand my work as a facilitator and consultant to build sustainable links between education, vocational training and business. I’m passionate about collaboration and exchange, and would love to create a global initiative that drew both culture and commerce together.Work for Brixton's Rough and Ready basketball tournament

Work for Brixton’s Rough and Ready basketball tournament

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

Cornbread, Iz, Blade, Barbera 62 & Eva 62, Stay High 149, Tracy 168, Seen, Kase 2, Phase 2, Lee Quinones and Dondi are among the many important figures and pioneers of graffiti culture. Colin Brignall and Dave Farey – for Letraset! What more can I say? Tony Messenger, my tutor at Camberwell who allowed me to take a year out to follow my passion. Artists Simon Cooley and Rita Keegan were amongst the few practising artists to offer advice and encouragement as I swapped sable for aerosol. London’s hip-hop community during the ‘80s for doing things that I’ve never seen before. Or since. All the educators, academics, researchers and many others who have shared their knowledge and experiences with me. Too numerous to list here, all have helped to shape my understanding of cultures past and present, and deserve much credit.Taxonomy

Taxonomy

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

Always Be Curious.

What’s next for you?

I’ve just completed a creative campaign for the international charity Coaching for Hope, who use football to create better futures for young people in western and southern Africa. Supported by FIFA, HSBC, Hogan Lovells and nPower, the project will raise awareness around the challenges faced by young women and girls playing sport in South Africa, and aims to educate young women and girls about their rights to play football and remain safe when faced with discrimination and violence. By visiting townships and areas of high unemployment where the work is undertaken, my goal is to build awareness of the campaign and to extend the reach of the programme to other regions and countries where young women and girls face similar issues.Hogan Lovells identity

Hogan Lovells identity

Network

THE U.S:

My Rock Stars: Volume 2, the first American solo show by Moroccan-born artist Hassan Hajjaj. The body of work produced for this exhibition is a continuation of Hajjaj’s ‘Rock Stars’ series, in which the artist portrays his close personal friends in the guise of ‘rock stars’. Taking his pop-up studio through Morocco, London and Paris, Hajjaj’s approach combines the spontaneity of street portraiture with the language of fashion photography, creating an image that simultaneously evokes urban culture and the haute couture of glossy magazines. Runs until 22 February at Gusford Gallery, 7016 Melrose Avenue, Los Angeles, CA 90038For more info visitwww.gusfordgallery.com

Albus is South African photographerJustin Dingwall’s solo exhibition made in collaboration with Thando Hopa. It explores the aesthetics of Albinism in contrast with the idealised perception of beauty. Albinism touches every ethnic group and is characterised by the insufficiency of melanin that determines skin and hair color. Rejected, prejudiced and discriminated individuals suffering from albinism in Southern Africa are likely to become targets and victims of physical attacks and mutilations. The project reflects the ability to look inside ourselves and re-invent norms of beauty. M.I.A. Gallery 1203 A Second Avenue Seattle, 98101 WA, USA. For more info visithttp://m-i-a-gallery.com

THE CARIBBEAN:

Jamaica Jazz & Blues Festival 2014. Featuring a stellar line-up of international artists, this firmly established event on the global festival calendar takes place between 31 January and 1 February at Greenfield Stadium, Trelawny, Jamaica. For more information visit http://jamaicajazzandblues.com

EUROPE:

Tom Eckersley: Master of the Poster. To mark the centenary of legendary graphic designer Tom Eckersley’s birth, London College of Communication presents an exhibition of iconic Eckersley poster designs which celebrate his enormous contribution to graphic communication and design education in Britain. Exhibition Open: 11 – 29 January 2014, 10:00am – 5:00pm (closed on Sundays) London College of Communication, Elephant & Castle SE1 6SB.For more info visit http://www.arts.ac.uk/lcc/

Herbert Bayer’s Commercial Graphics, 1928-1938 is a special exhibition at the Bauhaus Archive dedicated to the work of the Bauhaus teacher – between his departure from the Bauhaus and his emigration to the USA. The exhibition showcases the commercial graphic work of Bayer during the Weimar Republic and in Nazi Germany, after his departure from the Bauhaus. With his work for Dorland Studio, Bayer continued to be one of the most successful and highest-earning graphic artists of the period. At The The Bauhaus Archive/Museum of Design, Klingelhoferstrasse 14 10785 Berlin Germany. For more information visit http://www.bauhaus.de

AFRICA:

ONOMOllywood, a collaborative project by photographers Antoine Tempé and Omar Victor Diop of twenty images inspired by iconic moments from great American and European films. Cinema as a universal art form transcends barriers, be they geographic, cultural, or racial. Iconic scenes have influenced popular culture globally. ONOMOllywood reimagines these famous scenes set in the dynamic cities of Dakar and Abidjan where hotels become the metaphorical juncture. As crossroads, they represent forums where cultures and people from around the world co-exist and merge in a permanent cycle of reinventions and reinterpretations. Onomo Hotel Dakar Airport Route de l’Aéroport BP 38233 Dakar, Yoff, Senegal. For info visit  http://www.onomohotel.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.

 

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 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.

ICONOGRAPHIC: The first exhibition of my graphic poster art

As a budding design student, my first love was poster design. I used to pour over old Graphis annuals (many of which I later collected) inspired by the work of Shigeo Fukuda, Tommie Ungerer, Milton Glaser, Seymour Chwast, Herb Lubalin, Per Arnoldi and Waldemar Swierzy to name but a few. I often thought I could have been extremely happy if I just designed posters for a living.

A couple of years ago, I got to a crossroads in my life where I started to think about what I had done to date and where I was going. I reflected on my previous youthful dreams and the thought occurred to me “when was the last time you designed a poster?”

It was a thought that began to nag at me as I started to think about what creative path I might take next. Little signs and co-incidences appeared along the way, like the fact that I found out that I share the same birthday (31 May) with Jules Cheret; the French painter and lithographer who became a master of Belle Époque poster art and is regarded as the ‘father of the modern poster’

So eventually I decided to design a set of posters purely for my own pleasure and centered around my personal heroes and heroines. I then also built a small online poster store called ‘The PStore’ (an anagram of the word ‘poster’) to sell my own works initially, but maybe one day also the works of other artists and designers I admire.

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“ICONOGRAPHIC’ The first exhibition of my work will be at Art Dept at Clapham Picturehouse in London. This small exhibition of 25 artworks runs from 10 October – 10 November 2013.

The centerpiece of the show is a 70x100cm tribute artwork to the legendary and pioneering Afrobeat musician, Fela Anikulapo Kuti, who would have been 75 this month were he still alive today.

For more information visit the online poster store at www.pstore.bigcartel.com to view more examples of my work and purchase prints.

Design Guru gives his stamp of approval to African Diaspora philatelic exhibition

Author and cultural commentator Stephen Bayley lends his support to an exhibition highlighting black achievement as part of Black History Month UK

A thematic exhibition showcasing stamps, autographs and memorabilia of the African Diaspora has been given some heavyweight support from the design community in the form of author and cultural commentator, Stephen Bayley.

Post-Colonial: an exhibition of stamps from the African Diaspora, curated by African-Caribbean creative, Jon Daniel, launches on Saturday 1st October at 399 Strand, London, home of world famous stamp dealer, Stanley Gibbons. Fraser’s Autographs, a division of The Stanley Gibbons Group plc will be supplementing the exhibition with a range of autographs and memorabilia.

Bayley has often been quoted expounding the design qualities of stamps, stating in a press interview last year that, “They involve a whole range of creativity, within clear disciplines, not least dictated by their size. So by collecting stamps, you are, at a fraction of the cost of collecting other forms of art, gaining access to a vast international archive of design.”

 

Having been selected to feature in Creative Review’s Monograph, Jon Daniel’s own collection was the inspiration behind this exhibition and his appreciation of stamp design will be evidenced by a panel given over entirely to stamps chosen by him purely for the quality of their design.

“The design disciplines involved are fascinating: within a tiny space, a stamp must establish national identity, indicate its value, contain (if it is a special edition) usefully suggestive symbolism and needs high visual impact…without compromising the dignity of the issuing authority. Stamps are astonishing bargains as well as examples of miniature genius” said Bayley.

 

Post-Colonial: Stamps of the African Diaspora opens at Stanley Gibbons, 399 Strand, London on Saturday 1st October and runs until Saturday 29th October. For those unable to attend, the exhibition will also be available via the Stanley Gibbons website: www.stanleygibbons.com.